Image: Leica

Leica has announced the Vario-Elmarit-SL 28–70mm F2.8 ASPH lens. The new lens is the lightest and most compact standard zoom yet in the company's SL lineup for L-mount cameras.

The Leica 28–70mm F2.8 comprises 16 elements in 12 groups, including 3 aspherical elements. It can focus as close as 0.19m (7.48") at the wide end and 0.38m (15") at 70mm. The optical design is remarkably similar to the Sigma Contemporary 28-70mm F2.8 DG DN lens. However, given that the MFT charts are substantially different, the two lenses seem to perform differently.

Image: Leica

The new Leica lens is also heavier than the Sigma offering, highlighting at least a difference in external construction. That said, it's still quite compact and lightweight. It's lighter than the Vario-Elmarit-SL 24–70mm F2.8 ASPH, albeit with slightly less reach at the wide end. It's also much more compact than the Leica 24-70mm, though it shares dimensions with the Sigma 28-70mm lens.

The extra weight of the Leica 28-70mm compared to the Sigma lens is likely due to its metal housing. Leica says the metal construction shields the internal components "from external elements, such as dust and splash water." Sigma's Contemporary lens only offers weather sealing at the mount, not throughout the lens.

Leica's latest lens uses a 67mm filter thread, the same as its SL APO prime lenses. Leica promises quiet and fast autofocus and "cutting-edge coatings" for ideal color rendition and contrast while minimizing reflections.

The Leica Vario-Elmarit-SL 28–70 F2.8 ASPH is available for purchase as of today for $1890. It can also be purchased as a kit with the SL3-S for $6495.

Buy now:

The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusaist-friendly outlook of the original X-E models and gains image stabiliation along the way.

Key specifications

• 40MP BSI CMOS APS-C sensor
• Image stabilization rated to 7.0EV
• Twin clickable command dials
• Film simulation dial with 'recipe' option
• 2.36M dot EVF
• 1.04M dot rear up/down tilt LCD
• Video up to 6.2K//30 (with 1.23x crop)
• Continuous shooting up to 8fps, 13fps with e-shutter
• Mic socket, headphones via USB

The Fujfilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. The body-only price represents a $300 premium over the launch price of the similarly-specced X-T50. This difference doesn't exist outside North America. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at.

Simply put, in most countries, the X-E5 matches the launch price of the X-T50, in North America it matches that of the X-T5.

Index:

• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Press release
• Fujifilm X-E5 specifications

What's new

Film simulation dial

Slightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...

Film simulation recipes

You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe.

The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.

Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.

Image stabilization

Another thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.

'Self-timer' switch

The X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.

Classic viewfinder mode

The X-E5's classic viewfinder mode

One of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display. The image preview shows the effect of exposure comp and film suimulations, as usual.

In this mode the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. It's almost impossible to interpret with any accuracy, at anything other than the centered position, but it's visually in keeping with the rest of the camera's looks. Charming or ridiculous: you decide.

Other functions

In most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.

How it compares:

The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.

If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.

Simply put: in most countries, the X-E5 matches the launch price of the X-T50, in North America it matches the X-T5.

The high price (in North America, at least) puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9 but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. Outside North America you can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.

*30fps in 12-bit readout, JPEG-only mode

The X-E5's high price in North America pits it against some impossible competition, including the X-T5, which with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup. It'll be interesting to see whether its price has to rise in the coming weeks.

There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.

It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned-out by the noise of trade concerns.

Body and handling

The X-E5 is a very solid feeling camera. At 445g, almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.

Control points

The X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.

In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).

Grip

The X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.

As with previous X-Es, this is a camera you're mostly likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.

Viewfinder

There's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.

It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.

The rear screen is the same tilt up/down 1.04M dot (720 x 480px) touchscreen as on the X-M5.

Battery

The X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Fujifilm has not provided a battery life figure for the camera but we would expect it to be very similar to the 305 shot/charge rating of the X-T50, with which it shares the majority of its components.

CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.

Initial impressions

By Richard Butler

We found it interesting to compare the X-E5 to the hypothetical one we wrote about, last October. We correctly guessed that it would have a stabilized 40MP sensor but didn't think it would have a film simulation dial. We were also right when said we thought there was room below the X-T5 to fit an enthusiast model, and that the X-E5 could fill that gap by regaining its second command dial.

And while we said we didn't expect it to be the case, we're delighted that the X-E5 has taken a step back towards being the photographer-friendly camera the series started out as. In the process of doing so it's gained more or a premium feel to its design and build than previous models.

The X-E5, right, regains a number of control points missing from the X-E4, left. These include a second clickable dial on the back of the camera, along with the 'self-timer' style switch on the front, that can accommodate up to five functions, a focus mode switch on the side and the film simulation dial on the top plate.

Personally, I would have preferred two non-clickable dials, as it gives a more solid feeling to the control points and avoids any risk of you accidentally clicking while you're trying to turn the dial. I tend to find two command dials are sufficient to control all the key parameters on a camera that also has a dedicated exposure comp dial. I accept that it gives greater freedom of choice and that the ability to press something directly under your thumb to punch in for check focus in manual focus mode is convenient, but I think it would be more in keeping with the sense of well-built solidity that other parts of the design imply.

I also found, as on the X100VI, the long-press of the self-timer switch takes far too long to register: you have to hold the switch for over two seconds to access the second function assigned to that directional press. This is far longer than necessary to prevent accidental access, and means you don't really have particularly quick access to whatever function you've assigned.

Paired with the new 23mm F2.8R WR, the X-E5 is perhaps the closest you can get to an interchangeable lens X100VI. It's likely an updated X-Pro would be larger and more expensive.

Not that I've found myself trying to configure every possible control on the X-E5. It's a camera stuffed to the brim with features (Film recipes, DR modes, face and eye detection separate from its other subject recognition modes...) and yet there are very few of them I need such quick access to that I require two multi-function dials, nine customizable buttons and switches, and four directional swipes on the screen. But they're there if you need them.

But, to a large extent, this is the same thing I felt about the recent X100 models, which in itself is telling. The X-E5, especially with the 23mm F2.8 being launched alongside it, is perhaps the closest we've yet got to an interchangeable lens X100.

We're impressed to see Fujifilm pay attention to its users by providing a simple way to build the 'recipes' that have become a popular way to get the most out of the film simulation system.

But it's impossible to assess the launch of a new Fujifilm model without having to address price and availability. Fujifilm tells us "units are being manufactured in accordance with demand forecasts," and that cameras for the US market will be made in Japan. Notably the 23mm F2.8R WR lens isn't being offered to other customers until "late 2025," prioritising production for X-E5 kits, so there's some reason for optimism.

The price is undeniably high, though: the X-E series had become progressively less expensive as they were made simpler, so this more ambitious model was always going to be a step above its predecessor. The subsequent pricing of the X-T50 and X-M5 also hints at the contribution of inflation in four and a half years since the X-E4's launch. Collectively, these might have explained a launch price that matched the X-T50, as is the case outside North America. Unfortunately, that's not the version of the world we live in.

