The Z6 III is now more expensive for US customers. Image: Nikon
In August, Nikon warned that it would be raising its prices in the US on September 1 because of the negative impact of tariffs. At the time, the company didn't specify which products would be impacted or how much the increases would be. Now, those new prices have taken effect.
This is the second time Nikon has increased prices in the US because of tariffs this year, though the first price adjustment only affected its lens and accessory lineup. The company's cameras were not impacted. Unfortunately, that's no longer the case. Most Nikon cameras are now more expensive, with an average increase of 8%.
September 1 price (% change)
Original MSRP
Z5 II
$1847 (8.8%)
$1697
Z7 II
$2497 (8.7%)
$2297
Z6 III
$2697 (8%)
$2497
Z8
$4297 (7.5%)
$3997
Zf
$2197 (10%)
$1997
Z50 II
$1007 (11%)
$907
The first price adjustment impacted Nikon's lenses, and some models received an additional increase with this second round. For example, the Nikkor Z 50mm f/1.2 S has gone from $2100 to $2247, and the Nikkor Z 14-24mm f/2.8 S from $2497 to $2697. The pricing change on Nikon's lens lineup was less significant than the pricing change on the camera bodies, potentially because those prices had already been increased once. Many of the company's budget-focused lenses did not change in price.
The company previously raised US prices across its lineup on June 23rd by an average of around 10%. Since then, the tariff situation has been in flux as trade terms were negotiated between the US and the various countries where Nikon makes its products.
Of course, Nikon isn't the only company that has adjusted prices. Over the weekend, Fujifilm also increased US prices, marking its second price hike within a month. Additionally, earlier this year, Canon, Sigma, Sony and Leica all marked up their products in response to tariffs. Thus far, of those companies, only Canon has made a statement about a potential second adjustment.
Viltrox is the latest company to be inducted into the L-Mount alliance, according to a press release from Leica. It joins the organization alongside other budget lens companies like Sirui and Samyang, as well as major camera manufacturers like Panasonic, Leica, DJI, and Sigma.
The announcement says Viltrox plans to use the mount "in future product development," but doesn't mention whether any of its existing products will be made available for the system. While Viltrox has made a few cinema lenses for the mount already, it seems likely its official entrance into the alliance could signal that the company's autofocus photography lenses could be coming to L-mount as well.
That could be an exciting prospect for those who own L-mount cameras. The company is a rising star in the lens world; it gained its reputation largely thanks to its very affordable, but still decent lenses, but has since proven capable of making more premium options with its Pro and Lab series. The company also produces types of lenses that would fill in some gaps for the L-mount system, such as lightweight, compact primes that would pair nicely with cameras like the Panasonic S9 or Sigma BF.
Press release:
Viltrox Joins the L-Mount Alliance and Utilizes the L-Mount Standard Developed by Leica Camera AG in Future Product Development
Teaneck, September 1, 2025 – As a new member, Viltrox is the 10th company to join the L-Mount
Alliance since the public announcement of the L-Mount standard at Photokina in 2018. The alliance consists of founding members Leica Camera AG, SIGMA, and Panasonic, as well as Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, and SIRUI. This collaboration enables Viltrox to develop products with the L-Mount which will present great benefits for a wide range of photo and video applications.
The L-Mount was developed by Leica Camera AG with the aim of providing customers with a future-proof, flexible, robust, and precise bayonet mount that would fulfil even the most demanding photographic needs. After its initial appearance, development of the L-Mount was continued by Leica as well as by its strategic partners. This led to significant improvements with new and more sophisticated L-Mount technology, resulting in a constantly growing portfolio of cameras and lenses from all existing and new alliance partners, currently comprising over 20 cameras and more than 120 lenses. All lenses made for the different systems within the L-Mount Alliance can be used on all cameras without adapters and without any functional limitations – this illustrates one of the numerous benefits of the common bayonet.
Valentino Di Leonardo, Managing Expert Technology & Licensing at Leica Camera AG: “The L-Mount Alliance has been a key pillar of Leica Camera AG’s strategy from the beginning, standing for openness, innovation, and the highest standards in photography. With its bayonet system, it offers outstanding flexibility across a wide range of photographic and videographic applications. By welcoming Viltrox as a new member, we are strengthening our network with a highly regarded partner that shares our vision of a forward-looking and versatile system. Viltrox contributes valuable expertise in high-quality lens development and brings fresh momentum to our ecosystem. Together, we aim to offer photographers and filmmakers an even more comprehensive and flexible system that meets the most demanding requirements.”
DAI JINHUI (Daniel Dai), CEO at Viltrox: “Viltrox has joined the L-Mount Alliance, further expanding the system’s reach with high-quality, versatile, and accessible lenses. This collaboration complements Leica’s portfolio by inspiring a new generation of creators – from passionate enthusiasts to seasoned professionals – while reinforcing a dynamic and inclusive ecosystem alongside alliance partners DJI, Panasonic, Blackmagic Design, and Sigma.”
About the L-Mount Alliance
The members of the L-Mount Alliance all utilize the L-Mount Standard developed by Leica Camera AG for mirrorless camera systems. Currently, the members of the alliance are Leica Camera AG, SIGMA, Panasonic, Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, SIRUI, and Viltrox. The partners in the alliance utilize the L-Mount Standard for cameras and lenses that are offered under their own brand names. They market their respective products as competitors, and each with their own product and marketing strategies. The alliance works together on advancing the technology of the L-Mount Standard.
About the L-Mount Standard
To ensure maximum product diversity, the diameter of 51.6 millimeters was chosen to make the L-Mount suitable for use not only with full-frame cameras, but also on cameras with APS-C sensors. The short register of only 20 millimeters enables a short distance between the lens and the sensor, which in turn allows for a considerably more compact construction – which is particularly helpful for developments in the wide-angle lens segment. To ensure resistance to even the most extreme conditions and guarantee maximum reliability for many years of intensive use, the camera bayonets are manufactured from wear-resistant stainless steel, with four flange segments that prevent canting and ensure a secure and precisely positioned lens attachment. The standardized L-Mount contact strip facilitates trouble-free communication between the electronic components of the lens and the camera – including the possibility of installing future firmware updates for lenses to react to technological advances and exploit the full performance potentials of the lenses. Further information can be found at: www.l-mount.com
About Viltrox
Viltrox, established in 2009, is a globally recognized leader in camera lenses and adapters, specializing in high-performance equipment for photography and cine. Its portfolio includes cinema and autofocus lenses - such as the LAB, Pro, and Air series launched since 2018 - along with monitors, adapters, and lighting solutions.
Driven by innovation, the company expanded further into cine in 2022 with the "EPIC" anamorphic and "LUNA" zoom lenses, offering cost-effective solutions for filmmakers worldwide.Renowned for their exceptional optical quality, reliability, and accessible pricing, Viltrox products reflect a commitment to engineering excellence and user-cantered design, empowering content creators across still and motion photography domains.
About Leica Camera
Leica Camera AG is an international, premium manufacturer of cameras, lenses, and sports optics products with a company history stretching back over 150 years. As part of its growth strategy, the company has expanded its portfolio to include mobile imaging (smartphones) and the manufacture of high-quality lenses for glasses and watches, and is also represented in the home theater segment with its own projectors.
Leica Camera AG, with its headquarters in Wetzlar, Germany, and a second production site in Vila Nova de Famalicão, Portugal, has a worldwide network of its own distribution companies with over 120 Leica Stores.
The Leica brand stands for excellence in quality, German craftsmanship, and industrial design,combined with innovative technologies. An integral aspect of the brand culture is the promotion of the culture of photography, with around 30 Leica Galleries worldwide, the Leica Akademie, and international awards such as the Leica Hall of Fame Award and the Leica Oskar Barnack Award (LOBA).
The Natural History Museum, London, has released 16 "sneak peek" images from this year's Wildlife Photographer of the Year competition. These highly commended images include photos from several competition categories, including Animals in their Environment, Natural Artistry, Invertebrates, Mammals, Underwater, Urban Wildlife, Photojournalism, and age-specific categories for young photographers.
Celebrating its 61st year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. This year's competition drew 60,636 images from photographers in 113 countries. The final categories, along with Grand Title and Young Grand Title awards, will be announced on October 14th, and will go on exhibit at the Natural History Museum starting October 17th, followed by international locations worldwide.
A tale of two coyotes
A Tale of Two Coyotes by Parham Pourahmad, USA Highly Commended, 11 – 14 Years
Parham Pourahmad (USA) uses the morning light to frame the amber eyes of a male coyote within the black-tipped tail of a female.
