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

Key specifications

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

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

Index:

• What is it?
• Body and controls
• Initial impressions
• Sample gallery
• Specifications

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What is it?

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

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

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

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

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

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

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Body and controls

User interface

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

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

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

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

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

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

Exposure modes

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

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

Other settings

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

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

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

Handling

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

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

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

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

Battery

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

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

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

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Initial impressions

By Richard Butler

Even the body cap is an over-engineered delight.

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

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

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

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

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

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

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

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

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

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

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

Sigma BF sample gallery

Photo: Dale Baskin

Canon Announced its PowerShot V1 compact just a few weeks ago, with pre-orders only recently opening for those in Asia. Despite that, DCWatch reported that Canon has already warned that demand is high and delivery may be delayed as a result, potentially delaying its availability to the rest of the world.

A screenshot of the messaging on Canon Japan's website.

Visiting the PowerShot V1 product page reveals a message (translated from Japanese) stating, "Apologies and information regarding product supply status." That message links to a page that briefly explains that Canon is "currently receiving more orders than expected for the following products, which is causing delays in delivery." Notably, three compact cameras are affected, with the PowerShot V1 at the top of the list. Canon plans to ship these products sequentially but says delivery may take longer than usual.

The PowerShot V1 is the company's first compact camera since the PowerShot G7 X III, which was released back in July 2019. Canon also launched the PowerShot V10 in June 2023, but that model is more video-focused and targets a different user base. Even though the Powershot V1 is only available in Asia, it is a welcome addition. After all, we are currently seeing an increased interest in compact cameras, which is driving up prices and causing issues with availability across the board.

Photo: Dale Baskin

The increased demand is reflected across the compact market. Retro compacts that used to sell for $5 at garage sales and thrift stores now go for anywhere from $40 to $250 or even higher. The PowerShot G7 X III, despite being six years old, has such high demand that Canon is suspending orders indefinitely to catch up. Meanwhile, the Fujifilm X100VI, which was announced a year ago, is still out of stock on most websites and is selling for as much as double its already steep $1,599 retail price on sites like eBay. CIPA's January numbers also showed a rise in the popularity of compact cameras, with an increase in shipments and value compared to January 2024.

While The PowerShot V1 was released exclusively for Asia, many are eagerly waiting for broader availability. Unfortunately, a delay so early on in the release potentially complicates that, meaning those hoping to get their hands on the camera outside of Asia will likely have to wait even longer. Canon hasn't provided specific timing or details on the extent of the delays. That means it's a waiting game for now, with another compact camera bogged down by supply constraints.

Photo: Richard Butler

The Camera and Imaging Product Association (CIPA) recently published its total production and shipment data for January. The latest data shows that demand for compact cameras remains strong. Shipments of interchangeable lens systems also increased year over year, while those of SLR systems slowed.

CIPA breaks down its data into camera types, with dedicated sections for cameras with built-in lenses and interchangeable lens systems. It also differentiates between SLRs and mirrorless cameras and provides specific data regarding various regions. All digital still cameras saw a 6% increase in shipment compared to January 2024 data, while interchangeable lens cameras were up 5% year-over-year.

A graph showing the total number of shipments of digital still cameras. Graph: CIPA

Built-in lens systems, though, saw the biggest increase of all categories. With 124,085 units shipped in January, cameras with integrated lenses saw an increase in shipments of 11% compared to January last year. Also notable was the 50% increase in the value of shipped compact cameras compared to January last year. The fact that the value is increasing faster than the number of units shipped indicates prices are higher for those cameras.

The growth in value isn't entirely surprising, given that demand for compacts is high right now. Cameras like the Fujifilm X100VI have been extremely popular. According to Map Camera, one of the largest photography retailers in Japan, the Fujifilm X100VI was its best-selling camera in February 2025. The buzz surrounding the Canon Powershot V1, which was only recently announced at CP+, is also significant. The Powershot V1 is only available in Asia and wasn't scheduled to start shipping until April. Despite all that, DCWatch reported that Canon has already announced it is experiencing supply shortage issues and that delivery times may be longer than usual as a result.

While that growth in compact camera shipments is interesting, it seems to be largely the result of two regions. China saw the greatest increase; shipments of compact cameras grew substantially year-over-year, with just 6,055 units shipped in January 2024 versus 18,955 units shipped in January 2025, a 213% increase. Asia (excluding China and Japan) also saw an increase, though at a more modest 22%. Europe and the Americas, however, actually saw a few thousand fewer shipments of compact cameras year-over-year (around a 6% fall).

While compacts saw an increase in shipments, SLRs saw a decline in January 2025 compared to January 2024. Shipments of SLRs were down 16% year-over-year. This isn't much of a surprise, given that the last DLSR that was released was the Pentax K-3 Mark III in March 2021, and Canon and Nikon last released DSLRs in 2018 and 2020, respectively. Sigma is also no longer developing new DSLR lenses. Needless to say, it seems the sun is setting on DSLRs, so it makes sense that shipments would be slowing.

Photo: Richard Butler

The Camera and Imaging Product Association (CIPA) recently published its total production and shipment data for January. The latest data shows that demand for compact cameras remains strong. Shipments of interchangeable lens systems also increased year over year, while those of SLR systems slowed.

CIPA breaks down its data into camera types, with dedicated sections for cameras with built-in lenses and interchangeable lens systems. It also differentiates between SLRs and mirrorless cameras and provides specific data regarding various regions. All digital still cameras saw a 6% increase in shipment compared to January 2024 data, while interchangeable lens cameras were up 5% year-over-year.

A graph showing the total number of shipments of digital still cameras. Graph: CIPA

Built-in lens systems, though, saw the biggest increase of all categories. With 124,085 units shipped in January, cameras with integrated lenses saw an increase in shipments of 11% compared to January last year. Also notable was the 50% increase in the value of shipped compact cameras compared to January last year. The fact that the value is increasing faster than the number of units shipped indicates prices are higher for those cameras.

The growth in value isn't entirely surprising, given that demand for compacts is high right now. Cameras like the Fujifilm X100VI have been extremely popular. According to Map Camera, one of the largest photography retailers in Japan, the Fujifilm X100VI was its best-selling camera in February 2025. The buzz surrounding the Canon Powershot V1, which was only recently announced at CP+, is also significant. The Powershot V1 is only available in Asia and wasn't scheduled to start shipping until April. Despite all that, DCWatch reported that Canon has already announced it is experiencing supply shortage issues and that delivery times may be longer than usual as a result.

While that growth in compact camera shipments is interesting, it seems to be largely the result of two regions. China saw the greatest increase; shipments of compact cameras grew substantially year-over-year, with just 6,055 units shipped in January 2024 versus 18,955 units shipped in January 2025, a 213% increase. Asia (excluding China and Japan) also saw an increase, though at a more modest 22%. Europe and the Americas, however, actually saw a few thousand fewer shipments of compact cameras year-over-year (around a 6% fall).

While compacts saw an increase in shipments, SLRs saw a decline in January 2025 compared to January 2024. Shipments of SLRs were down 16% year-over-year. This isn't much of a surprise, given that the last DLSR that was released was the Pentax K-3 Mark III in March 2021, and Canon and Nikon last released DSLRs in 2018 and 2020, respectively. Sigma is also no longer developing new DSLR lenses. Needless to say, it seems the sun is setting on DSLRs, so it makes sense that shipments would be slowing.

Image: Insta360

Insta360 and Leica Camera AG first teamed up in January 2020 with the Insta360 One R action camera. More recently, they collaborated on the Insta360 Ace Pro 2. That cooperation isn't over, as the two companies have announced an extension of their partnership, bringing continued collaboration to Insta360's action cameras.

The Ace Pro 2 featured a Leica Summarit lens and Leica color profiles, so it seems likely that we will see more Leica optics and colors in future Insta360 products. The announcement reveals that "exciting developments are already on the horizon," suggesting that a new product is already in the works. It goes on to say that there will be "more cutting-edge imaging solutions across new product lines in the near future."