Sample gallery

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Image: Fujifilm

Fujifilm has announced the XF 23mm F2.8 R WR lens, a wide-angle, 35mm equiv. pancake lens for its APS-C cameras. It's a similar focal length to the lens used by the much-coveted X100-series and has similar dimensions, though its maximum aperture is a stop slower.

The lens is very light and compact; it's 23mm (0.9") long and weighs in at 90g (3.2oz). Despite that, it has a fair number of features: it has a clicking aperture ring that can be locked into the auto position, its manual focus ring has a "high frequency position" detector to make it easier to focus despite its short throw, and it's water and dust resistant. The silver version of the lens even has a matched grey gasket on the back, rather than a black one.

The X-E5 paired with this lens makes a pretty compelling X100VI alternative. Photo: Mitchell Clark

Optically, the lens is made up of 8 elements in six groups with two aspherical lenses. It has an 11-blade aperture and a 20 cm (7.9 inches) minimum focusing distance.

The lens will come in black or silver, and will retail for $499. Fujifilm says it won't be available on its own until December, though it'll start making its way into customers hands as a kit lens for the X-E5 later this summer.

See the sample gallery

Fujifilm XF 23mm F2.8 R WR Specifications

Image: Rollei

Rollei has just announced its first-ever lens for mirrorless cameras or, at least, has allowed its name to be applied to one. The Rollei AF 85 mm F/1.8 is available for Nikon Z and Sony E mounts. However, like the Rollei 35AF release by Mint camera last year, it's likely only Rollei-related in name.

The Rollei name is associated with iconic film cameras like the Rolleiflex twin-lens reflex and the original Rollei 35, but the actual company that made those products is long gone. The brand name is currently owned by Rollei GmbH & Co. KG, which is based in Germany. Like Kodak, Rollei is more in the business of licensing its name these days. In January 2024, Mint Camera was granted a license to use the Rollei name for the Rollei 35AF, a film camera with autofocus capabilities. Now, it seems as though a lens manufacturer may also have been granted a license to the Rollei name.

On the left is the lens design and MFT chart for the Rollei AF 85mm F1.8. On the right is the same information for the 7Artisans AF 85mm F1.8. Images: Rollei and 7Artisans

The new lens appears to share all its key specs with the 7Artisans AF 85mm F1.8. That includes an optical design with 10 elements in 7 groups, with two ED and two HR elements. It also features 11 aperture blades and the same F1.8 maximum aperture. Both autofocus via a stepping motor that supports face and eye tracking.

And, while 7Artisans claims a minimum focus distant 5mm closer than the 0.85m (2.7') of the 'Rollei,' their MTF plots match precisely.

The exterior of the 7Artisan lens and Rollei lenses also shares similarities. Both offer a 62mm filter thread, metal construction and a USB-C firmware port. They each offer a custom function button placed a similar distance from a focus switch.

The E-mount Rollei 85mm (left) offers an aperture ring, while the Z-mount model (right) does not. Images: Rollei

The lenses look fairly different from the outside, though. The Rollei version looks a bit more burly, with more aggressive knurling. Also, while both the Nikon and Sony versions of the 7Artisan lens feature an aperture ring, only the E-mount Rollei lens offers the same; the Nikon model lacks an aperture ring. Of course, the most obvious difference is the massive Rollei label.

The Rollei lens is available for pre-order now for €299 (RRP €349), with full availability coming on July 9. Rollei says pre-ordered lenses will be delivered by July 7. Those in the US are out of luck, though, as it doesn't appear the lens will be available here.

Last week, Fujifilm released a short teaser video hinting at a new rangefinder-style camera. That video focused on a camera obscured in shadows, as expected for a teaser. Now, though, the brand is back with another video that doesn't make much of an attempt to hide things ahead of the June 12 announcement.

The new video is just as short, but it shows off more specifics than the last. It starts with what looks like a newly designed film simulation dial. That's followed by a brief view of additional controls on the top of the camera, including a shutter speed dial and exposure compensation dial. The only shadowy part of the video where things aren't as clear is a cut to a low-profile lens. Even that shows an F2.8 aperture marking, though.

The announcement will take place at Fujifilm's Shanghai event, the company's second X Summit of the year.

Nikon has announced a massive firmware update for its Z8 camera. Firmware 3.0 introduces an extensive list of new features and performance enhancements. It offers upgrades for both video users and photographers of multiple types, including a new ultra-high resolution tool, improved autofocus, improved VIew Assist for N-Log and more.

The most significant update is the ability to create files up to 180MP by combining Pixel Shift (Nikon's high-resolution feature) with focus shift or AE bracketing, which Nikon says is the world's first camera to do so. This tool allows for greater depth of field, resolution and dynamic range, which is ideal for commercial, fine art and architectural photography.

The Pixel Shift plus focus shift or AE bracketing feature unlocks the ability to combine high-resolution images with focus shifting or exposure bracketing. Image: Nikon

To use the new focus stacking features, users will need to merge the Pixel Shift structures in NX Studio on a computer, and then they can use their preferred software for focus stacking. With AE bracketing, Nikon says the Z8 creates a Pixel Shift cluster at every exposure bracket, which you can then merge for a higher resolution with enhanced dynamic range. Neither one can be completed in-camera.

Autofocus has also been improved in many ways. Nikon added an in-camera focus limiter, allowing users to define near and far focus ranges for faster and more precise autofocus. The custom Wide-Area AF feature now enables users to set the focus area at the edge of the frame with smaller increments for more precise control over the size of the custom area. Nikon added a 400% magnification option, making it possible to dial in focus to a highly precise degree. Subject Detection was also added to manual focus and Hi-Res Zoom.

Users can now set near and far focus limits for faster autofocus. Image: Nikon

On a creative front, users now have the ability to create custom Flexible Picture Controls using NX Studio. These can be saved to the camera via a memory card, allowing users to apply custom looks in real-time. N-log View Assist was also updated, offering enhanced highlights, contrast and details for a more accurate waveform exposure. Nikon says it provides a look very similar to its Rec. 709 LUT.

Image: Nikon

Photojournalists and professional sports photographers also get some specific updates. The Z8 now allows users to record voice memos using an external mic, providing better quality for voice notes on the go. The camera is now fully compatible with NX Field, allowing users to control and monitor up to 10 cameras with an iPhone or iPad and transfer files automatically to an FTP server.

Nikon also added a Maximum Aperture Live View feature, which switches the lens to its widest aperture no matter what is selected. This switch gathers more light for Live View purposes and enables faster autofocus. It then switches back to the selected aperture when taking the shot.

Nikon hasn't announced a release date for the Z8 Ver. 3.0 firmware update, only stating it will be available soon. Most of these are not currently available on the Z9, but it is reasonable to expect that a firmware update for Nikon's flagship camera could be coming as well. You can see all of the coming upgrades and monitor availability at Nikon's website and firmware download page.