Parham followed this pair – a female and possibly her brother – for a couple of hours across the rocky hillside, quickly framing his image before the male turned to nuzzle the female. Coyotes can adapt to almost any habitat and are abundant across North America and into Central America. Once common in San Francisco, they had disappeared from the city but are now beginning to return. While they do scavenge food waste, their diet also includes rodents and other small mammals.
Location: Bernal Heights Park, California, USA
Technical details: Nikon Z8 + 180–600mm f5.6–6.3 lens at 600mm; 1/1250 at f6.3; ISO 800
Inside the Pack by Amit Eshel, Israel Highly Commended, Animal Portraits
Amit Eshel (Israel) gets eye-level with an inquisitive pack of Arctic wolves.
In temperatures of -35°C (-31°F), Amit struggled to fulfill his dream of photographing the elusive Arctic wolves of Ellesmere Island. But then, on the twelfth day of his second trip, they came closer than he had ever imagined, so close that he could smell their breath. Restricted to Canada's most northern territories and northern Greenland, Arctic wolves are curious of humans due to a lack of interaction. They're a snow-white subspecies of the grey wolf, pack animals that hunt hares and musk oxen.
Location: Ellesmere Island, Nunavut, Canada
Technical details: Canon EOS R5 + 24–105mm F4 lens; 1/1250 at F11; ISO 2000
Pink Pose by Leana Kuster, Switzerland Highly Commended, 15 – 17 Years
Leana Kuster (Switzerland) shows a greater flamingo in the act of scratching its head with one of its unmistakably long legs.
While on holiday in southern France, Leana had been watching flamingos in the Camargue. She was fascinated by their foraging behavior as they moved gracefully through the shallow, saline wetlands, filter feeding for molluscs and crustaceans. Flamingos use their tongues to force water through their specially adapted bills, which are lined with many rows of fine, comb-like plates. These help trap a species of brine shrimp called Artemia salina that gives the birds their famous pink hue.
Location: Pont de Gau, Camargue, France
Technical details: Nikon D810 + Tamron 150–600mm F5.6 lens; 1/500 at F6.3; ISO 250
Rutting Call by Jamie Smart, UK Highly Commended, 10 Years and Under
Jamie Smart (UK) portrays a red deer stag as it gives a mighty bellow during the autumn rut in Bradgate Park, UK.
Jamie walked up and down a path in the park at a safe distance from the stag. She stretched herself up tall to avoid any long grass in the foreground spoiling her view. The stag's antlers have regrown since their annual shedding in spring. The 'velvet' – the soft skin that covered them during their growth – has now rubbed off, exposing the bone beneath. Each new set grows larger and more complex as the stag matures, with more intricate points called tines crowning the heads of older males.
Location: Bradgate Park, Leicestershire, England, UK
Technical details: Nikon Z9 + 800mm F6.3 lens; 1/800 at F6.3; ISO 450
Ice Edge Journey by Bertie Gregory, UK Highly Commended, Animals in their Environment
Bertie Gregory (UK) freeze-frames the moment fledgling emperor penguin chicks walk along the edge of an ice shelf.
Bertie spent two months with the penguin colony and witnessed most chicks using ice ramps to descend to sea level for food. But this group missed the easy way down. Keeping his drone at a safe distance, he watched as they took a 15-meter (49 ft) leap into the water. Left to fend for themselves, emperor penguin chicks must find a way to make their first dip into the icy ocean to find food. Scientists believe the continued decline of sea ice in Antarctica may force more penguins to breed on ice shelves, making this behavior increasingly common in the future.
Location: Ekström Ice Shelf, Atka Bay, Antarctica
Technical details: DJI Mavic 3 Pro + Hasselblad L2D-20c 24mm F2.8 lens; 1/50 at F3.5; ISO 100
Deadly Lessons by Marina Cano, Spain Highly Commended, Behavior: Mammals
Marina Cano (Spain) stumbles upon a group of cheetahs after they've caught a Günther's dik-dik in Samburu National Reserve, Kenya.
Marina watched the three young cheetahs practice their hunting skills while their mother looked on – a crucial stage in their journey to independence. The dik-dik was tossed into the air and killed just seconds after Marina took the photograph. Cheetah cubs spend their first two months hidden in a lair while their mother hunts. At around a year old, they begin joining her, learning how to stalk and which prey to pursue.
Location: Samburu National Park, Samburu County, Kenya
Technical details: Canon EOS R3 + 600mm F4 lens; 1/1250 at F8; ISO 6400
Slime Family Portrait by Kutub Uddin, Bangladesh/UK Highly Commended, Natural Artistry
Kutub Uddin (Bangladesh/UK) spots a line of alien-like slime moulds on a fallen tree.
Kutub found these blueberry-like spheres – the reproductive parts of a slime mould, each just 1-2 millimeters in diameter – in a nearby forest. His image resembles a fantasy landscape, though he describes the scene as a "bizarre family portrait," complete with a tiny yellow insect egg. A slime mold is a community of mobile single-celled, ameba-like organisms that live independently until they come together and work as one to find food and reproduce.
Location: Slindon Wood, West Sussex, England, UK
Technical details: Canon EOS R5 + 65mm F2.8 1–5x macro lens; 0.6 at F5.6; ISO 200; focus stack of 78 images
Jelly Smack Summer by Ralph Pace, USA Highly Commended, Underwater
Ralph Pace (USA) finds himself in the middle of a mass or 'smack' of Pacific sea nettles.
To try to protect himself from stings while taking this photograph, Ralph smeared petroleum jelly on any skin not covered by his wetsuit. The trailing tentacles can deliver a painful sting, which Ralph says feels more like that of a bee than a nettle. Highly adaptable to warming seas, jellyfish are appearing in larger numbers. Some biologists argue that more frequent smacks are a sign of rising ocean temperatures. The removal of predators and competitors through overfishing is another contributing factor.
Location: Monterey Bay, California, USA
Technical details: Nikon D850 + 28–70mm F3.5–4.5 lens; 1/5 at F13; ISO 125; Nauticam housing; 2x Sea & Sea strobes
Wake-up Call by Gabriella Comi, Italy Highly Commended, Behavior: Mammals
Gabriella Comi (Italy) witnesses a dramatic stand-off between a lion and a cobra.
Energy levels among the lions were low in the scorching midday sun. Gabriella and her guide, David, were about to move on when David spotted movement – a cobra was slithering towards two sleeping lions. Within seconds, the eldest of the pair was facing down the venomous intruder. Tanzania's Serengeti National Park is renowned for its large population of lions, with around 3,000 individuals living there. Lions are estimated to sleep for up to 20 hours a day to conserve energy.
Location: Serengeti National Park, Tanzania
Technical details: Fujifilm X-S10 + Tamron 150–500mm F5–6.7 lens at 288mm; 1/1600 at F5.6; ISO 250
Nature Reclaims Its Space by Sitaram Raul, India Highly Commended, Urban Wildlife
Sitaram Raul (India) is among the chaos as fruit bats leave their roost in the ruins of a historical monument.
Working in total darkness, Sitaram manually focused his lens at the distance where he guessed the bats might appear, relying on his flash to illuminate the scene. All the while, bats were, in his words, "randomly pooping on me and the camera." Old World fruit bats are common across southern Asia. During the day, they roost in cavities such as hollow trees, caves and deserted buildings. Sitaram says that no matter how big our urban structures are, once we leave them, "eventually nature reclaims its space."
Location: Banda, Maharashtra, India
Technical details: Nikon D750 + 24–120mm F4 lens; 1/250 at F8; ISO 800; Godox TT685 flash
No Place Like Home by Emmanuel Tardy, France Highly Commended, Urban Wildlife
Emmanuel Tardy (France) spots a brown-throated three-toed sloth clinging tightly to a barbed wire fence post.
Traffic slowed to a crawl as this sloth crossed the road, eventually reaching a fence post and gripping firmly. Concerned about not adding to the animal's stress, Emmanuel patiently waited for people to leave the area before quickly taking this photo. As their habitats become increasingly fragmented, sloths are forced to make more ground crossings to reach the safety of the next tree. In response, the Costa Rican government is working with local NGOs to establish biological corridors, including aerial bridges that reconnect their forest homes.
Location: El Tanque, San Carlos, Alajuela, Costa Rica
Technical details: Canon EOS 5D Mark IV + Sigma 24mm F1.4 lens; 1/1600 at F7.1 (+0.33 e/v); ISO 800
Toxic Tip by Lakshitha Karunarathna, Sri Lanka Highly Commended, Photojournalism
Lakshitha Karunarathna (Sri Lanka) reveals a solitary Asian elephant navigating a waste disposal site in Sri Lanka.