“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”

The Insta360 Ace 2 Pro has been very well regarded with impressive quality, so if that's a sign of what this partnership can yield, then exciting things could indeed be on the way. The two companies didn't provide any additional details about what product lines may involve Leica's input, so for now, we will have to wait.

A couple of weeks ago, DPReview attended the 2025 CP+ Expo in Yokohama, Japan, the annual camera industry trade show sponsored by the Camera & Imaging Products Association (CIPA). CP+ is an opportunity for us to meet with senior executives from across the camera industry, but it's also a chance to gauge the market's health more indirectly.

After going through years of contraction, the past few years have generally been a period of stabilization for the camera industry. We're not returning to the heady days of DSLRs and compact models flying off the shelves in the tens of millions, but industry executives have consistently told us that the market has reached a point of equilibrium and is even growing a bit.

However, despite the positive outlook from industry leaders, it's hard to ignore that, for the past couple of years, the CP+ Expo lacked a certain energy that we used to see at camera trade shows. In 2025, however, we saw several signs that CP+, and possibly the industry, are regaining some of that past mojo.

The crowds were bigger

It's no secret that camera trade shows have been hit hard over the past few years, with stalwarts like Photokina and PMA falling by the wayside and becoming historical footnotes. Trade shows, in general, have been flagging as companies discover new ways of connecting with customers, and the camera industry is not immune to that.

"We saw several signs that CP+, and possibly the industry, are regaining some of that past mojo."

CP+ was hit particularly hard by the global pandemic in 2020, which resulted in a three-year hiatus before an in-person expo returned in 2023. And, while there was clearly excitement among attendees and manufacturers to be back in action, one couldn't help but notice that the crowds felt smaller and the energy levels lower. It didn't portend an exciting future.

What a difference a year makes: in 2025, CP+ felt busy and vibrant again. There were lines outside the expo hall snaking back and forth well before the doors opened, packed with consumers eager to see the latest gear. The expo hall was crowded, the booths were busy, and even the aisles were filled with excitement and energy that have been largely absent since the pandemic.

The attendees are changing

CP+ attendees listen to a speaker in the Sigma booth. It seemed like there were more women at CP+ than in the past. Frame from video: Dale Baskin

Yes, the crowds are getting bigger again. But what may be even more important is who we saw in attendance.

Typically, we would expect to see traditional camera enthusiasts at CP+, the type of person who has a collection of cameras and lenses at home, and we saw plenty of attendees with current models slung around their necks. To be sure, there were plenty of these people at the expo, and that's a good thing for the industry.

What jumped out, however, was the number of young people we saw in attendance, and it was common to see them in sections of booths specifically targeting 'creators.' You found them in other places, too; at least anecdotally, the industry's efforts to connect with this up-and-coming customer base may be paying dividends.

Additionally, it seemed like there were more women in attendance this year. I don't have any hard data to back this up, so you'll have to trust my observations, but it's certainly a good sign if the industry is more effectively connecting with women photographers.

Companies are timing product launches around CP+

DPReview was the first publication to get our hands on the new Canon V1, a compact camera announced to coincide with CP+ 2025. Photo: Dale Baskin

The CP+ Expo hasn't historically been an anchor event camera companies use to announce new products. It wasn't uncommon for a few products to be announced in the weeks leading up to the event, and companies occasionally used CP+ for big announcements, but it was the exception rather than the rule.

Suddenly, CP+ is a hot place for announcements.

Panasonic announced its new Lumix S1RII high-resolution flagship camera, Canon had its just-announced Powershot V1 compact model on display, and Sony revealed its new 16mm F1.8 G and 400-800mm F6.3-8 G lenses. Even Zeiss got in on the action, announcing new Otus 50mm F1.4 ML and 85mm F1.4 ML lenses.

On top of that, Sigma announced its new BF camera, along with new 16-300mm F3.5-6.7 DC OS and 300-600mm F4 DG OS lenses, at its own event in Tokyo earlier in the week, clearly designed to coincide with CP+, and the expo was the first opportunity for customers to get their hands on the products.

And this doesn't even include all the new lenses revealed by the up-and-coming Chinese lens manufacturers. Speaking of which...

Chinese lens companies have arrived in force

Chinese lens companies unveiled numerous new lenses at CP+ 2025, some designed to go head-to-head with the camera manufacturers' own lens options. Photos: Richard Butler

Over the past few years, Chinese lens companies have transformed the camera market, becoming competitive manufacturers capable of producing sophisticated autofocus lenses with impressive optics.

This isn't the first year these companies have been at CP+. However, in 2025, they collectively made their presence felt like never before, unveiling no less than ten lenses between them, including several that ought to get the attention of first-party manufacturers.

Viltrox jumped in with its AF 35mm F1.2 LAB FE and AF 85mm F1.4 PRO FE lenses for Sony E-mount, along with a full-frame compatible AF 50mm F2.0 Air and APS-C AF 25mm F1.7 Air, both available for multiple mounts. Laowa joined the party with full-frame 8-15mm F2.8 Fisheye and 15mm F4.5 0.5x wide-angle macro lenses, and even a 35mm F2.8 Tilt Shift lens for Fujifilm GFX.

"Chinese lens companies unveiled numerous new lenses at CP+ 2025, some designed to go head-to-head with the camera manufacturers' own lens options."

Not to be left out, 7Artisans showed off full frame 24mm F1.8 and 35mm F2.8 lenses in multiple mounts and APS-C 25mm F1.8, 35mm F1.8 and 50mm F1.8 primes, also available in multiple mounts. Even Samyang got in on the fun, unveiling its AF 14-24mm F2.8 zoom for E-mount, co-branded with Schneider Kreuznach.

If this trend continues, CP+ could become a very exciting venue for new lenses.

What does it mean?

It's one thing for camera industry executives to tell us the industry is headed in a positive direction. It's another to walk the aisles of an expo hall teeming with excited consumers who telegraph that message in the real world. Seeing younger generations out in force and excited about using cameras is particularly exciting.

It's also been a long time since we've seen this many big industry announcements centered on a single event. However, if the industry can coalesce around CP+, it presents an opportunity for manufacturers to generate industry-wide excitement about new products at a level we haven't seen since the days of Photokina, and that would undoubtedly be a positive thing for the industry as a whole.

Image: 7Artisans

Nearly a year after its initial launch, 7Artisans has announced that its AF 27mm F2.8 lens is coming to Fujifilm X-mount, joining the existing Sony E-mount and Nikon Z-mount iterations. The XF version will offer the same features and design as the existing model, albeit with very slight size differences to accommodate the different mounts.

The 27mm focal length provides a roughly 41mm equivalent field of view. It is quite compact and lightweight, measuring 42mm (1.7") long. 7Artisans didn't provide a weight for the X-mount version, but the E-mount model weighs only 144g (5.1oz) and the X-mount likely isn't much different.

The lens supports autofocus with a stepper motor and internal focus design. The optical design comprises six elements in five groups, though it doesn't use any aspherical, ED or other special glass. It also only features six aperture blades. Like the the Z-mount model, the X-mount lens accepts 39mm filters. There is also a USB port for firmware updates.

The 7Artisans AF 27mm F2.8 XF lens is available for purchase today at a recommended price of $129.

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Buy now:

$129 at 7Artisans

$129 at Amazon

Sony World Photography Awards 2025 category winners

The World Photography Organisation has announced the category winners and shortlisted photographers for the Sony World Photography Awards 2025 Open competition. The Open competition of the World Photography Awards is in its 18th year and aims to celebrate photographers' ability to "distill a singular moment and to evoke a broader narrative." Entrants submitted their strongest images from 2024 across 10 categories, including landscape, portraiture, street photography, wildlife and more.

This year, the free-to-enter competition received over 419,000 submissions from 200 countries and territories. All of the shortlisted photographs can be seen at worldphoto.org.

