ProGrade Digital has announced three new products aimed at making storage extra portable. The company unveiled two highly compact SSDs that each promise fast speeds and excellent reliability, along with a memory card reader meant to work with the iPhone 16 line of phones to unlock 4K 120p recording.
ProGrade CFexpress Type A Mobile Reader
Image: ProGrade
Smartphone cameras are capable of impressive video quality, which is why many content creators rely exclusively on their phones to record video. But those files quickly eat up storage space. Plus, some formats are only unlocked with external recording, such as the iPhone 16 Pro/Pro Max 120 fps ProRes recording mode. The new PGM12 CFexpress Type A mobile card reader from ProGrade aims to make it easier for users to take full advantage of their phone's recording capabilities.
The PGM12 card reader is a single-slot CFexpress Type A reader that ProGrade says offers the same performance as its full-sized card readers despite its more compact size. That means promised transfer rates of up to 1.25GB/s. It features a patented magnetic base and metal mounting plates with a flexible cable, making it feasible to mount to your phone or rig in multiple ways. The card reader is small enough to be attached to the back of an iPhone while also using a MagSafe charger, ensuring you don't run out of storage or battery.
"Our customers can now record video onto low-power, CFexpress Type A memory cards, at the highest possible quality, and not have to worry about running out of storage space, that might be experienced with a fixed capacity storage device," says ProGrade.
The PGM12 reader is available for preorder now for $80 and will ship at the end of April.
The ProGrade PG10.5 Pro Mini SSD is a compact SSD that, like the above card reader, is equipped with ProGrade’s patented magnetic base. It also comes with an adhesive metal plate, so you could mount it to any work surface or to ProGrade PG20 Pro Hub.
It uses USB 4.0 technology, resulting in a promised maximum bus speed of up to 40Gbits/sec. ProGrade says it will offer read speeds of 4000MB/s, a write speed of up to 3500MB/s. It should also provide a sustained write speed of 1250MB/s, which is critical for high-resolution video workflows. It's compatible with Thunderbolt 4, Thunderbolt 3, USB 3.2 and 3.1 Type-C ports.
"The PG10.5’s small physical size and robust design also allow it to be easily removed from the workstation, studio environment, and easily used in more mobile, non-studio environments," said Wes Brewer, CEO and founder of ProGrade.
The PG10.5 Pro Mini SSD is now available for preorder. It comes in 1TB, 2TB and 4TB capacities and is priced at $180, $300 and $550, respectively.
SSDs keep getting smaller, as is the case with the ProGrade PG30 Ultra-Portable SSD. This tiny device looks like a classic thumb drive but should offer better performance and reliability. After all, thumb drives aren't typically meant to be used as working drives, and they often don't last for extended periods, either.
The ProGrade PG30 Ultra-Portable SSD, though, is more up to the needs of creative professionals. It uses USB 3.2 Gen 2 technology, and ProGrade promises read and write speeds of up to 1000MB/s and a sustained write speed of 300MB/s.
The tiny SSD features tethered caps that protect the Type-A and Type-C ports, while the IP65 rating provides water and dust resistance. It's also X-ray and shock-proof and comes with a three-year warranty.
"The PG30’s relatively small die-cast aluminum body, dual USB Type A and C connectors, coupled with an impressive IP65 dust and water rating, make it an ideal choice for all imaging professionals seeking the compatibility and reliability that ProGrade is known for," said Josh Brewer, Product Manager of ProGrade.
The ProGrade PG30 Ultra-Portable SSD will be available for purchase at the end of April and comes in 500GB, 1TB and 2TB capacities.
Nikon announced the Z5 II mirrorless camera last night, but in addition to that announcement was another exciting update for Nikon videographers. The company revealed that Adobe will finally offer support for Nikon's N-Raw video format in Premiere Pro.
N-Raw is Nikon's proprietary 12-bit Raw video format. It supports Rec2020 color gamut and allows users to adjust white balance in post-production, much like what's possible with Raw photo files. As a result, it provides more flexibility during the editing process. Despite that extra data for editing purposes, it also produces smaller file sizes compared to Apple ProRes Raw. It's ideal for those who need editing flexibility while saving space on memory cards and hard drives.
DPReview's 2025 wishlist included increased N-Raw codec support from software makers since such a limited choice of editing programs reduces the value of that in-camera Raw capture. The only other options for editing N-Raw files are DaVinci Resolve and RedCine-X Pro, so it is great to see Adobe getting on board.
While support for N-Raw in Premiere Pro is certainly welcome news, users will have to wait until "the end of 2025." Nikon didn't provide more specifics than that, simply saying it will come with an updated version of Premiere Pro coming later this year.
Press release:
NIKON’S N-RAW VIDEO FORMAT WILL BE SUPPORTED IN ADOBE’S VIDEO EDITING SOFTWARE PREMIERE PRO®
MELVILLE, NY —
Nikon Inc. is pleased to announce that Adobe will add support for Nikon’s N-RAW video format to its video editing software, Premiere Pro®, with a new version scheduled for release by the end of 2025.
N-RAW is Nikon’s proprietary high-quality RAW video format that provides users with a large amount of imaging data in order to enable more freedom and flexibility, including a wider Rec2020 color gamut in 12-bit N-RAW with its billions of colors captured and software-modifiable white balance, in post-production. Adobe Premiere Pro® is a popular video editing software widely used by professional creators and filmmakers, and support for the N-RAW format opens up extensive new possibilities for video and film production using Nikon cameras. Premiere Pro® support for the N-RAW format has been realized via the addition of Nikon N-RAW support to RED’s R3D SDK.
Nikon will continuously meet the needs of those involved in video and film production, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.
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Makoto Oishi, Yuji Igarashi and TJ Yoneda, all holding the GFX100RF.
GFX100RF | F5 | 1/90 sec | ISO 12800 Cropped and processed in ACR to taste. Photo: Mitchell Clark
Last week, Fujifilm announced the GFX100RF, a fixed-lens camera with a 102MP medium format sensor. The company graciously flew us to Prague to cover the event live, and we got the chance to sit down and discuss the launch with three of the people who helped make it happen: Makoto Oishi, senior manager of GFX product planning, Yuji Igarashi, Manager of Fujifilm's Professional Imaging Group and TJ Yoneda, assistant manager of GFX product planning.
Our conversation mostly centered on the new camera and the design decisions that went into it, but we also talked a bit about the company's content authenticity efforts as well.
Who is the GFX100RF for?
According to Makoto Oishi, the GFX100RF is made for a different kind of photographer than most of the company's other medium-format cameras. "The GFX 100 II and the 100 S II are mainly for current GFX users who shoot landscapes, portraits or commercial. The GFX100RF is a little bit more for street photography or documentary, because we developed this one to be as small and lightweight as possible."
It's designed to be a luxury camera...
Photo: Richard Butler
At first glance, the GFX100RF looks a lot like a larger X100VI, especially with respect to its controls and rangefinder styling. However, according to Oishi, the company didn't set out to design a camera with a family resemblance. "It's not that we didn't care, but we didn't design this camera with too much respect to the X100."
Part of the reasoning is that the GFX100RF is a much more expensive camera than the X100VI, which means it needs to feel more premium. "At the beginning, when we discussed how we should design the camera, we already knew about the price point. So this camera should be more luxurious to match the price point," said Oishi.
"Milled aluminum is the top end of manufacturing"
A major factor in its luxury design is the top plate, which is milled out of a single block of aluminum—it's the first time Fujifilm has used this type of manufacturing process. "Milled aluminum is the top end of manufacturing," said Oishi. Because you're milling from the block, you can have a lot of unique designs—more flexible designs," said Igarashi. Oishi agreed, saying, "With milling, we can develop any complicated, complex shape."
A display at Fujikina showing the stages of production for the GFX100RF's milled aluminum top plate.
Photo: Mitchell Clark
Later, during the Fujikina event, Yoneda told us that turning an aluminum ingot into a GFX100RF top plate takes around five hours. Even the side of the hot shoe mount is milled. "It has many special parts," said Oishi.
The company also redesigned the lens hood, creating an adapter ring that only goes one way, which the rectangular hood then attaches to normally. "With the X100VI, it just attaches by screwing on, which can be quite tough to align. This one has tabs affixed on the lens," so it aligns perfectly every time.
... while still being as compact as possible
"This is not an interchangeable lens, so we can be kind of flexible on the design of the sensor and the lenses," said Yoneda. "So the rear element of the lens is really close to the sensor, which is almost covering the sensor size. That's one of the reasons we can create such a small lens."
"We actually have considered several options for the focal length and aperture, and this was what we can make the most compact lens with the best image quality." It also lets you get away with hand-holding the camera at lower shutter speeds, which is important given the camera's lack of stabilization for the sensor or lens. Unsurprisingly, the exclusions were made to make the camera as small as possible – the company said that adding IBIS would've made the camera noticeably larger and heavier.
Photo: Richard Butler
And if you want a closer field of view? "Since it has the 102-megapixel sensor, we can use the digital teleconverter for the telephoto side," said Yoneda.
As for whether the GFX100RF will ever get add-on optical lenses to change its field of view, similar to those for the X100 series, the company says it thinks the digital teleconverter is the way. "At this moment, we think that because of the 102MP, the digital teleconverter works," said Yoneda. "But depending on the users' feedback, we can, of course, consider any possibility of the wide-angle and teleconverter."
On the aspect ratio dial
The aspect ratio dial has ten options – the nine aspect ratios the camera supports, and a "C" setting that lets you control it with one of the camera's control dials.
Photo: Richard Butler
One of the most prominent features of the GFX100RF is its large dial for controlling the aspect ratio of your JPEGs. While the company's GFX cameras have long let you emulate aspect ratios from some of its most famous medium format film cameras, this is the first one with a dedicated physical control for it. "I think this analog dial is kind of a connection between the digital technology and the film cameras we have," said Igarashi.
"We are trying to grab new customers with respect to our medium format cameras," said Yoneda. "So we thought this camera was the best one to install that kind of homage to those cameras."
"We are trying to grab new customers with respect to our medium format cameras"
It's also part of the company's philosophy of helping you produce pleasing images straight out of camera. "We wanted to offer to use this to change the aspect ratio not in post-processing, but when you're starting out with the subject," said Yoneda.
As for why it's a dial? "Actually, I wrote the nine types of format vertically," said Oishi. "And when we discussed how the user should choose between these formats... in a menu, it's quite tough. Even assigning it to a function dial or button or something like that... hmm. And then someone said, 'If we can implement it as a dial, is it easier?' And everybody said, 'Oh yeah, that's it!'"
Why there's no hybrid viewfinder on the GFX100RF
The GFX100RF uses an OLED EVF with 0.84x equiv. magnification.
Photo: Richard Butler
Several of Fujifilm's photo-focused cameras feature a hybrid viewfinder, which can act as both an optical viewfinder with an electronic overlay or as a purely electronic one. While it doesn't allow for true rangefinder focusing, it does provide a rangefinder-like experience... which is why we were initially confused that the company didn't include it on a camera whose name explicitly refers to a rangefinder design.
According to Yoneda, there are good reasons for it. "The hybrid viewfinder's structure is a little bit complicated, which means the magnification would be much smaller for such a high-resolution camera," he said. Those differences weren't just theoretical, either. "Of course, we created mockups with the hybrid viewfinder installed."
"Another reason is the digital teleconverter. If it comes with an OVF, we'd have to cover 20mm of range when using the teleconverter, which would make the guide-lines much smaller. So, from a practical point of view, we decided to install the EVF."
Will the GFX100RF get support for content credentials?
At its X Summit event announcing the camera, Fujifilm also mentioned that it had begun testing tools for dealing with content credentials, which can help authenticate a photo as being real versus AI-generated and can also provide a record of how a photo was edited. The company is part of the Content Authenticity Initiative and the Coalition for Content Provenance and Authenticity.
"We are still developing and investigating how to implement the CAI and the C2PA," said Oishi. "Unfortunately, we haven't decided on the final specification yet. But we believe this is a very important thing for photography."
"We have to, as an industry, come up with a standard"
As for whether the tech will come to existing cameras like the GFX100RF, Oishi says it depends on the details. "If we have to pay to implement it, or if users have to pay... not so many will want it. Then it'll only be for professional agencies or something," he said. "But if it is free, then we can manage the picture generation – what is real photography? And that is quite important."
"I think, of course, that will become more and more important, so we can't ignore it," said Igarashi. "So we have to, as an industry, come up with a standard. And be aligned, so we can at least define what AI is and photography is, and we can separate the images that we create."
To him, it's not necessarily about AI versus photography; it's about transparency. "We're not saying AI is not good or anything. It's just knowing what has been done through the process; I think that's important."
Interview conducted by Mitchell Clark at the Fujifilm X Summit in Prague, Czech Republic. Answers edited for flow.