For over three years, Lakshitha has documented human–elephant conflict in Sri Lanka. This image is the result of months of meticulous observation at two open rubbish tips, where herds regularly forage. Around 20 elephants died over an eight-year period at a single site in Ampara after consuming indigestible food wrappers and other plastic waste. Alongside global efforts to reduce plastic use, conservationists stress the urgent need to secure landfills and prevent wildlife from accessing harmful materials.
Location: Ampara, Eastern Province, Sri Lanka
Technical details: DJI Mavic 3 Pro + Hasselblad L2D-20c 24mm F2.8 lens; 1/320 at F4 (0 e/v); ISO 200
Clouds of Gold by Jassen Todorov, USA Highly Commended, Wetlands: The Bigger Picture
Jassen Todorov (USA) depicts the clouds reflected in salt ponds that span San Francisco Bay.
Flying his single-engine Piper Warrior into San Francisco International Airport, Jassen never tires of the changing colors of the ponds. On this occasion, he says, "the light during the golden hour, at sunset, was magnificent." The process of salt collection in the bay was industrialized in the 1800s. Since 2003, the South Bay Salt Pond Restoration Project has acquired 6,000 hectares (nearly 15,000 acres). By removing artificial dykes, the project is recreating tidal marsh habitat, allowing salt-tolerant plants and wildlife to flourish once more.
Location: San Francisco Bay, California, USA
Technical details: Nikon D810 + 70–200mm F2.8 lens at 70mm; 1/400 at F2.8; ISO 280
Fragile River of Life by Isaac Szabo, USA Highly Commended, Wetlands: The Bigger Picture
Isaac Szabo (USA) watches longnose gars spawn in a crystal-clear Florida river.
Wrapping his feet around a drowned tree, Isaac photographed this female longnose gar with several males during the mating season. The presence of the turtle was, for Isaac, the "icing on the cake," as it "gives a sense of the whole ecosystem." This river is one of more than 1,000 waterways fed by freshwater springs renowned for their clarity. Maintaining the aquifers that supply these springs is vital not only for iconic wildlife such as manatees, but also for providing drinking water to nearly half of Florida.
Location: Columbia County, Florida, USA
Technical details: Sony α7R II + Nikonos RS 13mm F2.8 lens; 1/30 at F8; ISO 200; Inon Z-240 strobes
Special Delivery by Bidyut Kalita, India Highly Commended, behavior: Invertebrates
Bidyut Kalita (India) photographs a hard-working potter wasp mid-flight with caterpillar prey for its young.
Bidyut spotted this potter wasp building a mud chamber on a picture frame in his home in Goalpara, northeast India. Noticing it coming and going several times a day, he wedged the door open to allow it access until he finally saw it returning with prey gripped in its jaws. Once the chamber is complete, the wasp sets about packing it with caterpillars paralyzed by a sting, to provide live food for the developing larvae within.
Location: Goalpara, Assam, India
Technical details: Canon EOS R6 + 85mm F2 macro lens; 1/125 at F10; ISO 500; Canon Speedlite 470EX-AI flash + Beetle macro diffuser
Essence of Kamchatka by Kesshav Vikram, India Highly Commended, 11–14 Years
Kesshav Vikram (India) expresses the character of the remote wilderness of the Kamchatka Peninsula in Russia's Far East.
Kesshav waited days for this image to come together: a brown bear strolling along the shore of Kurile Lake as the Iliinsky volcano emerged from the clouds. A slaty-backed gull flew past, aligned with the volcano's summit. Generally solitary, the bear was heading to feast with others on the glut of sockeye salmon migrating upriver to their origin lake to spawn. This caldera lake, formed in the crater made by a volcanic eruption, is the largest sockeye salmon spawning ground in Eurasia.
Location: Kurile Lake, Kamchatka Krai, Russia
Technical details: Nikon Z8 + 100–400mm F4.5–5.6 lens at 100mm; 1/4000 at F4.5 (+0.3 e/v); ISO 1000; beanbag
Images: Richard Buttler, Abby Ferguson, Dale Baskin, Mitchell Clark
It's been a busy week here at DPReview, and we've published a variety of sample galleries. They range from photos from Google's latest smartphones to shots from Hasselblad's new 100MP medium format camera.
With all the stories, we wouldn't be surprised if not everyone saw all the galleries, so we're rounding them up here. There's a table of contents below so you can jump around to catch the ones you haven't seen (or the ones you'd like to revisit?), and each gallery will have links to our main coverage.
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Samples: Richard Butler and Mitchell Clark
This week's first release was the Hasselblad X2D II 100C, an update to its medium-format line that adds continuous autofocus, upgrades the controls and adds deep support for outputting HDR JPEGs or HEIFs.
Hasselblad also announced the XCD 35-100mm F2.8-4, a standard zoom lens alongside the X2D II. While we haven't produced a gallery with our standard processing for lens samples for it yet, you can see plenty of shots taken with it in the X2D II's gallery.
Note: All the out-of-camera JPEGs in this gallery are Ultra HDR JPEGs. If you're viewing on an HDR-capable device, click the "Original" link on the right of the preview to see the version with the HDR effect.
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Samples: Dale Baskin
Last week Google announced the Pixel 10, whose cameras are a relatively substantial departure from the Pixel 9. For one thing, it now has an extra one: a telephoto camera is joining the main and ultrawide ones. However, those latter two cameras have been downgraded compared to the ones found on the 9, and now use smaller sensors.
Does it matter? Take a look at the sample gallery and decide for yourself.
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Samples: Abby Ferguson
Alongside the Pixel 10, Google announced the 10 Pro and Pro XL. Unlike with the regular models, the actual hardware remains mostly unchanged. However, Google has introduced a new "Pro Res Zoom" mode that lets you take a picture at 100x, while the standard 10 tops out at 20x.
We use the term "picture" loosely. It takes the image from the tiny, tiny crop of the sensor and attempts to enhance it with AI. You can see the originals and the "enhanced" versions in the gallery.
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Samples: Mitchell Clark
Finally, this week we got our hands on a copy of the Ricoh GR IV that we could publish the pictures from. We'll be shooting more with it over the coming weeks, but wanted to get some samples out for people to look over so they can get an impression of how the new lens, sensor and processing engine work.
Earlier this month, Fujifilm announced that it would be raising its US prices on its products across the board, citing "volatile market conditions," but it didn't mention by how much. Now that retailers have started updating their listings, though, it's clear what the impact is. Here's what you need to know.
Several of its cameras have been affected. At retailers like B&H and Adorama, the X-T5 has gone from $1899 to $1999, while the GFX100RF has gone from $5399 to $5599. The GFX 100S II has seen a similar jump, going from $5499 to $5699.
This is Fujifilm's second price increase within the last month; at the beginning of August, the company raised the prices on some of its cameras and lenses by up to 15%.
Aug 30 price (% change)
Previous Price
Original MSRP
X-T5
$1999 (5.3%)
$1899
$1699
X-T50
$1599 (0%)
$1599
$1399
X-M5
$899 (0%)
$899
$799
X-100 VI
$1799 (0%)
$1799
$1599
GFX100RF
$5599 (3.7%)
$5399
$4899
GFX 100S II
$5699 (3.6%)
$5499
$4999
At time of writing, the X-M5, X-T50 and X100VI all appear to have stayed at the prices they rose to at the beginning of the month. However, two cameras have been unaffected by both of the price changes: the X half and X-E5.
Unlike the rest of Fujifilm's lineup, they were released after the tariffs were announced. It seems like Fujifilm built plenty of room into their prices to avoid having to raise them again before people had even received their pre-orders. The company did say, however, that its goal was to maintain its overall pricing structure.
The X half and X-E5 were released after the tariffs were announced
Of course, some of Fujifilm's lenses have also been affected by both waves of price adjustments. The venerable 16-55mm F2.8 II has gone from $1349 to $1399, and the company's more affordable standard zoom, the 16-50mm F2.8-4.8, is also now $50 more. Some of its premium primes, like the 23mm F1.4, 56mm F1.2 and 90mm F2 have gone up by $100, and while the 35mm F2 has gone up by $50, several of the company's more entry-level primes appear to be unaffected.
Obviously, having to do a second price increase in a row isn't ideal for anyone. It's now more expensive for Americans to get the company's cameras, which could lead to decreased demand, though Fujifilm is far from the only camera company having to raise its prices in the US.
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This week, Hasselblad announced the X2D II, its latest medium format camera. While its "end-to-end" HDR capabilities are perhaps the most eye-catching feature, there are other upgrades that make it a more versitile camera than its predecessor.
