You may soon have to pay tariffs on older gear too, if it's shipped from outside the US. Photo: Abby Ferguson

The US' de minimis exemptions, which used to protect purchases under $800 from tariffs and duties, will be going away on August 29th, according to the White House. The policy change will have a massive impact on direct-to-consumer brands like AliExpress or Temu, but could also affect Americans shopping for photography gear or used cameras.

For example, say you were searching for a camera – say a PowerShot S120 – on eBay, and found one for $300 that ships from Japan. If you ordered it today and it arrived before August 29th, the price would be the price. You wouldn't have to pay anything on top of it.

However, if you bought that same camera after the de minimis exemptions go away, you'd then have to pay duties and tariffs on top of the purchase price. Yes, those recently announced tariffs even apply to used goods. It's also worth noting that the tariff you'd pay depends on where the good was originally made, not where it's shipping from; if you're buying a Chinese-made camera from Japan, you'll pay the 30% tariff that applies to Chinese exports, not the 15% one for Japanese goods.

The change could substantially increase the cost of buying vintage cameras in the US

This could substantially increase the cost of buying vintage cameras in the US, so if you've been hunting for something in particular, now may be the time to act. Of course, it won't make a difference on items over $800, as those wouldn't have been exempted anyway.

There is some nuance to exactly how much extra you'll be charged, as it's different depending on how your package is shipped. However, the upshot is that you'll be paying more than you would've on packages that came in before August 29th.

This change has been on the horizon for a while. Recent legislation passed in the US already mandated that the exemptions would end on July 1, 2027, and goods from China and Hong Kong haven't been exempt since early May. People buying new gear have also been dealing with prices inflated by tariffs for months, but now even used gear isn't necessarily a safe harbor.

Photo: Abby Ferguson

We've all been there: You pull up the photos you just took on your computer or phone, only to notice dark blobs in the same place on every image. It can be confusing and alarming if you're unfamiliar with them. Luckily, those spots are typically nothing to be concerned about. They are even a rather inevitable part of photography. Here's what you need to know.

What causes those spots?

See those tiny white specs on the sensor? Those are pieces of dust that are stuck, creating sensor spots. Photo: Abby Ferguson

While your first thought may be that a smudge on the lens caused the spots, that's not the case. Smudges on the front or rear element don't appear as clearly defined dark spots. Instead, those dots or squiggles you see are sensor spots.

Sensor spots are caused by hair, fuzz, grease, dust or other debris landing on your camera's sensor. Dust takes the form of dark circles, while hair and other fibers show up as dark squiggles. If you use an interchangeable lens camera, you expose your sensor to dust and debris every time you change lenses. That's especially true if you change lenses outside or in dusty rooms.

There are ways to reduce the potential for sensor spots when changing lenses (which you can learn about in a separate article), but no matter what, you'll likely end up with sensor spots at some point.

Even compact cameras with fixed lenses can get spots, though. Dust has a way of working into places. So if you notice these types of spots on images taken with a compact, it doesn't mean that your camera is broken.

How to identify sensor spots

Taking a photo of a white desk or plain blue sky can help you identify how dirty your sensor is. In this case, the sensor is in desperate need of a cleaning.

If you suspect you have sensor spots, there is an easy way to confirm that is what you are seeing, and it wasn't just a bug flying past. All you need to do is take a photo of a cloudless sky or flat, white surface. Anything that is uniformly bright with little texture will do.

To clearly show any sensor spots, close down your aperture to a large aperture value, such as F16 or F22, and adjust shutter speed and ISO so that you end up with a roughly correct exposure (essentially not an overly dark image). Switch to manual focus and focus to infinity if using a perfectly smooth subject like the sky, or slightly defocus to smooth out the background if working indoors.

You can look at the photo on your camera's display, though it's helpful to transfer the image to a computer to get a good picture of what's going on. If you identify spots on your images, there's no need to panic. You can clean your sensor, provided you use the right tools and follow the right steps. We'll be sharing more on that soon, so be sure to stay tuned.

Image: DJI

At the start of this week, 360 camera brand Insta360 announced it was entering the drone game, and now, drone giant DJI has announced a 360 camera. The Osmo 360 promises "the sharpest photos possible on the 360 camera market." It also claims a few firsts, including the first 360 camera to shoot 8K 50fps 360° video and the only 360 camera capable of recording continuously for 100 minutes in 8K 30fps.

DJI proudly boasts about the sensor found in the Osmo 360. It features two sensors that, when added together, result in around the same area as a Type 1 sensor. DJI says it is an "industry-first square HDR image sensor" that is specifically designed for 360° capture. It offers 13.5 stops of dynamic range, which, when combined with the F1.9 aperture, should help with capturing footage in low-light and high-contrast settings.

Image: DJI

The Osmo 360 supports up to 8K 50fps 360° video, as well as 4K 100fps for slow motion needs. The camera can also record at up to 5K 60fps with a single lens when 360° video isn't necessary, resulting in a 155° field of view. Or, the Boost Video mode offers a 170° field of view at up to 4K 120fps. On the photo side of things, the Osmo 360 can capture 120MP 360° photos.

Image: DJI

Beyond image quality, DJI also promises plenty of other benefits, including long battery life. DJI says it is capable of recording continuously for 100 minutes, even at 8K 30fps resolution, or 180 minutes with the Osmo 360 Battery Extension Rod accessory. It can also handle cold conditions, with over 1.5 hours of recording possible in temperatures as low as -20°C (-4°F). Charging also promises to be fast, with 12 minutes of charging resulting in 50% battery.

The Osmo 360 also provides access to DJI's tracking and control features. Intelligent Tracking will lock onto and track people, vehicles, pets and more. It is compatible with gesture and voice control, and offers the company's RockSteady 3.0 stabilization to reduce shake and smooth out video while moving. Users also have access to its HorizonSteady mode to automatically keep footage level.

Image: DJI

Like the Insta360 360° cameras, the Osmo 360 hides the selfie stick in footage with no editing necessary. Users can edit content from the Osmo 360 on either the DJI Mimo or DJI Studio apps, or using the Premiere plugin. Additionally, the Osmo 360 offers 105GB of built-in storage.

The camera offers an IP68 waterproof rating and can be used at depths up to 10 meters (32.8'). However, DJI says it is not recommended to use the camera body for long-term underwater shooting or with high water impact pressure. It also explained that the fisheye lens design will result in light refraction that may cause distortion and stitching errors when underwater.

Unfortunately for US customers, the DJI Osmo 360 will not be for sale in the US via official DJI channels. It added that it doesn't have a current timeline for when it will be available in the US.

For those outside of the US, the camera is available today. In Europe, the Standard Combo costs €480, while the Adventure Combo costs €630. In Canada, the Standard Combo is $430 while the Adventure Combo is $580 (the DJI Store can only accept USD, EUR and RMB).

Manufacturer sample images

85%

Overall score

Jump to conclusion

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 enthusiast-friendly outlook of the original X-E models and gains image stabilization 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 Fujifilm 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 the US. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at, and in Canada it's CAD $2000: a 5% increase over the X-T50's launch price.

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

Index:

• What's new
• How it compares
• Body and handling
• Image Quality
• Autofocus
• Video
• In Use
• Conclusion
• 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 simulations, 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. With no scale to the indicator, you'll just have to learn to interpret what it's indicating for anything other than the centered position. It's visually in keeping with the rest of the camera's looks, though. 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 the US it matches the X-T5.

The high price (in the US, 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 the US, 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 JPEG-only mode, from 12-bit readout

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 as the tariff situation evolves.

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, it's 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 most 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 a tilt up/down, 1.04M dot (720 x 480px) display, the same panel used by the X-M5's fully articulating screen.

Battery

The X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Fujifilm says it's rated to get 310 shots per charge, which is just a touch more than 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.

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, full even light and low directional light, to see the effect of different lighting conditions.

As expected, the X-E5's Raw detail capture is identical to Fujifilm's other 40MP cameras, and it outperforms the 24MP Nikon Z5II and 26MP Sony a6700. Its images also have more detail than those from its 26MP predecessor, the X-E4.

Its base ISO noise performance is on par with the rest of the current-gen APS-C competition, and it's a bit cleaner than the X-E4; no surprise, given that its base ISO is 125 while its predecessor's was 160. The full-frame Z5II, however, provides around a stop improvement in noise, which follows its increased sensor area.

These trends continue at mid to high ISOs, and the X-E5's lead in detail slips away past around ISO 1600.