In addition to the category winners, the Open Photographer of the Year will be announced at an awards ceremony in London on April 16. Select winning and shortlisted images will be displayed in the World Photography Awards exhibition at Somerset House in London from April 17 to May 5 and then travel to other locations.

Architecture

Photographer: Xuecheng Liu

Image title: Center of the Cosmos

Selected for the photograph Center of the Cosmos, which shows New York’s iconic Times Square from above, using a very wide angle to highlight the expanse of the city.

Copyright: © Xuecheng Liu, China Mainland, Winner, Open Competition, Architecture, Sony World Photography Awards 2025

Creative

Photographer: Jonell Francisco, Philippines, Winner, Open Competition, Creative, Sony World Photography Awards 2025

Image title: Kem the Unstoppable

Selected for Kem the Unstoppable, an elegantly photographed collage portrait, alluding to Renaissance traditions of portraiture.

Copyright: © Jonell Francisco, Philippines, Winner, Open Competition, Creative, Sony World Photography Awards 2025

Landscape

Photographer: Ng Guang Ze

Image title: None

Selected for his mesmerising black-and-white shot of a stream meandering through grasslands into a lake in the distance, taken in Wenhai, Lijiang.

Copyright: © Ng Guang Ze, Singapore, Winner, Open Competition, Landscape, Sony World Photography Awards 2025

Lifestyle

Photographer: Hajime Hirano

Image title: None

Selected for his meticulously composed image of a street vendor selling electronic parts in Akihabara, once Japan's largest electronics town following a period of rapid economic growth in the late 1950s.

Copyright: © Hajime Hirano, Japan, Winner, Open Competition, Lifestyle, Sony World Photography Awards 2025

Motion

Photographer: Olivier Unia

Image title: Tbourida La Chute

Selected for Tbourida La Chute, in which the photographer captures the danger and excitement of the moment a rider is thrown from their mount during a 'tbourida,' a traditional Moroccan equestrian performance.

Copyright: © Olivier Unia, France, Winner, Open Competition, Motion, Sony World Photography Awards 2025

Natural World & Wildlife

Photographer: Estebane Rezkallah

Image title: The Whale Raft

Selected for The Whale Raft, depicting a group of polar bears feasting on the carcass of a whale in east Greenland.

Copyright: © Estebane Rezkallah, France, Winner, Open Competition, Natural World & Wildlife, Sony World Photography Awards 2025

Object

Photographer: Sussi Charlotte Alminde

Image title: Octopuses in the Sky

Selected for Octopuses in the Sky, showcasing elaborate handmade kites at the Fanø International Kite Fliers Meeting, one of the world’s largest kite flying events.

Copyright: © Sussi Charlotte Alminde, Denmark, Winner, Open Competition, Object, Sony World Photography Awards 2025

Portraiture

Photographer: Yeintze Boutamba

Image title: Encounter

Selected for Encounter, a tender portrait of two people shot in the intimacy of a bedroom. The photographer wanted to immortalise this moment for the sitters.

Copyright: © Yeintze Boutamba, Gabon, Winner, Open Competition, Portraiture, Sony World Photography Awards 2025

Street Photography

Photographer: Khairizal Maris

Image title: Celebrating Football Club Victories

Selected for Celebrating Football Club Victories, which pictures the elation of fans celebrating a win by their local football club by lighting flares in Bandung, West Java.

Copyright: © Khairizal Maris, Indonesia, Winner, Open Competition, Street Photography, Sony World Photography Awards 2025

Travel

Photographer: Matjaž Šimic, Slovenia

Image title: Ask a Shaman

Selected for Ask a Shaman, depicting a group of shamans in La Paz, Bolivia, where they play a major role in Native Bolivian traditional culture, shot against the brightly painted local architecture.

Copyright: © Matjaž Šimic, Slovenia, Winner, Open Competition, Travel, Sony World Photography Awards 2025

Leica Women Foto Project winners

Photos: Priya Suresh Kambli, Jennifer Osborne, Koral Carballo and Anna Neubauer / Leica Women Foto Project Award 2025

Leica paid homage to International Women's Day on Saturday by announcing the winners of the Leica Women Foto Project. Now in its sixth year, the project aims to "spotlight the way we diversify our communities through visual stories and emphasize female empowerment by its creators." This year's call for work centered on "Unity Through Diversity," seeking photo essays emphasizing the importance of connection as expressed through a feminine perspective.

The award is open to images created using any camera make or model and not limited to Leica-captured imagery. A panel of 12 judges, which included award-winning photojournalists, curators and editors, selected this year's four awardees. The winners each received a Leica SL3 camera, a Vario-Elmarit-SL 24-70mm f/2.8 ASPH lens and a $10,000 USD cash prize.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

Priya Suresh Kambli’s work is deeply personal and rooted in the context of the migrant experience. Inspired by an exhibition of vernacular hand-painted Indian studio portraits from The Alkazi Foundation, she began intervening with her family archive to explore themes of identity, memory, and belonging. Over the course of her twenty-year practice, Priya has revisited, reimagined, and recontextualized family portraits and heirlooms, building an archive that connects her to both her ancestral roots and her adopted land. Through her work, she reflects on absence and loss, navigating family dynamics to document their lives with a thoughtful and composed narrative.

About Priya Suresh Kambli: Priya Suresh Kambli received her BFA at the University of Louisiana in Lafayette and an MFA from the University of Houston. She is a Professor of Art at Truman State University in Kirksville, Missouri. Kambli has always strived to explore and understand the resulting fragmentation of family, identity, and culture. Her artwork has been exhibited, published, collected and reviewed in the national and international photographic community.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

The story behind the pictures: At age 18, I moved from India to the United States. Before I emigrated, my sister and I split our photographic inheritance along with other family heirlooms arbitrarily and irreparably in half - one part to remain in India with her and the other to be displaced with me, here in America. For the past two decades this accidental archive of family photographs and artifacts has been my main source material in creating bodies of work which explore the issues of gender, identity, representation, migrant narratives, and the renegotiation of power via the medium of photography.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

The story behind the pictures: In my work I re-photograph and re-contextualize my inherited family photographs, documents and objects carried by me to America, to my home in the Midwest. In my images, my archive constrains what can be said of the past. It is full of gaps, fragmented long before it was split in two by my sister and me. One of the people sealed within is my father, the original archivist and documentarian. He was the author of the majority of the images in the archive. And the other significant presence is of my mother. My father the photographer is physically absent, while I and other members of my family are fixed within the archive. His photographs are documents – ostensibly of some happy occasion, or milestone in our lives.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

The story behind the pictures: These mundane family photographs are complicated by my mother’s mark making. She cut holes in certain photographs to completely obliterate her own face while not harming the image of my sister and myself beside her and then slid them back into the family album. I am interested in both narratives – my father’s carefully composed efforts to document our lives and my mother’s violent but precise excisions. This set of fives images selected from my submission to the 2025 Leica Women Foto Project Award showcase these family dynamics. These family narratives form the foundation on which my artistic work rests, guiding its form as well as its vocabulary.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

The story behind the pictures: This work stems from my own migration, and it grapples with the challenges of cross-cultural understanding, and from my growing sense that my practice – born from private and personal motivations – constitutes an increasingly urgent political and public action. In this work I seek and offer solidarity. The proposed work continues to examine the link between public and private and will provide a lens through which my artmaking becomes a kind of performance or ritual activity; revisiting the past in ways that bear witness to, re-enact, and communicate with past and future selves.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

The story behind the pictures: My contribution to the field extends beyond the personal narrative, bringing attention to the experiences of migrants and women of color: lives that are rich, nuanced, and worthy of notice. The impact of this work lies in its simple existence; bodies of work resulting from processes of play - grounded in the concrete reality of the things I had carried with me and the place where I strive to make a home.