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Product photos: Mitchell Clark
The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor. It's an update to Nikon's entry-level full-frame Z5 and is essentially a version of the Zf that trades retro styling for a more conventional design.
Key Features
24MP BSI full-frame CMOS sensor
In-body image stabilization, rated up to 7.5EV
Autofocus subject detection with support for 9 subject types
11 fps Raw w/ mechanical shutter
30fps JPEG-only mode with pre-release capture
3.69M dot 60Hz EVF with 3000-nit peak brightness
4K/30 full-width, 60p w/ 1.5x crop
10-bit N-Log or N-Raw capture
Dual UHS-II card slots
Downloadable color mode presets via Imaging Cloud
The Z5II will be available in April and will retail for $1699 – a $300 increase over its predecessor in absolute terms, though a very similar price when considering inflation and its greater ambitions. Kits will also be available with a 24-50mm f/4-6.3 lens for $1999, or with a 24-200mm f/4-6.3 VR for $2499.
The Z5II's sensor is one we know well, as it features in cameras like the Zf and Z6 II. While it's certainly not state-of-the-art, it's historically performed excellently and offers noticeably faster readout speeds than the non-BSI sensor found in the original Z5, which hailed from the early 2010s.
That'll be most noticeable in video modes – its readout speeds are still slow enough that you likely won't want to use e-shutter mode unless you really need to shoot silently or are doing JPEG-only bursts where it drops to its faster, 12-bit readout mode. However, the Z5II supports much faster burst rates than its predecessor, shooting in Raw at up to 11fps with its mechanical shutter, where the original topped out at 4.5fps.
Hybrid abilities
The Z5II is a much more capable video camera than its predecessor, which could only manage shooting at 4K/30 with a substantial 1.7x crop. The new model, meanwhile, can shoot full-width 4K at up to 30fp and 120fps in 1080p for slow-motion shooting, double what the Z5 was capable of.
It also has a slate of advanced video features such as a product-priority focus mode, electronic stabilization, 10-bit N-Log, waveform monitors and even N-Raw. While the Z5II's target audience likely won't find much use for those later modes, it's hard to complain about their inclusion.
However, while its sensor has good readout speeds, it isn't anything near as fast as the one on the more expensive Z6III. That means you'll see more rolling shutter in full-width 4K, and will have to deal with a 1.5x crop if you want to shoot 60p, though the Z5II is at least capable of the higher framerate.
Latest-gen processor
The Z5II has Nikon's latest processor, the same one that powers cameras like the Z8 and Z6III. That means it largely has the same autofocus capabilities as those more expensive models. It supports the same subject recognition types – the Z5 only recognizes humans and animals, while the Z5II can also detect birds, cars, bicycles, motorcycles, trains and planes.
It also gains a 30fps JPEG-only mode, which supports pre-burst capture. The Z6III's faster sensor gives it a leg up in this area, though: it can shoot full-resolution JPEGs at up to 60fps and can hit 120fps by dropping down to an APS-C crop.
The company also claims the Z5II supports more advanced noise reduction, putting out cleaner JPEGs at high ISOs, and has added an AF-A mode, where the camera decides whether to use single or continuous autofocus.
A bright viewfinder and a more flexible screen
Nikon says the Z5II's viewfinder can reach a brightness of up to 3000 nits, which should help when shooting in harsh daylight. The company doesn't quote brightness figures for the Z5's EVF, though it otherwise has similar specs – both cameras use a 3.69M dot display running at 60Hz.
There are also some changes to the Z5II's LCD. At 3.2", it's the same size as the Z5's, but it's higher resolution and fully articulated, while the original's screen was limited to tilt adjustments.
How it compares
While the Z5II isn't as cheap as its predecessor, it is still among the least expensive full-frame ILCs ever released. Some other cameras on that list, like the original Z5 and Canon's EOS R8, are among its competitors.
At $2000, Panasonic's S5II has a substantially higher MSRP than those cameras and, before the Z5II, offered a more complete package than any full-frame camera in the sub-$2000 range. The S9, which is based around the same sensor, is closer in price to the Z5II but is aimed at a more video-focused audience, as it lacks both an EVF and a mechanical shutter. Given that, it didn't feel as appropriate for this list. While the S5II frequently goes on sale, street prices for cameras drop relative to their MSRPs – a camera that starts off at $1700 is likely to end up significantly cheaper than one that started life at $2000.
The one exception to that rule is if a camera sticks around long enough to get a permanent price cut to reposition it when its replacement arrives. That's essentially what's happened with Sony's a7 III, which was originally released in 2018. It shows its age in many ways but is still in a similar class to the other cameras in this comparison.
With the upgrades it gains over its predecessor, the Z5II has become one of the most complete full-frame options for under $2000. You're not giving up IBIS, battery life and an autofocus joystick like you would be with the EOS R8, and you're not giving up an EVF and dual top-plate control dials like with the Panasonic S9. It's relatively evenly matched with the S5II, though we've generally found Nikon's autofocus performance to be more reliable.
The a7 III may still seem like a worthy competitor on paper, especially considering that Nikon and Canon can't match E-mount's wide range of lenses. However, other brands have caught up to its once class-leading autofocus system, and its menus were dated and annoying to use even back in 2018. The once enthusiast-focused Sony is really showing its age.
Body and Handling
The Z5II's design is relatively unchanged from its predecessor, though that isn't a complaint. It has a standard mode dial with three custom slots, as well as two top-plate dials for controlling your exposure settings. The camera also comes with a wide variety of buttons, including two customizable ones on the front near the lens mount.
Nikon has added its Picture Control button, which debuted with the Z50II and lets you easily control your JPEG color mode. While the Z5II comes with Nikon's classic range of color modes built-in, you can also download more via the company's Nikon Imaging Cloud service and create or customize your own using the company's desktop software.
Out of camera JPEG, shot using the 'Deeptone Monochrome' color mode.
Nikkor Z 50mm F1.8 S | F5.6 | 1/2000 sec | ISO 100 Photo: Mitchell Clark
This setup provides a fair amount of flexibility and control over the look of your out-of-camera JPEGs, though it doesn't come with the freedom and enormous back-catalog of the industry-standard LUTs that companies like Panasonic let you use.
Handling
The Z5II is a solid camera with a deep grip, which fits well in the hand. It's sturdy – Nikon says the front, back and top covers are made from magnesium alloy – and sealed against moisture and dust. We shot our sample gallery in light to medium rain with no issues.
The control layout is the same one that Nikon has used across much of its Z lineup – anyone familiar with the original Z5 or Z6 series will be instantly familiar with it. Most of the buttons on the back are generally easy to access while shooting, as is the autofocus joystick. The Z5II also supports using portions of its touchscreen to control the autofocus point. The one button that can be difficult to reach in general use is the Picture Control button, as its position on the top plate will likely require you to re-adjust your grip to hit it.
Viewfinder
The Z5II's viewfinder is high-resolution and has a relatively high magnification, but where it really sets itself apart from the crowd is in brightness. It has a peak brightness of 3000 nits, which means it should still be clearly visible, even on a bright, sunny day.
The panel runs at 60Hz. While that's not as fast as the 120Hz mode found on Nikon's higher-end cameras, it should be responsive enough for all but the most fast-paced situations.
Screen
The Z5II features a large, high-resolution, fully-articulated display. While it doesn't provide stills shooters with the ability to tilt up or down in a single motion, once you flip it out, you can use it at pretty much any angle. It also lets you monitor video you're taking of yourself, an essential feature for anyone looking to try their hand at vlogging.
Ports and slots
Again, the Z5II's port selection remains largely unchanged from its predecessor's. It retains the dual UHS-II SD card slots, headphone and microphone jacks, USB-C socket and micro HDMI port. Overall, it's hard to find fault with this selection.
Battery
The Z5II uses the same 16Wh EN-EL15c battery as many of Nikon's other full-frame cameras. It's CIPA-rated to get around 330 shots on a single charge. While you can generally expect to get a fair bit more than the literal number of rated shots, the rating provides a consistent benchmark we can use to measure cameras against each other.
We'd consider a rating around 300 to be acceptable for a day of shooting or a weekend where you're occasionally taking photos, but anything more, and you'll probably want to keep an extra battery or USB-C battery bank at hand.
If you routinely have marathon shooting sessions, the Z5II can be fitted with the sold-separately MB-N14 battery grip, the same that's used for cameras like the Z6 II and Z6III. It should roughly double your battery life and lets you hot-swap in a fresh battery without cutting power to your camera.
Initial Impressions
The Z5II seems like an extremely calculated move in that it fits precisely into Nikon's lineup and the full-frame camera market as a whole. It's a budget-ish model that gives you one or two good reasons to pay a bit more for it than its competitors while not being so good as to dissuade those with deeper pockets from buying a more expensive model like the Z6III.
It's one of the most remarkably complete full-frame cameras that you can get for under $2000, and that makes it easily fit into a flowchart. Care about video and shooting fast-moving subjects? That rules out the Z5. Want IBIS? The EOS R8's out. Want a viewfinder, mechanical shutter and modern menus? Well, that leaves the Z5II. But what if you just have to have full-width 4K/60p, faster burst rates and an even better viewfinder? Well, Nikon will be more than happy to sell you a Z6III for $700 more.
Of course, there are more options if you're willing to consider other sensor sizes. Fujifilm's APS-C X-T5 is a similar class of camera, and the lenses for it are generally going to be less expensive if budget is a big concern for you. Nikon sells the APS-C Z50II, which has surprisingly similar capabilities, is smaller and is almost $800 cheaper. For those set on full-frame, though, the Z5II remains a very well-rounded entry point.
The Z5II is a much more ambitious camera than its predecessor
It's easy to overstate the importance of the price bump from the Z5 to the Z5II. The original was the second cheapest full-frame mirrorless camera ever released, and its successor is coming out after several years of high inflation at a time when the economy doesn't seem to be doing so well. It's also a much more ambitious camera; it's extremely similar to the Z6 II, which launched for $2000 in 2020, except it comes with a better viewfinder and vastly improved autofocus. Sure, people will wish all that was available for the same price the Z5 launched at (or less), but the reality is that even with its higher MSRP, the Z5II is still one of the least expensive full-frame mirrorless cameras at launch.
The one final wrinkle is the Nikon Zf, a camera that is, by all important metrics, the same as the Z5II but with a higher price tag. It comes with a style that the rest of the cameras we've talked about today can't match; it looks like a classic film SLR with all the dedicated dials, but it can also be used like a modern twin-dial mirrorless camera.
Some people won't care about or for that design, and that's great – they can get the Z5II and never think about the Zf again. Others will care about that and pay extra to get it – or wish they could and feel slightly bad about it. Either way, it's the one competitor that requires an emotional decision, not a logical one.
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À partir d’avant-hierNews: Digital Photography Review (dpreview.com)
Yesterday, Viltrox had some fun with April Fool's Day and announced a lens in its Air lineup that was, well, literally air. But today, the company has revealed a real addition to the Air series of compact and lightweight lenses. The AF 50mm F2.0 Air was initially announced and displayed at CP+, though details were extremely slim at that point. Now, though, things are more official, with full details available.
The AF 50mm F2.0 Air is available for Z-mount and E-mount. It joins the 20mm F2.8 and 40mm F2.5 full-frame lenses already in the lineup, along with 25mm F1.7, 35mm F1.7 and 56mm F1.7 APS-C Air lenses. The 50mm focal length, affectionately called the nifty fifty in the photography world, is a versatile option. It's ideal for everything from street photography and travel to portraits and more.
Image: Viltrox
Viltrox's take on this classic focal length is compact and lightweight, with the E-mount model weighing 205g (7.2oz) and the Z-mount version weighing slightly more at 220g (7.8oz). The optical design features thirteen elements in nine groups, which include three ED lenses, four high-refractive elements, and one aspherical element with HD nano-coating. Viltrox says it will provide "vivid, distortion-free images."
The lens offers an aperture range of F2.0 to F16 and it features a nine-blade aperture, resulting in what Viltrox says is "stunning bokeh." An STM motor drives autofocus, which works with eye and face detection, promises minimal focus breathing and supports in-body image stabilization. It can focus as close as 0.51m (20").
The Viltrox AF 50mm F2.0 Air is available today. It's currently on sale for $183, though it will cost $199 at full price.
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Photo: Richard Butler
Some years ago, when I was relatively new to the camera industry, I wrote a post for DPReview's short-lived blog, suggesting it was high time someone re-thought the way camera interfaces work.
I used Apple as an example of a company making inroads into an established market by developing a completely different way to interact with a device. I had no idea, back then, just how much impact the iPhone would go on to have, of course. The iPhone 3G, the first to offer competitive communication speeds, had only been launched a few months earlier and it seemed impossible that the likes of Nokia would be swept away by a relatively small computer company.