The camera's JPEG engine isn't quite as good as its competitors at emphasizing fine details, even at base ISOs, so its lead isn't as apparent as it is in Raw. However, it continues Fujifilm's tradition of offering pleasing colors and does a decent job of retaining details even while reducing noise at higher ISOs, though its performance does suffer a bit in low-contrast areas.

Dynamic Range

This sensor has always offered excellent dynamic range with low read noise, and it's no different in the X-E5.

Exposure Latitude | ISO Invariance

This means it offers plenty of room to bring up shadows in post, so you can make the most of its maximum dynamic range at base ISO. Its design also lets you choose to extend dynamic range when shooting in low-light scenes, as long as you're willing to use a lower ISO to reduce blown highlights.

Autofocus

The X-E5 has the same autofocus system that Fujifilm's used in many of its recent cameras, which provides a lot of flexibility for your focus selector, with sizes that range from a single point to customizable zones and a wide area. In continuous autofocus mode, the wide area is replaced by the tracking mode, where you get a box that you can place over your subject, which the camera will try to follow. You can select your focus point using the joystick, by directly touching the area you want to focus on with the touchscreen or using a configurable section of the screen as a touchpad when the camera is to your eye.

All these modes can be used in conjunction with the camera's AI-derived subject recognition system, which has been trained to pick out humans, animals, birds, cars, motorcycles/bikes, planes and trains. The X-E5 will automatically jump to a recognized subject if your focus point is over or around it, though it does a good job of not jumping to a subject if your selected area is far enough away from it.

Humans and their faces/eyes are a separate function from the rest of the subject detection modes, which can make it more of a hassle to use; if you want to set a custom button to turn on subject detection, you'll have to decide whether you want it to be for humans or something else (or devote two buttons to switching between them). Other brands' systems side-step this issue by having humans listed as a subject alongside the others that the camera can recognize.

You choose between AF-S, AF-C and the manual focus modes using a switch on the side of the camera. Despite being placed on a part of the camera that you may touch frequently, it's stiff enough that we didn't find ourselves in an unexpected mode too often.

Autofocus Performance

Fujifilm XF 33mm F1.4 | F1.4 | 1/950 sec | ISO 160 Photo: Mitchell Clark

The X-E5's autofocus system is generally quick and reliable, doing a good job of focusing on whatever you've put your focus point over. The vast majority of the shots we took while testing it were perfectly in focus, with only a few coming out a touch soft.

Fujifilm's tracking system continues to be off the pace set by the likes of Canon, Nikon and Sony, but in most situations, it got the job done. It was occasionally distractible, wandering off the target or failing to lock onto it. It's at its best when using subject recognition, though even then, we've historically found that it can occasionally misjudge distance (especially for moving objects) or wind up focusing on someone's eyelashes rather than their pupils.

Those issues seem like bigger shortcomings on Fujifilm's higher-end cameras meant to take on sports and action cameras than they are for this style of body, though; for most use cases, its autofocus system should prove sufficient. That's especially true if you spend some time optimizing your settings.

Video

The X-E5 has a microphone jack, but no headphone jack aside from the ability to use a USB-C to headphone adapter.

The X-E5 isn't designed to be an ultra-capable hybrid shooter, but it essentially has the same mix of resolutions and features as the X-T50, with the ability to shoot 6.2K footage and oversampled 4K derived from it. Like that camera, the X-E5 has a microphone socket but no port for headphones, though it does come with a USB-C to 3.5mm adapter in the box if you really need to monitor audio.

It has some provisions for those who want to take video of themselves: the display has a second articulation point so you can flip it up for a selfie view (though pretty much any microphone will block it).

The X-E5 also has Fujifilm's classic Movie Optimized Control setting, which does a good job of keeping your settings for stills and video separate; it ignores the settings on your shutter speed, exposure compensation, and aperture dials. While this setting makes it easier to switch between modes, it unfortunately also makes it so you can't use the film simulation dial either.

That's a bit of a shame, since the video mode actually supports recipes too. Your settings won't carry over from your stills recipes, and there are far fewer parameters to tweak, but you can make at least some changes to the underlying simulations.

Video performance

The carryover from the X-T50 means it provides solid levels of detail, especially in its 6.2K and HQ modes, though they have a relatively slow 24.9ms rolling shutter rate, which can result in a jello-like effect when shooting fast-moving subjects or panning the camera quickly. The standard 4K mode still provides a fair amount of detail, but with only 15.3ms of rolling shutter, which is quite decent.

Unlike some of Fujifilm's more video-focused cameras, the X-E5 isn't compatible with the company's fan accessory, which can extend video record times. However, it doesn't seem particularly eager to overheat, especially if you're only trying to shoot short clips.

In Use

The X-E5 takes the series back up-market, and it definitely feels the part. Fujifilm says the aluminum top plate is made using the same process as the GFX100RF, which allows for a beveled edge that the dials are inlaid into. The knurling on those makes them easy to locate and operate, and the camera has a solid feel overall.

Speaking of the GFX100RF, the X-E5 comes with the same rope-style shoulder strap. While it certainly looks fancier than the traditional pack-in strap, it's an absolute pain to install, even with the plastic tool Fujifilm packs in the box. The tiny eyelets on the camera are low-profile, sure, but that does mean you'll have a far from premium experience as you struggle to get the included strap's snap-rings onto them.

The X-E5 will be very familiar to anyone who's picked up a Fujifilm recently

Once you've got past the strap or installed your own (Peak Design includes a similar tool and snap rings with its ever-popular anchor straps, and the installation is way easier), the camera will be very familiar to anyone who's picked up a Fujifilm recently. The menus are largely unchanged, for better or worse, depending on your level of familiarity with them. Of course, there is the inclusion of a new trick: the recipes system.

We've written a more in-depth piece about those here, but if you find that you're not satisfied by the built-in (and, likely, more subtle) Film Simulation color modes, they'll be lots of fun to play around with. They also make a more compelling case for the Film Simulation dial than previous iterations by giving it an extra layer of control. And while editing a Raw will always give you more flexibility, seeing the style as you're shooting may change how you compose your scene, or what you decide to take pictures of.

The system won't be for everyone, and it has its flaws: you add the recipes by setting up to a dozen parameters, while other camera systems let you download community-made looks through their app, and they aren't available everywhere that you might use a Film Simulation. But for those that are interested, it provides easy access to the ability to put your own mark on your JPEGs.

Like with the X100VI, it can feel like the X-E5 has more controls than necessary. While we're happy to see the second command dial return, having both be the clicking variety and adding a front toggle switch* with an extra button on the front and a bluetooth button on the bottom risks making it feel a little unfocused and unclear how you're expected to operate the camera. For some, that won't be an issue, especially on an ILC, but those concerned with the purest photo experience may need to learn to ignore some of the buttons, dials and functions.

* with four functions: two for a press in either direction, and two for long presses that take just a little too long.

Conclusion

By Mitchell Clark

Let's address the elephant in the room first: the value proposition of the X-E5 will be substantially different depending on where you live. In the US, it costs as much as the higher-end X-T5, where in other places it costs as much as the lower-end X-T50. Compared against the latter, its single card slot, relatively small viewfinder and lack of weather sealing are par for the course, but they're starkly contrasted by the former's capabilities.

While that's certainly something potential buyers will have to consider, it's almost beside the point. The main reason to get an X-E5 isn't necessarily for its capabilities, but because it's one of the few cameras with a high-resolution sensor and up-to-date processor to come in a rangefinder-shaped package.

Is the X-E5 a substitute for an X100? It very well could be, depending on your needs.

That styling is very 'in' right now. Even 18 months after its announcement, the popular X100VI is still hard to get at list price, and the X-E5 comes very close to replicating the experience of using one, apart from the appeal of a fixed lens and the compelling hybrid optical viewfinder.

That's good news for enthusiasts who are, ultimately, the ones who will most likely be interested in this camera. Its predecessor, the X-E4, had stripped-back controls which made it less engaging to use and an unstabilized sensor. The X-E5 no longer asks you to make those compromises to get a classically-styled body that's easy to pack with you, depending on your lens choice. It comes with the full suite of tech that you'd get from many of Fujifilm's other current-generation cameras.

That means it inherits some of the parts of Fujifilm's formula that would benefit from an update in the next generation, such as its autofocus system and complex, non-touch-friendly menus. However, the company is also clearly continuing to make improvements. The recipe feature, in particular, does a good job of putting control over one of Fujifilm's greatest strengths: its JPEG colors, right at your fingertips.