Nikon Z5II vs Zf: same hearts, different bodies

The Nikon Z5II and Zf are Nikon's two most affordable full-frame cameras. They use the same processor and stabilized 24MP BSI sensor, so they have the same autofocusing systems and support for features like high-resolution multi-shot, JPEG-only pre-capture and 4K 60p video with a crop.

However, even at a glance, it's clear that the Z5II and Zf are aimed at very different audiences despite their essentially identical sets of features. We'll break down the sometimes subtle things that set the cameras apart from each other, and help you figure out which one is right for you.

Design

The Z5II is styled as modern mirrorless camera with a design that could be described as utilitarian. It has a rubberized grip, is adorned with buttons, dials and ports and has a mode dial on the top.

The Zf, meanwhile, has a retro aesthetic that throws back to Nikon's early 1980s film cameras. The front is covered in a leatherette – which comes in seven colors – and has only the slightest of built-in grips, though the back and sides look a bit more modern with an array of buttons and ports. It's also covered in chrome accents and has a wide variety of dials, which we'll discuss in just a moment.

Handling - Z5II

The Z5II has two programmable command dials, whose functions can change depending on what mode you're shooting in. It also has a joystick on the back for choosing your autofocus point and a prominent front grip that makes it easy to hold onto it even when you've got a large lens attached.

It also has a few extra buttons absent from the Zf: there's a second custom button on the front plate, and the top plate has buttons for controlling ISO, exposure compensation and your "Picture Control" color mode. However, it makes sense that the Zf doesn't have some of those buttons because...

Handling – Zf

... the Zf has dedicated locking dials for ISO and shutter speed and an exposure compensation control on its top plate in addition to its two contemporary programmable command dials. Also found there: a small LCD panel that displays your aperture setting.

When we reviewed the Zf we found some odd quirks where the dedicated dials didn't always fit with the rest of the camera's more modern control logic but Nikon has attempted to address some of these concerns in firmware 2.0, making the camera's handling of functions like Auto ISO a little more coherent.

The camera also doesn't have a focus point joystick, so you'll have to use the four-way controller or touchscreen to pick your focus point.

The Zf's squared-off design also isn't the easiest to hold when paired with larger, heavier lenses, but it helps with the retro aesthetic.

Viewfinders

The Nikon Z5II and Zf's viewfinders have the same resolution and magnification, but the one on the Z5II can get noticeably brighter. At its highest setting, it can put out up to 3000 nits, though it's hard to directly compare that to the Zfs, as Nikon doesn't provide a peak brightness rating for its viewfinder.

Card slots and connectivity

The Z5II has two full-size UHS-II SD card slots, which makes it easy to set it up for redundant recording if what you're shooting is absolutely critical. The Zf, meanwhile has one full-size UHS-II SD slot, and one UHS-I microSD slot. While you can still use it to back up your shots, it's less convenient to do so give the slower speeds of the microSD slot, and the fact that you'll need to buy two types of cards.

Kit lenses

Nikon sells the Zf in a kit with the Nikkor Z 24-70mm F4 S lens or the Nikkor Z 40mm F2 SE lens. The latter is one of two lenses designed to match the retro aesthetic of the camera body (the other is a 28mm F2.8). However, it, like the rest of Nikon's Z-mount offerings, doesn't have the dedicated aperture ring that would really complete the look and control logic of a film camera. Some of Nikon's other lenses have a programmable control ring, and while that does help with the shooting experience, it doesn't do much to complete the look.

The Z5II is available with either the Nikkor Z 24-200mm F4-6.3 or Nikkor Z 24-50mm F4-6.3. The latter is a collapsible lens that won't take up a ton of room, while the former offers much more reach on the long end. Neither are quite as nice as the 24-70mm F4 S, which is arguably a better fit for the Z5II than the Zf.

Price

The Z5II is Nikon's budget full-frame offering, and comes in at $1699 body-only. At MSRP, the Zf is more expensive at $2000. However, at the time of writing the Z5II is a relatively new camera while the Zf has been around for a while, so the Z5II is still selling for around its list price, whereas the Zf's price has softened. Over time we'd expect a gap to widen back up again.

Conclusion

Unless you have very specific needs, the choice between the Z5II and Zf is largely going to come down to how you want your camera to look and feel.

The Z5II's handling and control logic benefits from decades of refinement since those of the cameras the Zf is modeled on. But the Zf's looks have definite appeal.

If you prefer a more modern design, or aren't all that particular about how your camera looks, the Z5II's larger grip, AF joystick, brighter viewfinder and full-fat dual card slots are all compelling reasons to pick it; the lower price is just the cherry on top.

Nikon Z5II

However, if you're really into the retro aesthetic, or like the thought of the thought of shooting with dedicated shutter speed and ISO dials, the Zf may be the way to go. Either way, you'll be getting the same image quality and a very similar set of features.

Nikon Zf

Image: Profoto

Lighting equipment company Profoto has announced its latest portable flash units, the B20 and B30. The new battery-powered monolights build on the company's B10-series, promising improved performance, greater durability and more features.

The B20 offers 250Ws of power, while the B30 offers 500Ws, which is consistent with the B10X and B10X Plus, the predecessors of the new lights. However, the latest models provide more power from the bi-colored LED for continuous light, delivering 50% more output. The B20 and B30 promise up to 5000 lumens with a 2800 to 7000K color temperature range. They offer a CRI greater than 94 for accurate color reproduction as well. Overall, the B20 and B30 are more ideal for hybrid creators than the previous models were.

The B20 and B30 also offer faster performance. The company says they recycle 13% faster than the B10X, resulting in a recycling time as quick as 0.01 seconds for both lights. The lights also offer an eleven f-stop power range, one stop greater than their predecessor.

Image: Profoto

Profoto built the B20 and B30 for demanding use in a range of locations and situations. They feature a rubberized exterior for better handling and durability. There's also an optional handle, which makes it easier to adjust lights even when working with large modifiers. Both are compatible with more than 120 light shaping tools, giving creatives more control.

The flash tubes in Profoto's newest lights are now user-replaceable, allowing users to quickly swap out the tubes on set to keep working. Both lights offer a new Eco mode, which Profoto says "protects internal components, reduces thermal stress and extends your gear's lifespan." There is also a Boost mode, for added power, and Freeze mode for the shortest flash duration needed for freezing motion. The company also says there's no risk of overheating or misfires.

The B20 and B30 feature a dedicated 3.5mm sync port for when wired triggering is necessary. They can also be controlled wirelessly through Profoto's AirX technology.

Image: Profoto

Both models are relatively compact and lightweight, making them ideal for on-location shoots. The B30 is a bit larger, though, as it offers more power. The B20 weighs 1.9 kg (4.3 lbs), while the B30 weighs 2.1 kg (4.7 lbs). Likewise, battery life differs between the two. The B20 promises 400 full-power flashes, while the B30 only promises 220 flashes at full power.