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

Priya Suresh Kambli: Archive as Companion

Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

Koral Carballo’s photographic essays blend photography and oral history to explore the search for identity among Afro-descendant and mestizo communities in Veracruz, Mexico. Through powerful imagery, she uncovers the roots of complex family trauma, inviting viewers to reflect on their own connections to the past. Her project Blood Summons (or La Sangre Llama), a popular Mexican saying referring to the call to search for one's ancestors, represents both her personal journey and a broader exploration of historical injustices. With this work, Carballo calls for reparation, aiming to foster connection rather than division, and inviting viewers to engage with these stories and their own histories.

About Koral Carballo: Koral Carballo is a photojournalist, documentary photographer, and visual artist based in Mexico. She studied journalism at the Universidad Popular Aútonoma del Estado de Puebla, and the Contemporary Photography Seminar by the Centro de las Artes de San Agustín (CaSA) and the Centro de la Imagen. Carballo has exhibited her work in Argentina, Bolivia, Canada, Colombia, Guatemala, Mexico, Morocco, Netherlands, Spain, Switzerland, The United States, and Uruguay. She collaborates with Ruda Colectiva, a Latino-American women photographers collective, and is an Artist from the National System in Mexico.

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

The story behind the pictures: “Telling this story is a door to the past that opens to understand the emotional wounds of the present. My mother has been a crucial figure for the beginning of this project and an ally in the process of starting to create.”

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

The story behind the pictures: "Mom slapped me several times. She kept questioning me as to why I wanted to marry a black man." Mom

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

The story behind the pictures: "I don't know what we are carrying. But I saw it in therapy. I saw someone they were beating . He was asking me to release him." Bro.

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

The story behind the pictures: "Black rain. In December when the sugar cane harvest season begins, the black rain begins in Veracruz since colonial times. The burning of the cane fields is an important step for the production season. There are still 18 sugar mills in Veracruz where Afro-descendants and mestizos (people of mixed race) still work."

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

The story behind the pictures: "My sister's melancholy."

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

Koral Carballo: Blood Summons

Credit: Koral Carballo / Leica Women Foto Project Award 2025

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

Anna Neubauer’s ongoing documentary project, Ashes from Stone, is a powerful photo essay that portrays individuals who defy societal norms of beauty, strength, and identity. Through striking portraits, Neubauer showcases people from diverse cultural and socioeconomic backgrounds in empowered settings, amplifying marginalized voices and encouraging audiences to rethink traditional views of femininity and strength. The project challenges stereotypes, redefines beauty, and embraces narratives around family, relationships, and motherhood. Each photograph is accompanied by a personal narrative, deepening the connection with and humanizing the subjects, fostering empathy, and promoting a greater understanding of diversity.

About Anna Neubauer: Anna Neubauer is an Austrian photographer based in London, United Kingdom. She began her journey capturing what truly matters to her: stories of self-love, acceptance, and resilience. In 2021, Anna was named Adobe Rising Star of Photography. She has worked with clients like Barbie, Condé Nast, Leica, Canon, Yoto, Abercrombie & Fitch, Adobe, Harper's Bazaar and 500px/Getty Images, and her work has been featured in international publications.

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

The story behind the pictures: Hannah was born with Hay-Wells syndrome, a kind of ectodermal dysplasia, a very rare genetic disorder that can cause abnormalities affecting a person's skin, hair, nails, and teeth. Along with other health problems, people with this condition may also be more prone to specific skin or eye conditions. Growing up, Hannah was often burdened with feelings of isolation and despair because society's beauty standards and misconceptions about physical differences often lead to bullying. Since the media frequently ignores or misrepresents people with unusual conditions, Hannah now aims to educate others; she fights for her rights and strives to end societal ableism. I have been photographing Hannah the past years, documenting her journey of self-acceptance and advocacy in order to challenge beauty standards, preconceived notions about disability, and foster empathy and understanding about rare genetic disorders. This image in my series not only shows her uniquely beautiful appearance but also her courage and resilience.

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

The story behind the pictures: When I met Hannah, I met a confident woman and a proud disability advocate who speaks openly about living with Hay-Wells syndrome. I have always loved listening to stories, but for me, there is something particularly beautiful about Hannah’s. Through her advocacy and quiet moments like this, she continues to challenge norms, encouraging others to see beyond appearances and understand the resilience and humanity of those with rare conditions. I want to show the part of her journey where self-acceptance meets the pressures of a society that often doesn’t understand visible differences. Outside, Hannah wears her wig and sunglasses as a way to blend in and feel comfortable, but here, within the walls of her family home, she allows herself to be seen as she truly is. This image in my series, Hannah standing in the quiet light of her bedroom corridor, reveals a mix of strength and vulnerability. Her wig gives her comfort in a world still learning to embrace diversity.

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

The story behind the pictures: Crystal is a passionate actress and advocate for facial diversity and representation in the acting industry. I photographed her in her living room just as the UK started to ease Covid-19 restrictions. For Crystal, the pandemic brought an unexpected reprieve. The masks that shielded others from a virus also shielded her from relentless stares. For a while, she found relief in the anonymity, moving through public spaces without the weight of constant scrutiny or unsolicited judgment. In a world that often doesn’t know how to look beyond the surface, the anonymity felt like breathing room—both liberating and fragile.

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

The story behind the pictures: Az and Izzy were dating for a year when I photographed them. The beach isn’t just a place they visit—it’s their sanctuary, where the world fades away, and they can simply exist in each other’s presence. Here, with the salty breeze in their hair and the rhythmic hum of the waves, they find a rare kind of freedom—one where love feels effortless and unguarded. Documenting this intimate moment felt like stepping into something sacred. The way they look at each other, the unspoken understanding between them, the laughter that comes so easily—it all radiates warmth and authenticity. Their connection isn’t just seen; it’s felt. A quiet, beautiful force that reminds us of the kind of love that makes us feel truly at home.

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

The story behind the pictures: Maya is a passionate actress, dancer and model whose energy is as captivating as her talent. When we first met at a photoshoot in 2021, she was a performing arts student at Chickenshed Youth Theatre in London, radiating the kind of determination that makes dreams feel within reach. Since then, she has worked with major brands like Nike, EE and CBBC. Maya’s success not only speaks to her incredible talent but to her relentless spirit and dedication. This image in my series shows Maya in one of her favourite dresses, a piece that feels like an extension of her—a symbol of self-expression, confidence and her deep love for performing. For me, there’s something magical about photographing her, the way she moves so effortlessly, how she transforms in front of the lens yet always remains true to herself. Over the years, our friendship has grown into something truly beautiful, and every time I photograph her, it feels like a celebration of that bond.

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

Anna Neubauer: Ashes from Stone

Credit: Anna Neubauer / Leica Women Foto Project Award 2025

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

Jennifer Osborne’s captivating photo series takes viewers deep into the heart of the Fairy Creek protests, where activists came together to protect the old-growth forests of Vancouver Island. Osborne began documenting life within the protest blockades a week before enforcement began, capturing the raw, unfiltered moments of those first days. She continued to document the protests for the first three months of enforcement, witnessing firsthand the courage and commitment of the activists. From diverse backgrounds, these individuals camped in tents and vehicles, fighting tirelessly to preserve the land. Through powerful imagery, Osborne highlights their unwavering solidarity and determination, showing how every moment spent defending the forests was a battle not only for the land but for future generations. This series, which documents the now-dismantled blockades and the trees they fought so hard to protect, underscores the profound significance of their environmental struggle.

About Jennifer Osborne: Jen Osborne is a Canadian photographer who has published and exhibited photographs and videos internationally. Osborne was shortlisted for a Sony World Photography Award in 2024 for her wildland fire coverage in Alberta, Canada. And she received a grant from Carleton University in 2021 to complete a video documentary about Canada’s horse meat industry. It has since toured to more than ten film festivals around the world.

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

The story behind the pictures: "May 17, 2021. Outside Port Renfrew, in a forest cut block. A woman leans on a tree that was cut fairly recently before this photo was taken. She found it along with a group of conservationists who explored the area after a round of logging happened in the region."