I explicitly wasn't advocating for cameras to move to a smartphone-style touch interface, more for a blank-sheet reconsideration of what a camera needs to provide and how best to prioritize those things.
When I wrote a blog post in 2008 asking for an Apple-style re-think of the way cameras operate, I had no idea just how significant the iPhone would go on to become.
Rendering: Apple
Sixteen years later, no one's really attempted it. A lot of cameras still operate like film cameras with a dizzying array of digital functions clumsily added on top. Most manufacturers haven't significantly re-thought menu systems originally designed for 20-or-so options despite them now having to accommodate around 100. Arguably none of them work well at this point: the difference is in just how badly they cope.
The result is cameras that are only really usable by people who've spent quite a lot of time learning how to use them, which is why I quietly seethe every time I hear a camera being described as 'intuitive.' Photography's core elements are complex enough that there'll always be something of a learning curve, but there's probably a middle-ground between a smartphone that does everything from focus and exposure to adaptive processing for you and a camera that operates like a 1980s SLR with a text-based choose-you-own-adventure computer game glued to the back.
Small steps
There has been some innovation since then, of course: Pentax created the TAv (time and aperture priority) exposure mode that has now become commonplace in the form of allowing Auto ISO while in Manual exposure mode. And its Hyper Program mode where you could override its aperture or shutter speed decisions while retaining a high degree of automation.
Likewise, Canon introduced its Flexible Priority exposure mode (along with the disappointingly useless M-Fn swipe bar) on the EOS R, which let you select which of aperture value, shutter speed and ISO you controlled and which were automated, on-the-fly. I'll confess I never quite managed to get my head 'round using it quickly enough for it to be beneficial.
The Sigma BF is not the answer
With its dedicated settings screen, the Sigma BF represents a radical new approach to camera operation.
Photo: Richard Butler
The Sigma BF is one of the most radical attempts I've witnessed to re-think how a camera operates. That's why I've put so much time into making videos about it over the past few weeks: because it's so different to anything you might have used before that it's hard to appreciate without seeing it in action.
To be absolutely clear: it is not the future of photography. It's a fascinating, back-to-fundamentals way of controlling a camera that makes you really think about shutter speed, aperture and exposure compensation (and by extension, ISO), in a way I've found quite inspiring. However, it engenders (perhaps even enforces) a slow, contemplative way of shooting that wouldn't be appropriate for most photography or most photographers.
I'll admit when I first heard the underlying specs of the BF I was worried Sigma had somehow taken five years to make a more limited version of the fp, which would appear to be a complete waste of everyone's time. But when I got to actually use it, the interface turned out to make it one of the most interesting cameras I've used in years. Again, not as an all-round, do-anything camera: even if you added a mechanical shutter, it wouldn't be that. But as an attractive device for documenting the world, it's strangely compelling.
All about the detail
Whatever you might think about the BF, a little bit of time spent using it reveals just how much thought has gone into its interface. Learning to operate each function one at a time through the dedicated settings display, then using the main LCD solely for composition and focus, with no incomprehensible icons distracting you, is unexpectedly engaging.
Whereas on the single-dial Panasonic S9 I find myself constantly frustrated, pressing buttons, cursing and wishing for a second control dial, on the BF I've found myself intentionally passing the aperture control back to the camera's single dial. It's difficult to rationalize, and yet, it makes sense when the camera is in your hand.
There are two details that have jumped out at me. The first is that: when you half-press the shutter, just as you're about to take your shot, the BF switches the dial's function to exposure compensation. It's a lovely little touch: it assumes you've selected the aperture and/or shutter speed you want, creatively, but makes it easy to give it a little tweak at the last moment, if needed.
It just works
But the detail that really stood out to me is the way White Balance is handled. Not something you might usually notice or pay attention to, but the way it's handled on the BF is so clever that it makes you realize how much thought has gone into it.
When you first turn the camera on, the White Balance icons are arranged in order of color temperature, so that you can scroll from correcting too much orange light to correcting too much blue. That's standard enough.
Custom White Balance presets get saved along the white balance continuum in the menus. You can tap the trash icon to delete them.
But what jumped out at me is what happens when you set a custom white balance. For this you have to bring up the 10-setting function menu to access the Custom WB option, but whatever value it records is then saved as a preset, in sequence along the color temperature spectrum.
So if you set a custom white balance that isn't quite as cooling as the Incandescent preset, that custom preset will now appear between the Incandescent and Fluorescent settings as you scroll through your white balance options. If you find you no longer need that preset, you can delete it.
Becuase the custom presets appear in sequence, they can be easily selected from the dedicated settings screen at the top corner of the camera. The two presets displayed in Kelvin are custom settings I've created.
Animation: Richard Butler
Manually defined white balance values are treated a little differently: they still appear in their relative position on the scale, but have to be selected from the function menu because, once selected, the rear dial adjusts their value, rather than jumping between presets. I was annoyed by this inconsistency at first, but it makes sense that you're more likely to want to constantly fine-tune a white balance value you've chosen yourself, rather than setting from a grey card.
Ultimately, the handling of white balance is a tiny little detail for a setting most people don't regularly interact with, but a detail that's redolent of the degree of consideration that's gone into ensuring the BF can be operated using a screen that displays a single parameter at a time.
There's still need for revolution
As I hope I've made clear, I'm not saying the Sigma BF is the iPhone of the camera industry: far from it. But sixteen or so years after asking for it, it's lovely to see someone willing to radically rethink how a camera could work. And I want to acknowledge Sigma and whoever designed the BF's White Balance system for doing so.
The National Association of Broadcasters (NAB) is still a few days away, but Adobe has announced updates coming for video users in anticipation of the annual trade show. Most of the changes are focused on Adobe Premiere Pro. The latest features, all of which have already been available in beta, aim to streamline the editing process even more with the help of various AI-based tools. Frame.io is also getting a few updates, making collaborating and controlling your files easier.
Adobe Premiere Pro updates
Image: Adobe
One of the more exciting beta tools that is getting general availability is Generative Extend. Powered by Adobe Firefly, Generative Extend uses AI to create a few extra frames when clips are just a bit too short. Firefly essentially uses the audio and video from your clip as a prompt and adds a few frames. It's ideal for holding on to a character reaction for an extra beat, extending sound effects or cutting an awkward gesture or facial expression right at the end of a clip.
DPReview's Mitchell Clark tested Generative Extend when it was announced at Adobe Max last year and was quite impressed. At the time, there were quite a few limitations, but luckily, Adobe addressed those. Now that it's moving out of beta, it works with up to 4K video and also works on vertical videos. It also works in the background, so you can keep editing while it processes.
Adobe says Generative Extend is safe for commercial use and that appropriate Content Credentials are embedded in the file. Adobe has also said that your content remains your own and is not used to train these AI models. The tool is free to use for now, though, after a "limited time" (Adobe didn't provide any more detail), Generative Extend will require Firefly generative credits. Pricing will vary based on the format, frame rate and resolution of your video.
Media Intelligence, an AI-powered search tool, is also coming out of beta. A search panel in the upper right-hand corner of Premiere Pro allows users to search for everything in one spot, with the AI recognizing the content of your clips, including objects, locations, camera angles and more. Adobe released the beta version of Media Intelligence and the AI-powered search panel in January, but now there will be full access to the feature.
Image: Adobe
Media Intelligence allows you to search using natural language, and it will find any matching visuals, spoken words or even embedded metadata. The AI recognition happens locally, so no internet is required. It promises to significantly speed up the editing workflow for those who need to pull from large libraries or are working on big projects.
Image: Adobe
Caption Translation, yet another January beta release, is also coming out of beta. This tool allows for AI-powered multilingual caption generation, saving users quite a bit of time when translating captions. It currently supports 27 languages and can be accessed in the Text Panel. You can even display multiple visible caption tracks simultaneously for greater flexibility.
Finally, a non-AI-based tool is also on the list of beta features going mainstream. Adobe's new Color Management feature allows users to transform Log and Raw from nearly any camera to SDR and HDR without LUTs. Adobe says it is a simple and approachable feature with six presets that any video editor can use, no matter their experience level. It also says it will be easier to match videos from different cameras and to define the look and feel of your videos.
All of the new Premiere Pro features are generally available today.
Adobe Frame.io updates
Frame.io is Adobe's take on collaborative media management. Last fall, Adobe added Lightroom integration for the platform, making it more usable for those who need access to more than just video work. Now, the company has added more tools for collaboration. Many of the tools are only available (or applicable) to larger teams, but there are some useful features even for smaller collaborations.
An example of the watermarking tool in Frame.io
Image: Adobe
Admins now have the option to create brand templates that any user can apply, making it easier for teams to create consistent content with a branded visual identity. It's also possible to protect work-in-progress content with custom watermarks, though you'll need a Pro, Team or Enterprise account to use those.
While you may want to share your files with collaborators, you don't necessarily need everyone to have editing or even commenting access. Adobe has added restricted folders, which allow you to keep things organized while protecting sensitive assets and discussions. These folders will allow you to set customizable permissions, changing who has access to view, comment or edit.
The Frame.io features are generally available today.
Working with lights can be challenging for many reasons, but partly because of the manual adjustments necessary as you dial in your setup or when changing your lighting. Accessory maker Falcam, a sub-brand of Ulanzi, aims to take some of that work out of the equation with its latest release, the Move LightGo.
The Move LightGo essentially adds a motorized head to your light stand, giving you remote access to angle adjustments. The device mounts to the light stand and attaches to the front of the light via Bowens mount. Unfortunately, lights with other mounts aren't compatible with the Move LightGo.
Image: Falcam
Once attached, you can control the Move LightGo with a wired remote (included), a wireless remote with up to 30m (98.4') of range (for purchase separately), or an app with up to 10m (32.8') of range. It supports dual-axis movement with 170 degrees of tilt and 450 degrees of panning. Having the option to rotate and tilt the light without having to physically be near it could save a lot of time. Perhaps even more helpful, though, is the option for remote adjustment when the light stand is extended and out of arm's reach.
Falcam explains that the Move LightGo even adds tilt capabilities. Most light setups can't adjust a full 170 degrees with certain lighting modifiers attached because the stand gets in the way. However, since the Move LightGo extends the light away from the stand, it allows for extra tilt when working with larger modifiers.
The MoveLight Go Wireless Remote.
Image: Falcam
The Move LightGo allows users to assign unique numbers to each unit, so if they have multiple, they can control each one individually. You can also save and recall preset light positions for even faster adjustments. It also features screw holes and Arri location holes for adding additional accessories.
The device requires power, but it is compatible with multiple power solutions. That includes AC power input with USB-C connection (a standard power cable is included), power-sharing modules or a V-mount battery or power bank. Falcam sells two power adapter modules – the Move LightGo Cannon 600 and DC 200 – both of which are available for purchase separately for $15. It can hold up to 6kg (13.2lbs) and weighs 1.68kg (3.7lbs).
The Move LightGo is available for purchase starting today for $249. It includes a wired controller, but from April 2nd to April 13th, Falcam is including a free wireless remote control with every Move LightGo order.
GCCA Concrete in Life 2024/25 photography competition winners
Photo contests typically have some sort of central theme or guiding topic, but that isn't often centered around a building material. The Concrete in Life contest, however, does just that. Run by the Global Cement and Concrete Association (GCCA), the contest aims to highlight concrete's beauty and essentiality worldwide. The winners of the sixth annual running of the contest have been announced, having been selected from more than 20,000 entries.
"The stunning images highlight concrete’s positive impact on our lives right across the planet," said Thomas Guillot, GCCA Chief Executive who helped to judge this year’s competition. "Whether it’s the vital infrastructure such as bridges, railways and roads that we travel along or the homes, offices and schools we inhabit, concrete is a truly versatile material. Our competition gives anyone with a smartphone as well as professional photographers, the chance to show just how essential concrete is to our lives, as well as how beautiful it can be."
The contest is open to any type of camera, from smartphones to professional equipment. The contest awards an overall winner with a prize of $10,000. There are also four category winners – Urban Design and Use, Concrete Infrastructure, Concrete in Daily Life and Beauty and Design – with one winner per category winning $2,500. Finally, a People's Choice award winner receives $5,000.
Concrete in Life Photo of the Year 2024/25: Henrik Hagerup
Photographer: Henrik Hagerup
Image title: Venice Beach Skating
Image location: Venice Beach, Los Angeles, USA
Description: A magical morning where the skaters work their magic on the concrete rink with the Pacific Ocean as a backdrop, the picture illustrates the professional skater and the little boy who dreams big dreams.
Statement: I am truly honored, overjoyed, and deeply humbled that you have chosen my image as the Overall Winner of the Concrete in Life 2024/25 Competition.