The Profoto B20 and B30 are available for purchase now. The B20 costs $1995, while the B30 costs $2395.

Buy now:

Photo: Richard Butler

As part of our upcoming review of the Fujifilm GFX100RF, we put the medium format 'compact' in front of our test scene to help evaluate its image quality.

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Unsurprisingly, the GFX100RF's Raws capture noticeably more detail than the 61MP full-frame sensor used in the Q3, Leica's high-end large sensor compact, and substantially more than the Fujifilm X100VI's 40MP APS-C sensor. The camera's JPEG engine does a good job of preserving those details.

The lens can't match the $2700 dedicated Macro lens we used for the GFX100 but the JPEG processing does its best to make up for the difference.

Those trends continue in low-light, and looking at high-ISO Raws noise performance follows sensor size. The JPEG engine does a decent job of not blurring away details when applying noise reduction.

Dynamic Range

The GFX100RF has excellent dynamic range performance at its base ISO of 80; it adds very little read noise to the image, meaning there's little difference in images shot at the same exposure but different ISOs, and then brightened to match each other in post. Its files also provide plenty of room to raise shadows, which will help if you want to shoot at a lower exposure to protect highlights.

The PDAF banding we saw in our original DR tests for the GFX 100 doesn't appear in our tests for the GFX100RF: there are reports it was also fixed on the GFX 100 via software update.

Lens Performance

Our studio test scene isn't designed to test lenses, but it can still tell us something about some aspects of performance. The 28mm equiv lens on the GFX100RF has be be shot quite close-up, but it's still around 30x the focal length away from the chart, so should be reasonable representative of real-world performance. Our tests are shot at F5.6 to maintain a reasonable depth-of-field and across-frame-consistency, but the F4/F5.6 comparisons we've shot show little difference in corner performance (it's vignetting, rather than sharpness differences that has more of an impact).

With all of that said, the lens performs well under these conditions. It's quite sharp in the center. It performs reasonably well out to the corners, where there's some light falloff visible in the Raws (which the JPEG engine does a good job of correcting). While the original GFX100, paired with Fujifilm's 120mm F4 macro, renders our scene more uniformly and sharply, that lens alone weighs more than an entire GFX100RF.

At F5.6, chromatic aberration also seems well-controlled compared to the X100VI's lens.

Image: Apple

Apple kicked off its Worldwide Developers Conference (WWDC) today. During the keynote to mark the event's start, the company revealed that it is completely redesigning the iPhone’s camera app in the next version of its mobile operating system, iOS 26*. The company says the design will be “more intuitive” and “elevate the two capture modes you use most: photo and video.”

The iPhone’s camera app has looked largely the same since the last big iOS redesign, 2013’s iOS 7. However, the company has added dozens of new features and modes since then, making the app feel cluttered to some users. For example, if you want to take a panorama, you have to swipe through the portrait and spatial photo modes first.

Different modes will be broken into subcategories for both photo and video, making it easier to find what you want. Image: Apple

By default, the new interface will present you with the modes for shooting standard photos and videos. You can access other modes, like “cinematic” video or portrait photos by swiping on the switcher, but they won't show by default, making it harder to tap them accidentally.

The app follows Apple's “Liquid Glass” design language, which will be applied to the rest of iOS 26. This means that settings and controls will be displayed as semi-transparent windows over the photo preview; the current version of the app has a few settings panes, which appear on black bars beside the preview.

Apple is bringing tabs to its Photos app. Image: Apple

Apple says the camera app is getting a feature called "lens cleaning hint" as well, though it hasn't said anything else about the feature.

The Photos app, which was subject to a relatively controversial redesign last year, is also getting a fresh coat of “Liquid Glass” paint. Beyond the purely aesthetic changes, your photo library and collections of albums and photo types will now live in different tabs, which should make them easier to differentiate; in the iOS 18 version, they were presented together on one scrolling screen.

Finally, Apple is also updating its AirPod wireless earbuds by adding camera remote functionality. Users will be able to press and hold the AirPods stem to take a photo or start recording a video. A press-and-hold will end the recording. Apple says this function will work with its native camera app, as well as "compatible third-party camera apps on iPhone or iPad."

Apple says iOS 26 will be available "this fall," and it'll run on iPhone 11 and later; Apple is dropping support for the iPhone XS and XR, which can run iOS 18.

* The current release is known as iOS 18, but Apple has changed its naming scheme; it will now follow a model year format similar to cars. Eg., iOS 26 will release in late 2025.

Composite image: Richard Butler

Canon's PowerShot V1 is a vlogging-focused compact camera with an ambitious 18-50mm equivalent lens. As part of our upcoming review, we've shot our studio test scene, to see how it performs.

The shots in the comparison tool were all shot at 50mm equiv and F5.6, as this is the closest the camera can get to our standard 85mm equivalent focal length and consequent working distance that we try to use as broadly as possible.

We shot some images at the camera's wide-open F4.5 setting and found the corners were significantly less sharp than they are by F5.6, so used our standard exposure values throughout.

As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.

This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.

Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it is.

Wide-angle performance:

Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.

Canon PowerShot V1 @ 16mm equiv | F5.6 | 1/40 | ISO 100 Click here to download the accompanying Raw file.

As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.

However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.

It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes of the corners get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.

And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.

Visitors soar through the air on a ride at the Washington State Fair. I captured this photo while shooting a sample gallery for the Ricoh GR IIIx, which – unsurprisingly – proved to be an excellent camera for candid photography. To me, this photo embodies both the essence of summer and the magic of a cherished American summer tradition: state fairs. Photo: Dale Baskin

Our June Editors' photo challenge is now open for submissions. Our theme this month is "Chasing Summer."

With summer just around the corner, we want to see photos that evoke the spirit of summer fun and adventure. Whether it's jumping into cold water on a hot day, melting ice cream, or epic road trips, we want to see what "Chasing Summer" looks like through your lens. Our favorites will be featured on the DPReview homepage later this month.

This challenge is open to photos taken at any time.

Photos can be submitted between Sunday, June 8, and Saturday, June 14 (GMT).

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We want to share 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.

Click here to enter the challenge

Winners of the Photo Competition for United Nations World Oceans Day

June 8th is United Nations World Oceans Day, and to celebrate, the winners of the 12th annual photo competition associated with the day were announced. This year's theme for UN World Oceans Day was "Wonder: Sustaining What Sustains Us," which also served as a newly added category for the contest. It joined the recurring Big and Small Underwater Faces, Underwater Seascapes and Above-Water Seascapes categories.

A panel consisting of renowned photographers Ipah Uid Lynn, William Tan, Vanessa Mignon, Marcello Di Francesco and Ellen Cuylaerts selected the winners from thousands of global entries from amateur and professional photographers. The judges selected first, second, and third place winners for all categories, along with an honorable mention for three of the categories.