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

The story behind the pictures: "May 2021. Near Port Renfrew, Canada. An activist is chained to a bus in the middle of a road over a bridge, to prevent loggers from accessing old-growth forests. Other members of the blockade set off flares, so that their internal film crew could post a social media update for the public on their activities there. A team of blockade members had united to place this vehicle in the middle of the road."

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

The story behind the pictures: "May 23, 2021. Near Port Renfrew, Canada. A group of blockaders unify their bodies to protect a patch of old-growth forest called "EDEN GROVE". They linked arms to prevent a hostile individual from entering their blockade. The situation escalated and the visitor yelled and tried to push a few activists to get through their linked arms."

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

The story behind the pictures: "May 24, 2021. Near Port Renfrew, Canada. Two forest defenders stand in a cut block patch during police arrests of activists protecting "Waterfall Camp" and a neighboring cut block area."

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

The story behind the pictures: "May 24, 2021. Near Port Renfrew, Canada. A woman appeared at a cut block to show her unity with land defenders who blocked roads to prevent loggers from entering old-growth forest areas, during their arrests."

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

Jennifer Osborne: The Fairy Creek

Credit: Jennifer Osborne / Leica Women Foto Project Award 2025

Images: Vanguard, Apple, Elinchrom

CP+ may have ended last week, but that apparently hasn't stopped the flood of accessory news. Today, we'll look at a few lights, bags, computers and more, but first, let's see what's on sale.

Second-gen Goodness

Photo: Richard Butler

Canon's Stacked sensor flagship, the EOS R5 II, is currently on sale for $300 off MSRP. We reviewed it late last year, and came away very impressed – it's a camera that excels at nearly everything.

Photo: Richard Butler

Panasonic's S5II isn't quite as performant, but it's still quite a good camera. It's also substantially cheaper than the EOS R5 II, especially given the current sale that gets you $500 off.

Let there be lights

Image: Godox

Godox's latest light for videographers and photographers is the Litemons C30. It's a tiny LED panel weighing 248g that packs an internal battery capable of putting out 30W of light for up to 45 minutes. A USB-C port lets you recharge the battery or run the light for an extended period of time.

There are two versions of the light – a bicolor model, which costs $59, and an RGB model that will run you $89.

Buy at Amazon

Buy at B&H

Image: Elinchrom

If you need something a little more powerful, there's the recently released Elinchrom LED 100 C, a continuous RGB light with an integrated 72Wh battery that provides up to 40 minutes of power in the field. It comes with a diffusion dome and an adapter for Profoto light modifiers and can be charged via USB-C.

$599 at Amazon

$599 at B&H

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On the level

Image: Vanguard

Ball-head tripods are great if you want to easily level your tripod without messing around with leg length, but what if you already have a tripod that you like? Vanguard's LVL accessory might be for you. It's designed to sit between your sticks and your tripod's head, adding a bit of height and letting you level your tripod head in a matter of seconds.

Vanguard makes several sizes, so it should be compatible with a wide range of tripods. The smallest, the LVL 42, has a 42mm base and can support up to 20kg (44lb), while the LVL 75 can support up to 40kg (88lb) – just make sure the rest of your tripod can handle that much weight too.

In the bag

Image: Wandrd

If you want to carry around some camera gear without using a massive backpack, Wandrd's Stratus Photo 18L may be the bag for you. It's relatively small and has built-in organization for your camera gear, as well as access hatches on both the right and left-hand side. It's made of weather-resistant materials and has load-adjustment straps and a chest strap, which should let you carry it comfortably even if you've got it filled with gear.

Buy at Amazon

Buy at B&H

New affordable iPads

Image: Apple

People don't always think of the iPad as a photographic tool, but nowadays Apple's tablets have a lot of processing power and can run many of the apps photographers use on their desktops. The company's entry-level models – the iPad Air and the plainly-named iPad – have just gotten updates that make them better than ever. The Air gets the laptop-class M3 chip, as well as a new, optional keyboard with a bigger trackpad, function row and aluminum design. The M3 iPad Air starts at $599, and the new keyboard costs $269.

The cheaper iPad, meanwhile, gets the A16 chip from the iPhone 14 and 14 Pro. While it's not as powerful as the M-class chips and doesn't support Apple's suite of AI features, it should still be plenty for light photo editing and organization. Its base storage has also been doubled from 64GB to 128GB. It starts at $349, which is what its predecessor sold for ever since Apple cut the price by $100 in 2024.

That wasn't all Apple announced this week, though...

Get caught up

Some accessory news is so big that it gets its own article during the week, but we'd feel remiss not also mentioning those products here.

Image: Apple

As an example, Apple's new computers. The company announced updates to its entry-level MacBook Air and top-of-the-line Mac Studio this week, adding its latest processors. The MacBook Air has enough processing power to handle the typical Photoshop and Lightroom tasks that most photographers need, all while being hyper-portable, while the Mac Studio can handle the highest-end photo and video editing tasks.

Image: Peak Design

Also announced this week: Peak Design's Roller Pro, the company's first piece of roller luggage. It's a bit of a hybrid between a hardshell case and a softshell one, with plenty of padding and a front sleeve that can hold a laptop and other everyday carry items. You can read our full coverage of it here.

It's currently being sold via Kickstarter for a discount over its $599 MSRP, but the usual disclaimer applies: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Pledge on KickStarter

Read last week's roundup

There's something magical about the experience of shooting with Polaroid film, no matter how many times you see it roll out of a camera and wait for it to develop. It's clear it's a complicated process even without understanding the ins-and-outs of how it's produced. But, in a recent video, Polaroid has pulled back the curtain, revealing just how complex Polaroid film is.

The video provides a behind-the-scenes look, walking you through the Polaroid factory in Enschede, Netherlands, the only place where Polaroid film is made. It shows the entire process from start to finish, including the mixing of the developer, the cutting of the negative sheets in complete darkness with night vision goggles, how the cassettes are made and more, all the way to quality control and boxing up the finished product.

While the video touches on some of it, it doesn't go into all the details of how interesting the history of the factory is. The factory doors closed in 2008, but a small group managed to save the company, bringing it back, albeit in a much smaller form. For some time, it produced film under the name The Impossible Project. In 2017 the company rebranded as Polaroid Originals, and then in 2020, it was able to rebrand as Polaroid once again. You can watch a full documentary on the story on YouTube as well.

"I mean, this is an ancient technology that nobody uses anymore. So it's not like we can just say hey, let's replace it and put a whole new brains in it."

It's fascinating to see that the factory still uses the same process and machinery as it did in the 1970s. "There's a lot of frustration. You've got to have patience. We've got a machine here from the seventies," explains an employee named Andrew in the video."It stops, starts, stops, starts. I mean, this is an ancient technology that nobody uses anymore. So it's not like we can just say hey, let's replace it and put a whole new brains in it. We've got to try and make do with what we've got, which means refurbishing parts, which means having people learn how this works and specialize in it."

The video also touches on the formula of the film. Anyone familiar with the early Impossible Project days will remember how rough around the edges that film was. I purchased many packs for my beloved SX-70, most of which didn't turn out. While the current film is significantly better than it used to be, it still isn't quite where Polaroid film was quality-wise. Andrew says in the video that they know the quality isn't as good as the original Polaroids, but he explains that the original formula wasn't very environmentally friendly and they are trying to address that.

Whether you shoot Polaroid or not, it is interesting to see the complex process behind something that played such a significant role in the history of photography.

Photo: Richard Butler

Sony has released a firmware update that brings its Content Authenticity Solution to the a7 IV. The company announced a similar update for the a1 II, a1 and a9 III in January. However, this is the first time the tool to authenticate images will be available on something other than high-end, professional-grade cameras.

Software Ver. 5.00 for the Sony a7 IV adds support for the "Write Digital Signature" function for still images. This function allows photographers to add an electronic signature to their images to prove that they were taken with that camera. Authenticity tools such as this are becoming increasingly important with the growing prevalence of generative AI-created imagery and, as a result, the spread of fake images.