Of course, that's not to say it's perfect. We would've liked to see a higher resolution and magnification viewfinder, though that likely would've made the camera larger. More focused controls and an autofocus system with performance closer to its competitors' would've also been nice. And while Fujifilm isn't entirely to blame for the US pricing, a camera coming in at double what its predecessor cost will always be a bit hard to swallow, even with the move back up-market.

Still, we're happy that move has happened, and that the X-E5 remains a photography focused tool. If you're not into rangefinder styling, there are certainly more capable options, especially if you're paying the price demanded in the US market. But if that's important to you, Fujifilm has done a great job with this camera, and it's one of your best options in the absence of any updated X Pro. For that reason, we feel it handily earns our Silver award.

Scoring

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

Compared to its peers

In most countries, the Fujifilm X-T50 is the more direct comparison in terms of price and specifications. Its SLR styling allows for the inclusion of a built-in pop-up flash and it has a higher-resolution screen, but otherwise the two cameras have very similar capabilities, though the X-T50 build quality and controls are aimed more towards beginners, while the X-E5 feels built for enthusiasts. At time of writing, the recipes system hasn't made its way to the X-T50, despite it also having a Film Simulation dial.

Sony's a6700 is a very technically capable camera, with an autofocus system that's more reliable than Fujifilm's and a chunky grip that should make it comfortable to use with a wider array of lenses... though Sony remains a runner-up to Fujifilm when it comes to the expansiveness of its APS-C lens ecosystem. Interestingly, the a6700 uses the same sensor as Fujifilm's budget model, the X-M5, though it adds stabilization, which that camera lacks. Its headphone jack and fully articulated screen make it a much better choice for video, though we suspect some photographers will struggle to find joy shooting with it.

The full-frame Nikon Z5 II is, in many ways, a more capable camera: its full-frame sensor provides better image quality, and it comes equipped with dual card slots, a larger, brighter viewfinder, weather sealing and a more reliable autofocus system. However, the boost in image quality also comes at the cost of larger, more expensive lenses, and its styling is more conventional.

In the US, Fujifilm's X-T5 is similarly priced to the X-E5, but it has a very different focus. Its much larger and higher resolution EVF, weather sealing and dual card slots mark it as a camera that could happily act as a professional workhorse. Its focus is less on size and looks, and more on giving you an incredible amount of control at your fingertips. It trades the film simulation dial for an ISO one, which may have more appeal to some photographers.

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.

Pre-production sample gallery

Image: Viltrox

Viltrox is expanding its Air series of compact and lightweight lenses with the newly released AF 15mm F1.7 Air APS-C lens. The latest Viltrox lens features a large F1.7 aperture and promises quiet autofocus and "rich bokeh" with a focal length ideal for street scenes, landscapes and architecture.

The lens, offering a 22.5 mm equivalent focal length, is available for Fujifilm X, Nikon Z and Sony E-mount APS-C cameras. It weighs just 180g (6.3oz) and is only 56.4mm (2.2") long. The compact size makes it ideal for smaller APS-C cameras and travel.

Image: Viltrox

The AF 15mm F1.7 Air is comprised of 12 elements in 10 groups, which includes 3 ED lenses, 3 HRI lenses and 2 aspherical lenses. Viltrox says that it will maintain clarity and contrast even in difficult lighting conditions. It features nine aperture blades that Viltrox says will produce smooth and "impressive" bokeh and a 58mm filter thread. The front lens is splash-resistant and has a coating to resist oils and liquids.

An STM motor powers autofocus, which will work with eye and face tracking. Viltrox says there is minimal focus breathing, making it ideal for video use as well. The lens has a minimum focusing distance of 22.9cm (9"). It supports EXIF information and features a USB-C port for firmware updates.

As expected for a Viltrox lens, it is also affordable, with an MSRP of $239. It's available for purchase now.

Specs

Photo: Dale Baskin

If you're like most enthusiast photographers, your camera equipment represents a sizable investment. It's natural to want to protect that gear, but just how careful do you need to be?

There's no single answer. Everyone has their own risk tolerance. What's acceptable to one might be reckless to another. Of course, it also depends on your gear; professional-grade equipment tolerates more extreme use than entry-level. However, in my experience as a professional photographer, workshop leader, and over a decade of reviewing gear, most people are more careful than they need to be.

I'm not suggesting you throw caution to the wind, but let's look at common dangers to your camera equipment and how careful you truly need to be.

Impact damage

You're right to be concerned about drops, bumps, or other impact damage. Cameras and lenses are well-made, but they're not military grade. You don't want to scuff, bend, or break things.

I often hike with a pack designed for minimal camera gear. If I need to take more, I'll sometimes wrap a lens in a fleece jacket and stuff it in the top of the pack. Photo: Dale Baskin

It makes sense to protect your gear, but you don't need to baby it. I've seen people who won't go anywhere without a padded bag or protective case. Those are great, but often unnecessary. Wrapping your camera in a t-shirt in a daypack for a hike, or rolling it up in a towel for travel, will likely suffice.

In my experience, most impact damage happens when cameras are outside their bags, often due to a lapse of attention. For example, I've seen people trip over their own tripod leg, knocking the camera to the ground, or bend over, forgetting a camera around their neck, only to have it swing wildly and hit something. Sometimes, the best protection is old-fashioned situational awareness.

Rain or inclement weather

One of the most common fears I encounter is concern about water or moisture. Water is a danger to electronics and optics, but many camera users are more concerned than they need to be.

I've seen people travel thousands of miles for a workshop, only to pack up their camera at the first sign of a minor drizzle. They don't want the camera to get wet, but in most cases, they're not giving their camera enough credit.

Don't put your camera away just because it starts raining. Most cameras, particularly models with weather sealing, handle rain pretty well. Just be reasonable about it. Photo: Dale Baskin

Many modern cameras include some level of weather protection, often with ambiguous descriptions like "splash-proof" or "dust-resistant." Even without these claims, your camera will almost certainly be fine for a little while in a light drizzle. My advice? If your camera advertises any weather protection, you're probably fine using it in the rain, and even if it doesn't, your camera isn't going to melt if it gets a few raindrops on it. Just be reasonable about it.

One luxury I've had as a DPReview editor is the opportunity to use many mid-range cameras in absolutely terrible, wet conditions, sometimes with water dripping off them for extended periods. Every single camera I've done this to kept working. I'm not suggesting carelessness, or that water will never cause a problem – just that gear may tolerate more than many imagine.

Sensor damage

We all agree on the need to keep a camera's sensor clean. But what if you're out shooting and notice a dust speck? What do you do?

I've seen it too many times: a workshop participant discovers a horrendous dust spot but is afraid to do anything in the field for fear of damaging the sensor. They end up with hundreds of photos, all with the same dust spot.

We've all been taught to treat camera sensors very carefully, but don't let sensor dust ruin your day. Photo: Mitchell Clark

Conventional wisdom says to be cautious when cleaning sensors, and I won't argue that. But they're not made of unobtanium. I know the user manual probably recommends removing dust in a clean room with a specialized swab, but be pragmatic. In most cases, it's okay to use your Rocket Blower to shoot some air on the sensor to remove it.

Just don't use compressed air in a can, which might spray chemicals onto the sensor.

Extreme temperatures

Extreme temperatures are worthy of caution. If you're shooting in cold conditions, there's not much to worry about other than getting cold yourself. I've worked outside for extended periods at -20°C (-4°F), usually giving up before the camera. However, if something feels stiff or frozen, don't force it.

Graphic: CDC

Hot weather is another matter. Heat can damage sensors, electronics, and warp plastics. While it's unlikely you'll be shooting in conditions hot enough to vaporize lens lubricants, the most common heat damage is storing or transporting gear in places that get extremely hot, like a car trunk. Take precautions to protect your gear in extreme heat.

Dust, sand or other debris

Small particles like dust and sand can be a nightmare. Beyond sensor dust, sand can get into lens mounts and gears, or scratch surfaces like viewfinders and lenses. You'll obviously want to avoid this, but don't let it prevent you from enjoying your camera.

Occasional use in sandy or dusty environments is OK as long as you're careful and clean your equipment at the end of the day. Photo: Dale Baskin

Using your camera at the beach or in sand dunes is fine, but use common sense: don't change lenses on a windy, sandy beach, and wipe down your gear at the end of the day with a damp microfiber cloth. With a little precaution, occasionally using your gear in dusty, sandy environments is generally not a problem for most gear.