I captured my picture at Venice Beach in Los Angeles, a vibrant destination where people from all over the world come to enjoy the sun, the ocean and not least, the iconic skate park, this vibrant space is a magnet for creativity, where something exciting is always unfolding. When in L.A. I often spend hours here, camera in hand, patiently waiting for the perfect moment to emerge.
From the very start, I noticed a young boy who I instinctively knew could become an essential part of my story. Through this image, I aimed to illustrate how concrete shapes the lives of those who play, dream, and push the limits of possibility. The experienced skater, who has mastered the smooth surface through dedication and skill, stands as an inspiration to the child, whose hopes and ambitions are just beginning to take form.
My image is a tribute to the way concrete, when embraced by creativity and passion, fosters connection, dreams, and boundless potential not just in skate parks, but in communities across the world.
Urban Design and Use winner: Anvar Sadath TA
Photographer: Anvar Sadath TA
Image title: Urban Flow
Image location: Dubai, UAE
Description: The iconic Burj Khalifa rises above the futuristic skyline, framed by surrounding architectural marvels and concrete curves, all mirrored in the shimmering waters of the city.
Statement: I am honored to be the winner of the Concrete in Life 2025 competition in the Urban Concrete category! My winning photograph captures the dynamic relationship between concrete structures and the vibrant cityscape, reflecting how concrete shapes our urban experiences.
This recognition reinforces my passion for storytelling through photography, and I hope my image inspires others to find beauty in the everyday structures that define our cities. My heartfelt thanks to the GCCA for this incredible honor. I also extend my sincere gratitude to the judges and the entire GCCA team for supporting photographers and celebrating visual storytelling.
Concrete Infrastructure winner: Wentao Guo
Photographer: Wentao Guo
Image title: Structure as Aesthetics
Image location: Washington D.C. USA
Description: In Harry Weese’s Washington subway station, concrete transcends time and function: its light and shadow align precisely with the motion of countless trains passing through; its rectangular division aesthetically resonates with the sense of security and austerity of the mass transportation station in the United States’ capital city.
Statement: I took this photo at one of the Washington DC subway stations designed by Harry Weese. I was captivated by the moment when the transience of transportation runs into the permanence of concrete. Its obscurity becomes its greatest presence: its functionality, its aesthetic and its enduringness. Concrete is such an essential part of our lives and it constructs so many characters of our built environment. I am very honored to be a winner of the Concrete in Life 2425 competition, having a valuable opportunity to reveal the essence of concrete in our built environment through my lens.”
Concrete in Daily Life winner: Wellington Kuswanto
Photographer: Wellington Kuswanto
Image title: Daily Life in Bedok Jetty
Image location: Bedok Jetty, Singapore
Description: Bedok Jetty serves as an urban public space in Singapore, offering people a serene retreat for fishing, sport & leisure activities, and scenic waterfront view. Urban public space like this is vital for fostering community engagement, social interaction, and a sense of belonging among people.
Statement: I’m truly thrilled that the judges selected my photo as the winner in the daily life category.
Bedok Jetty holds a special place for me, as I cycle and hang out there every weekend. It inspired me to submit the image of this particular place for the competition, as it showcases a public space made of concrete structure that is actively used by many people engaging in various activities as part of their daily lives
Beauty and Design winner: Artemio Layno
Photographer: Artemio Layno
Image title: Broken Building
Image location: Amsterdam, Netherlands
Description: Valley is a residential and office tower on the Zuidas in Amsterdam. The three towers are respectively 100 metres (north), 66 metres (west) and 76 metres (south) high. The 75,000-square-metre building, which was recently declared the world’s best new skyscraper by the Emporis Awards, stands out in Amsterdam. The construction of Valley took four years, with the first residents and entrepreneurs moving into the building at the end of 2021.
Statement: I am really happy and grateful that my photo is chosen to be a winner of the Concrete in Life 2425 competition. I took the photo at Amsterdam, Netherlands and I was amazed how creative and modern the design of the building is, it looks like it was cut-out and separated in the middle of the main structure, the design is created by a large number of terraces. Concrete is not just used as a necessity in creating structures but it can also be used to showcase artistic works that are amazingly beautiful.
People's Choice winner: Mohamed Rafi
Photographer: Mohamed Rafi
Image title: Fluttering Through Life
Image location: Pondicherry, India
Description: When I saw this wall near Pondicherry Beach, I waited for someone to enter the frame. I captured a few casual shots, then this elderly woman walked in. Dressed in a floral outfit with a black shawl, she moved with quiet grace. I clicked my shutter as much as possible, not wanting to miss the moment. For me, it was a powerful intersection of reality and art, symbolizing unseen strength and the beauty of everyday life.
Statement: I am truly honoured to win the People’s Vote Category of the Concrete in Life 2024/25 competition. This photograph, taken in Pondicherry India, captures an everyday moment transformed by art: an elderly woman walking past a mural, unknowingly aligning with its butterfly wings painted in a wall. To me, it symbolizes resilience, unseen beauty, and how our surroundings shape us in ways we don’t always realise. Street photography is about finding meaning in fleeting moments, and I’m thrilled that this image resonated with so many people.
Shortlist: Febina Nabeel
Photographer: Febina Nabeel
Category: Beauty and Design
Title: Where Nature and Architecture come together!
Image location: Abrahamic Family House, Abu Dhabi, UAE
Description: Abrahamic Family House combines the three Houses of Worship - Eminence Ahmed El-Tayeb Mosque, St.Francis Church and Moses Ben Maimon Synagogue.
The olive tree representing peace and friendship.
Shortlist: Edwin Loyola
Photographer: Edwin Loyola
Category: Beauty and Design
Title: The Oculus
Image location: New York City, USA
Description: The World Trade Center’s Oculus, designed by the visionary Spanish architect Santiago Calatrava, is a triumphant transportation hub that embodies the unbreakable spirit of New York City. Situated in the heart of Manhattan, the Oculus serves as a vibrant gateway to the city, seamlessly connecting millions of people to 12 NYC Transit subway lines, while also offering an unparalleled shopping and dining experience.
Shortlist: Jason Balaba
Photographer: Jason Balaba
Category: Beauty and Design
Title: Futuristic Ithra Library
Image location: Dhahran, Saudia Arabia
Description: The futuristic design of Ithra Library is inspired by natural, organic shapes, and the building as a whole feels like it is in constant transformation, symbolizing progress and cultural growth.
Shortlist: Ee Long Tan
Photographer: Ee Long Tan
Category: Concrete in Daily Life
Title: Colorful Stairs
Image location: Batu Caves,Selangor, Malaysia
Description: The most striking thing in the photo is the bright colors of the stairs,red,orange,yellow,green,blue,and purple,with distinct layers,as if a rainbow fell from the sky. These colors not only make the stairs more beautiful,but also give it deeper cultural and religious significance.
Shortlist:
Photographer: Ricardo Funari
Category: Concrete in Daily Life
Title: Maracanã
Image location: Outside Maracanã stadium, Rio de Janeiro, Brazil
Description: My eyes were attracted by the curious and funny shadow of the boy playing with his soccer ball projected by the mid-afternoon sun on the concrete floor surrounded by palm trees at Maracanã stadium in Rio de Janeiro.
Shortlist: Shibasish Saha
Photographer: Shibasish Saha
Category: Concrete in Daily Life
Title: Drying incense sticks
Image location: Hanoi, Vietnam
Description: Quang Phu Cau Incense Village is a picturesque place where vibrant red incense sticks are laid out under the golden sun, creating a surreal scene. The air is filled with a calming aroma as friendly artisans dye and dry the incense with skilled, rhythmic movements. The village buzzes with quiet activity, children's laughter, and the warmth of a timeless Vietnamese tradition. It's a beautiful, unforgettable experience.
Shortlist: Ian Payne
Photographer: Ian Payne
Category: Concrete Infrastructure
Title: Hyperboloid
Image location: Slough, UK
Description: A beautiful summer's day with the temperature around 30°C, I did what any sensible person would do, walk around an industrial estate to photograph newly painted concrete cooling towers. The heat shimmered off the tarmac, but the towers stood out, sharp and clean against the sky. Worth the sweat? Absolutely.
Shortlist: Serdar Aydin
Photographer: Serdar Aydin
Category: Concrete Infrastructure
Title: Varyant
Image location: Izmir, Turkey
Description: In İzmir, Türkiye, buses navigate a winding road called Varyant. This uniquely shaped route, made of concrete and asphalt, might be an uncomfortable ride for passengers, but from above, it offers a stunning view.
Shortlist: Anna Kropf
Photographer: Anna Kropf
Category: Urban Concrete
Title: Arch_ES_Valencia
Image location: Designed by Santiago Calatrava and Félix Candela. Museu de les Ciències Príncipe Felipe (2000) – an interactive museum of science that resembles the skeleton of a whale.
Description: The City of Arts and Sciences (Valencian: Ciutat de les Arts i les Ciències, Spanish: Ciudad de las Artes y las Ciencias)[a] is a cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia and one of the 12 Treasures of Spain.
Shortlist: Jacob Surland
Photographer: Jacob Surland
Category: Urban Concrete
Title: Door to the Unknown
Image location: Aalborg, Denmark
Description: I shot this photo in February 2024. It is of a side door to the old power plant Nordkraft (North Power). It is now a recreational and cultural center including a cinema and concert hall. When I was a child, it was the new Power Plant and it was a Monument of the city and the first thing you would see, when driving towards Aalborg. It was a sign that told you, that you were soon home.
On a recent trip to Japan, I found myself in one of those situations universally dreaded by travelers: showing up for an international flight with a pocketful of unspent local currency and nowhere to spend it except a duty-free shop. I was swimming in a Scrooge McDuckian sea of unused Yen.
The idea of bringing home yet another Toblerone bar, that triangular brick of duty-free despair, was soul crushing. I desperately searched for something – anything – else to needlessly throw my money at.
Then I saw the Hello Kitty Toy Camera, a small rangefinder-shaped camera complete with an optical viewfinder and removable memory card. You can find these toy cameras all over Japan at stores like Bic Camera, but I never considered buying one until I was in a use-it-or-lose-it cash scenario.
Watch our hands-on review of the Hello Kitty toy camera.
Given the choice of drowning my sorrows in yet another Toblerone bar, snagging a box of Tokyo Bananas or dropping a pocketful of Yen on the Hello Kitty camera, my duty to DPReview came first. Which is why, dear readers, I'm going to tell you about yet another camera you never knew you didn't want.
Key specifications
1.3MP Type 1/10 CMOS sensor (approximately 1.28 x 0.96mm)
3.2mm F2.8 fixed-focus lens
Optical viewfinder
ISO 100 (fixed)
Single Micro SDHC card slot
Video capture (720x480/30p)
Fake buttons and controls
Pink Hello Kitty styling
How it compares
It's hard to find cameras that are directly comparable to the Hello Kitty Toy Camera, so we decided the best course of action would be to compare it to another rangefinder-style camera: the Fujifilm X100VI.
As the table below illustrates, we can make the Hello Kitty camera appear competitive with the more expensive X100VI by picking just the right specs to compare.
Hello Kitty Toy Camera
Fujifilm X100VI
MSRP
$45
$1599
Sensor size (crop factor)
1.25mm² * (27x)
369mm² (1.53x)
Resolution
1.3MP
40MP
Max aperture
F2.8
F2
Viewfinder
Optical
Optical
Hello Kitty-themed art
Yes
No
Trendy color options
Yes
No
Fake buttons to look more professional
Yes
No
Memory card type
Micro SDHC
UHS-I SD
Number of existential mid-life crises induced in the average camera reviewer during testing
3
0
Weight
18g
521g
On paper, both cameras earn superlatives in some areas. While the Fujifilm wins on key specs like sensor size and resolution, it's hard to ignore the price tag and uber-light weight of the Hello Kitty camera. Along with the fact that the Hello Kitty camera can fit in a real pants pocket, not the ambiguous 'jacket pocket' reviewers always talk about.
The number of existential mid-life crises induced in a camera reviewer is a spec that's often overlooked in reviews. The Hello Kitty camera definitely wins here. As long as we're clear that by 'wins', we mean 'loses'.
Body and handling
Photo: Dale Baskin
The Hello Kitty camera is a rangefinder-shaped camera with silver-colored top and bottom plates and an optical viewfinder. I call it a 'rangefinder-shaped' camera because it's not actually a rangefinder. But, then again, neither is the Fujifilm X100VI.
You won't use the viewfinder. It's either so bad that it makes you dizzy, or it's a window into 4-dimensional space the human brain isn't wired to comprehend. Either way, it will drive you to madness.
The optical viewfinder is a nice touch, but trying to use it will drive you to madness.
Photo: Dale Baskin
The camera includes two functional controls along with two other controls that are just for show. The On/Off button on the top plate doubles as the shutter button, and the Mode button adjacent to it lets you switch the camera between photo, video and audio recording modes.
The other controls are fake, fooling absolutely no one.