Of course, as with the update for the three pro-grade cameras in January, there are some caveats involved. The Digital Signature function requires a paid license and is only available for certain media outlets, not the general public. Unfortunately, Sony still hasn't provided any additional information on if or when it will be available for general consumers. On the firmware update page, Sony simply says that the "timing for the provision of paid licenses to customers other than certain media outlets is yet to be determined."

Even though the current usability is limited, Sony rolling this out to consumer models is a step in the right direction. The Content Authenticity information page also says that "more camera models will be supported in due course," so it sounds like we should see additional cameras with the tool at some point. If Sony makes the feature more widely available beyond media outlets, the Digital Signature feature will already be on cameras and ready for use.

If you want to be prepared, or happen to work for one of the select media outlets, the Sony a7 IV firmware update Ver. 5.00 is now available for download.

Fujifilm took to some of its social media channels to announce that its next X Summit will take place in just two weeks. The March 20 event will be hosted in Prague, supposedly at 10 am GMT (5am ET), according to some posts. "The wait is almost over. Mark your calendars for March 20 and get ready to witness something extraordinary. Stay tuned for more updates," teased the Fujifilm X India YouTube channel.

A screenshot from the YouTube video announcing the X Summit and teasing a new camera. Image: Fujifilm

Fujifilm is clearly aiming to build excitement, and the announcement video included a very brief flash of a camera at the end. The camera is shrouded in shadow, so it doesn't reveal much. A closer examination of a screenshot reveals a compact-looking lens with text that says "Fujinon Aspherical Lens" on the front. That's really all that's visible, though it does seem like the camera may be larger than standard compacts like the X100VI.

The company's post certainly leaves more questions than answers about the upcoming camera announcement. Luckily, though, two weeks isn't terribly long to wait.

Rendering: Nubia

We live in a time when camera brands (well, at least one) are stripping down controls while smartphone brands are ramping up physical camera controls. Indeed, the quest to bring a camera-like shooting experience to smartphones is going strong, as we've seen on full display at MWC 2025 in Barcelona. Brands like Xiaomi and RealMe have even gone so far as adding lens mounts to prototype smartphones.

On the less dramatic side are features like Apple's iPhone Camera Control button, which provides quick access to the camera and various settings like zoom. You can also find grips from the likes of Belkin, ShiftCam and even Leica that add shutter buttons and a more camera-like form factor. Now, a lesser-known smartphone brand is getting into the mix with an innovation on the camera itself.

Nubia, which also sells phones under the name Redmagic, opted for a simple control ring on its new Focus 2 Ultra smartphone. According to Notebook Check, the distinctive rotating ring allows users to control zoom or select filters. Such a feature should feel more natural and familiar for zooming in or out, especially for those who use dedicated cameras. Plus, you don't have to remember if you double press, long press, or tap your head three times to get to certain settings. A control ring also means there's no fiddling with getting your finger placed just right to zoom in or out, as is necessary on Apple's Camera Control Button.

Adding to the camera-like experience, the Focus 2 Ultra has a dedicated button that acts as a shutter release when you have the camera app open.

The camera system itself on the Nubia Focus 2 Ultra doesn't seem like anything to write home about; the company says the main shooter uses a Type 1/1.55 (8.3 x 6.2mm) sensor with 2μm pixels and an F1.47 lens, but doesn't provide further details about it or the phone's other cameras. However, it's exciting to see how phone makers are experimenting with physical camera controls on their devices. Especially as phone camera technology improves, it certainly would be nice to have more tactile controls when I leave my dedicated cameras behind.

The company hasn't announced exactly when the Focus 2 Ultra will be available, but Notebook Check reports it'll cost around 300 Euros.

Images: Apple

Apple has updated its ultra-portable laptop, the MacBook Air, as well as its ultra-powerful desktop, the Mac Studio. The former gets the company's latest chip, a price cut and comes in a fun new color, while the latter is being billed as "the most powerful Mac ever."

The M4 MacBook Air

Image: Apple

On the outside, the MacBook Air is much the same as its predecessor, though it's now available with a "sky blue" finish. On the inside, it features the company's latest M4 chip, which has been available for a while now in computers like the Mac Mini, iMac and entry-level MacBook Pro. Based on those machines, the M4 Air should be a bit more powerful and efficient than its predecessor.

The biggest upgrade, though, is to external display support. The M3 MacBook Air could only run one display alongside its built-in screen. You'd have to close the laptop's lid if you wanted to use a second external display. With the new model, that limitation is gone: it can drive two 6K external monitors and its internal display.

Multi-monitor support has historically been the Apple Silicon MacBook Air's biggest weakness, but that's clearly no longer the case. Image: Apple

Apple has also upgraded the webcam and says the new model has "improved video quality." In a rare move, it's done all this while lowering the computer's base price. The M4 Air's predecessor started at $1,099 for a model with 16GB of memory and 256GB of storage – now, you can get those same specs for $999. The 15" model now starts at $1199 instead of $1299, with the same RAM and storage capacity.

The M4 MacBook Air is available to pre-order now and will be available starting March 12th.

Buy at Apple

The new Mac Studio

Apple says the M4 Max Mac Studio is "1.6x faster image processing in Adobe Photoshop" than the M1 Max version. Image: Apple

Apple has also updated the Mac Studio, its desktop aimed at creative professionals with its powerful internals and integrated UHS-II SD card reader. It's been a moment since the computer has been updated – the previous version came out in the summer of 2023 and was powered by Apple's M2 chips.

The base-spec Studio now comes with the M4 Max, which has 14 CPU cores and 32 GPU cores. That chip is the same found in the top-tier MacBook Pros released last year. However, the computer also introduces the M3 Ultra. As its name implies, it's built around Apple's last-gen architecture, but it makes up for that by essentially being two Max-class chips fused together. The entry-level M3 Max has a 28-core CPU and a 60-core GPU but can be optioned to add 4 CPU cores and 20 GPU cores.

The Mac Studio offers more I/O than any of Apple's laptops. Image: Apple

The M3 Ultra also supports ThunderBolt 5, a spec previously only available on M4-powered machines, which allows for data transfers at up to 120 Gbps. The Ultra-equipped studio has a whopping six ThunderBolt ports, two more than the Max model, which has four ThunderBolt ports and two USB-C ones.

Beyond the new silicon, the new Studio has a few improvements over the previous generation. It can now drive eight 6K displays or four 8K displays; the M2-powered Studio topped out at six and three, respectively. The M3 Ultra version is also available with much more storage and RAM; you can get it with a 16TB SSD and up to 512GB of memory, which Apple says is "the most unified memory ever in a personal computer." The maxed-out M2 Ultra only supported an 8TB SSD and 192GB of memory.

Given that this is more or less Apple's flagship desktop – sorry, Mac Pro – it's not surprising that it costs a pretty penny. The M4 Max version starts at $1999 and comes with 36GB of memory and a 512GB SSD. The M3 Ultra Studio starts at $3999 and has 96GB of memory and a 1TB SSD. Like with all Apple machines, costs start to add up if you want to upgrade – the 512GB memory option costs an additional $4000, and bumping up to that 16TB SSD will run you a cool $4600. Both models are available to pre-order now, and will be available starting March 12th.

Buy at Apple

Phone manufacturers are continuously trying to find ways to make the cameras in their devices bigger and better, allowing them to serve as a true replacement for dedicated cameras. To this end, Xiaomi recently announced the "Modular Optical System" concept phone, which features a lens module with a built-in Four Thirds sensor that attaches magnetically to the phone's back. RealMe, a fellow Chinese smartphone brand, said, "Hold my lens," and upped the ante, releasing a concept phone with an M-mount.