The 2025 photo competition was coordinated between the United Nations Division for Ocean Affairs and the Law of the Sea, DivePhotoGuide (DPG), Oceanic Global and the Intergovernmental Oceanographic Commission of UNESCO. The competition is free and open to the public, calling on photographers to show the beauty of the ocean and the importance of UN World Oceans Day. Each participant signed a charter of 14 commitments regarding ethics in photography.

You can see the past winners and learn more about the competition at the UN World Oceans Day website.

First Place, Wonder: Sustaining What Sustains Us

Photographer: Rachel Moore, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @moore_rachel

Caption: This photo, taken in Mo'orea, French Polynesia in 2024, captures the eye of a humpback whale named Sweet Girl, just days before her tragic death. Four days after I captured this intimate moment, she was struck and killed by a fast-moving ship. Her death serves as a heartbreaking reminder of the 20,000 whales lost to ship strikes every year. We are using her story to advocate for stronger protections, petitioning for stricter speed laws around Tahiti and Mo'orea during whale season. I hope Sweet Girl’s legacy will spark real change to protect these incredible animals and prevent further senseless loss.

Second Place, Wonder: Sustaining What Sustains Us

Photographer: Luis Arpa Toribio, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @luis.arpa.photo

Caption: A juvenile pinnate batfish (Platax pinnatus) captured with a slow shutter speed, a snooted light, and deliberate camera panning to create a sense of motion and drama. Juvenile pinnate batfish are known for their striking black bodies outlined in vibrant orange—a coloration they lose within just a few months as they mature. I encountered this restless subject in the tropical waters of Indonesia’s Lembeh Strait. Capturing this image took patience and persistence over two dives, as these active young fish constantly dart for cover in crevices, making the shot particularly challenging.

Third Place, Wonder: Sustaining What Sustains Us

Photographer: Steven Lopez, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @explorersphotography

Caption: Shot in Cuba’s Jardines de la Reina—a protected shark sanctuary—this image captures a Caribbean reef shark weaving through a group of silky sharks near the surface. Using a slow shutter and strobes as the shark pivoted sharply, the motion blurred into a wave-like arc across its head, lit by the golden hues of sunset. The abundance and behavior of sharks here is a living symbol of what protected oceans can look like.

Honorable Mention, Wonder: Sustaining What Sustains Us

Photographer: Ollie Clarke, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @ollieclarkephoto

Caption: Humpback whales in their thousands migrate along the Ningaloo Reef in Western Australia every year on the way to and from their calving grounds. In four seasons of swimming with them on the reef here, this is the only encounter I’ve had like this one. This pair of huge adult whales repeatedly spy hopped alongside us, seeking to interact with and investigate us, leaving me completely breathless. The female in the foreground was much more confident than the male behind and would constantly make close approaches, whilst the male hung back a little, still interested but shy. After more than 10 years working with wildlife in the water, this was one of the best experiences of my life.

First Place, Big and Small Underwater Faces

Photographer: Andrey Nosik, www.unworldoceansday.org

Category: Big and Small Underwater Faces

Instagram: @andreynosik

Caption: This photo of a Japanese warbonnet (Chirolophis japonicus) was captured in the Sea of Japan, about 50 miles (80 kilometers) southwest of Vladivostok, Russia. I found the ornate fish at a depth of about 30 meters (100 feet), under the stern of a shipwreck. This species does not appear to be afraid of divers—on the contrary, it seems to enjoy the attention—and it even tried to sit on the dome port of my camera.

Second Place, Big and Small Underwater Faces

Photographer: Giacomo Marchione, www.unworldoceansday.org

Category: Big and Small Underwater Faces

Instagram: @marchione.giacomo

Caption: On one of my many blackwater dives in Anilao, in the Philippines, my guide and I spotted something moving erratically at a depth of around 20 meters (65 feet), about 10 to 15 centimeters in size. We quickly realized that it was a rare blanket octopus (Tremoctopus sp.). As we approached, it opened up its beautiful blanket, revealing its multicolored mantle. I managed to take a few shots before it went on its way. I felt truly privileged to have captured this fascinating deep-sea cephalopod. Among its many unique characteristics, this species exhibits some of the most extreme sexual size-dimorphism in nature, with females weighing up to 40,000 times more than males.

Third Place, Big and Small Underwater Faces

Photographer: Lars von Ritter Zahony, www.unworldoceansday.org

Category: Big and Small Underwater Faces

Instagram: @larsvonritterzahony

Caption: Trips to the Antarctic Peninsula always yield amazing encounters with leopard seals (Hydrurga leptonyx). Boldly approaching me and baring his teeth, this individual was keen to point out that this part of Antarctica was his territory. This picture was shot at dusk, resulting in the rather moody atmosphere.

First Place, Underwater Seascapes

Photographer: Dani Escayola, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @daniescayola

Caption: This year, I had the incredible opportunity to visit a jellyfish lake during a liveaboard trip around southern Raja Ampat, Indonesia. Being surrounded by millions of jellyfish, which have evolved to lose their stinging ability due to the absence of predators, was one of the most breathtaking experiences I’ve ever had.

Second Place, Underwater Seascapes

Photographer: Gerald Rambert, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @gerald_rambert

Caption: This shot captures a school of rays resting at a cleaning station in Mauritius, where strong currents once attracted them regularly. Some rays grew accustomed to divers, allowing close encounters like this. Sadly, after the severe bleaching that the reefs here suffered last year, such gatherings have become rare, and I fear I may not witness this again at the same spot.

Third Place, Underwater Seascapes

Photographer: Pedro Carrillo, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @pedrocarrillophoto

Caption: “La Rapadura” is a natural hidden treasure on the northern coast of Tenerife, in the Spanish territory of the Canary Islands. Only discovered in 1996, it is one of the most astonishing underwater landscapes in the world, consistently ranking among the planet’s best dive sites. These towering columns of basalt are the result of volcanic processes that occurred between 500,000 and a million years ago. The formation was created when a basaltic lava flow reached the ocean, where, upon cooling and solidifying, it contracted, creating natural structures often compared to the pipes of church organs. Located in a region where marine life has been impacted by once common illegal fishing practices, this stunning natural monument has both geological and ecological value, and scientists and underwater photographers are advocating for its protection. (Model: Yolanda Garcia)

Honorable Mention, Underwater Seascapes

Photographer: Lars von Ritter Zahony, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @larsvonritterzahony

Caption: With only orcas as their natural predators, leopard seals are Antarctica’s most versatile hunters, preying on everything from fish and cephalopods to penguins and other seals. Gentoo penguins are a favored menu item, and leopard seals can be observed patrolling the waters around their colonies. For this shot, I used a split image to capture both worlds: the gentoo penguin colony in the background with the leopard seal on the hunt in the foreground.