The 3.2mm F2.8 lens, which I'm pretty sure is made of a chunk of polished candy, has ridged edges that beg to be rotated. But trying that would be a mistake as it would break the camera. You just have to embrace it for what it is.
Here's a picture of the Hello Kitty camera that better illustrates its size. Yep, it's that small. Also, that lever on the front is fake.
Photo: Dale Baskin
Taking photos is best accomplished with a 'spray and pray' approach. You point, shoot and hope. I say 'hope' because the camera doesn't actually take a photo of what's in front of you but something off to one side. It's like having an integrated AI that guesses what you're trying to photograph, then fails spectacularly every time.
Image quality
No DPReview camera review would be complete without our studio test scene.
A quick glance at the studio scene doesn't reveal anything except digital despair. The camera captures light, but it's notably short on fine detail. Or any detail. The sensor's dynamic range can best be described as 'on' or 'off'.
I have to come clean. I didn't take this photo in our studio because I couldn't justify the time it would have taken to do so. Instead, I used a life-sized print of the studio scene I keep at home, captured using a $45,000, 150MP Phase One camera. Don't worry; you won't be able to tell the difference in the images from the Hello Kitty camera.
For that matter, you probably wouldn't be able to tell the difference between the real studio scene and an impressionist painting of it.
The photos from the Hello Kitty camera are so bad as to border on some kind of avant-garde art.
Photo: Dale Baskin
The one redeeming quality I can see in the images is that they're so bad as to border on some kind of avant-garde art. They have a certain je ne sais quoi, if the 'quoi' is 'blurry, pixelated and eye-watering.'
Video
This clip shows the video capabilities of the Hello Kitty camera, which captures 720x480 resolution at 30fps. And yes, of course it's a cat video.
It's incredible that this camera even shoots video, capturing 720x480 resolution, which I'm pretty sure is the same resolution my not-inexpensive Panasonic DVX100 video camera captured about 20 years ago. Though the Panasonic had the advantage of being a 3-CCD system. And having a lens that could fully resolve an image of an avocado.
If your idea of quality video is watching a bootleg copy of the movie ET your parents recorded on network television in 1984, you'll be delighted with the results.
Conclusion
With my journalistic integrity now hanging by a thread – or a pink piece of yarn – I have to find some way to wrap up this review. My professional reputation is in the hands of an animated cat, and I'm strangely OK with that.
Photo: Dale Baskin
I'm not sure if this camera is a toy or a subtle form of psychological warfare aimed at photographers. I've temporarily convinced myself it was a sound purchase, knowing a crushing pink wave of buyer's remorse will eventually hit me like a pixelated tsunami; after all, this is one of the worst photography products I've ever used.
And yet, I have a weird affinity for it.
My six-year-old niece loves using the Hello Kitty camera. So does my cat. But instead of taking photos, he mostly just wants to kill it. I don't know if he has some kind of Hello Kitty issue he's working through or if it's just because cats are basically little killing machines who happen to be cute.
But it does make me wonder if it might actually be possible to put a price on happiness: $45 (plus the cost of therapy).
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As Women's History Month comes to a close, it's a fitting time to celebrate the incredible contributions of women in photography. Despite gains, women still face significant underrepresentation and inequality in the photography industry. A study by Women Photograph found that in 2023, only 21.5% of front-page images in major newspapers were taken by women. Euro News reported in 2022 that only 15% of professional photographers worldwide are women, even though roughly three-quarters of photography students are women.
We've rounded up some outstanding women photographers worth following on Instagram (and beyond). There are, however, countless more, so feel free to share your favorite women photographers in the comments as well.
Lynsey Addario is a renowned photojournalist whose work has been published in prominent publications like The New York Times, National Geographic, and Time. She documents conflicts, humanitarian crises and women's issues around the Middle East and Africa, highlighting the human elements of war and crisis. She wrote a New York Times Bestselling memoir in 2025 and has received numerous awards, including a MacArthur fellowship and two Emmy nominations. She was also part of the New York Times team to win a Pulitzer prize for overseas reporting from Afghanistan and Pakistan and holds three Honorary Doctorate Degrees.
Patience Zalanga is a freelance photographer from Minneapolis-St. Paul, Minnesota. Her work is documentary in style, and, for the past six years, primarily focuses on capturing social movements across the United States. Zalanga's images have been featured in Time, The New York Times, NPR, Buzzfeed News and more.
Luisa Dörr is a Brazilian photographer known for her powerful portraiture and storytelling, which often focuses on themes of femininity, cultural identity and resilience. She has been widely published in outlets such as Time, National Geographic and The New York Times. Additionally, she has received international recognition for her Firsts project with Time magazine, where she photographed 46 trailblazing women and has received numerous awards, including a World Press Photo Award for her series on Falleras.
Cassy Athena is a Los Angeles, California-based photographer renowned for her sports photography, specifically with the NBA. She has captured candid and personal moments of some of the NBA's biggest stars, including LeBron James, Kevin Durant and Stephen Curry. Her work has been featured in Sports Illustrated, Slam Magazine and Billboard, and she is also a Getty Images contributor. Athena has also collaborated with brands like Nike, Under Armour and Jordan Brand.
Kim Powell is an architectural photographer based in Greece. She, along with her partner, Thomas, captures a variety of projects, working with architects, interior designers and home builders. Her imagery is clean and fresh, highlighting the unique characteristics of each space.
Tawni Bannister is a photographer and director based in Los Angeles and New York. She works across various genres, including commercial, editorial and fashion. Her photographs blend elements of fine art and documentary photography, embracing color and texture to showcase personality. Bannister's images have been featured in publications like Vogue, Harper's Bazaar and The New York Times, and she has worked with Allbirds, Allure, Athleta, Climique, J.Crew, Samsung and more.
Jamie Beck is an American photographer, visual artist and author who is currently living and working in Provence, France. She is known for her romantic and expressive style, drawing inspiration from classical art and nature. Her floral still-life images and self-portraits are reminiscent of classical paintings, with rich texture and dramatic light. Beck's photographs have been featured in Vogue, The New York Times, Fobes, Travel + Leisure and more. She, along with her husband, Kevin Burg, created the Cinemagraph, a hybrid of photography and video.
Emily Maye is a photographer and film director known for her narrative-driven approach to capturing athletes. Her images show the humanity behind the athletes' discipline, focusing on intimate, behind-the-scenes moments rather than traditional action shots. She has photographed Serena Williams, Usain Bolt, Jayson Tatum, Steve Nash and more and has collaborated with Nike, Adidas, Lululemon, Rapha, The North Face, Gatorade and Puma.
Cig Harvey is a fine art photographer, writer and educator. Her imagery is deeply personal and evocative, exploring themes of nature, family, belonging and the passage of time. She is known for her rich use of color and natural light, capturing the magic in the mundane with a dreamlike quality. Harvey has exhibited her work internationally and received numerous awards.
Alison Arena is a professional photographer and founder of Ignite Media, a full-service agency. Much of her work is centered around motorsports, creating photographs and videos for clients such as Mazda, Red Bull, Ferrari NA and Wired. She travels around the country to capture IMSA events, the Spec Miata Series, the 24 Hours of Daytona and more.
Emily Howe is a Brooklyn-based photographer and award-winning creative. Her photographs span multiple genres, including portraiture, travel and street photography, all with a focus on storytelling. Her work has been featured in Time, NY Mag, Refinery29, Google and Netflix.
Jasmine Quiñones is a Texas-based filmmaker and director. She crafts commercial and narrative film projects with a gritty, documentary-based style. Quiñones often combines sports and urban lifestyle into her projects and has worked with various clients, including Fujifilm, Nike, Ladder and more.
Mykim Dang is a media producer and full stack creator who works across mediums. She is currently the Director of Video and Voices here at Gear Patrol and DPReview, crafting much of the video content that you see on the site and our social media channels. Beyond her video work, she also takes spectacular photos with an eye for storytelling.
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Image: TTArtisan
TTArtisan is no stranger to making L-mount lenses, but those have always been manual focus options. That's no longer the case, though, as the budget third-party lens maker has released an autofocus lens for L-mount cameras. TTArtisan originally released the AF 75mm F2 prime lens in September 2024 for Sony E and Nikon Z-mount.
The L-mount version of the AF 75mm F2 weighs 329g (11.6oz), which is slightly less than the Z-mount model. Aside from the weight difference, the L-mount version shares the same specifications as the other mounts. It uses a stepper motor for autofocus, which TTArtisan says is fast, quiet and accurate. The lens supports eye, animal and vehicle AF detection as well, and it can focus as close as 0.75m (2.5').
Image: TTArtisan
The lens features ten elements in seven groups, including one extra-low dispersion (ED) element and four high index elements, promising to reduce chromatic aberration and improve overall image quality. It has nine diaphragm blades and an aperture range of F2 to F16.
TTArtisan's AF 75mm F2 offers a clicked aperture ring, with no option to de-click it for silent operation. It uses all-metal construction for better durability, and a USB-C port allows for firmware updates.
The TTArtisan AF 75mm F2 lens is available for purchase today for $178.
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Photo: Mitchell Clark
We've been using the Panasonic Lumix DC-S1RII in a range of circumstances, shooting galleries, covering trade shows and photographing weddings, in addition to our standard tests. We take a look at how it works, what it does well and where it worries us.
Autofocus operation
The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.
The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.
There's a twist, though: the S1RII can either be set to use its focus tracking system or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.
This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.
AF interface
The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.
When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them.
Photo: Mitchell Clark
If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.
Autofocus performance
Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.
In our standard tracking test we found the S1RII had a tricky time of following the subject – it lost track of the subject on half of the runs we performed. The camera would typically lose the subject as the rate of approach changed as the target turns a corner.
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Human detection did a better job but could still be prone to losing the subject mid-run (it did so in one of the four runs we conducted). This is consistent with our other usage of the camera: it can be very sticky once it's found a subject, but it doesn't always successfully find subjects, and it can lose track of them as you're shooting. The camera also appears to have struggled to judge subject distance consistently, resulting in some softness when the subject's approach speed varies.
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Perhaps the most concerning behavior, though, was one we've seen in other recent Panasonic cameras, where tracking AF will fail to find something to focus on at all and will simply present a red flashing box and make no further attempt to focus. This is offputting enough to undermine our faith in the reliability of the camera, probably out of proportion to how often it occurs. Just knowing that the camera will sometimes fail to focus and make you wait a few moments is an unpleasant thought to have lingering in the back of your mind and not something we're used to encountering on a modern camera.
This month, we're looking for pictures that feature a red, green and blue color palette. This photo was taken on a hike with friends in Glacier National Park while I was testing the Sigma 28-105 F2.8. Unintentionally, they happened to color-coordinate their backpacks to fit this theme Photo: Mitchell Clark
The theme for our April's Editor's challenge is 'RGB,' or red, green and blue.
We're looking for photos featuring a red, green, and blue color palette. Think an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. 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, April 6th. The last day for entry will be Saturday, April 12th (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 as soon as the challenge opens.
We're back with another accessory roundup. This week, we're taking a look at memory cards, memory cards, and more cards! Oh, and some other stuff, too, but we'll get to that right after we discuss the deals.
On sale this week
Photo: Brendan Nystedt
If you're looking for an entry-level full-frame camera, Canon's EOS R8 is one of the cheapest ever released. That's especially true now that it's on sale for $200 off, putting it at only $1300. It doesn't have all the whizz-bang features of more expensive models – IBIS is a particularly notable omission – but for the price, it's hard to complain.
If you've got $2000 to spend on a mirrorless camera, there are a lot of great options. But if you're feeling nostalgic, you're in luck – the Nikon D850 is currently on sale for $400 off. It may be a camera destined for the history books, but that doesn't mean there's no reason to use one today.
It's a big week for CFexpress cards – we've seen several new options hit the market. The first two are from Pergear and Novachips, and are aimed at budget-conscious shooters. The former company is offering CFexpress Type A cards starting at just $129 for a 256GB model. Type A cards have always been more expensive than Type B or SD models, likely partly because they're far less common – Sony is the only major manufacturer whose cameras use the standard.
Novachips, meanwhile, is selling both Type A and Type B cards. You can get a 330GB Type A card for $238, and a 256GB Type B card for just $125.
Meanwhile, Delkin has updated its lineup of CFexpress Type B cards, making them even faster and adding more storage options. Unlike the other cards we've covered today, these ones aren't particularly cheap. But if you need the utmost performance, they may be the way to go.
A do-it-all reader
Image: SmallRig
If you end up buying one of those CFexpress cards, you'll probably want a way to offload data from it to your computer. SmallRig has you covered. Its new 9-in-1 docking stations offer either a CFexpress Type A or Type B reader, along with myriad other I/O options.