While Xiaomi's approach uses a sensor built into a lens that attaches magnetically, RealMe opted for a bare sensor built into the back of the phone and an existing lens mount. RealMe says the concept features a customized Type 1 (13.2 x 8.8 mm) Sony sensor, which is covered by glass to protect it. Granted, no matter how tough that glass is, it is vulnerable to scratches and cracks, which would then impact image quality.

The phone's M-mount allows users to take advantage of existing full-frame lenses rather than buying a proprietary lens system. The prototype is on display at the Mobile World Congress show in Barcelona. RealMe is reportedly providing lenses to try out the system, though the current concept isn't able to power autofocus motors and lacks electrical contacts to provide EXIF data. Given those limitations, it makes sense that the company chose the manual focus-only M-mount.

The mount itself is rather large, even before attaching a lens. Image: RealMe

The concept phone features also two traditional phone cameras, both of which use Type 1 sensors. It's still not all that common to get one sensors that large in a phone, let alone three, so it's possible the phone could be a standout shooter even without an external lens attached.

The concept of a phone with an interchangeable lens mount isn't new – Xiaomi did something very similar a few years ago – and the end product can be quite unwieldy. That is especially true with larger lenses, which would get incredibly front-heavy when attached to a slim, lightweight phone. It's hard to imagine the ergonomics would be anything you'd want to experience for very long. After all, you would have to essentially only hold the lens, not the phone itself. Plus, the required lens mount is bulky before attaching a lens, so it isn't exactly a compact system. However, despite all its potential flaws, it is nice to see companies working to push the boundaries. Who knows where it could take us, after all.

Photo: Richard Butler

Last week, Panasonic announced the S1RII, the second-generation version of its high-resolution camera. While the original model was mainly focused on stills, the S1RII is being billed as a hybrid camera with the ability to shoot 8K video.

The video chops are possible because Panasonic is using a new 44MP sensor, which has a slightly lower resolution than the 47MP model found in the S1R. Thankfully, we got the chance to shoot some initial samples with while in Japan to cover CP+, and we've put together a sample gallery. It also includes a few examples of the camera's handheld multi-shot mode, which produces 177MP images.

We'll be shooting a lot more with the S1RII in the coming weeks, so stay tuned.

See the Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Ricoh GR Photo Festival winning images

The 2024 Ricoh GR Photo Festival winners have been announced, with images celebrating ordinary life worldwide. The contest began in 2022 and is structured slightly differently from most contests. Instead of judges ranking images in order of excellence, the GR Photo Festival has professional photographers from around the world select three images that stand out to them. No prizes or award money are involved, and no titles are given out.

This year, the contest theme was daily life. "It is in your ordinary day-to-day life that you find precious moments," the festival explains. Any images that were taken with a GR series camera were eligible. You can learn more and see all of the selected images at the Ricoh GR Photo Festival website.

All the selected photos, along with some examples of each of the jurors' work, can be seen at Ricoh's GR Space Tokyo until March 24. The GR Space is a dedicated venue in the Shibuya district of Tokyo, where as well as seeing the exhibition, you can see examples of the GR series, browse a range of photo books, try some of the specially-commissioned GR Space house blend coffee, or put some money into a 'gashapon' vending machine to receive a miniature model of one of four Ricoh cameras. Some of the DPReview team visited on their recent trip to Japan and think it's worth dropping in if you're a photographer visiting the neighborhood.

Selected by judge Reggie Ballesteros

Photographer: 树·先生

Camera: GR III

Judge: Reggie Ballesteros

Judge's comment: This reminds me of a fleeting moment between a child and their parent. The composition and lighting make it a compelling frame with multiple frames within a frame, yet the identities of the subject are in shadow which makes it relatable and universal.

Selected by judge Reggie Ballesteros

Photographer: 刘旻尚

Camera: GR IIIx

Judge: Reggie Ballesteros

Judge's comment: Using a cell phone in public is such an everyday occurrence. This photo captures that and make it beautiful and abstract - a man on his phone amidst this minimal scene with a pop of color. The man is also so close yet so far from the person next to him who seems to be exhausted and napping.

Selected by judge Reggie Ballesteros

Photographer: 张裕烽

Camera: GR III

Judge: Reggie Ballesteros

Judge's comment: Walking is such a common occurrence and activity that we forget it's beauty and universality to the human experience. The lighting isolates the legs and obscures the identity of the walker. This image is bold and abstract turning this activity into an artful sight.

Selected by judge Jeremy Cheung

Photographer: 潘宇轩

Camera: GR IIIx

Judge: Jeremy Cheung

Judge's comment: This photo beautifully depicts the everyday life of workmen. The unified emerald colours of their uniforms match perfectly with the muted soil as well as the hazy background skyline. The whole scene portrays a routine hardship life under a collecive culture. The gestures and actions of the nine workmen are also very well timed to complete a poetic yet candid snapshot.

Selected by judge Jeremy Cheung

Photographer: Adam Taufiq Suharto

Camera: GR III

Judge: Jeremy Cheung

Judge's comment: This photo uses a elevation angle to tell an everyday story inside a school or community centre. Actions are packed within the well-spotted 'circle' frame, with each of the members focussing on their own tasks or living in their own world. The process of 'word making' gives the viewer a sense of fun guess, with the passing of 'M' is cleverly placed in the centre of the image. Complication is masterfully tackled with all elements balanced and structured. The colour tones are very truthful and aesthetically pleasing too.

Selected by judge Jeremy Cheung

Photographer: Cristobal A. Padilla Moreno

Camera: GR III

Judge: Jeremy Cheung

Judge's comment: The split lighitng temperature of the two sections in the photo gives an illusion of two different worlds. The phtoographer also brillantly chose to stand on a spot where the diverging perspectives of the two corridors were captured beautifully. The scenes shown on both sides are exceptionally detailed and inviting to more discovery. For me, it is like reading 2 different photos but in a single photo. It is a joy to feel how this night scene vividly delivers.

Selected by judge Oliver Jiang

Photographer: 快门师傅 徐威

Camera: GR III

Judge: Oliver Jiang

Judge's comment: The image is masterfully layered with different elements, I can see the state of the people in the sunset, from near to far. The big dog takes up an important part of the picture, and I think it will lick the camera at any time. Without its “intrusion”, this will be a very ordinary work.

There must be humid air, warm sunshine, and laughter at the scene. It’s a comfortable evening, especially in such a big busy city in China as shown in the picture, and I believe such a comfortable time is worth cherishing. I don’t know if the photographer was one of the participants of this waterside “leisure party”, but I am grateful to him and through his photo, I feel that I am involved in this wonderful afternoon.

Selected by judge Oliver Jiang

Photographer: 略商

Camera: GR III

Judge: Oliver Jiang

Judge's comment: This photo gave me a deep composition impression from the beginning. Many days after the first screening, I asked myself which photos I still remember, this photo appeared in my mind at first. I seldom simply summarize the principles of composition, but there is no doubt that this is a simple and clean black-and-white work, and I like this unique black-and-white expression of GR. I used to wonder what this thin young man was looking at and thinking, but it suddenly dawned on me that this is exactly what the photographer wanted me to do. Hehehe, well I fell for the trap. An unintentional yet interesting piece.

Selected by judge Rikard Landberg

Photographer: nicole sánchez

Camera: GR III

Judge: Rikard Landberg

Judge's comment: There are multiple layers in this image that make me pause and reflect, evoking a sense of mystery. The individual in the shadows seems to escape time, almost like a spirit from another dimension. The city in the background, bustling with motion and life, contrasts sharply with the calm solitude in the foreground. The corridor feels like a metaphor for the soul's journey, a path leading away from the familiar and into the unknown. The black-and-white tones enhance the drama, turning the image into more than just a moment, it becomes a story without words.