The take-home message

I'm never going to judge anyone for taking care of expensive gear. We all have our own risk tolerances, and I appreciate that people have different motivations for owning gear – sometimes it's a tool; other times, it's just something they enjoy using.

However, my observation over the years is that many camera owners don't trust their gear enough, and many are more protective than necessary. And if you're so protective of your gear that you can't enjoy using it, what's the point?

Image: Canon

Canon has already raised prices of its equipment for US customers once because of tariffs, and now, it has shared that another increase could be on the way. The company recently released its second-quarter and first-half financial results for the 2025 fiscal year, and in those materials, it discussed how the US tariffs impacted the brand.

In the Q&A session with investors, Canon said that the impact of increased costs would be between roughly 15 and 16 billion yen ($101 to 107 million). To deal with that, the company said it is "considering how to respond," and that it could end up passing on costs via price increases. However, those increases wouldn't be a flat rate across the board. "Rather than applying price increases evenly, we will consider this on an individual product basis, taking into account product competitiveness," it said.

It plans to make up for that by "reducing costs and raising prices."

Canon said it hasn't been able to calculate an estimate of the impact of tariffs for the next fiscal year, but it is assuming the impact will be twice what it saw in the six-month period of this year. It explained that it plans to make up for that by "reducing costs and raising prices." The company reiterated that it will be looking at the competitiveness of each product and coming up with a plan based on that, instead of applying a blanket increase for everything. That gives the company the flexibility to increase prices on specific items and absorb the costs on others.

Canon also said in the Q&A session that it has been working to transition production locations for several years. "Regardless of the current tariff issue, for several years, we have been promoting a return of production to Japan based on our ability to automate production, with a focus on cameras," it explained. It also mentioned that it has a plan to increase productivity "by utilizing external resources for low added-value products." Whether that extends to anything related to photography or videography is unclear.

Another piece of information that Canon shared in the Q&A session was that it saw a rise in demand in May after announcing it would increase prices. Canon first shared that it would be increasing prices in the US because of tariffs in its first-quarter financials announcement in April.

Sales in the U.S. are expected to fall in the second half of the year due to price hikes.

Those increases finally hit products in June, and Canon said it saw a decline in demand after the higher prices were in place, a trend it expects to continue: it told investors that "sales in the U.S. are expected to fall in the second half of the year due to price hikes resulting from additional tariffs," but that it plans to make up the difference with increased sales in "Asia and other areas."

The tariff situation has been a complex and confusing issue, making it difficult for companies to plan. Promising at least some stability, trade deals were recently announced with Japan and Vietnam, where Canon makes some of its gear. Those deals resulted in tariffs of 15% and 20%, respectively, on imports to the US. While those numbers are substantially lower than the threatened rates, they are higher than the 10% that has been in place since the 90-day pause on full tariffs announced in May. So, Canon still needs to account for the higher costs of shipping products to the US with these new rates.

Image: Fujifilm

Fujifilm has put out a series of support documents that aim to help people get the most out of its cameras' autofocus systems. The articles, which explain the continuous autofocus custom settings and offer advice for shooting particular types of subjects, contain lots of details that previously wouldn't have been as easy to find.

In a FAQ document titled "About AF-C custom settings," the company goes through all the ways you can tune its continuous autofocusing system, and what effects changing the settings will have. For example, the tracking sensitivity section explains that if you select the 0, or "quick" setting, the camera won't try to predict the subject's movement at all, whereas setting it to 4, or "locked on", will have the camera continue to predict how the subject is moving for 1.3 seconds. It also gives time values for each of the settings in between.

A chart in the article describing how the tracking sensitivity setting works. Image: Fujifilm

That kind of granularity could help users trying to make sure their camera doesn't get distracted by obstacles moving in front of their selected subject, a scenario common in sports and wildlife photography. The FAQ even gives specific recommendations, saying that settings 3 and 4 will work best for soccer, while 0 would be more appropriate for skiing and skateboarding.

These options aren't available on every Fujifilm camera, but the page has a chart showing which autofocus settings and features are available on each of its models.

This article is complemented by other explainers that cover Fujifilm's recommended settings for taking pictures of birds, running dogs, and children, with the former two even including lists of recommended lenses. And while the About AF-C custom settings article covers video, the company also has an article that specifically breaks down focus tracking while recording.

The documents may be extremely helpful for those trying to get the most out of their cameras, and comes after a period of dissatisfaction among some of Fujifilm's users regarding their cameras' autofocus performance. Last year, the company put out firmware updates for many of its cameras that focused on improving AF performance, after complaints from some users that previous updates had actually made the system worse.

Special thanks to forum user neutrino1 for sharing these articles.

The rubber on older cameras can sometimes "revert," turning tacky or even liquefying, after many many years.

When buying a new or especially used camera, it's easy to wonder: how many years will I get out of this? While many consumers expect to replace their phones every few years, it's not unusual for photographers to see their cameras as a long-term investment.

As for how long term, there are a variety of factors involved. In this article, we'll cover some of the things that can lead to a camera expiring and how long they take to manifest.

The short answer: it depends

Unfortunately, there's not one exact answer on how long a given camera will survive. We'll be discussing some average lifespans of various components in this article, but it's worth keeping in mind that those are just averages; some copies will die well before those milestones, and some will last long after. Two cameras built with the exact same parts on the exact same day may have drastically different lifespans.

The way you use a camera will have an impact on its lifetime

It's also worth noting that the way you use a camera will have an impact on its lifetime. Photographers who only shoot in climate-controlled buildings can expect their gear to last longer than someone who chucks theirs in a backpack and heads into the wilderness, subjecting it to a blazing sun and constant sand. Likewise, someone who takes thousands of photos a day will need to buy a new camera more often than someone who only occasionally takes pictures.

With that out of the way, let's take a look at some of the most common points of failure and around how long you can expect them to last.

Mechanical shutters: moving parts don't last forever

Many (though not all) cameras use a mechanical shutter to start and/or stop the process of exposing the sensor to light. These are small, complicated parts that move very quickly, which isn't a great formula for something that you want to last forever.

The shutter mechanism is one of the most complex mechanical parts in your camera. Photo: Mitchell Clark

While most manufacturers don't provide an estimate for how long the shutter of every camera will last, it's not uncommon for them to provide ratings on their higher-end models. For example, Panasonic rates the S1RII's shutter for 400,000 actuations, while Canon rates the 1DX III's for 500,000.

Again, these are just averages – any particular camera may not reach that number, or it may vastly exceed it – but they provide an upper limit to how many photos you can expect to take with a camera before you have to worry about the shutter breaking. It's also worth noting that lower-end cameras likely have less robust mechanisms with no particular rating, so the manufacturer probably won't fix them under warranty if they break before what feels like their time.

While most cameras can operate in e-shutter only mode, your mechanical shutter breaking is probably a good sign that it may be time to start looking for a new camera.

Other moving parts

If you have other moving parts on your camera, such as an articulating screen, or port covers, those could also eventually wear out after repeated use. Again, if you treat them kinder, you'll generally get more out of them, but even with the gentlest touch ribbon cables that connect electronic components like displays will eventually wear out after flexing enough times.

If you tilt a screen back and forth enough times, the hinge or the ribbon cable (or both) will likely give up.

The same is true for ports. Some ports are more fragile than others – we're looking at you microHDMI – but if you plug and unplug something enough times, it can eventually wear out, making the connection less stable, or having it the port fail altogether. USB-C, for example, is rated to last for around 10,000 insertions.

Neither do electronics

Many photographers won't take hundreds of thousands of photos with their camera, but even the stationary parts have an expiration date. While there have been improvements in electronic components' longevity, they don't necessarily last forever. Given how complicated they are, even one component in your camera failing could spell game over for it.

In most cases, though, even components with limited lifespans like capacitors and solder joints can last for a decade or two, depending on how they're designed. However, it's something worth considering if you're looking to purchase a much older used camera.*

* - This warning brought to you buy the author's now-expired Nikon F3, which has some sort of electronics failure.

New batteries can be a new lease on life

If you have an older camera and it's starting to behave oddly, it may be worth trying a new battery in it if you can get your hands on one. You're probably aware that the lithium-ion batteries that are common in cameras will lose capacity as they're charged, drained, and recharged, but as they near the end of their life, they can also fail to provide the voltages the camera expects under some scenarios. This could lead to it seeming like your camera is broken when the issue is really that it's not getting the power it requires.