First Place, Above Water Seascapes

Photographer: Leander Nardin, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @akela.world

Caption: A serene lake cradled by arid dunes, where a gentle stream breathes life into the heart of Mother Earth’s creation: Captured from an airplane, this image reveals the powerful contrasts and hidden beauty where land and ocean meet, reminding us that the ocean is the source of all life and that everything in nature is deeply connected. The location is a remote stretch of coastline near Shark Bay, Western Australia.

Second Place, Above Water Seascapes

Photographer: Nur Tucker, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @nurtuckerphotography

Caption: Northern gannets (Morus bassanus) soar above the dramatic cliffs of Scotland’s Hermaness National Nature Reserve, their sleek white bodies and black-tipped wings slicing through the Shetland winds. These seabirds, the largest in the North Atlantic, are renowned for their striking plunge-dives, reaching speeds up to 100 kph (60 mph) as they hunt for fish beneath the waves. The cliffs of Hermaness provide ideal nesting sites, with updrafts aiding their take-offs and landings. Each spring, thousands return to this rugged coastline, forming one of the UK’s most significant gannet colonies. It was a major challenge to take photos at the edge of these cliffs at almost 200 meters (650 feet) with the winds up to 30 kph (20 mph).

Third Place, Above Water Seascapes

Photographer: Andrey Nosik, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @andreynosik

Caption: Paradise Harbour is one of the most beautiful places on the Antarctic Peninsula. When I visited, the sea was extremely calm, and I was lucky enough to witness a wonderfully clear reflection of the Suárez Glacier (aka Petzval Glacier) in the water. The only problem was the waves created by our speedboat, and the only way to capture the perfect reflection was to lie on the bottom of the boat while it moved towards the glacier.

Honorable Mention, Above Water Seascapes

Photographer: Ken Findlay, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @kenfinphoto

Caption: A South Atlantic swell breaks on the Dungeons Reef off the Cape Peninsula, South Africa, shot while photographing a big-wave surf session in October 2017. It’s the crescendoing sounds of these breaking swells that always amazes me.

Diagram showing the structure of Eyeo's color-splitting waveguide technology. The image is focused at the front of the structure, with the waveguides channeling the light down to a conventional CMOS sensor underneath. The geometry and position of the upper, tapered waveguides defines the wavelength at which light is split into parallel beams in the lower, rectangular guide. Image: Eyeo

A Belgo-Dutch startup is developing an alternative to color filters that would let sensors capture all the light shone on them. This has the potential to push past one of the limitations of existing sensors with Bayer color filters, giving up to a stop of improvement in tonal quality and noise, and potentially allowing higher resolution capture.

Its technology uses nano-scale waveguides to split the incoming light depending on its color, meaning the sensor receives all the light projected on it, rather than having to use filters that absorb some of the incoming light.

Eyeo, a spin-off from Imec (a Belgian research organization) has just received €15M in seed funding to develop the technology.

Its system doesn't block or absorb any light, instead redirecting it into neighboring pixels, based on its color.

The technology uses a waveguide that channels the incoming light to a very fine point – the geometry of which is on the scale of the wavelength of light – splitting the light by wavelength. From here it's channelled separately down through a second, rectangular waveguide into a pair of photodiodes below.

The company has shown it can adjust how the colors are split by adjusting the precise geometry and positioning of the waveguides. It has developed pairs of waveguides that split light at the same wavelengths that the human eye does, with one separating red light from cyan (green and blue), and the other separating blue light from yellow (green and red).

Diagram showing the sensitivity of the cones of the human eye to different wavelengths (top) and the output spectra of the two waveguide designs, showing one tuned to give a 480nm crossover (left) and a second with crossover at 580nm (right). Image: Eyeo

This means you still need four photodiodes to capture full color, but you can measure the light intensity, irrespective of color, with only two; giving a significant resolution boost and with minimal light loss.

Its work suggests these pairs of waveguide stacks, combined with conventional CMOS sensors, should be able to deliver color accuracy comparable with modern cameras, with scope to further improve the performance to at least match the very best examples.

In addition to avoiding light loss to color filters, the design should be able to work with smaller pixels than previous attempts to split colors by diffraction, allowing the used of smaller pixels to give higher resolutions.

The company's focus is, understandably, on the large and potentially lucrative smartphone market. Because its technology doesn't waste as much light and can work with smaller pixels, it allows the creation of smaller sensors that deliver quality comparable with existing Bayer ones, or higher resolution sensors that outperform Bayer sensors of the same size.

However, even in the comparatively huge sensors used in most standalone cameras, avoiding light loss to a color filter array would allow a ∼1EV improvement in tonal quality and noise performance. Current sensors have very high quantum efficiency (generating a signal from a very high percentage of the light that hits them) and very low levels of read noise, meaning there's a limit to how much further you can improve the performance of the CMOS itself. However, the silicon part of the sensor is held back by the need to filter-out around one stop of the 'wrong' colored light before it hits each photodiode.

The 'Vora' values, measuring color filtering accuracy for a large set of cameras, calculated both for the CIE standard observer and a range of other ages and races. Eyeo's technology using off-the-shelf CMOS sensors and a custom-made thin-film perovskite detector are shown on the right. Image: Eyeo

Although the technology is still at the relatively early development stage, the company tells us its technology is compatible with existing CMOS sensor manufacturing and that the fabrication tech for its waveguides that's already in use at scale.

It says it has worked to ensure the pixels at the edge of the frame maintain high acceptance angles for incoming light, without the use of microlenses, and has patented a methodology for optimizing the design to match typical numerical apertures used in the latest cameras and smartphones.

The original idea dates to 2018, with patents and prototypes following over the next few years. The Eindhoven-headquartered company was established in 2024 and it says it hopes to engage with potential customers in the next year or so, with evaluation kits available next year.

However, when asked, the company didn't give a timescale of when it thought the technology could be ready to appear in a consumer product.

Image: Laowa

Laowa is well known for its unique lenses, offering photographers tools that allow them to stretch their creativity. Now, the company has added another lens to its lineup, announcing the 8-15mm F2.8 full-frame fisheye zoom lens. The lens is manual focus only, but it offers a fast and constant F2.8 aperture for a wide range of full-frame cameras.

The Laowa 8-15mm F2.8 FF Zoom Fisheye has what the company calls a "dual fisheye effect." At the wide end, the lens delivers a 180° angle of view, resulting in a circular image with black edges. However, when zoomed in to 15mm, the lens provides a diagonal fisheye image, which fills the entire rectangular frame without black corners.

Laowa built the lens with 13 elements in 9 groups and a nine-blade aperture diaphragm. The company promises edge-to-edge clarity. The fast aperture is ideal for low-light conditions, and Laowa also promises beautiful bokeh for greater creative control. It can focus as close as 16cm (6.3"), enabling dramatically exaggerated subjects when up close. It is manual focus only, though.

Image: Laowa

It's a relatively compact lens, with the RF mount version measuring 94.5mm (3.7") long. It weighs approximately 650g (1.43lbs). It's available in E, Z, L and RF mount versions.