Selected by judge Rikard Landberg

Photographer: Eric Lopez

Camera: GR III

Judge: Rikard Landberg

Judge's comment: CHAOS! But chaos in a good way. There’s so much happening in this image that it almost makes your eyes wander in circles. I think the composition is excellent, with a touch of humor that I truly appreciate. It raises countless questions that let the imagination run wild. Bath time often means kids struggling with soap in their eyes, and they hate it. But what if this foam bomb is their way of turning the tables? With goggles on, the kid becomes a fearless shark in the water, while the adults are left squinting and wiping soap from their faces.The hand in the bottom right corner seems to be trying to stop it all. But is it too late? The white foam acts as a canvas that enhances the scene. Well done!

Selected by judge Rikard Landberg

Photographer: Shiho Ichimura

Camera: GR10

Judge: Rikard Landberg

Judge's comment: This is an image I find myself returning to again and again. It has something that truly makes me pause for a moment and brings a smile to my face, a metaphor for this year's theme. Just like everyday life can be quite predictable, you might think you know what's hiding under all those layers of newspaper. Or do you? Sure, the shapes and patterns look very familiar. But can we ever be completely certain? Perhaps this wrapped package holds a surprise, something unexpected that breaks the monotony of our all-too-familiar daily life. In the end, it’s a reminder that even in the most predictable moments, there’s always room for the unexpected to reshape our perspective. I really like this one.

Selected by judge Annalaura Pretaroli

Photographer: Jay Melliza

Camera: GR III

Judge: Annalaura Pretaroli

Judge's comment: This picture captures a beautiful balance of light and shadow.
The left side of the image is darker, gradually revealing more light on the right: I find it pleasing to the eye. Some leaves might be burning in the background? Or is it just thick mist? The fog does the trick and beautifully enhances the warm sunlight filtering through the branches, adding depth and intrigue to the scene. The viewer wanders in search of details that could explain this beautiful, almost magical, rural scene. The two people in the image blend seamlessly into the composition, allowing the true star -light- to shine!

Selected by judge Hamish Ta-mé

Photographer: Cezar Niculescu

Camera: GR III

Judge: Hamish Ta-mé

Judge's comment: An intriguing moment in an ordinary day. Like a still from a moody art film, the image takes a mundane stage and populates it with actors, each with their own concerns and lives unfolding. We're presented with multiple leading frames, each with it's own focal point from near mid and distance. This is an exquisite masterclass in observation, anticipation, composition, technical capture, remarkable technology, mood and postproduction.

Selected by judge Michael Young

Photographer: Penphan Tarczaly

Camera: GR III

Judge: Michael Young

Judge's comment: This image captures the everyday life of commuting to or from work in an urban setting. The composition, with the vertical panels dividing the frame, creates a sense of order and routine. The figures lined up behind the panels, though blurred, suggest a sense of anonymity and the collective experience of daily routines.

I like the interplay of light and shadow it adds another layer of meaning. The bright light filtering through the panels creates a stark contrast with the darker areas. I like how each individual person stands partially hidden, and obscured, emphasizing anonymity.

The frames within frames, with each panel act as a visual barrier and offer a glimpse into a private moment within a public space. The use of perspective, with the figures seemingly receding into the distance, creates a sense of depth.

Through its careful composition, use of light and shadow, and framing, the photograph invites viewers to contemplate the themes of anonymity, routine, and the juxtaposition of public and private life in the urban landscape. It's a poignant reminder of the ordinary moments that make up the fabric of our daily existence.

Selected by judge Qianqian Zhang

Photographer: 马可风

Camera: GR IIIx

Judge: Qianqian Zhang

Judge's comment: The classical beauty of simplicity requires a longer gaze, keep staring a little longer. A good creator can send everything he feels in the present to the future through visual language. Photos speak of the past, but how do people travel between the past and the future?

The fishing net, the boy, and the sea in front of you are surprisingly quiet. Where are they taking you to? Please keep watching, as if you are staring at your deceased self. Time will surrender to the moment when you bend down. The boy is still a boy, but he will say "Forever like the sea will dry and the rocks will fall apart."

People have been salvaging all their lives, salvaging gold, salvaging fish and shrimp, salvaging themselves. What are you salvaging at the moment? Condense "restraint" and "as you wish" with the simplest simple composition, so the viewer can stop for long. There are still many secrets hidden in the picture, waiting for you to discover.

Selected by judge Qianqian Zhang

Photographer: Nicholas Sansone

Camera: GR III

Judge: Qianqian Zhang

Judge's comment: How to praise this moment? Flowers, hugs, and kisses can’t explain the power of life, especially the pain and joy of life. In ancient times people celebrated the birth of a child with fire shouting ceremonies. At this moment, the camera is transmitting and framing all emotions.

How to portray the appearance of loved ones? Printing technologies with ink or oil paint have already reproduced countless faces. The photographer is “portraying” it truly without any interference. The wife waves towards the role of a mother, and the child is at ease. Can you portray such a scene every other year? Because this is painting "home", you will reap the fruit of "love" in 10 years.

How do we "portray" our family in the long and complicated days? Please be brave enough to pick up the camera to record the pain and joy of life in those moments of life and death, just like the warrior in the photo, who loves his family in front of you.

Image: Polaroid

Polaroid has announced new versions of its instant cameras, the Now and Now+. The third-generation models bring only incremental changes to the table, though Polaroid promises an improvement to overall image quality and performance in bright light.

The most significant update on the Now and Now+ Gen 3 instant cameras is an updated ranging sensor. The ranging sensor drives the camera's two-lens autofocus system, which is effectively two fixed focus zones that the camera can swap between. To do this, the camera sends out infrared lights, measuring how long they take to come back to judge the distance. The camera can then determine which lens is appropriate given that distance. Polaroid says it updated the ranging sensor, allowing the cameras to pick the correct lens more often.

Photo: Polaroid

Polaroid also updated the placement of the light meter on its latest cameras. The light meter used to be under the viewfinder, but on the Gen 3 models, it has moved to under the lens. Polaroid says this will provide more accurate readings and, thus, more accurate exposures since it's measuring closer to where light is actually entering the camera. The new placement also sits under anything placed over the lens, making the camera filter compatible.

Beyond the slightly improved functionality, Polaroid has completely refreshed the colors of both the Now and Now+, doing away with the existing colors. The Now is now available in Coral, Arctic Blue, Purple, Yellow, Pebble White, and Black, while the Now+ comes in solid Arctic Blue, Coral, Black, and White.

Image: Polaroid

As with previous models, the Now+ remains the connected model, offering app connectivity for more creative control. As Polaroid says, the plus is in the name "because it “adds” to the experience." The Now Gen 3, meanwhile, is a more traditional instant camera with no extra controls beyond the point-and-shoot nature of the camera. Both cameras are rechargeable via USB-C and use full-sized Polaroid i-Type film.

The new cameras are available for purchase starting today on the Polaroid website and select retailers. The more basic Now Gen 3 is $120, while the connected Now+ Gen 3 is $140.

Polaroid Now+ Gen 3 at Polaroid

Polaroid Now Gen 3 at Polaroid

The current-gen 35mm F1.2 Art. Photo: Barney Britton

Apparently, announcing two new lenses, an entirely new camera, and a refresh of an entire lens lineup wasn't enough for Sigma – the company has reportedly said it's working on an update to its full-frame 35mm F1.2 Art lens, which was initially released in 2019.

According to a translated Mynavi article, the production update was announced by Sigma president Kazuto Yamaki at the CP+ trade show held in Japan last week. The article says the update will make the lens more compact, lighter and sharper. At the moment, the company has not announced the news through traditional channels such as its news or Instagram pages.

It wouldn't be the first time Sigma had made such an update to one of its lenses: last year, it released the 24-70mm F2.8 DG DN II Art, which was 10% lighter than its predecessor. At 1090g (2.40lb), the current 35mm F1.2 isn't particularly lightweight, but it also isn't notably heavier than similar lenses from other brands, such as the 1060g (2.34lb) Nikkor Z 35mm F1.2 S from Nikon.

Mynavi reports that there's currently no information on the lens' release date, pricing or what mounts it will be available for. However, it is exciting to hear that Sigma is working on improving one of its already good primes.