Physical life versus useful life?

It's okay to outgrow a camera that still has life left in it. Photo: Dale Baskin

It probably goes without saying, but just because a camera is still kicking doesn't mean it still meets your needs. For some, it can be easy to fall into the mindset of "well, I can't get rid of a perfectly functional camera," even when more recent models may be much better-suited to their needs.

If you find that your gear is holding you back in some way – perhaps the autofocus isn't keeping up with your prefered subjects, or the sensor doesn't quite have enough dynamic range or resolution – it may be worth selling or donating it to someone whose needs it will meet, and looking for a camera that's better suited to you.

In summary: don't worry (too much) about it

If you're buying a camera from a reputable brand, the odds are good that it won't just fall apart during its natural life; we'd expect most cameras to last between 10-20 years before their construction really starts to become a concern. After that, you may need to start thinking about the lifespan of their electronics, plastics and the complicated mechanisms that make them work.

The main factor in how long your camera lasts will be how you treat it. If you take care of your camera it should serve you well for a long time... or at least until you get the itch to upgrade.

Photo: Adobe

Adobe has announced its latest updates for Photoshop, which it says aim to address common pain points for photographers and creatives. They include a few new tools, launching as betas, and improvements to the remove tool.

The most substantial new feature is Harmonize, which promises to make the process of creating composite photos easier and faster. The tool was first previewed as Project Perfect Blend at Adobe Max in October 2024, but it is now ready for testing in beta.

Harmonize uses Adobe Firefly to analyze new objects and the context of the original image. It then automatically adjusts the new object's color, lighting and shadows to create a more natural composite image with a single click. Users will still need to adjust scale and perspective. Still, this tool could be a big time-saver for interior designers creating staged imagery, marketers creating campaign visuals or artists creating composites. Harmonize will be available in beta for Photoshop on Desktop and web, and in Early Access on mobile.

The Generative Upscale feature promises sharp, clear results when upscaling images. Photo: Adobe

Adobe has also introduced Generative Upscale, which it says has been one of the most requested updates from the community. It's available in Photoshop beta on desktop and web and can increase image resolution up to eight megapixels. Adobe says it will make images look sharper and more detailed. That said, the team's demo of upscaling an old, scanned photo of a couple showed quite a bit of smoothing on the skin and other features, giving it a rather AI-type look. However, its upscaling example of an AI-generated image showed more sharpness and detail.

Adobe has strong competition on this front, given that dedicated AI upscaling programs, such as Topaz Gigapixel AI, offer more settings and control. Still, it could be a good option for those who would like to keep all their editing work in one program and don't need advanced control over upscaling.

Adobe says the remove tool will provide better results in the new beta version. As you can see on the right hand side, though, it still may add new objects. Photo: Adobe

The Remove Tool is also getting an update thanks to the latest Firefly model. Adobe explained that people have been using Generative Fill to remove things, but it wasn't specifically designed for that, and it would often add random new objects as a result. However, the Remove Tool was designed explicitly for removing items, and Adobe says it won't add new things as often as Generative Fill. That implies there will still be some surprise additions from time to time (indeed, such was the case in the example image Adobe provided), but it should be less frequent. Adobe also says that results will be more precise and natural in the latest iteration.

Both Generative Upscale and Harmonize use Adobe's generative AI credits, which it began enforcing with the new plans rolled out in May this year. Luckily, the newly improved Remove Tool does not use generative credits, so you can remove to your heart's content. That's a relief to hear, since it's such a commonly used feature for Photoshop users.

Some of the images were taken at the wedding reception described in our shooting experience article.

Read our Sony RX1R III shooting experience

As usual, all images are presented as unedited, out-of-camera JPEGs unless otherwise stated, and Raw files are available to download so that you can run them through your preferred workflow, once support is available.

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.

It turns out the RX1R III takes the kinds of photos I like to take, and does so in a package I can carry around, without too much inconvenience or intimidating would-be subjects. Sony DSC-RX1R III | F2.8 | 1/125sec | ISO 160 Photo: Richard Butler

I'll be the first to admit: I love a small camera with a big sensor and a prime lens. They were commonplace in the film era, but had all but died out after the transition to digital, with only Ricoh keeping the faith with its GR Digital models. I remember distinctly when Sigma announced it was developing the DP1, and the excitement when Fujifilm pre-briefed us about its plans to make the type of camera we'd been asking for, for years: the X100.

I want to make that clear, because recognizing this about myself was critical to making sense of my time shooting with the RX1R III. I'd just been writing about how its specs and size compare to the a7CR: an ostensibly a better camera in nearly every respect. So why was I enjoying the RX1R III more?

It was a friend's wedding reception. He'd asked if I'd be willing to DJ for a bit and maybe take some photos, leaving me switching between multiple roles. I agreed on two conditions: that I'd DJ early enough that I wasn't responsible for getting the crowd dancing, and that I wasn't going to be the principal photographer. Both those tasks are highly skilled and specialised, and although I enjoy both, I'm not the best person to turn to, for either.

Having received the Sony earlier in the day, I decided to pack it alongside the Nikon Z5 II I already planned to take (with 24-70mm F2.8 and 85mm F1.8, just in case portrait opportunities arose, since you ask).

Very quickly, I realised that the RX1R III was the better camera for the job. With the Nikon I kept switching lenses, as I vacillated between asking people to pose for photos and trying to capture the uninterrupted atmosphere of the event. With the zoom mounted, I couldn't quite work out what I was shooting, and kept framing too wide and getting photos with a lot of background and venue.

This isn't a photo I was planning to take, but I had the camera on my wrist, just as a friend glanced down at her phone. The camera focused quickly enough for me to take this grabbed shot. Sony DSC-RX1R III | F2.8 | 1/250 sec | ISO 640 Photo: Richard Butler

The RX1R III was completely different: its size meant I didn't feel I was switching roles from guest to photographer, as I could comfortably leave it hanging off my wrist. It was also it was much less obtrusive than the Mirrorless camera. The Z5 II isn't a big camera, but with the 24-70 F2.8 on the front, it couldn't help but attract attention. By contrast the RX1 let me just pop up over people's shoulders or as I was seemingly walking past. Occasionally someone would spot me, but no one seemed intimidated by the little camera I was wielding.

I also feel the fixed focal length really helped me get my head into the task. The only question I had to ask myself was: 'how many people am I getting in shot, so how close do I need to be?' This simplicity quickly had me seeing the room through a 35mm lens, and working out where I needed to put myself. It's a similar experience to the one I had when reviewing the Leica Q3 43.

Beyond the basic concept of the camera, the thing that really jumped out at me was how well the autofocus performed. I remembered the Mark II feeling like it was being held back by its rather ponderous lens: revisiting the review immediately invoked a memory of how the camera would rumble slightly as it focused, as well as resurfacing a long-buried horror of the phrase 'Center Lock-on AF.'

The RX1R III was better in every regard, and better by a greater degree than I'd expected. You can still feel the lens as its elements are shunted around but it moves more swiftly, either through smarter algorithms minimizing the amount of movement required or some increase in the AF motor's speed. Either way, the RX1R III did a good job of finding and achieving focus, with it feeling more confident than the Nikon, as the light level fell: the opposite result from the one I'd expected.

One detail I noticed was the Auto ISO using a 1/125 sec exposure as its Auto shutter speed threshold. This use of 1/ four-times-focal-length is presumably to maximise sharpness, in the absence of any stabilization but wasn't always enough to get some of my candid shots gallery-sharp.

I didn't once notice the low resolution of the viewfinder: possibly because I've spent the last few years of my life reviewing cameras with low res finders. I tend to find changes in viewfinder resolution much more distracting than consistent low resolution, as in the moment, I'm usually only trying to get a sense for composition and checking where the focus point is, rather than trying to scrutinize detail.

As soon as I started shooting with the RX1R III, I started getting shots that reminded me of this photo: the moment at which I understood the case for the original RX1. Sony Cyber-Shot DSC-RX1 | F2 | 1/800 sec | ISO 100 Photo: Richard Butler

One of the first shots I got from the evening immediately reminded me of a photo I took with the original RX1. I instantly recalled how much I'd loved the distinction between the sharp regions and the significantly out-of-focus background. I'm not someone who really thinks of 'pop' in photos, but it's this one I always picture, when I try to imagine what people mean by it.

I was, by that stage, already an owner of the ur-X100 and I remember thinking 'this is like the X100, but more so.' But the slow focus, poor battery life and high price (or what I thought was one, back then), significantly undercut the appeal of the camera overall.