In this week's roundtable discussion, editors Abby Ferguson, Dale Baskin and Mitchell Clark sat down to discuss the camera and what it means for the industry. Of course, there are some bits about the moon in there, too (we couldn't resist).
These cards may physically look the same, but they'e all very different.
At first, choosing an SD card to go in your camera may seem like an easy task. After all, they all look more or less the same, so picking one should be as simple as going to the store, finding the highest-capacity one that fits in your budget, and putting it in your camera, right?
Unfortunately, that's not quite the case. While that strategy will probably work for most modern cameras, there are some considerations you'll want to take into account if you're using older cameras or if you're shooting video or bursts of photos.
The need for speed
SD card labels have a lot of information, but not all of it is relevant.
Looking at the label of a typical SD card can be an assault on the senses. They're often covered with numbers and letters, and while the meaning of some (such as the size) may be obvious, others are less so.
Many cards advertise a write and/or read speed, usually denoted in MBps. You can pretty much ignore this; often the card only shows the read speed, which isn't particularly important for cameras, as you'll mainly be writing to it, and even when it does include a write speed, it's almost always showing the best-case scenario rating, which won't be particularly applicable to real-world shooting.
You can ignore the listed read/write speeds
If that number isn't useful, what should you look at instead? It depends on your use case. If you just plan on taking single photos and maybe a few short video clips, most modern SD cards will work just fine; you don't need to pay extra for a super-fast model, which will often come with labels like V60 or V90.
If you have a high-resolution camera, plan on doing a lot of burst shooting with both Raws and JPEGs, or shooting long 4K60p clips or even 8K video, you'll want to spend the extra money to get one of the high-end cards. If you get a card with a low speed rating like V30 or even no V-rating at all, it could hinder your camera's performance.
What about the other ratings?
UHS-I cards (top) have fewer pins than UHS-II ones (bottom).
The SD standard has had several speed ratings over the years, enough that it could be its own separate article. If you're using an older camera, it may be worth checking if it recommends a certian C or U-rating, but nowadays the most important spec will be the card's UHS rating. Most cards you're likely to run into are UHS-I or UHS-II. It's easy to tell the difference between the two, as UHS-II cards have a second row of pins on the back.
If you have an older or lower-end camera, it'll likely have a UHS-I slot, and you won't get any benefit from a UHS-II card. It'll likely still work with your camera, but it'll only be able to run at the slower UHS-I speeds. Likewise, UHS-I cards will work in cameras with UHS-II slots, but as we noted in the speed section, they may bottleneck your camera's performance if your usage is particularly demanding.
Can an SD card have too much storage?
Some cameras won't be able to accept larger cards.
While high-capacity SD cards are always getting less expensive, there are situations where you may need to avoid getting the one with the most storage. For example, if you're using an older camera, it may not work with larger cards.
If you look closely at your card, you may notice that it has a few letters after "SD," such as "SDHC" or "SDXC." These actually denote different generations of cards, and while most newer cameras will be able to use any of them, older cameras may not be compatible with newer generations of cards.
Some cameras have a printed or engraved indicator that shows which version of SD they support; if not, that information should be available in the manual, or online. If your camera says "SDHC," for example, you'll probably only be able to use it with cards that are 32GB or smaller. Cameras that just support "SD," meanwhile, are limited to cards that are just 2GB or less, which can be difficult to find new.
SD eXtended Capacity, or SDXC, was introduced in 2009 and supports cards up to 2TB, so this will mainly be a concern for cameras released around that year or before, though some lower-end cameras from the 2010s may also lack SDXC support.
microSD vs SD
While it's not particularly common, a few cameras use microSD cards instead of full-size ones. The name makes the difference obvious: microSD cards are SD cards, but much smaller. The speed ratings and classes will all be the same, so the advice for buying a microSD card is much the same as it is for full-size ones; figure out how big and fast a card you need, and go from there.
If your computer only has a full-size SD card reader or you want to be able to use your card in a variety of cameras, fear not: microSD to SD adapters are widely available, and may even be included when you buy a microSD card. This only goes one way, though; you can't gracefully fit a full-size SD card into a microSD slot.
What is SD Express?
It's not particularly likely, but you may come across cards labeled as "SD Express." If you do, we don't recommend buying it, as there are currently no cameras on the market that support the standard. While SD Express cards are backwards compatible with standard SD slots, they'll only run at UHS-I speeds, so you'll be paying for a high-speed card without any benefit at all.
Wait, this isn't SD at all!
Higher-end cameras may have a CFexpress slot alongside an SD one... or even two CFexpress slots!
While SD cards have been the industry standard for years, if you buy a vintage point-and-shoot, you may wind up with something that doesn't take them. Unfortunately, there may not be much you can do about that, as finding obsolete cards such as xD or the original Memory Stick is increasingly difficult. In some cases, you may be able to find an adapter that will let you use SD or microSD cards in other slots, and some older formats like Compact Flash are still around, but generally it's best to stick to cameras with SD card slots.
On the opposite end of the spectrum are high-end modern cameras, which may use standards like CFexpress Type B. While most people won't have ended up with one of these cameras by accident, if you see a port that's far too big for an standard SD card, that may be what it's meant for.
When in doubt...
If you bought a new camera and are unsure what card to use with it, check the manual. Most come with recommendations for specific SD cards that the manufacturer knows will let you get the most out of your camera. Cards not on the list will almost certainly work with it, but if you want to be sure you're not getting something that will slow your camera down, it's a good place to start.
Rollei Analog may have something new coming for analog shooters, according to its first Instagram post in four years. The company shared "We are back" on its account this week, with hints that something is coming.
The Instagram account rollei_analog hadn't posted since October 14, 2021. This week, though, it shared a post with a Zebra and text saying "We are back" and "be prepared and stay tuned!" The caption of the post said it has "big plans, new projects and analog inspiration." It isn't clear if it's simply an announcement that the Instagram account will be active again, or if there will be new products coming.
Hans O. Mahn GmbH & Co. KG manages the Rollei Analog brand, which specializes in film, photo chemicals and photographic papers. It last shared news on its website in 2020, so even that platform has been quiet for a while. You can still buy Rollei-branded film; however, it's not produced in-house by Rollei and is repackaged from other major manufacturers.
Over the past year, we've also seen the Rollei name pop up on other products, including a mirrorless lens and the Rollei 35AF film camera. However, those products are the result of licensing deals, with other companies obtaining the rights to use the Rollei branding on their products. The lens looked as though it was likely a re-branded 7Artisans offering. The revival of the iconic Rollei 35 in an autofocus format was a project by Mint Camera, which licensed the Rollei name from Rollei GmbH & Co. KG.
Rollei Analog's cryptic post leaves a lot to the imagination, and the comments are peppered with requests. We'll just have to wait and see what it means by "big plans," though.
One of the most critical parts of photography is getting the right exposure. Unfortunately, mastering that process isn't always straightforward. Tricky lighting conditions like backlighting or high-contrast scenes can complicate things, whether you're using automatic or manual exposure settings. The key is to master metering modes, settings that tell your camera how to measure light in a scene.
Metering modes can be confusing, though, especially since each brand uses slightly different names. In this article, we'll break down the most common modes and provide examples of when you should use each.
What are metering modes?
Before exploring the different settings, it's important to know what metering modes are. Digital cameras are able to measure light within a scene. The camera uses that information to suggest how bright or dark your photo should be, helping you get an accurate exposure.
We'll have more on how to use that light meter later, but for now, what's key to understand is that you can adjust how your light meter reads the scene, allowing you to tell the camera what's most important in terms of exposure. For example, you may want it to evaluate the entire scene for a balanced exposure, or the center of the frame could be what matters most.
Changing the metering mode will affect how your camera determines a proper exposure. This is vital in automatic or priority modes, but it's also helpful if you're using manual mode. After all, if the meter reads the wrong part of the scene, you may end up with an image that is far too dark (underexposed) or bright (overexposed).
Evaluative metering
This scene doesn't have any particularly challenging light, so evaluative metering mode handles the metering nicely. Photo: Abby Ferguson
Evaluative metering is the default setting for most cameras. Canon and Sigma call this mode Evaluative, and it's labeled as Matrix on Nikon, Multi on Sony and Fujifilm and Digital ESP on OM System.
While each brand might have its own nuance, it's typically more than just a basic average of the entire scene on modern cameras. Broadly speaking, this mode divides the scene into zones and assesses the brightness of every zone. The camera may also factor in color and the location of the focus point. That information is all processed using an algorithm that suggests a balanced exposure for the entire setting.
Evaluative metering is the default because it works well in most situations. It is useful for landscapes, portraits, wildlife and many other everyday scenarios.