Despite costing less than some dedicated CFexpress card readers, the docks also include SD and Micro SD readers, two 5Gbps USB-A ports, two USB-C ports, one of which can accept 100W of power to pass along to your computer, HDMI and gigabit Ethernet ports. It also includes a cable that lets you connect it to your computer and transfer data at up to 10Gbps, though its CFexpress read speeds are limited to a (still quite fast) 6Gbps. The one downside is that you'll have to decide whether you want a dock with a Type A reader or a Type B reader; there isn't one that does both.
SmallRig is also becoming a major player in the budget lighting space, to the point where it's releasing add-on products for its COB lights. This week, the company introduced the SP-mini, a spotlight attachment for its lights with the RCmini mount, including the RC60B/C and RC100B/C.
It does pretty much what it says on the tin, allowing you to focus your light on a narrow area, highlighting your subject. It also comes with 10 gobos to help you shape the light, creating interesting patterns in shadow.
If you're a medium-format shooter and a fan of CineStill's 400D film, we've got great news: you can now buy a "ProPack" with five rolls of the 120 film. You won't save much by doing so – it's only around $3 cheaper than buying five individual roles – but at least you'll know you've got enough on hand for whatever you want to photograph.
The Tamron 28-75mm F2.8 DI III VXD G2 is currently available for $200 off.
Image: Tamron
Tamron hasn't announced any new lenses, but it is having a spring sales event from now until April 20th. That means you can pick up some of its best glass for up to $200 off. The sales are available on Tamron's site and through retailers like B&H and Amazon. You can see which lenses are on sale and how much off you can expect on the company's website.
Sinna Nasseri's photographs are distinctively his, with a unique style that draws upon mistakes and happenstance. Despite being relatively new to photography, he has photographed countless famous and influential people. His work is frequently featured in publications like Vogue, The New York Times and others. In a recent video interview with YouTuber and photographer Willem Verbeeck, Nasseri talks about his photographic path and how important mistakes are to his work.
Nasseri, formerly a corporate lawyer in New York City, recognized that 2020 would be a pivotal year. After just two years of photography, he quit his job and embarked on a journey of living in his car and traveling across the country to capture images. That same year, Vogue hired him to photograph the Democratic National Convention. Reflecting on this experience, Nasseri admits he wasn't fully prepared at the time, lacking the skills and a clear personal vision or style.
Now, though, his images have a very distinctive style, and it's pretty easy to tell photographs are his before seeing his name. "I think like my guiding principle is really to kind of try to not make things that have been made before, which is really hard to do," says Nasseri. One of the keys to his process is to embrace uncertainty, chaos and errors. He notes that some of his best photos are those that resulted from mistakes. "It's fun to make photography that doesn't look like normal life. We see normal life all the time," Nasseri says.
The video provides interesting insight into Nasseri's unique work, process and journey and is well worth a watch. You can see more of Nasseri's photographs on his Instagram.
SkyPixel, the aerial photography and videography community, has announced the winners of its 10th annual contest. The contest this year drew thousands of participants, who submitted over 140,000 entries from around the world. While the contest has traditionally been exclusively open to aerial photos and videos, a handheld video category was added this year, opening submissions to more than just aerial shots.
The contest features both photo and video categories, with two Best Video Prize winners –one for aerial and one for handheld – and one Best Photo Prize winner. Additionally, the SkyPixel contest selects the top 10 video and photo winners. There is also a "Nominated Entries" category (a people's choice award) with five video and five photo winners.
You can learn more about the contest and see all of the winning images and videos on the SkyPixel Contest website.
2025 Annual Best Video Prize (Aerial): The War - My Transformation Journey by Bashir Abu Shakra
Directed by Bashir Abu Shakra, The War - My Transformation Journey uses stunning aerial shots to tell his story of battling loneliness, leading to self-discovery. The project was filmed over the course of five years across eight countries, including China, Venezuela, Italy and more. Shakra purposefully chose each landscape to fit with the song's lyrics, aiming to use the contrast between the song and visuals to show how nature helped him overcome his struggles.
Judge comments: "The opening shot is truly captivating, marked by its elongated duration, graceful camera movements, and the serene beauty of the time of day. The composition stands out as particularly noteworthy. It’s one of my favorites, and the overall quality is exceptional," said Claudio Miranda.
"The War is an admirable film. Landscape photography is never a simple record, and every shot taken by this cinematographer is refined, precise, and captivating. The angles, the light all show his persistence and perseverance. It is a film where technique and the creator's inner vision are highly aligned. I really liked the ending," said Chenyu Jin.
2025 Annual Best Video Prize (Handheld): Japan Travel Cinematic by Henry Yue
Image: Henry Yue
The new handheld category of the SkyPixel contest celebrates videography created with handheld or stabilized cameras. The inaugural winner, Henry Yue, showcased popular and iconic destinations across Japan in Travel Cinematic. The video uses cinematic camera angles and transitions with creative compositions. You can view the video on the SkyPixel website.
Judge comments: "The sound design and use of movement in this film were second to none, absolutely capturing the essence of Japan in the most stunning way. This was one of my favorites, and I felt immersed from the moment I hit play. Keep up the incredible work—this was truly something else," said Sam Newton.
"Japan Travel is a work rich in visual elements, combining both motion and stillness without causing any sense of chaos. Henry expertly controlled the pace of the film, with clean tones and precise, appropriate exposure control that perfectly integrates all elements. It is a highly refined and cohesive piece," said Chenyu Jin.
2025 Annual Best Photo Prize: Gangerqia
Photo: Gangerqia
Photographer: Gangerqia
Caption (machine translated): A red-crowned crane accidentally fell down when it landed, leaving a phoenix-like shadow on the snow-covered ice. The photographer used the dark spring as a guide point to capture this beautiful moment.
Judge comments: "This aerial photo works beautifully because it almost tricks you at first glance—like you're looking at a drawing rather than a real landscape. There's a frozen pond shaped like an eye that immediately grabs your attention, and the neat line of footprints from the bird adds a playful sense of movement. It’s simple, clean, and has a bit of mystery to it. The minimal colors and subtle textures make the whole thing feel calming but intriguing at the same time," said Luke Stackpoole.
Selection of Annual Top 10 Photo Winners
Photographer: AB Gusai
Image title: Mud bath bliss
Caption: In the heart of the Indian countryside, a buffalo finds its own unique way to beat the heat. This aerial view captures the animal fully immersed in a vibrant pond, reveling in a luxurious mud bath. The deep, rich mud clings to its skin, providing a natural sunscreen and a soothing relief from the scorching sun. The buffalo seems to sigh contentedly, its eyes half-closed as it luxuriates in the cool, wet embrace of the mud. This image is a reminder of the simple pleasures in life, the joy of a good mud bath, and the resilience of nature's creatures in adapting to their environment.
Photographer: Fadah
Image title: Sailing through the ice
Caption: None
Photographer: hanifi
Image title: bulgurcu
Caption: Wheat harvested in the Gaziantep province of Turkey is turned into bulgur after various processes. The resulting bulgur is laid out in the sun to dry. Bulgur needs to be stirred frequently to ensure it dries quickly. The different geometric shapes that emerge during this process are preserved.
Photographer: Joanna Steidle
Image title: Another World
Caption: This is a top-down drone capture of a fever of cownose rays mixing their way through a school of menhaden fish. Taken just off the coast of the Hamptons, Southampton, New York , USA . On this day the sky was clear, and the sea was calm, allowing the sunlight to enhance the depth and bursting sand clouds.
Photographer: qb.pixels
Image title: Alien made symbol
Caption: The crest of Buri in Sicily is likely a rocky ridge with Mediterranean vegetation, offering scenic views and possibly historical ruins from Sicily’s rich past.
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Photo: Mitchell Clark
Panasonic's S1RII is the company's latest professional-level full-frame camera, featuring a 44MP sensor, burst rates up to 40fps with continuous autofocus and promises of improvements to its autofocus system, especially when it comes to recognizing humans and eyes.
We're currently in the process of reviewing it, so when a friend-in-law asked me to be the photographer for her wedding, it felt like a great way to see how the camera would perform during a high-stakes, real-world shoot. It also promised to test the S1RII's specific strengths; I'm by no means an expert wedding photographer, so I'd need to lean on the autofocus system and shoot wide, secure knowing I had the resolution to crop in to fix imperfect compositions.
Let's start with what went well. The S1RII's design is, in my opinion, more comfortable than the original. It's substantially lighter and feels more like a tool designed for human hands than a piece of industrial equipment. I also have no complaints about the control layout; there are enough buttons for all the settings I need quick access to, and they're easy to operate without looking.
The S1RII has all the controls you'd expect to find on a professional-level camera, and is comfortable to hold.
Photo: Mitchell Clark
The image quality I got aligns with our studio test scene results: the pictures have a lot of detail, and, subjectively, I thought the straight-out-of-camera colors were quite nice. I'm also pleased with the dynamic range of the Raw files. It was an outdoor ceremony on a Las Vegas afternoon, so I spent most of the time exposing to preserve highlights with plans to raise the shadows in post. While I haven't made it through every photo yet, they mostly seem to be handling relatively extreme pushes and pulls with grace.
Exposure raised 1.75EV in post, cropped to taste.
Lumix S Pro 24-70 F2.8 | F4 | 1/800 sec | ISO 80 | Edited from Raw in Capture One Photo: Mitchell Clark
The autofocus system is where my complaints start. Panasonic has made what I think is a strange decision with the S1RII: if you have subject detection mode on, tracking will only work if it detects a subject. So if, for example, I had human eye detection on, I couldn't put my focus point over the wedding cake, start tracking, and then recompose my shot.
This way of shooting may sound strange if you haven't tried it before, but I've found it's faster and more efficient than setting the focus point with the autofocus joystick. And, importantly, it's what I've become used to: Canon, Nikon, Sony and Fujifilm all let you track arbitrary points even when subject recognition mode is on. If you mainly want to use tracking autofocus with the S1RII, you'll likely have to constantly toggle subject detection on and off.
That limitation also wouldn't have mattered as much if the S1RII had been better at recognizing subjects, but I found its performance a bit unreliable. Most of the time, it worked as intended, but there were several times when it just didn't recognize that I was pointing it at a human. That meant I had to realize it wasn't working, move my thumb to the joystick, and get the focus point where it needed it to be, all before the moment was over. This very nearly led to me missing the couple's kiss during the ceremony, which would've been – to put it mildly – quite unfortunate.
There were plenty of times when the S1RII quickly and confidently locked on to my selected subject.
Lumix S Pro 24-70 F2.8 | F2.8 | 1/60 sec | ISO 320 | Out of camera JPEG Photo: Mitchell Clark
To be clear, I wouldn't consider this to be deal-breakingly bad autofocus; I still got plenty of tack-sharp photos, and I have no doubts that a professional photographer could shoot a wedding with the S1RII and end up with mostly keepers. However, despite the promised improvements, Panasonic is clearly lagging behind the competition when it comes to its autofocus system.
Case in point: I used a Canon EOS R5 II for part of the wedding, and never had an issue with its subject detection. Throughout our tests, we've found that Canon's system has an almost supernatural ability to find and stick to faces even in challenging conditions where their eyes, nose and/or mouths are obscured. The same is true for Sony and Nikon's autofocus systems too.
The EOS R5 II zeroed in on the subject's eye, even in this relatively difficult situation.
RF 70-200mm F2.8 L IS USM Z | F2.8 | 1/160 sec | ISO 1600 | Out of camera JPEG Photo: Mitchell Clark
One last complaint before we get back to compliments: the placement of the record button on the front of the camera makes it really easy to accidentally start taking a video. Thankfully, you can assign separate functions to it depending on whether you're in stills or video mode, letting you set it to do nothing while you're taking photos while retaining its original function for videos.
As for battery life, the S1RII did okay. I shot around 1,700 photos – many of them in bursts – and while I frequently turned the camera off to save battery, I did have it on for the entire 20-minute ceremony. I went through about one and a half batteries, putting in a fresh one between the ceremony and the reception. If I were to do it again, I'd probably opt to use a battery grip, especially if I wasn't sure how long the ceremony would last.
I'm pretty happy with the S1RII's photos, and so are the bride and groom. But...
I'm also happy to accept middling battery life if that's the price for the S1RII's large, bright and high-resolution EVF. And while I mostly used the viewfinder during the ceremony, I was happy to have a display mechanism with both tilting and full articulation when shooting detail shots of the venue and decorations, encouraging me to be flexible with my compositons.
Overall, I'm pretty happy with the photos I got out of the S1RII. And, more importantly, so are the bride and groom. Still, I wish the autofocus system had made it a bit easier to get those end results, and hadn't added pressure to what is already a very stressful job. It certainly wasn't the most difficult thing ever; I'm well aware that people shot weddings for years using cameras with single autofocus points or even – gasp – no autofocus at all.