Its 35mm lens and relatively small form-factor means I can take exactly the kinds of shots I like to take with an X100, but with more detail and better image quality (albeit for a much higher price). Sony DSC-RX1R III | F4.0 | 1/125 sec | ISO 6400 Cropped and selectively warmed with Adobe Camera Raw Photo: Richard Butler

The RX1R III addresses the first two of those issues while still delivering that 'like a super-X100' experience. The dedicated aperture ring and exposure comp dials make it feel much more photo-focused than the otherwise similar a7CR, and much closer to what I enjoy about the X100.

I even found myself thinking that it's almost the photo-only camera that so many people say they want. It can shoot video if you insist, but there's no headphone socket, no tilting screen, no stabilization and no record button, so Sony hasn't exactly gone out of its way to encourage it.

In practice, it's probably the most purely photography-focused camera Sony is ever going to make. And, while its menus and interface aren't as dedicated to that cause as Leica's are on the Q3 series, the experience is still one that puts photography to the fore.

The new brand is called Antigravity. Image: Antigravity

Insta360, a company known for its 360 and action cameras, is entering the drone market. Today, the company announced a new sub-brand called Antigravity and is teasing an upcoming drone that will shoot 360° 8K video.

The company says Antigravity is a "collaboration with third parties" and that it's spent years designing a product that will have "several world-firsts" in drone design. While details are very sparse – an official announcement is due next month – there are a few that sound intriguing. The upcoming drone will have 360°, 8K capture and weigh less than the 249g limit that many countries have set as a requirement for drone registration.

The company has released a marketing video with snippets of footage that may have come from the drone. As with many 360° cameras, the main use isn't necessarily in letting a few people actually view a 360° video, but in letting you capture everything and decide your framing and movement in post.

The company is teasing a small, light 360 drone. Image: Antigravity

The press release announcing the brand makes it seem like it'll be aimed at people who don't necessarily have a lot of experience flying drones, and who are just trying to capture "a family hike, a weekend road trip, or a new perspective on everyday life." In other words, to start, Antigravity's products will be aimed more towards those looking to jazz up their social media feeds, rather than pros using drones for work.

The company also says it'll have a "co-creation program" that lets "enthusiasts and community members" leave feedback and ideas about what they want to see in future products, or what features they'd like to see added.

The US government has been growing increasingly hostile to DJI

It's been a while since we've seen a new player successfully enter the drone market, but Insta360 has a track record of breaking into areas seemingly dominated by one or two major companies. It's had some success taking on GoPro and DJI with its own lineup of action cameras.

The timing may also work in Antigravity's favor. At the moment, DJI is really the only brand that matters in the consumer drone space, but the US government has been growing increasingly hostile to it over the past few years and has continued to threaten to ban it outright. Despite some people snagging units, its latest drone, the Mavic 4 Pro, never officially launched in the US; it's currently not even listed on its US website.

Checking and adjusting the image fields of the M3 illuminated frame rangefinder, approximately 1953. Image: Leica Photo Archive © Liesel Springmann

This year marks a historic anniversary for Leica: 100 years have passed since the first mass-produced Leica camera was introduced. No matter your thoughts on the company today, there's no denying its impact on photography as we know it. That legacy can be challenging for a company interested in navigating modern technology, though. To learn more about how it balances tradition and innovation, we spoke to Dr. Benjamin Dück, Global Director of Technology & Innovation; Peter Karbe, Senior Managing Expert Optics and Platform and Mark Shipard, the Head of Design.

The Leica I 1925 Elmax camera. Photo: Leica

First, a bit of history. In 1925, Leica presented the Leica I – the first mass-produced, readily available 35mm camera – at the Leipzig Spring Fair in Germany. That camera is often credited as being the birth of modern photography, popularizing the 35mm format and putting cameras in the hands of the general public. Because of its compact design, it helped popularize new genres such as reportage, street photography and candid image-making in everyday life.

Leica's willingness to push boundaries remains a key part of its legacy. "One key lesson from Leica's history is the value of long-term thinking and the willingness to take calculated risks," said Dr. Dück. "The launch of the Leica I was not just a technical step, but a strategic decision that shaped modern photography."

"The launch of the Leica I was not just a technical step, but a strategic decision that shaped modern photography."

Since 1925, Leica has continued to develop and advance photographic technology. Throughout that time, tradition has remained constant. "At Leica, tradition and innovation go hand in hand," Dr. Dück explained. "Our legacy of precision and craftsmanship forms the foundation for technological progress."

Leitz Werke production Leica I, between 1925 and 1932. Photo: Leica Photo Archive © Nikolaus Befort

Of course, there's a benefit to being around for 100 years: Leica has extensive historical data to look back on, aiding its technological progress. "Our archive of construction and optical design documents can look back on 100 years and is one of our greatest treasures at Leica," explained Karbe. "Today, we still feel obliged to do justice to the traditional standards stored in the archive and to continually enrich them with new requirements. The evolutionary development at Leica always builds on what has already been created."

While it has an eye towards advancement and calculated risks, the company makes it clear that it isn't interested in progress solely for the sake of progress. "Our design goals are oriented towards customer benefit," said Karbe. "What will our customer expect from the product (lens)? What performance parameters must we achieve? The design goals are derived from this."

Left: Max Berek; Right: Oskar Barnack, Wetzlar, 1935 Photos: Leica

Karbe provided a historical example, too. "Oskar Barnack (inventor of the Leica) and Max Berek (optical designer of the first lens for the Leica) defined a sharp photo in postcard format as their goal," he explained. With that in mind, they derived the design objectives for Leica's first lens. Karbe says that their approach today is similar. "We ask ourselves what tasks the new lens to be developed should fulfill, what performance we want to offer the customer," he said. "Based on these assumptions, we define the design goals."

Shipard expanded on this idea, explaining that Leica's heritage is based on clarity, precision and restraint. While technology has changed drastically from the first Leica camera and lens, Leica says those three tenets remain constant. "Every new product reinterprets these principles using today's materials, technologies, and needs," he said.

"Innovation should serve the needs of creators – not just follow technological trends,"

Leica's design philosophy informs not only its own lens design process but also its broader perspective on the future of photography and camera-making. "For future camera makers and photographers, it's important to focus on quality, usability, and a clear understanding of the craft. Innovation should serve the needs of creators – not just follow technological trends," said Dr. Dück.

The Leica ZM 12 watch. Photo: Leica

In recent years, Leica has moved beyond cameras. The company's name is associated with watches, eyeglass lenses, apps, smartphones and more. While it could seem like a departure from the brand's legacy, Leica doesn't see it that way. "All business areas are based on core competences that stem from Leica's history," said Dr. Dück. He added that the company wants to deliver the Leica experience on both professional cameras and smartphones, highlighting Leica's recognition of the importance of smartphone photography moving forward.

Progress in the digital age and time of artificial intelligence is also a focus for Leica. "We honor our heritage while embracing the future – from pioneering digital watermarking called content credentials in the M11-P to exploring AI-assisted imaging," explained Dr. Dück. He went on to say that Leica believes that AI can never replace the authenticity of a photograph, but "AI can help photographers to achieve an authentic image more quickly." It will certainly be interesting to see how Leica approaches this and what it could mean for content credentials moving forward.

"Progress comes not from adding more, but from refining what matters."

Ultimately, the Leica story is not about clinging to tradition or chasing progress, but about how the two can work together. As Shipard puts it, "Leica's heritage is our great asset moving forward. We don't preserve history, we extend it. Progress comes not from adding more, but from refining what matters."

The combination of size and focusedness means a prime-lens compact isn't necessarily the same as leaving a prime lens on an ILC. Photo: Richard Butler

A camera with a built-in prime lens is an inherently limiting piece of equipment, but that's not the same as saying they're an inferior substitute for an interchangeable lens camera.

The past year or so has been something of a golden period for fixed, prime-lens cameras. From the latest, still hard-to-get iteration of the Fujifilm X100 to the gen-Z-focused X half. We've seen aspirational, high-end models from Leica, Sony and Fujifilm, along with the promised continuation of Ricoh's much-loved GR series. Why are so many camera makers building machines that are so seemingly inflexible?

The announcement of the Sony RX1R III brings the question into particularly sharp focus, given how many components and capabilities it shares with the much less expensive, much more flexible a7CR. And yet, as I shoot with the prime-lens compact, I find the comparison makes less and less sense: they're not really the same things.