The Laowa 8-15mm F2.8 FF Zoom Fisheye is available for purchase as of today for $699. Pricing may vary in other countries.

Buy now:

The X-M5 seems to have turned into a hot-ticket item.

Despite being released in late 2024, the Fujifilm X-M5 isn't the easiest camera to get your hands on, especially in the US – a situation not helped by tariffs. That raises the question: is it worth putting in an order to try and get one, or are there more readily available cameras that will scratch the same itch?

As with the X100VI, the answer will depend on why you're considering an X-M5 in the first place (though, thankfully, it's not essentially unique like Fujifilm's fixed-lens offering). If you want one primarily for shooting video, the best alternative will be different than if you're looking for a small, sub-$1000 mirrorless to mainly shoot stills with.

I want an X-M5 just for stills

While the X-M5 is shaped like a lot of vlogging cameras – it has a boxy body with no EVF, and a rather insubstantial grip – it's generally nicer to shoot with than most vlogging-focused cameras thanks to its two top-plate dials. It also has a mechanical shutter, essential if you want to shoot flash.

The Nikon Z30 shares the same list of benefits and has a very similar form factor, and while its autofocus system will probably be about as reliable as the X-M5's, it's not Nikon's latest and greatest: it has fewer subject recognition modes, which can make it easier to set your focus point, depending on what you're shooting. While the Z mount has a more limited selection of lenses than X mount, Nikon has started allowing third-party companies to make some autofocusing primes for its system. If you want a zoom lens, though, you're still stuck with Nikon's lackluster offerings.

The Z50II has different styling, but is aimed at a similar audience.

If you're not married to the easier-to-pocket boxy shape, you'll have even more options, such as the Nikon Z50II and Canon EOS R10. Both cameras include viewfinders, which makes them easier to use in direct sunlight at the cost of some bulk. The Z50II has a newer autofocus system than the Z30, as well as a color profile system that can at least get you closer to the aesthetic choices you can make with Fujifilm's famous film simulations. The EOS R10, meanwhile, has a healthy selection of zoom lenses, including some quite fast options from Sigma and Tamron.

I want an X-M5 for video

The X-M5 is aimed at content creators and has a fairly robust suite of vlogging features, dedicated microphone and headphone jacks, and the ability to shoot 6.2K open-gate and 4K60p video, though the latter comes with a 1.29x crop.

If you're mostly interested in video, the Sony ZV-E10 II is a worthy alternative. It can't shoot open-gate, so you won't have as much flexibility in post, but it makes up for it with much more reliable autofocus and tracking and a faster sensor with less rolling shutter distortion and less of a crop in 4K 60p. It's also capable of producing nice photos, though the experience of taking them won't be as engaging, thanks to its lack of a second top-plate command dial.

While the Z30 is also pitched as being good for video, it falls short of the X-M5 in a number of ways: it doesn't have a headphone jack, can't shoot 4K 60p and can't shoot 10-bit video, which provides you more room to color-grade in post.

The Canon PowerShot V1 is another option, though it's quite different from the other cameras on this list. It's explicitly aimed at video creators but has a built-in 16-50mm equiv. F2.8-4.5 lens rather than a mount and uses a smaller Type 1.4 (226mm²) sensor instead of an APS-C (~367mm²) one. That means you lose out a lot on flexibility and a bit on image quality, but given how many people only ever use their camera's kit lens, that may not be a huge con for you. It has a fan for extended recording time, a built-in ND filter and quite reliable autofocus, making it a useful video tool if you're willing to put up with its limitations.

I was hoping to shoot a little of both

Part of what makes the X-M5 so interesting is that it packs a lot of photo and video capabilities into a small, stylish body. It's that last part where most of its peers don't quite measure up; if you want something with this form factor that has classic styling and is equally capable for photos and videos, you may well need to wait for the X-M5.

If you're willing to get something a bit bigger with less emphasis on aesthetics, though, the story is the same as the stills. The EOS R10 and Z50II are both quite capable hybrids and have more reliable autofocus, though their 4K60p modes come with a slightly higher crop than the X-M5's (1.56x and 1.5x, respectively).

Ultimately, there's no direct substitute that does everything the X-M5 does, especially if you're attracted to the wide range of lenses available for X-mount. But depending on your priorities, there are at least some reasonable alternatives, unlike with the X100VI.

Photo: Fujifilm

Fujifilm is moving the production of some of its most popular cameras to Japan, potentially due to the steep US tariffs on Chinese products. The Fujifilm X-T5, X-T50, X-M5 and X100VI all appear to be impacted. The latter two have had availability issues since their respective releases.

Fujifilm did not formally announce the move, but new listings with unique product names and SKU numbers have appeared on Fujifilm's online US store, as Digital Camera World and PetaPixel reported. Listings for the X-M5, X-T5, X100VI and X-T50 cameras now have "-JP" in the product name, suggesting that those are produced in Japan.

The existing X-M5 and X-T5 SKUs both show discontinued notices when you search for them at B&H. Screenshots: Abby Ferguson

There are also new listings up for the X-M5, X-T5, X100VI and X-T50 at US retailer B&H, along with discontinued product notices. When you search for the X-M5, for example, a note will appear that it has been discontinued, asking, "May we suggest FUJIFILM X-M5 as a possible replacement?" Clicking on that second name takes you to a product page for an X-M5 with "Japan" at the end of the name, and a "J" at the end of the SKU. The SKUs for the other camera have "JP" at the end. Fujifilm's UK website doesn't have any models with JP in the name. It appears, then, that production could continue in China for cameras headed to other countries.

Fujifilm had previously paused pre-orders of the X-M5 and X100VI because of the tariff situation, though it restarted US shipments earlier this month. However, that doesn't mean they are actually available for purchase right now. Production issues still seem to plague the X-M5 and X100VI, as the JP models are also listed as out of stock on Fujifilm's US site at the time of writing. All four of the cameras are listed as back-ordered at B&H, but the X-T5-JP and X-T50-JP are both in stock at Fujifilm's site.

The "new" models appear to be identical to the previous product pages, with the exception of the names. That includes the same prices. That could mean Fujifilm opted to adjust production instead of raising prices to adapt to the US tariffs. The tariffs also impact Japan, but the 10% rate for Japanese products is much lower than China's current (though unstable) 30% rate. If the prices do, in fact, stay consistent, that could be welcome news, given that Nikon, Canon, Sigma and Leica have announced increased prices because of the tariffs.

We reached out to Fujifilm for comment but did not receive a response at the time of publication. We will update this story if we receive a response.

Fujifilm has released a short teaser video ahead of a June 12th announcement, hinting at a new rangefinder-style camera in its lineup. The announcement will come at the company's X Summit in Shanghai.