Center-weighted metering
My subject was right in the middle of the frame, making center-weighted metering a useful choice. Photo: Abby Ferguson
Center-weighted metering (also called Center-weighted Avg. on Canon and Center on Sony), as the name suggests, prioritizes the center of the frame. It doesn't completely disregard the edges of the frame, but the camera will make sure the center is correctly exposed, even if that means the edges will be a little too dark or bright.
Center-weighted metering is useful for any situation where you know the subject will be centered. Portraiture is a great example, as it typically involves the subject in the center of the frame.
Spot metering
High contrast scenes, like a black dog on a snowy field, can benefit from spot metering. Photo: Abby Ferguson
Spot metering is the most precise metering option. This mode calculates exposure based on a small area of your selected focus point. Each system is different in the size of the area it references, with most using just 1-5% of the frame. In addition to Spot metering, Canon also offers what it calls 'Partial' metering, which is similar but uses a larger section that covers 6-10% of the frame.
This mode is ideal when your subject is on a very dark or bright background. Situations like backlit portraits, a dark subject against a snowy backdrop or the moon in the night sky are good candidates for Spot metering.
Highlight-weighted
Backlighting is a great example of when you might want a highlight-weighted metering mode, if you have it available. In this case, the highlights were more important to me than the rest of the scene. Photo: Abby Ferguson
Highlight-weighted metering is less common, but is available on some Nikon models. Sony also offers a similar mode called Highlight. As the name suggests, it prioritizes highlights in the image to ensure bright areas aren't overexposed. It uses the same information as evaluative metering, but instead of balancing the exposure, it calculates what's necessary to retain highlight detail.
Highlight metering mode is useful in bright or high contrast situations where you want to pay particular attention to highlights. In such situations, you may be willing to underexpose the image to retain highlight detail with the intention of lightening the shadows when editing. Capturing a sunset, photographing in the snow or documenting someone on a stage with spotlights are good examples of when you may want to use this setting.
Final thoughts on metering modes
Metering modes aren't something you need to change for every image. Most situations will call for one mode the entire time, and the default mode is a safe option that works for a wide range of scenarios. However, if you notice that your images are consistently darker or lighter than they should be (or than you want), it's worth assessing whether the lighting conditions may call for a different metering mode than what you have set, and adjusting accordingly.
Blackmagic Design has dramatically reduced prices for its Ursa Cine camera kits. The move is surprising, given that most products have seen increased prices in the past few years. It also follows a price increase of some Blackmagic cameras for US customers earlier this year.
In April, Blackmagic announced that it was increasing the prices of most products in the US because of tariffs. That included the Blackmagic Pyxis 12K and Ursa Cine 17K. In a statement to DPReview at the time, Blackmagic explained that "in general, it’s a bit in flux as developments are happening with the tariffs." However, the company also said it would be "moving production of some products to help lower costs for customers from what we had previously raised them to since the tariffs went into effect."
Blackmagic said that since it released the Ursa Cine line last year, it has been working to reduce the cost of production and pass the savings along to customers. It appears that some of Blackmagic's production adjustments are starting to have an impact, and the price cuts to the Ursa Cine line are substantial. The Ursa Cine 12K LF previously retailed for $14,995 and is now priced at $9,495. The Ursa Cine 12K LF with EVF dropped from $16,495 to $10,995. The higher-end 17K 65 with and without the EVF is $7,000 less than the previous price.
While the decreased prices are certainly a welcome change, Blackmagic specifies they exclude duties. As a result, prices in the US will be higher because of tariffs, though they will still be lower than the original prices of the Ursa Cine lineup.
When Google unveiled the Pixel 10 last week, it touted the 48MP main camera, and yet, it can only produce 12MP photos. The story is the same with last year's Pixel 9 and its 50MP main camera. This has led some users to complain that Google's spec sheets are misleading; why would Google advertise a resolution that Pixel owners can't actually use? However, there's likely more going on than meets the eye.
Spec differences
On paper, the specs of the Pixel lineup seem pretty straightforward. The Pixel 9 features a 50MP main camera, and the new Pixel 10 uses a 48MP one. Yet in reality, neither phone produces images near that size, with every shot capped at 12MP.
The Pixel 10 Pro and Pro XL also, by default, take 12MP images with their 50MP sensors. However, the Pro models give users the option to change the resolution and turn on a Hi-Res setting. With that turned on, the phone will output 50MP files, which is the promised resolution. Unfortunately, the standard Pixel doesn't offer such a setting, so there is no opportunity to change to the full resolution.
Technology at play
The Quad Bayer design (right) uses an oversized version of the conventional Bayer pattern (left). Each color patch extends over four photodiodes; each has its own microlens in front of it. Image: adapted from Sony Semiconductor illustration
So why put a higher-resolution sensor in the phone only to output a quarter of the resolution? There may be a few factors. First, the phone uses a Quad Bayer sensor, which differs from a traditional Bayer sensor by having each color patch extend over four photodiodes instead of one.
While each photodiode has a microlens that allows it to be used as an individual pixel (with a heavy helping of interpolation), there are other ways to use the data from a quad Bayer sensor. One is to bin the four photosites behind each color patch, which will reduce read noise and give you a resulting image that's 1/4 of the sensor's full resolution. This method comes at the cost of some detail, but gives you a cleaner image, especially in low-light situations.
Another readout mode lets you retain more information in the highlights, again at the cost of outputting a file that's only a 1/4 of the resolution compared to if you used each photosite as a single pixel. In high contrast scenes, this allows for better HDR results.
Essentially, you can choose between having the maximum amount of detail captured, the minimum amount of noise or the maximum dynamic range. Or, rather, the phone manufacturer can; while the Pro models let you choose resolution over low-light performance, the standard model simply doesn't offer that option.
"There are other ways the phone may be using the extra pixels, even if they don't show up in the final output in the form of higher resolution."
It's also important to note that there are other ways the phone may be using the extra pixels, even if they don't show up in the final output in the form of higher resolution. Smartphones rely heavily on computational enhancements to produce better image quality than their tiny sensors would otherwise allow. It's possible that, somewhere in Google's imaging pipeline, it may be using a 48MP readout from the sensor in addition to the other modes, even though the end result is a lower-resolution file.
The Pixel 9 and 10's spec sheets aren't incorrect; they use 50MP and 48MP sensors, respectively. But it's also understandable why some users feel misled when they can't actually get files that match those resolutions. The phones may be taking full advantage of the sensors in the background, just in a way most don't necessarily expect.
A photo taken in 50MP mode on the Pixel 10 Pro XL. Photo: Abby Ferguson
Of course, it likely doesn't help that Google only gives people who buy the Pro models the option to capture as much detail as possible with a full-res photo. That's especially true since other manufacturers, like Apple, don't divide their regular and Pro models along the same lines (though Apple's 48MP option is buried in the settings app).
It's an interesting situation because the spec sheets seem designed for people who assume that the more megapixels a sensor has, the better. But the same people will likely feel betrayed by the fact that they can't actually get that full resolution, even if their images will be better in most situations without it.
"At this time, the user cannot create a 48MP image from Pixel 10."
We reached out to Google for clarification on this difference between hardware specs and output. A representative for Google shared the following: "The Pixel 10 main/wide camera is a 48MP sensor. We include a clarifying footnote about resolution because even though the hardware is a 48MP sensor, Pixel Camera app configures the sensor in binning mode. At this time, the user cannot create a 48MP image from Pixel 10."
The footnote that Google is referring to states, "Reflects megapixels for camera sensor. Camera image resolution output may be less when using default settings." The use of "may" in that footnote is where Google is putting itself in a bind, since on the Pixel 10, it is always less, no matter what.
Ricoh GR IV | F16 | 1/500 sec | ISO 200 Photo: Mitchell Clark
Last week, Ricoh fully announced the GR IV, the latest iteration of its photographers' compact camera. Compared to its predecessor, it has a new sensor, new processing engine and a new lens, so there's plenty to consider when it comes to its performance.
We've gotten the chance to shoot with it in a variety of conditions to see how it performs. Be sure to let us know what you think in the comments below, and keep an eye out for more photos as we continue our review process.
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; we do so in good faith, so please don't abuse it.
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DJI has announced its latest wireless lavalier microphone, the DJI Mic 3. The new device combines the compactness of the Mic Mini, which was released less than a year ago, with the functionality and higher-end features of the Mic 2.
Like the Mic Mini, the Mic 3 is a discrete option. The transmitter portion weighs 16g (0.56oz), which is only slightly heavier than the Mic Mini and 12g (0.42oz) lighter than the Mic 2. It can be attached to subjects with the detachable, rotating clip or with an included magnet. It also shares the Mic Mini's transmission range in ideal conditions, promising to connect at distances of up to 400m (just under 1/4 mile). That's a substantial bump from the Mic 2's 250m (820') range.