Why would anyone choose a fixed lens camera?

There can be practical reasons for choosing a fixed, prime-lens compact over an ILC: size being the most obvious. As well as convenience, this can make them less intimidating when shooting in social situations.

The ability to have a lens that extends further back than even the short flange-back distances of modern mirrorless cameras lets a built-in lens be smaller than an interchangeable version. Note, for instance, that Fujifilm's 23mm F2.8 pancake extends further from the camera body than the X100's 23mm F2 lens does, despite being a stop slower.

Prime-lens compacts are targeted at niche audiences, more willing to pay more for premium design and build. Price is rarely a reason to go for a prime-lens camera. Photo: Richard Butler

This leads us to a second physical difference between most compacts and most ILCs: the use of leaf shutters. Leaf shutters, built into the lens, affect the whole sensor as they open and close, effectively giving a global shutter. This usually brings the ability to sync with flash at any shutter speed. For an ILC, focal plane shutters make more sense: they typically offer faster shutter speeds, and have the advantage that you aren't often forced to buy a new shutter mechanism with each lens, but with the downside of limiting the range over which you can use flash.

But there are creative considerations, too: knowing the single focal length that's hanging over your shoulder can prompt you to see the world through that lens, as it were. Rather than being overwhelmed by the ability to shoot almost anything, I sometimes enjoy getting to develop a sense for the lens's view, so that I can then try to see things I can fit into it. That's something you don't get with a zoom and is harder to maintain if you swap a prime on and off your camera.

"Knowing the single focal length that's hanging over your shoulder can prompt you to see the world through that lens"

A fixed lens camera can also be designed in a more focused manner. Although it shares its menu structure with the a7CR, the RX1R III has fewer modes, fewer options and only the direct controls you need for its way of shooting. It's like choosing a hand-made chef's knife over a Swiss Army knife: it's much less flexible but very well suited to one specific thing.

Finally, there's something to be said for a camera that's a self-contained purchase. Buying a fixed-lens camera isn't a gateway into a new system. This can make them popular as second cameras, because you don't find your loyalties (or finances) split between two lens families, but also has some appeal as an only camera. It can be easier to justify a higher initial outlay if you know that it doesn't come with the temptation to keep upgrading and expanding a set of lenses.

Horses for courses

Fixed prime cameras can make good second cameras, too: as an additional camera for wedding and events shooters, perhaps, but also as a way of perpetuating your 'main camera' experience on those occasions you don't want to carry your main camera. Photo: Richard Butler

If your photography requires specialist lenses, whether they're macro, long tele or tilt-shifts, or simply a variety of lenses, the idea of being permanently wedded to a single focal length can seem incredibly restrictive. But, just because it's not for you, doesn't mean it doesn't make sense for other people. As with so many other aspects of photography, it's a question of personal taste.

Ultimately, a prime lens compact either makes sense to you or it doesn't. But you don't have to look hard to see the regard with which the Ricoh GR cameras or Fujifilm's X100 series are held by their users. Leica isn't selling Q3s to people who can't afford its rangefinder models: they fulfill different requirements.

Even the most lens-laden ILC shooter should recognize that some people simply prefer the constraints of a prime lens. Just don't expect any agreement over the 'right' focal length for such a camera.

Photo: Abby Ferguson

Today is National Dog Photography Day, a very important day for dog lovers. Started in 2018 by photographer Kerry Jordan, it encourages everyone to post any and all photos of dogs. Who doesn't love a chance to brag about their pup, after all. In honor of the day, the DPReview staff teamed up to share some tips on how you can take better photos of your (or someone else's) dog(s), whether you have a dedicated camera or are using your phone.

Wait for them to sit still

Photo: Mitchell Clark

As with any animal, it's much easier to get a good picture of a dog that's lying down or sitting still. Usually, when I ask an owner to take a picture of their pup, they'll tell it to sit and try to get it to stop moving for you. You may need to let it say hi to you first, though – I've gotten a lot of close-up photos of dogs' noses because they went from sitting to sniffing as soon as I knelt down to their level.

Use a fast shutter speed

A fast shutter speed is necessary if you want to capture your dog playing, or even to prevent a blurry face if they won't hold still while sitting. This image was taken at 1/2500 sec. Photo: Abby Ferguson

If you can't get the dog to sit still or want to get an action shot of it moving, follow the general rules of capturing motion: a higher shutter speed will freeze its movement better. I've generally aimed for around 1/1000 sec to capture dogs on the move, but you may need to go even faster if they're running at top speed.

Get on their level

Take photos from your dog's level to capture their view of the world. Photo: Dale Baskin

One of the easiest ways to elevate your dog photographs is to change your perspective. This tip applies to many subjects, but only looking down at your dog won't result in very compelling images. You'll create a more captivating composition by getting down low and taking photographs at their eye level. Getting low can also help you bring out your dog's expressions and personality more.

Don't forget close-ups

My dog's ears are one of her favorite features, so that's a detail shot I know I'll enjoy having. Photo: Abby Ferguson

It's easy to take photos that only show your entire dog (or most of them), but close-ups are worthy of capturing, too. Detail shots of their nose, eyes and paws can help you showcase their distinct features. Even photos of their pawprints can give you something a little different. Plus, you'll likely be glad you have those images of what makes them special later on.

Get in on the action

The best dog photos are sometimes the ones that capture the simple joy of running. Photo: Dale Baskin

While waiting for your dog to get still will make photos easier, most dogs love to run. And run. And run. If you want to capture the essence of your dog having fun, take photos of them in action. Throw a frisbee. Throw a stick. Get them excited with their favorite squeaky toy. Or, just capture the raw joy of your dog running at the dog park.

Capture the absurd

I met this dog at a Halloween event, where he got to play Batman for a day. Photo: Dale Baskin

Sometimes, the best photos of our furry friends happen under what might otherwise be considered absurd circumstances. Attend a Halloween event where dogs and the people they own wear costumes. Go to a pet parade with a patriotic or summer theme. Or, if you have one of those dogs who likes to roll in any organic matter found in the yard, do yourself a favor and take a quick portrait before putting them in the bath to get cleaned up.

Photos of your dog rolling in mystery substances can be very entertaining. Photo: Abby Ferguson

Image: Canon

Happy Friday, folks. This week, Canon has reintroduced new firmware for the EOS R1 and R5 II. It brings new features and bug fixes to both models. Additionally, Fujifilm has announced new firmware for seven cameras that offer minor updates and fixes. Without further ado, let's dive in.

Canon

Image: Canon

Canon initially released firmware for the R1 and R5 II last week. Those updates came at the same time as new firmware for a list of other models, but Canon had to pull the R1 and R5 II upgrades after discovering an error. It's fixed that error, and the firmware is again ready for download. If you downloaded and installed the pulled version, make sure to update to the one released on July 24 (version numbers below) to avoid any potential issues.

Canon EOS R5 II Ver 1.1.1

There are quite a few updates for the R5 II. It adds automatic flicker detection at 100 or 120Hz when using Live View and improves image stabilization control with lenses compatible with Peripheral Coordinated Control. Sports photographers will benefit from the option to expand Servo AF to better focus on subjects behind nets, and it promises improved AF tracking during video with difficult-to-focus subjects.

You can also now set the number of shots captured in pre-continuous shooting mode. And, it adds the ability to turn on Exposure Simulation when using a flash unit.

Additionally, Ver 1.1.1 adds compatibility with CFexpress cards up to 8TB. Canon does note that cards larger than 2TB cannot be used for updating firmware, though. Plus, like the other recent Canon firmware updates, it enables firmware updates when the camera is connected to the internet.

If you previously downloaded Ver 1.1.0, this update fixes the two potential issues associated with that version.

See all changes and download the R5 II firmware Ver 1.1.1 here.

Canon EOS R1 Ver 1.1.2

Image: Canon

The EOS R1 shares most of the same updates as the R5 II. That includes automatic flicker detection at 100 or 120Hz when using Live View, internet-based firmware updates, the option to expand Servo AF to improve focus on subjects behind nets and improved AF tracking during video capture with difficult-to-focus subjects. It also adds compatibility with 8TB CFexpress cards and Exposure Simulation with flash units.

The R1 gets the added benefit of Panning Assist, which applies image stabilization and subject blur correction during exposure when panning with compatible lenses.

See all changes and download the R1 firmware Ver 1.1.2 here.