Several years ago, I shot my sister's wedding with a Fujifilm X-T30. The experience of using the S1RII was worlds apart, as it's far more suited to the task. Even with my complaints, I'd still take it over that every day of the week. But the next time I'm asked to shoot a wedding, I won't respond with, "Sure, let me just grab my S1RII," or even "I'll get the EOS R5 II." I'll probably say, "Ehhhh, maybe get a professional photographer."
Panasonic has released a firmware update for the Lumix DC-S9, offering some smaller performance-related fixes. Firmware Ver.1.3 is mostly subtle, but it promises to address one of the S9's slightly frustrating features: its slow startup speed.
When we reviewed the S9, start-up times were occasionally upwards of four seconds. On paper, that doesn't seem like much, but it was notably slow at times. In many situations, that won't be much of a problem beyond a slight inconvenience. But when you are trying to capture something happening right that moment, four seconds could mean the difference between getting the shot or not. The official note for the firmware update says, "The startup speed when powering on has been improved." We haven't tested the new firmware to see how much of a difference this makes, but it's good to see that Panasonic is addressing the issue.
Beyond startup speed, Ver.1.3 also promises improved operational stability and offers some subtle Wi-Fi-related updates, all of which you can see below. You can download Ver.1.3 now from the Panasonic website.
Firmware Ver.1.3 notes:
Feature changes due to security enhancements
When directly connecting the camera and smartphone via Wi-Fi, the connection has been changed to always require password authentication. (The [Wi-Fi Password] menu has been removed.)
The [TKIP] encryption method is no longer supported when connecting to Wi-Fi via an access point.
The [No Encryption] option in network authentication is no longer supported when connecting to Wi-Fi via an access point.
The image transfer feature to PC via Wi-Fi has been removed. (Only European/Ukrainian models)
Other improvements
The startup speed when powering on has been improved.
The 68th annual World Press Photo Contest winners have been announced, highlighting outstanding examples of documentary photography and photojournalism worldwide. The contest is divided into six regions: Africa, Asia-Pacific and Oceania, Europe, North and Central America, South America, and West, Central, and South Asia. Each region features Single, Story and Long-Term Project categories, with the latter two including multiple images per winning photographer.
The contest grew this year, with three winners instead of only one selected across the Single and Story categories per region. There is still only one Long-Term Project winner per region. In total, 42 photographers were selected as winners. Of those winners, 30 were local to where they photographed their subjects.
This year's themes included politics, migration, conflict, gender and the climate crisis. Photographers captured some of the world's current conflicts, the impact of climate disasters, secret Pride celebrations, portraits of those impacted by war and much more. The awarded stories will be part of World Press Photo's annual traveling exhibition, which will be held in over 60 locations around the world, beginning with Amsterdam at De Nieuwe Kerk from April 18 to September 21.
World Press Photo prohibits the use of AI in images, including generative fill and fully generated images. The contest uses a multilayered approach to spot fake and manipulated images, partly including verification of the facts behind each story and examinations by digital analysts.
Image details: Participants at “Heavenly Bodies,” an underground drag ballroom event during Lagos Pride, celebrate the “mother of the year” winner. Lagos, Nigeria.
Members of the LGBTQI+ community in Nigeria face legal prosecution, widespread social discrimination, and physical violence. Held in a secret location, “Heavenly Bodies: Notes on Fola Francis” was the third edition of the Pride celebration in Lagos ballroom, one of the largest drag ballroom experiences in Nigeria. The 2024 series was named after the late Fola Francis, a trans icon, activist, and first openly transgender person to walk the runway during Lagos Fashion Week. Despite all risks, the event was an electrifying experience, providing a vibrant space for celebration of love and free self-expression.
Jury comment: In a country where LGBTQ+ peoples have no legal protection and face up to fourteen years in prison, this image portrays a moment to breathe for the queer community. The striking composition seamlessly ties together a busy scene, conveying joy, love, and celebration. Due to the sensitive legal context, this story is often overlooked in the region, but by focusing on body language, gestures, and shapes, the photographer captures the essence of the moment while protecting the identities of those involved.
Africa – Stories: Luis Tato
Photographer: Luis Tato, Agence France-Presse
Series title: Kenya’s Youth Uprising
Date: June 25, 2024
Image details: Two protestors helping injured people are hit with tear gas outside the Kenyan Parliament during a national strike against the Finance Bill 2024. Nairobi, Kenya.
In 2024, the National Treasury of Kenya proposed additional taxes on everyday items to generate additional income and alleviate Kenya’s high debt burden. Protests against the bill erupted, led by young Kenyans who organized actions over social media. On 25 June, protestors stormed Parliament and clashed with police; many were killed or abducted and hundreds were injured. Though President William Ruto withdrew the bill, protests persist into 2025, fueled by anger over economic hardship, corruption, police brutality, and distrust of the political class. All across Kenya, young people have emerged as a driving force, demanding accountability and systemic reforms.
Jury comment: This project offers strong photojournalistic coverage of a key news event from the year, with each shot and the overall edit effectively capturing the unfolding events while also addressing larger issues of generational divides across Kenya, particularly the disillusionment between older and younger generations. The photographer's ability to capture the story from both sides, while being so close to the friction—moments of explosion when fatalities occurred—adds significant depth. The high-level photography aligns perfectly with what the jury was looking for.
Africa – Long-Term Project: Cinzia Canneri
Photographer: Cinzia Canneri, Association Camille Lepage
Project title: Women’s Bodies as Battlefields
Date: June 4, 2021
Image details: Despite experiencing trauma, the girls find strength and support in their shared experiences, fostering resilience, self-confidence, and collective strength. Um Rakuba Refugee camp, Gedaref, Sudan.
Project details: In 2017, Cinzia Canneri began documenting the experiences of Eritrean women fleeing Eritrea’s repressive government. Since the outbreak of war in the Tigray region of Northern Ethiopia in 2020, her scope has expanded to include the stories of Tigrayan women fleeing from armed invasion. Both groups have been the targets of systematic sexual violence – rape, shooting, torture – that, due to social stigma, limited health facilities, and journalistic access, remains insufficiently reported by news media. By amplifying the stories and voices of the survivors, this project reimagines the idea of resilience as a complex collaborative challenge against pain, trauma, and loss.
Jury comment: This project amplifies the voices of the women affected by the war in the border region of Eritrea, Ethiopia, and Sudan, with remarkable depth and care. The jury was impressed by the photographer's commitment to the story and the trust she fostered with the Tigrinya women she photographed, shedding light on their underreported experiences. Despite working within a challenging media landscape marked by misinformation and difficulty in gaining access, the work offers a rare, intimate perspective, balancing the weight of the subject matter with moments of beauty and tenderness. Furthermore, the photographer’s self-reflective approach—evident in the strong captions, thoughtful sequencing, and acknowledgment of her positionality as an Italian woman in a region shaped by Italy’s colonial history—adds further depth to this powerful work, balancing the weight of the subject matter with moments of beauty and tenderness.
West, Central, and South Asia – Singles: Murat Şengül
Photographer: Murat Şengül, Anadolu Agency
Image title: Drone Attacks in Beirut
Image date: September 29, 2024
Image details: People glance anxiously upwards during an Israeli drone strike, as they take refuge away from buildings in Beirut’s Dahiyeh neighborhood. Jets and drones often fly at low altitudes, causing fear and distress. Lebanon.
Cross-border attacks between Israel and Lebanon-based Hezbollah – ongoing since the outbreak of the war in Gaza – escalated sharply in September 2024. Israel announced a new goal to eliminate the militant group, first launching airstrikes into southern Lebanon, and later a ground offensive. Beirut, initially a refuge for those fleeing airstrikes in southern Lebanon, itself came under fire as attacks spread northwards. From 27 September, Israel targeted buildings, including apartment blocks in Dahiyeh, saying that Hezbollah was headquartered in the densely populated suburb.
Jury comment: This photo captures a paradoxical moment of people seeking safety while sheltering outdoors, highlighting the impact of drones and technological warfare. It brings attention to the psychological trauma endured by those living under constant threat, where safety is elusive, and terror can strike from the sky at any moment. It powerfully conveys the ongoing reality of living in fear.
West, Central, and South Asia – Stories: Ali Jadallah
Photographer: Ali Jadallah, Anadolu Agency
Series title: Gaza Under Israeli Attack
Date: August 9, 2024
Image details: Relatives of people killed in an Israeli attack on the Nuseirat refugee camp mourn as the bodies are brought to al-Aqsa Hospital. Deir al-Balah, Gaza.
Series details: Israel continued its war on Gaza throughout 2024, leaving much of it in ruins. The UN reports more than 60% of homes have been destroyed and 95% of hospitals are non-functional. Nearly two million people have been displaced amid acute shortages of food, clean water, and medicines, due to Israeli restrictions.
With international journalists effectively barred from Gaza, local photographers risked their lives to document the war. The photographer, who has also lost family members, says: “Every time I photograph a destroyed house, I remember mine. Every time the wounded and martyred are pulled from the rubble, I remember my father and siblings.”
Jury comment: The jury felt this work offers a critical representation of the industrial scale of violence experienced daily by Gazans. Despite the story's graphic imagery, the project serves as a powerful record of the immense human cost and destruction endured by civilians. Additionally, it underscores the vital role of Gazan photographers in bearing witness to these ongoing atrocities, ensuring that the world does not look away especially as international journalists are barred entry.
West, Central, and South Asia – Long-Term Project: Ebrahim Alipoor
Photographer: Ebrahim Alipoor
Project title: Bullets Have No Borders
Date: June 1, 2019
Image details: A kolbar follows an arduous mountain path. Kolbars’ packs can weigh around 50 kg, and crossings take an average of eight to 12 hours. Kurdistan, Iran.
Project details: Kolbars (border couriers) carry goods, such as household appliances, mobile phones, and clothes, on their backs through treacherous terrain from Iraq and Turkey into Iranian Kurdistan. The Iranian government bans import of many such goods to protect local production and save foreign currency in the face of Western sanctions. Decades-long marginalization of Kurds means widespread unemployment in the region, driving many to kolbari. In addition, many kolbars see the activity as legitimate, as they feel ties with fellow Kurds across nation-state borders they do not acknowledge. However, kolbars risk being shot by security forces and border patrols.
Jury comment: The jury felt that this project—shot in Western Iran—provides a rare and deeply nuanced perspective on the complex impacts of economic sanctions, offering a lens rarely seen in mainstream coverage. The photographer's long-term commitment and willingness to take significant personal risks to tell this story is evident in every frame. Each image stands on its own while also contributing to a broader, compelling narrative, inviting viewers to slow down, engage with each caption, and absorb the layered realities of life under sanctions.
Asia-Pacific and Oceania – Singles: Mas Agung Wilis Yudha Baskoro
Photographer: Mas Agung Wilis Yudha Baskoro for China Global South Project
Image title: The Impact of Nickel Mining on Halmahera Island
Date: August 12, 2024
Image details: Workers ride towards a nickel smelting and processing plant, amid heavy rains that continued for two days, causing flooding. Weda, Halmahera, Indonesia.
Nickel mining in Indonesia has ramped up in the past decade, and Weda Bay now accounts for 17% of global production of a metal essential for electric vehicle batteries and renewable energy storage. Research indicates that deforestation from mining leads to longer and more frequent flooding. Air pollution from nickel smelting and coal-based energy production has also surged, with one local health center recording a 25-fold increase in respiratory diseases between 2020 and 2023.
Jury comment: This image captures the impact of foreign industry and mining operations on the local community, pulling together complex issues like the exploitation of raw materials, pollution of the environment, and the influence of corporate power, into a single frame. The strong foreground emphasizes the intertwined social and environmental cycle and trap of industrialization, whereby local communities become dependent on industrial jobs that are simultaneously leading to the ruination of the environment. Direct eye contact from the workers in the frame further draws the viewer into the story, underscoring the human toll of these issues.
Asia-Pacific and Oceania – Stories: Noel Celis
Photographer: Noel Celis for Associated Press
Series title: Four Storms, 12 Days
Date: October 25, 2024
Image details: A boy wades through a flooded street with his pet dogs in a styrofoam container, after Tropical Storm Trami. Naga City, Camarines Sur, northern Philippines.
Series details: Four consecutive cyclones, three of which developed into typhoons, hit the Philippines in a matter of days in late October and early November 2024. Tropical Storm Trami, followed by Typhoons Yinxing, Toraji, and Usagi left a trail of destruction, mostly in the northern Luzon region.
A Philippine Climate Change Assessment Cycle report points to a 210% increase in typhoons hitting the Philippines since 2012, and other studies indicate that the climate crisis is intensifying extreme rainfall and flooding worldwide.