The Mic 3 is small and discreet. Image: DJI
The Mic 3 gains some firsts from DJI, including the first DJI mic to offer voice tone presets. Users can select between Regular, Rich and Bright, which will professionally tune voices by boosting low frequencies or enhancing high frequencies. DJI says it will be helpful for interviews with multiple people who have different vocal characteristics.
The new mic is also the first DJI mic with two Adaptive Gain Control modes: Automatic and Dynamic. Automatic mode can suppress sudden volume spikes and prevent clipping. This mode promises to be helpful for outdoor environments with dramatic volume, such as sporting events. Dynamic mode automatically adjusts gain in response to volume changes to maintain consistent loudness, which DJI says is ideal for studio settings.
The windscreen helps cut down wind noise even more. It's also available (separately) in five different colors. Image: DJI
Mic 3 provides Lossless Audio to deliver uncompressed 48kHz 24-bit audio directly to the receiver. It also offers two-level active noise canceling. DJI didn't specify if it carried over the Mic 2's 'Intelligent' noise cancellation, which doesn't require manual selection of a level.
It keeps the 32-bit float internal recording found on the Mic 2. However, it adds dual-file internal recording: one with the original track, and another with the algorithm-enhanced version. Unfortunately for some, the transmitter packs lack a 3.5mm jack, just as the original Mic Mini did. As a result, users won't be able to use traditional lav mics.
Image: DJI
The system can work with up to four transmitters and eight receivers at once (though those have to be purchased separately), making it a worthwhile option for large group recordings. Additionally, the Mic 3 Receiver offers Quadraphonic mode, which supports independent output of four audio tracks, though only when paired with select Sony cameras or computer software.
In terms of battery life, DJI says the Mic 3 transmitter can last up to eight hours, while the receiver lasts up to 10 hours. The optional charging case provides 2.4 full charges.
DJI says a five-minute charge will provide two hours of battery life. Image: DJI
The DJI Mic 3 will be on display at IFA in Berlin from September 5-9. It is available with two transmitters, one receiver and the charging case, or users can opt for a single transmitter and receiver with no charging case.
Unfortunately for US users, as has been the case with other DJI releases lately, the Mic 3 will not be available for sale in the US through DJI’s official channels. The base model retails for £169 / €199, while the kit with a charging case costs £259 / €309.
Press release:
DJI Introduces the Most Advanced Mini Wireless Microphone with DJI Mic 3
Expanding the DJI OsmoAudio™ Ecosystem, DJI Mic 3 is compact, lightweight, and discreet – with premium audio and a smarter experience
Aug 28, 2025 – DJI, the global leader in civilian drones and creative camera technology, today announced DJI Mic 3, an ultralight wireless microphone offering powerful performance and unmatched versatility. Building on previous generations of the DJI Mic series, Mic 3 supports up to four transmitters and eight receivers, making multi‑camera production and group recordings effortless. It is also the first in the series to feature an adaptive gain control that automatically prevents clipping or dynamically balances the volume, along with three voice tone presets and two-level noise cancelling. Another first is the dual-file 32-bit float internal recording with 32 GB of storage.
Lightweight, Versatile, and Ready to Go
The DJI Mic 3 Transmitter is compact and discreet, weighing just 16 grams. The microphone angle can be flexibly adjusted with the detachable, rotating clip, ensuring optimal audio capture no matter how it’s attached. It can be worn with either a magnetic or a clip-on attachment. The DJI Mic 3 windscreens can also be purchased in five different colors to easily match clothing or the environment.
Creators can easily bring Mic 3 along from location to location for multi-scene shooting while recharging on the go. The all-in-one charging case neatly holds two transmitters and one receiver. The transmitters can be stored without needing to remove the windscreen and magnetic clip. There is also space for the magnets and locking cables.
An Upleveled, Premium Audio Experience
Crafted to offer all content creators an unprecedented level of control and creativity, Mic 3 is equipped with intelligent features that enable dynamic, high-quality sound. It is the first DJI microphone to feature two Adaptive Gain Control modes. For outdoor environments with dramatic volume, such as sporting events, Automatic mode suppresses sudden volume spikes and prevents clipping. Meanwhile, Dynamic mode automatically adjusts gain in response to volume changes, ensuring consistent loudness - ideal for quiet indoor settings like studios.
Mic 3 is the first DJI microphone to offer three voice tone presets: Regular, Rich, and Bright. Ideal for interviews with multiple people with different vocal characteristics, this feature professionally tunes voices, boosting low frequencies to reduce muddiness or enhancing high frequencies to improve clarity.
Simultaneously, two-level active noise cancelling reduces background sounds such as air conditioning to deliver crisp and clear audio. With the windscreen attached, wind noise can be further reduced. Finally, the Lossless Audio feature enables the transmitter to deliver uncompressed 48kHz 24-bit audio directly to the receiver, capturing audio in stunning, high-fidelity detail.
Flexibility Made for Collaboration, Versatility and Reliability
With its capacity of up to four transmitters and eight receivers at once (additional transmitters and receivers are sold separately), you'll get crystal-clear audio on every device whether it’s a group interview or multi-camera shoots, making post-production a breeze. When set to Quadraphonic mode, the DJI Mic 3 Receiver—paired with select Sony cameras or computer software—supports independent output of four audio tracks. This enables precise track separation and flexible mixing, giving you greater creative freedom in post-production.
For complex, large environments such as trade shows or sporting events, Mic 3 features an impressive range of 400 meters and strong resistance to interference*, with automatic frequency hopping between 2.4GHz and 5GHz bands ensuring rock-solid transmission*.
Offers Dual-File 32-bit Float Internal Recording and Timecode Support for Easier Post-production
Internal recording protects material from wireless interference or device issues, ensuring users never need to worry about lost audio. The Mic 3’s dual-file internal recording saves both the original track and the algorithm-enhanced version. This allows for creative flexibility and simplifies post-production processing. With two internal recording specifications - either 24-bit or 32-bit floating point - Mic 3 provides a dynamic range that adapts better to complex sound environments, able to capture every nuance of a voice from a whisper to a shout. The transmitter offers high-precision timecode functionality, embedding timecode data during internal recording. Within a 24 hour period, the timecode won’t deviate for more than one frame*, guaranteeing precise synchronization across multiple cameras and allowing effortless alignment of footage in post-production.
Powering All-Day Creation
A fully charged Mic 3 transmitter lasts up to eight hours*, and the receiver lasts up to 10 hours*. The charging case provides 2.4 full charges, achieving 28 hours of extended use. A five-minute quick-charge can power the DJI Mic 3 for two hours*, while just 50 minutes is needed for a full charge*. The Mic 3 also offers multiple power-saving features to prevent the need for recharging. For example, Auto Power-Savings puts the receiver and transmitter to sleep if not in use, while Auto Power-Off turns them off after a period of inactivity.
Simple, Straightforward Connection within DJI Ecosystem and Beyond
With a direct connection to the DJI OsmoAudio™ ecosystem, DJI Mic 3 pairs with Osmo 360, Osmo Action 5 Pro, Osmo Action 4, or Osmo Pocket 3 without a receiver, delivering premium audio while minimizing the amount of gear needed and simplifying a creator’s workflow. To connect with other devices, Mic 3 features a locking 3.5mm TRS output port, a 3.5mm TRRS monitoring port, and a USB-C port. It can also connect directly to smartphones via Bluetooth without a receiver.
For more information about DJI Mic 3 and its remarkable features, please visit: https://www.dji.com/mic-3
* All data was measured using a production model in a controlled environment. For more information, visit: https://www.dji.com/mic-3
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Google's newest smartphone, the Pixel 10, introduces a significant change to its camera configuration: unlike previous base model Pixels that featured a two-camera setup, including a main (wide) and an ultra-wide camera, the Pixel 10 adds a telephoto camera, matching the triple-camera setup of the more expensive Pixel 10 Pro models.
However, as we've reported previously, a higher number of cameras doesn't mean better cameras. There's a trade-off for that extra lens. To add the telephoto camera, Google downgraded the Pixel 10's main camera, giving it a smaller sensor than the one on the Pixel 9.
Similarly, the Pixel 10's ultra-wide camera has a smaller sensor, a slower aperture, and lower resolution than the one found on the Pixel 9. These changes result in a pair of cameras that are notably less capable than those found on its predecessor.
Are these trade-offs worth it? The answer might be yes for casual camera users who aren't concerned about critical image quality. More advanced photographers, however, will find more reason than ever to spend extra money on Google's Pixel Pro models to get the improved camera performance they desire.