Fujifilm

Image: Fujifilm

Fujifilm released minor firmware updates for the X-T5, X-Z20, X-T50, X-M5, X100VI, GFX100RF and X half. All seven of those cameras now have enhanced security for wireless communication and some small updates to menu options. The X half firmware fixes a rare bug that caused the camera to freeze when the power is turned off and on.

See details and download Fujifilm X-T5 Ver 4.30 here.

See details and download Fujifilm X-S20 Ver 3.30 here.

See details and download Fujifilm X-T50 Ver 1.30 here.

See details and download Fujiifilm X-M5 Ver 1.20 here.

See details and download Fujifilm X100VI Ver 1.30 here.

See details and download Fujifilm GFX100RF Ver 1.10 here.

See details and download Fujifilm X half Ver 1.20 here.

Viltrox

Image: Viltrox

Viltrox AF 28mm F4.5 FE lens Ver 1.07

Finally, Viltrox released an update for the E-mount version of its 28mm F4.5 lens. It's a small change with limited detail, simply saying it "fixed known issues."

See details and download firmware Ver 1.07 here.

After Sony's surprise announcement of the RX1R III, the latest iteration of its full-frame photographers' compact, we had a lot of questions that we knew could only be answered by getting hands-on time with it. Now that we've tested it in our studio and spent time shooting with it in a variety of situations, we have answers.

We're still at work on our in-depth written review, but we've covered the essentials of its image quality, autofocus performance and, of course, price, in our video review, which you can watch now.

Be sure to stay tuned for our full sample gallery and more analysis, and check out the DSC-RX1R III in our studio scene to see how its sensor and lens perform.

Photo: Richard Butler

As usual, one of the first things we did when we received the Sony DSC-RX1R III was take it into our studio, to see how it performs.

The camera's lens has a degree of distortion but correcting it isn't compulsory, so we've matched the way we shot the RX1R II: JPEGs with distortion correction applied, Raw files without. However, it's worth noting that Adobe Camera Raw applies chromatic aberration correction automatically.

Studio scene

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.

We'll take a closer look at the lens in a separate test, but you can see the RX1R III's sensor performs as you'd expect. It can't quite match the Leica Q3 43 for detail but it's capturing finer detail than the Mark II, with its 42MP sensor, could. Noise is comparable with the two other cameras with which it shares a sensor and with its predecessor, when compared at a common output size.

The JPEG engine does a good job of pulling out fine detail, and retains it to a reasonable degree at high ISO. Color rendition seems to be a match for recent Sony cameras, with perhaps slightly less bluey greens and greenish yellows than the RX1R II had.

A closer look at the lens

Our test scene isn't designed for testing lenses but allows a reasonable working distance, so the results shouldn't be too far removed from those you get from everyday shooting (we'll be publishing a sample gallery in the coming days, to let you compare). It also lets you examine when the lens sharpens up and when vignetting disappears.

The images in this scene have been processed with geometric distortion correction on and off. They have also been processed with a slightly higher level of sharpening than the one we use for our standard test scene, to give a better idea of what you can get out of them.

The first thing you see is that the vignetting present at F2.0 has all but gone by F2.8. Whereas sharpness takes longer, still improving when you get to F5.6.

Turning the corrections off reveals a degree of barrel distortion but it's only something you're likely to notice if you're shooting test charts or brick walls. There doesn't seem to be any significant loss of sharpness if you correct the results, so it's really a question of taste whether you choose to apply the corrections.

Overall it's fair to say the high pixel count starts to reveal the limitations of the lens at wider apertures, but still does a good job when stopped down. And, although the two aren't perfectly comparable (the Leica was processed with Capture One, which doesn't support the Sony yet), the performance is well short of the Leica Q3 43's lens at wider apertures.

In practice we found that, while it lacks critical sharpness at the distances and apertures used for portraits (which may well not be what you're after, anyway), it delivers all you might expect for landscape shots.

Have a look at the images in our sample gallery to put these results in context.

A few months ago, a simple question popped up in our community forums: What have you learned as a photographer that you would tell a beginner? The resulting discussion was insightful enough that we turned it into an article.

The reaction to that article was even bigger than the original discussion. The comment section blew up, with over 100 experienced photographers contributing tips and hard-earned wisdom.

We knew we had to share that collective knowledge with new photographers, so we analyzed the entire conversation to find the most common recommendations. Below are the top five pieces of advice for beginner photographers from the DPReview community, ranked by how many photographers commented on each.

Learn technique and composition (25% of feedback)

The most common advice from experienced photographers was to learn good technique and composition. Photo: Dale Baskin

The most common advice from experienced photographers? Focus on technique and composition. Nailing the fundamentals is crucial, no matter your gear or subject.

Start by learning to see and use light effectively. "Every photo requires light. Understand good light," reader Peak freak told us. "This took me some years and many photographs. A pleasant side effect is that I now see 'good light' all the time. I don't have to be taking photos."

"Every photo requires light. Understand good light."

As you learn to see light, also learn the fundamentals of exposure: "Only aperture and shutter speed affect exposure," points out Jacques Cornell. "ISO is just gain after the fact." That doesn't mean the ISO dial on your camera isn't useful, but it's essential to understand that changing ISO doesn't impact the amount of light you capture. Reader p51d007 also advises: "Take your camera out of the green A mode and experiment!"

Finally, much of the wisdom centered on composition: be aware of the entire frame and experiment with different angles. "Work the scene. That first photo may not turn out well. Change camera positions forward, backward, left, right, higher and lower," suggests TXforester.

Focus on mindset and philosophy (22% of feedback)

It's good to study the work of other photographers, but develop your own vision for your photography. Photo: Dale Baskin

Photography isn't just a technical skill; for many, it's a journey of personal development where each photographer develops their own philosophy.

We heard a lot about finding your personal vision and shooting for yourself. As reader FotoFailure says, "Be true to you. It sounds selfish, but it's really not. Taking pictures for 'likes' and trying to emulate some YouTuber is a trap." Another reader emphasized this, proclaiming, "If something is your passion or what your heart is burning for, go for it; if not, don't do it for the sake of appearance."

Gear (20% of feedback)

One common tip when it comes to gear: the "good enough" philosophy that says you should keep using your current gear until you actually outgrow it or reach its limits.

On a gear-focused website, it's refreshing that equipment only ranks third. The most common advice was to avoid "Gear Acquisition Syndrome" (GAS).

"Don't fall prey to GAS (like I, and many others, have). Really learn the basics of photography with your current camera and kit lens. Then upgrade as needed, but resist the urge to upgrade simply because something is new or has cool features," says sirhawkeye.

"Don't fall prey to GAS."

Many also advised prioritizing lenses, which often impact image quality more than a camera body. "Choose your camera system wisely, perhaps looking at lenses more than cameras. Cameras come and go, but lenses stick around forever," observes grasscatcher.

Finally, many espoused the "good enough" philosophy: you don't need the newest gear for great results. Notes Greg Edwards, "Cheaper, budget gear these days is amazing. Far better than it was 20 years ago."

Learn and practice (18% of feedback)

If you want to improve, practice, and learn to understand your subject. You don't have to share your practice photos with anyone unless you want to. Photo: Dale Baskin

"Photography is like playing a musical instrument. You have to practice, practice, practice, and never stop learning," says reader mcantsin. But readers also stressed learning from others.

Many recommended studying other photographers and painters, who were often masters of light. "Take time each day to study the images of others. Be analytical about what you do or do not like," says rickpappas. TurvyT adds, "Observe art, especially painting. Have favorite photographers and [view] them often."

Experimenting was another common suggestion for improving your skills. "Learn everything you can about the fundamentals of photography, and then once you've learned all the rules, systematically break every one of them, one at a time, until you find your style," says f1point4andbethere.

Post-processing (6% of feedback)

Post-processing images can enhance your photos, but focus on nailing the fundamentals listed above first. Screen capture: Mike Tomkins

We were surprised post-processing didn't rank higher, but it suggests that experienced photographers believe it's only valuable after you've started mastering the skills above.

"Editing can improve a good image just like good cooking can improve good base ingredients, but you can't turn sh*t into gold in the editing," lattesweden reminds us.

However, one consistent recommendation was to learn to shoot and process Raw images. Even if you don't use Raw all the time, the ability to process Raw files opens up a world of creative possibilities.

Tell us what you think

And there you have it: five essential pieces of advice crowdsourced from the collective experience of over 100 photographers.

What essential tips would you add to the list? Let us know in the comments.

Editor's note: Some quotes have been lightly edited for clarity and flow.