Jury comment: This selection highlights the increasing frequency of natural disasters in Southeast Asia, illustrating how people are becoming increasingly accustomed to such events. The classic edit includes photographs that juxtapose intimate moments with the broader scale of these storms, capturing both their personal impact and the wider consequences at the local and national scale. The combination of day- and night-time shots emphasize the relentless nature of these extreme weather events, maintaining a consistent aesthetic throughout.
Asia-Pacific and Oceania – Long-Term Project: Tatsiana Chypsanava
Photographer: Tatsiana Chypsanava, Pulitzer Center, New Zealand Geographic
Project title: Te Urewera – The Living Ancestor of Tūhoe People
Date: November 21, 2016
Image details: John Rangikapua Teepa (63) gathers pikopiko, edible fern fronds, near his home. Pikopiko are considered a delicacy among Tūhoe elders. Ruatoki, New Zealand.
Project details: The Ngāi Tūhoe people of the Te Urewera region in New Zealand have maintained a staunch independence. Tūhoe have never lost their connection to their language and cultural identity, and in a groundbreaking 2014 agreement, the New Zealand government opened the way to Tūhoe managing their ancestral lands according to their cultural values.
Recent changes by New Zealand’s right-wing government are seen as reversals of such hard-fought progressive policies regarding indigenous peoples. Yet the Tataiwhetu Trust farm in Te Urewera offers a revitalizing model for a younger generation.
Jury comment: The jury felt this project stood out as a powerful, detailed look at the Ngāi Tūhoe people's fight for the return of their ancestral lands and indigenous rights. It captures the ongoing governance struggles between Te Urewera's ways of being and Western knowledge, along with tensions from far-right political movements. Through a variety of thoughtful frames, the work provides a compelling visual dialogue about relationships to land and cultural preservation, shedding light on an often underrepresented community.
South America – Singles: Anselmo Cunha
Photographer: Anselmo Cunha, Agence France-Presse
Image title: Aircraft on Flooded Tarmac
Date: May 20, 2024
Image details: A stranded Boeing 727-200 surrounded by floodwaters at Salgado Filho International Airport. Porto Alegre, Rio Grande do Sul, Brazil.
Between April and June 2024, record-breaking rainfall in the state of Rio Grande do Sul, Brazil, led to the worst flood in the area’s history. More than half a million people were displaced and more than 183 died in the floods. According to scientists, climate change – driven primarily by the burning of fossil fuels, including those used in passenger air travel – almost certainly intensified the floods. In the larger context of the global climate crisis, this image of a plane suspended between sky and water becomes a foreboding symbol.
Jury comment: The jury was struck by the eerie atmosphere of this image, which contributes to a powerful visual narrative of Brazil’s surreal climate extremes— shifting between record droughts and devastating floods. The frame of the abandoned aircraft captures the unsettling impact of flooding in Rio Grande do Sul, provoking reflection about disasters in modern society and the fragility of man-made systems.
South America – Stories: Musuk Nolte
Photographer: Musuk Nolte, Panos Pictures, Bertha Foundation
Series title: Droughts in the Amazon
Date: October 5, 2024
Image details: A young man brings food to his mother who lives in the village of Manacapuru. The village was once accessible by boat, but because of the drought, he must walk 2 kilometers along the dry riverbed of the Solimões River to reach her. Amazonas, Brazil.
Series details: The Amazon River is experiencing record low-water levels due to severe drought intensified by climate change. This ecological crisis threatens biodiversity, disrupts ecosystems, and impacts local communities reliant on rivers for survival. As droughts intensify, many settlers face the difficult choice of abandoning their land and livelihoods for urban areas, changing the social fabric of this region permanently. This project makes the effects of climate change, which can so often be abstract or difficult to represent, appear as a tangible and concrete reality shaping the futures of vulnerable communities closely connected with the natural world.
Jury comment: The jury felt this project was critical to highlight, as it documents unprecedented drought in the Amazon and its profound impact on communities connected to natural cycles. This work powerfully illustrates the consequences of climate change— landscapes transformed, livelihoods disrupted, and the urgent need for adaptation. The striking contrast of dry, desert-like scenes in the world's largest rainforest makes the absence of water hauntingly visible. The photographer captures the scale of environmental change while centering the human experience, offering a compelling visual narrative of a rapidly shifting reality.
South America – Long-Term Project: Federico Ríos
Photographer: Federico Ríos
Project title: Paths of Desperate Hope
Date: August 2, 2023
Image details: Thousands of migrants wade into the Rio Muerto (“Death River”) at the Darién Gap, where several have drowned in its treacherous waters. They assist one another to prevent drowning in the swift currents. Rio Muerto, Colombia.
Project details: This project documents the perilous journeys of migrants traversing the Darién Gap, a 100-kilometer long stretch of dense jungle connecting Colombia and Panama. Over a million people have braved this route since 2021. They hail from diverse nations – Afghans escaping Taliban rule, Venezuelans seeking refuge from economic collapse, Chinese fleeing authoritarianism, and many others – driven by the pursuit of a better life. Their stories are full of danger: treacherous rivers, unforgiving terrain, and the constant threat of violence and exploitation. Many never make it. Those who succeed find themselves only at the beginning of a different and difficult journey through Central America and Mexico to the United States.
Jury comments: The jury felt this project was exceptionally well done, offering a sincere and touching portrayal of migration through the Darien Gap, one of the most important yet dangerous migration routes in the Americas. The photographer follows families on this journey, giving faces to migrants in search of better lives, humanizing their stories. The selection of images captures both the personal and environmental challenges and hardships— dangerous terrain and threats from wildlife as well as human threats from organized crime— all while showing the hope and desperation that drive these families forward. Each image reflects the diverse range of people on this route and the harsh reality of their journey, making this a powerful and vital story of global migration.
North and Central America – Singles: John Moore
Photographer: John Moore, Getty Images
Image title: Night Crossing
Date: March 7, 2024
Image details: Chinese migrants warm themselves during a cold rain after crossing the US–Mexico border. Campo, California.
Unauthorized immigration from China to the US has increased dramatically in recent years due to a host of factors, including China’s struggling economy and financial losses after strict zero-COVID policies. Moreover, people are being influenced by video tutorials on how to get across the border, shown on Chinese social media platforms. This image, both otherworldly and intimate, depicts the complex realities of migration at the border, which is often flattened and politicized in public discourse in the United States.
Jury comment: This image powerfully connects distant regions through a complex story of migration— portraying migrants from Asia navigating South and Central America on their journey to North America. The frame's otherworldly quality, paired with the tenderness between parent and child, invites reflection and evokes questions about the uncertainty that lies ahead. In a single picture, the photographer conveys both immense vulnerability and resilience.
North and Central America – Stories: Rebecca Kiger
Photographer: Rebecca Kiger, Center for Contemporary Documentation, TIME
Series title: A Town Derailed
Date: May 9, 2023
Image details: The site of the East Palestine train derailment, approximately three months after the disaster. East Palestine, Ohio, United States.
Series details: On 3 February 2023, a Norfolk Southern train derailed in East Palestine, Ohio, a small town of 4,700 residents. The train contained hazardous materials, including known carcinogens. It was one of the most toxic train spills in the history of the United States, which raised concerns about the environmental and public health impacts of the derailment. This project chronicles the aftermath of the disaster and its continuing impact on the local community after national media attention waned. Embedded with residents as they sought corporate accountability and navigated conflicting health information, the photographer captures the nuanced new reality of East Palestine in limbo, highlighting the complex relationships between residents and their environment, health, and governing institutions.
Jury comment: The jury felt that this story effectively tells a story of a town impacted by corporate negligence, putting in focus the persistence of its residents to seek justice. The selection of frames skillfully blends thoughtful, intimate visuals. The photographer's immersive reporting, captures both the human cost and systemic issues with striking sensitivity.
North and Central America – Long-Term Project: Carlos Barrera
Photographer: Carlos Barrera, El Faro, NPR
Project title: Life and Death in a Country Without Constitutional Rights
Date: September 22, 2022
Image details: A group of arrested people awaits entrance to Ilopango jail. Many will spend over a year behind bars without due process. Trials are conducted in groups rather than on a case-by-case basis. Ilopango, San Salvador, El Salvador.
Project details: In 2022, El Salvador’s President Nayib Bukele and its legislative assembly passed a law declaring a “state of emergency” that limited the rights of El Salvadorans to freedom of assembly, privacy of communication, and due process under the law. This temporary measure, designed to curb gang violence responsible for El Savador’s high murder rate, has been renewed 35 times as of March 2025, turning El Salvador into a nation where mass incarceration is the norm. Prisons in El Salvador have become severely overcrowded and reports of inhumane treatment, poor medical care, violence, and murder are common. This project focuses on the stories of individuals and affected families to show the private struggles behind public policy.
Jury comment: The jury felt that this project powerfully captures the personal toll of state violence, offering an intimate view into the lives of individuals who have been unfairly arrested and brutalized. The photographer’s creative approach to protecting identities while maintaining visual impact heightens the sense of descending darkness and terror. The story resonates beyond its borders, reflecting the global implications of migration politics as many Salvadorians face the prospect of being deported back to the violence they once fled. The photographer’s work, undertaken at enormous personal risk, brings viewers closer to the human cost of authoritarianism.
Europe – Singles: Nanna Heitmann
Photographer: Nanna Heitmann, Magnum Photos, for The New York Times
Image title: Underground Field Hospital
Date: January 22, 2024
Image details: A soldier injured near the city of Bakhmut, lies in a field hospital set up in an underground winery. His left leg and arm were later amputated. Donbas, Ukraine.
This soldier was conscripted to fight for the Russian-backed, separatist “republic” of Donetsk in eastern Ukraine on 22 February 2022, two days before the full-scale Russian invasion of the country. Later, Russia unilaterally annexed the territory, and the militia that conscripted him was merged into a unit of the Russian army. Russia has occupied vast swathes of eastern Ukraine, and the city of Bakhmut has seen some of the bloodiest battles of the war.
Jury comment: The jury considered the two singles from Europe about the Russian-Ukrainian war in tandem, recognizing them as a powerful pairing that captures different dimensions of the conflict. The first image, of a soldier conscripted to fight for the Russian-backed, separatist “republic” of Donetsk in eastern Ukraine, carries complex symbolic weight, raising thought-provoking questions about nationality and political divides. The second image, of a Ukrainian child, Anhelina, at rest, offers a contrasting perspective — quiet, suspended, and distanced from direct violence, yet still profoundly shaped by the war and its psychological scars. Together, these images expose both the physical and psychological toll of the war, with the pairing providing a deeper, more nuanced view of a conflict with far-reaching global ramifications.
Europe – Stories: Maria Abranches
Photographer: Maria Abranches
Series title: MARIA
Date: November 27, 2023
Image details: One of Ana Maria’s uniforms hangs ready for work. Originally called Utima (the Kimbundu word for "heart”), she was given her new name by the family that brought her to Portugal. Lisbon, Portugal.
Series details: Ana Maria Jeremias’ life as a carer and domestic worker in Portugal echoes the experience of countless women around Europe. Trafficked from Angola to Portugal aged nine, under false promises of education, Ana Maria has spent more than four decades working in other people’s homes, making a vital contribution to their daily lives. By focusing on Ana Maria’s story, the photographer aims to encourage reflection on privilege, as well as to honor her life (and that of so many women like her).
Jury comment: The jury found this project touching and profoundly layered. The photographer was able to connect with her subject respectfully, recording different moments of her daily life. Through these intimate frames, the photographer highlights telling details—symbolic reminders of the lingering consequences of Portugal's colonial past. The work sparks reflection about how this history continues to shape social structures today.
Europe – Long-Term Project: Aliona Kardash
Photographer: Aliona Kardash, DOCKS Collective, for Stern Magazine
Project title: It Smells of Smoke at Home
Date: August 5, 2023
Image details: Aliona (left) sits with her younger sister Sanya, a mother of two. Aliona has never talked to Sanya about the war and has no idea of what it must be like to raise a son in wartime Russia. Tomsk, Russia.
Project details: Russia’s de facto ban on critical media and suppression of anti-war protests has created an alternative reality with its own take on what Russia calls its “special military operation” in Ukraine instead of a full-scale invasion. In this story, Aliona Kardash, Russian-born, but now resident in Germany, reflects on the loss of home, and on love for people who believe in a different version of reality. Making a return visit to her hometown, Aliona tries to capture how war transforms us, and to sustain the belief that personal bonds are stronger than the forces that tear us apart.
Jury comment: The jury found this long-term project to be a deeply personal insight into the fractures within Russian society since the full-scale invasion of Ukraine, revealing complexities often overlooked when viewing Russia as a monolith. The photographer visually conveys her melancholy regarding her connection to her family as they are influenced by state propaganda, grappling with the universal dilemma of how to hold to loved ones subsumed by state control. As conflict increasingly draws journalists into their own stories, this project reflects the nuance of their narratives, capturing a personal experience with global resonance.
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