What do you think of these trade-offs? Check out our sample gallery and let us know in the comments.
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.
Last week, Google announced its Pixel 10 phone lineup, which includes the Pixel 10, 10 Pro, 10 Pro XL and 10 Pro Fold. The standard Pixel 10 saw the most significant camera changes, while the three Pro models kept the same camera hardware as the previous generation. You can see more details of the four phones and how the Pixel 10 stacks up next to the Pixel 9 on paper in our detailed comparison.
While the hardware remains consistent in the Pro phones, Google said it made other improvements. Those promised upgrades take the form of largely AI-based software changes and a Tensor G5 chip. We've had the opportunity to take the Pixel 10 Pro XL around for a few days, testing the cameras to share a sample gallery with you all.
We shot the phone in Raw + JPG mode for most of the testing period so that you can check out the Raw files as well. However, for those looking forward to picking up a Pixel phone to use Raw files, be aware that accessing them on anything other than your phone isn't very straightforward.
One of the features that differentiates the Pro and Pro XL models from the other devices in the lineup is Pro Res Zoom up to 100x instead of 20x. Google says this feature uses a combination of cropping and generative AI. We made sure to test out the Pro Res Zoom feature, and included the processed and unprocessed versions so you can compare. The generative AI results are often very lackluster, but given how intense the crop is, it doesn't have much information to work with.
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; we do so in good faith, so please don't abuse it.
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Nothing, a British tech brand, was caught trying to pass off stock images taken by professional photographers as samples taken by the Phone 3. The Verge reports that five sample images were licensed photos taken with different cameras.
The photographs were used on in-store demo units of the Nothing 3. One of the photographers anonymously confirmed to The Verge that they didn't use the company's latest smartphone to create the image. Instead, the photo was licensed by Nothing through the Stills stock photo marketplace. The Verge says it looked at the EXIF data for the image and confirmed it wasn't taken with the Phone 3 and was taken in 2023, two years before the release of the phone.
Nothing used this car image available through Stills on its live demo unit, even though it was taken with the Fujifilm XH2s in 2023. Screenshot: Abby Ferguson
Five other photographs were also licensed by Nothing through Stills. Roman Fox confirmed to Android Authority that they photographed one of the other images. That photograph was also taken in 2023 using a Fujifilm XH2s, a far different camera from the Nothing Phone 3.
Nothing's founder Akis Evangelidis responded to the incident on X. He claims that the stock photos on the live demo units (LDU) were meant to be placeholders that should have been updated and replaced. "An initial version of the LDU needs to be submitted with placeholders around 4 months before launch, to be implemented and tested as we ramp up towards mass production," Evangelidis said. "Once we enter mass production, those placeholder images are replaced with photo samples through a new version of the LDU."
Re the Phone (3) live demo units (LDU) in some stores using stock imagery - let me explain. An initial version of the LDU needs to be submitted with placeholders around 4 months before launch, to be implemented and tested as we ramp up towards mass production. Once we enter mass…
Evangelidis went on to say that it was "an unfortunate oversight" and "that there was no ill intent." Nevertheless, paying for stock photos that were not intended for public use seems odd. It seems it would be much easier to simply use some of those cat photos that are likely on someone's phone. Evangelidis says that used to be the process, in fact. In the past, it used photos taken using the company's older phones on the live demo units. It's unclear why it changed to using licensed stock photos instead.
This isn't the first time a company has tried to pass off dedicated camera photographs as sample images. For example, Huawei has done the same thing a few times, and Nokia famously released a commercial supposedly featuring video from one of its phones in which you could see a reflection showing a professional video rig. Yet, companies don't seem to learn that consumers do catch on.
It's been a big week for Content Credentials, the tech made to provide more transparency around how images were created and edited, and whether AI was involved in the process. First, Google announced that its latest lineup of Pixel phones would include the metadata on every photo they took; a first for the smartphone world. Then, Nikon announced that Z6III owners will be able to attach credentials to images they take with the camera for free.
Both moves represent big steps forward for their respective industries. While the Pixel is a tiny player in terms of smartphone market share, other companies tend to follow Google when it introduces new features. The company adding Content Credentials to its phones could push larger players like Samsung and Apple to do the same, especially as they continue to walk the line between pleasing investors and annoying customers by adding AI-powered camera features.
The Pixel 10, 10 Pro and 10 Pro Fold are the first phones to attach Content Credentials to their photos. Image: Google
Over in the dedicated camera world, Content Credentials have largely only been available to members of the press and those who can afford a Leica. While the Nikon Z6III certainly isn't an entry-level camera, it's much more affordable than most of Leica's offerings. It's also nice to see that Nikon currently isn't charging for access to this feature, though it's possible that'll change in the future.
These changes are important because they could represent a turning point for Content Credentials. While the standard is backed by the Coalition for Content Provenance and Authenticity (C2PA), a veritable who's who of imaging tech, its future as an important part of imaging and trust on the internet hasn't necessarily been assured.
As it stands now, an image with Content Credentials may get a special badge on some sites, and you can inspect images to see if they have them with various tools. However, very few people on the web are liable to do that, because almost no images have them. They may be useful to newshounds consuming a lot of photojournalism as proof that an image is authentic (or, at least, not faked in a very specific way), but if you only trusted images with Content Credentials, you'd end up thinking every image you saw on the Internet was fake*.
If you've seen a Content Credential badge before now, it's probably because you went looking for one.
If the tech makes its way into the cameras most people are actually using, though, that could start to change. The presence or absence of Content Credentials could become a meaningful contribution to an image's trustworthiness, rather than just being a curiosity. While it certainly wouldn't be a silver bullet against mis- and disinformation and the rise of generative AI, it could wind up being a more useful tool if it's something you can come to rely on most authentically-shot images having.
While that future seems more likely now after this week, it is still a long way off. One of the issues with Content Credentials is that every link in the chain from your camera to the device it's displayed on needs to support them. If you edit them with software or upload them to a service that strips out the metadata, it won't do you or your viewers any good.
Until now, there's arguably been a chicken and egg problem with Content Credentials
But while the ecosystem around them is still young, it's obviously growing. Recently, Fastly, a massive content delivery network, joined Cloudflare in announcing that a vital part of its image pipeline will now preserve Content Credentials, and Adobe is making strides in ensuring that most of its software works with them, too.
The weakest link may still be web browsers, as the major ones currently don't flag images that have credentials unless you install a third-party extension. Even just Chrome making it seamless to see and inspect Content Credentials could do a lot to boost consumer awareness of the tech.
That doesn't feel impossible, though. Until now, there's arguably been a chicken-and-egg problem with Content Credentials and the web; almost no one was using them, so it was hard to justify putting in the work to support them. But if Nikon and Google end up being just the tip of the iceberg, we could see a lot more demand for the tech coming soon.
* Admittedly, there are probably worse assumptions to make.
Two weeks ago, we started our new 'Question of the week' series in our forums. The series aims to get our vibrant community (that's you) thinking and talking about a range of photography-related topics. We'll be sharing a question every other Wednesday, and, at times, we'll also be sharing our favorite responses on the homepage. It's an opportunity to receive recognition for participating in these discussions and our way of highlighting our incredible community.
Without further ado, let's dive into our second 'Question of the week!"
This week's question: What five questions should you ask yourself when buying a new lens?
Last time, we asked, "What five questions should you ask yourself when buying a new camera?" You all had some great advice to share (and still do, as comments are still coming in). But we thought one common topic warranted further discussion: lenses. After all, there's a lot to think about when buying a new lens.
So, this week, we are sticking to a familiar format: What five questions should you ask yourself when buying a new lens? Whether you're adding to an extensive collection or just starting to build out your kit, we want to know the five most important things you should consider when shopping for a new lens.
For those of us in the US, it's a holiday weekend, so we'll share our favorite responses in a post on the homepage on Tuesday; be sure to get your responses in to the forum post before then!
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Image: Nikon
Nikon has announced firmware version 2.0 for the Z6III, adding a dedicated bird mode autofocus mode, in-camera focus limiter, focus shift shooting and more. As part of the firmware update, the camera will also open up the ability to sign photos with C2PA-compliant Content Creditals to everyone, not just pros.
V2.0 features
If you've read our coverage on the Nikon Z8's latest firmware, most of the features in this update will likely sound familiar. Perhaps the most exciting for Z6III owners, though, is the addition of bird mode autofocus.
While the Z6III could recognize birds as a subject, its algorithms weren't as advanced as the ones from the Z9 and Z8 when it came to picking them out against high-contrast backgrounds, or keeping up with them in flight. The updated bird detection should increase the Z6III's accuracy when it's tracking small, fast birds, or species that don't look all that similar to other birds.