The video starts with an X100 and X-Pro placed on a black background, followed by a camera that is significantly obscured in darkness. The text mentions a rangefinder-style series that is "essential when telling the story of our X Series history." It potentially suggests that the X-Pro series is still part of the lineup, even though the last X-Pro – the X-Pro3 – was released in 2019.

The DPReview team had a chance to interview Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group at CP+ earlier this year, asking him specifically about the X-E and X-Pro series. His comments at the time confirm that the X-Pro series isn't gone: "Our plan hasn't changed, we still plan to launch a successor to X-Pro3, but we don’t have a date, yet. And X-E of course, too. We haven’t abandoned the line either."

When asked if the X-E series would return to its enthusiast-focused roots, Igarashi explained, "There’s nothing that’s perfect, which is totally unchangeable: it’s something we consider every time we come up with the next version." Jun Watanabe, Fujifilm's Product Planning Manager, commented on the types of users they are building the next X-E for, explaining that "They love the rangefinder style." He also said, "They love daily life photography [and using X-E] as a snap camera. They love the style and the design."

Based on the comments at CP+ and the limited amount of detail contained in the teaser video, it seems feasible that we could be seeing the next X-E or X-Pro. However, we'll have to wait until June 12th for the reveal.

Photo: Kevin Mahoney

Hiking with a camera can be incredibly rewarding. It can open up new opportunities for photographs and refresh creativity. However, it also presents some challenges. Finding a way to keep your gear safe while carrying it comfortably can be tricky, especially on more rugged hikes. Add in larger cameras or lenses, and things get even more difficult. While finding the ideal solution for each individual takes trial and error, below are some tips as you get started.

Quality camera bag

Shimoda is one company that makes rugged, adventure-specific camera backpacks. Photo: Gannon Burgett

First and foremost, a quality camera bag is a must to keep your gear safe while allowing you to bring other essential hiking items. When looking for a backpack or bag for hiking with your camera, choose one made of durable, weather-resistant (or, even better, waterproof) materials. If your bag is only weather-resistant, make sure you have a rain cover or pack liner to keep your gear dry.

Plenty of padding and structure are also essential to protect your camera. The padding also keeps your camera safe while you have other gear packed, since you'll generally need more than just your camera during hikes.

Finally, a proper fit is critical. An ill-fitting bag could lead to chafing or back issues, making your hike uncomfortable or even dangerous. Whenever possible, try on a bag when loaded with some weight before setting out on a long hike to identify if there are any fit issues. Even better, look for a bag with adjustable torso lengths so you can dial in the fit.

Camera strap or clip

Though not specifically designed for hiking, this Magpul MS4 strap at least puts the camera in a more comfortable position than straps that are worn around the neck. Photo: Mitchell Clark

While a camera bag is necessary, you'll likely want your camera out for most of your hike. After all, if it's tucked away, you're less likely to actually use it, or you may miss a chance to photograph something fleeting. Quick access is ideal, but your camera also needs to be secure and comfortable to carry.

There are a few options for keeping your camera accessible. First, you could opt for a camera strap, though we'd recommend a hiking-specific strap. A traditional strap can put a lot of strain on your neck and back. It could cause chafing as well, especially on long hikes. A hiking-specific strap, like those from Cotton Carrier or BlackRapid, could be more comfortable than a traditional strap, thanks to extra padding. However, if you're wearing a backpack, make sure the strap works with that.

Hiking-specific straps are designed to keep the camera from bouncing around on your body.

Even more beneficial than padding, though, is the added stability. Hiking-specific straps are designed to keep the camera from bouncing around on your body. Traditional camera straps worn around the neck or shoulder allow the camera to swing when you move, sometimes with an extremely uncomfortable amount of momentum. It could lead to a broken camera if it swings out at the wrong time and hits a rock or tree. Hiking camera straps secure the camera to your body so you can hike without holding onto it to keep it protected.

The Peak Design Capture Clip is one way to keep your camera quickly accessible, though it works best with smaller setups. Photo: Seth Halleran

If a strap isn't your style, some companies make clips that attach your camera to your backpack. Peak Design's Capture Clip is a popular example. It connects to a backpack strap or belt and uses a quick-release-style plate to give you quick access to your camera while keeping it secure against your body. That said, depending on your body, your camera setup and your backpack, those clips can put the camera in quite an uncomfortable position. Be sure to test it before setting off on a long hike.

This camera backpack was not a good fit for my body, so it was rather a pain to hike with. Photo: Kathryn Melheim

Final thoughts on hiking with a camera

Hiking with a camera doesn't have to be overly complicated or require loads of fancy, specialized gear. The key is finding a setup that is comfortable for you so that you want to bring your camera along while keeping you and your gear safe.

The Wacom Cintiq 16. Photo: Wacom

Wacom has announced its latest pen displays, offering three new models with the Cintiq 16, Cintiq 24 and Cintiq 24 Touch. Unlike the company's Intuos lineup, the Cintiq series features displays, allowing them to function as monitors and touch-sensitive devices. The latest Cintiqs offer slightly larger displays yet thinner designs, and subtle upgrades across the board.

The lineup now includes the Cintiq 24 Touch, which offers 10-finger touch capacity in addition to pen control. Previously, you had to opt for the Pro models of the Cintiq lineup if you wanted touch control. The Cintiq 16 and Cintiq 24 do not offer touch control.

The existing Cintiq lineup included a 16-inch and 22-inch offering, but the company has bumped the larger one up to 24 inches for greater screen real estate. Even the 16-inch received a slight bump in screen size as well. Despite the larger sizes, both are slimmer than the previous models. For example, at 22mm, the Cintiq 24 is almost half the thickness of the Cintiq 22.

The Cintiq 24 offers a large display. Photo: Wacom

The resolution of both sizes is also greater than the previous models, jumping from full HD to 2560 x 1600 for the smaller device and 2560 x 1440 for the larger. Wacom improved color gamut on both, with each now covering 100% of sRGB. Cintiq also increased the maximum brightness substantially. All of these upgrades should offer a better experience for photographers looking to edit their images with the Cintiq tablets, even when working in bright locations.

Wacom released the Pro Pen 3 in 2022, but announced it again in February with its major refresh of the Intuos Pro lineup. Now, the Cintiq series benefits from the updated pen as well. All new Cintiq models are compatible with the Pro Pen 3, which offers lots of customization, responsiveness and accuracy.

The Cintiq 24 and Cintiq 24 Touch include an adjustable stand. All three models are VESA-compatible (75 x 75mm). Image: Wacom

Additional upgrades include new anti-glare etched glass to reduce reflections, making it easier to see while editing or drawing. A USB-C port joins the existing HDMI and USB-A connections. The Cintiq 24 includes the Wacom Adjustable Stand, which allows for a range of angle adjustments, while the Cintiq 16 comes with fold-out legs. The Cintiq 16 is compatible with the stand, though it is a separate purchase.

The Wacom Cintiq 16, Cintiq 24 and Cintiq 24 Touch will be available sometime this summer, costing $700, $1300 and $1500, respectively.