The Z6III is finally getting the more advanced bird autofocus that's been available in not just the Z8 and Z9, but the Zf and Z50II as well. Image: Nikon
The absence of bird mode autofocus on the Z6III was especially odd since cheaper, lower-performance cameras like the Nikon Zf and Z50II had it, leading to Nikon pre-announcing that it would be coming to its capable all-rounder by the end of 2025. Now, it's finally here, a fair bit ahead of the deadline.
Another update to the autofocus system is the addition of in-camera focus limiter settings, which let you add precise distance limits on how close and/or far away you want the camera to search for a subject. While some lenses have a similar feature built in, being able to set limits in software lets you use the feature with any lens, which can help make the autofocus even more precise, as it can ignore anything outside of the window you've specified.
The camera also gains the ability to shift focus while taking high-resolution multi-shot images with its pixel shift function. That allows you to get a deeper depth-of-field in your images, though the feature unfortunately doesn't work in camera; like with regular pixel shift images, you'll have to process the focus stacking using Nikon's desktop NX Studio software.
The Z6III is also getting the 'Auto Capture' feature
The Z6III is also getting the 'Auto Capture' feature from the Z8 and Z9, which lets you set up the camera to automatically take a burst of pictures when certain conditions are met. For example, you could set it to release the shutter when the camera detects something moving in a specific direction, or when something enters the scene a certain distance away. It can also be combined with bird mode, taking a burst of photos when the autofocus system recognizes a bird in your selected area of the frame.
While we've covered the headline features, there are still many other things the update brings to the Z6III; Nikon told us there were over 70 features that have been added, enhanced or upgraded with V2.0. For example, you can now use the camera as a USB webcam without the need for extra drivers or software, thanks to UVC, and it's also compatible with Nikon's NX Field software, letting pro shooters control multiple cameras at once.
While the V2.0 update brings the Z6III up-to-date with the rest of Nikon's lineup in terms of features, it also introduces something new: widespread support for C2PA Content Credentials. While Nikon has piloted support for the cryptographic metadata on the Z6III, it's only been available to pros, similar to Sony's implementation.
Now, though, even Z6III owners who don't work for press agencies will be able to use Content Credentials to verify that their photos were shot with a camera rather than generated by AI. You'll need to generate a certificate and install it to your camera via Nikon's Imaging Cloud, but the process is free (though Nikon did say that was "for now").
Nikon promised this update late last year, but it's exciting to see that it's finally here, and that it won't just be limited to a select group of users.
You can see a complete run-down of all the features included in the update on Nikon's website. You can download it for free now.
NIKON RELEASES FIRMWARE VERSION 2.00 FOR THE NIKON Z6III FULL-FRAME MIRRORLESS CAMERA
Support for a dedicated [Birds] mode for subject detection and the “Nikon Authenticity Service” that increases the credibility of images
MELVILLE, NY (August 27, 2025) – Nikon Inc. is pleased to announce the release of firmware version 2.00 for its full-frame/FX-format mirrorless camera, the Nikon Z6III. This marks the first major update since the launch of the Z6III and introduces several features equivalent to those found in the flagship Nikon Z9 and Nikon Z8.
With its already incredible high-speed performance, this firmware update adds the long-awaited [Birds] mode to subject detection, offering an enhanced shooting experience for both still and videos. Plus, the Auto Capture function now enables automatic shooting under pre-configured conditions, supporting flexible shooting styles tailored to various situations.
Additionally, for the first time for a Nikon product, the Z6III supports the Nikon Authenticity Service*1 – a solution primarily aimed at media organizations and creators who require a high level of trustworthiness in their work. The service is compatible with the C2PA (Coalition for Content Provenance and Authenticity) standard, clearly recording provenance information from shooting through to editing to ensure greater transparency and reliability of content.
Nikon will continue to enhance its products through firmware updates that address user needs, while also fostering an environment in which all photographers and creators can engage in creative and professional activities with confidence and peace of mind.
Improved Subject Detection with Dedicated [Birds] Mode
A dedicated [Birds] mode has been added to the Z6III’s subject-detection options. When [Birds] mode is selected, the camera automatically tracks birds in flight with great precision, keeping them in focus even against complex, high-contrast backgrounds such as forests and rocky mountains. This allows photographers to concentrate on framing images, helping to meet their expectations. There is also a [Focus limiter setting] that can be assigned to a custom control to limit the shooting distance range, for more accurate focusing on the desired subject. In addition, the [JPEG fine] image quality setting can now be selected when Pre-Release Capture, which records images for up to one second before the shutter-release button is fully pressed, is used during full-frame shooting at 60 fps. This makes it possible to capture the moment a bird takes flight with superior image quality.
C2PA Compliance With Image Provenance Function
Nikon is committed to developing an image provenance function that supports confirmation of image authenticity, aiming to protect individuals and enterprises in the imaging industry from any unfavorable results caused by falsification and/or image manipulation, and to realize a society in which creative and business activities can be conducted with greater peace of mind. Z6III firmware version 2.00 includes an image provenance function that complies with the C2PA standard and is part of the Nikon Authenticity Service. By making a prior request through Nikon Imaging Cloud, users can load the digital certificate necessary for recording provenance data onto the Z6III.
The image provenance function adds metadata – such as information about the equipment used and data that makes it easy to verify whether the image has been tampered with, including a digital signature – to captured image files. This enables users to prove that a photo was taken with a Nikon camera.*2 If the image is then edited repeatedly using C2PA-compliant editing software, additional provenance information can be embedded in the image alongside the original shooting data, making it possible to prove that no misleading edits have been made.*3 In addition, image provenance data can be viewed in Nikon Imaging Cloud.
*1 There are some restrictions on shooting when the image provenance function is enabled. *2 Provenance information is not embedded in images that are edited in-camera.
Auto Capture Function Expands Shooting Possibilities in Any A Variety Of Situations
Firmware version 2.00 adds the Auto Capture function, which enables automatic shooting with pre-configured conditions. This allows users to specify the subject type, direction of movement, and shooting distance range*4 to capture previously difficult scenes, such as those that require shooting in places or positions where photographers would disturb their subject. The function is also equipped with a scheduling feature that allows the user to specify the day and time to initiate Auto Capture in advance, reducing battery consumption between camera setup and the start of shooting. In combination with a USB-to-Ethernet adapter*5, it enables high-speed data transfer even to remote destinations, meeting the high demands of professional environments.
Expanded Functions and Improvements to Operability
An [Automatic monitor display switch] function for disabling the eye sensor when the vari-angle monitor is deployed has been added, a first for the Nikon Z series.
A function that allows users to exit the zoom view with a half-press of the shutter-release button when the focus mode is set to manual has been added.
Pixel shift shooting can now be used in combination with focus shift shooting or AE bracketing settings for more precise photographic expression than ever before.
A [Recall shooting functions] option that allows users to recall previously stored settings – including shooting mode, shutter speed, aperture value, and ISO sensitivity – with the press of a button has been added to the roles that can be assigned to a custom control.
Adds support for USB streaming (UVC/UAC), which allows the camera to be used as a webcam by simply connecting it to a computer or smartphone.
By default, firmware updates are now installed automatically after the camera connects to Nikon Imaging Cloud (a note about setting the camera’s date and time has been added to the instructions for connecting to the cloud to prevent connection errors between Nikon Imaging Cloud and the camera).
Operation has been simplified by automatically displaying an update confirmation dialog on the camera monitor after registering an imaging recipe in Nikon Imaging Cloud.
Nikon Z6III owners can visit the website here to learn more about the new firmware. Nikon will continue to enhance its products through firmware updates that address user needs, while also fostering an environment in which all photographers and creators can engage in creative and professional activities with confidence and peace of mind.
*1 To use the service, registration with Nikon Imaging Cloud and an application for the use of a digital certificate are required. Also, it may not be available in some countries or regions.
*2 There are some restrictions on shooting when the image provenance function is enabled.
*3 Provenance information is not embedded in images that are edited in-camera.
*4 The [Advanced: Distance] feature can be used when a NIKKOR Z lens is attached. It may not function with other lenses.
*5 Commercially available USB-to-Ethernet adapter with a USB Type-C connector is required. Please refer to the user manual for a list of USB-LAN adapters that have been confirmed to work correctly.
Earlier this year Laowa introduced the 8-15mm F2.8, a fisheye zoom lens for a variety of full-frame mounts. Now, it's bringing the lens to medium format mounts, introducing a version of it for Fujifilm's GFX mount and Hasselblad's XCD.
The lens is a unique offering for creative shots. When it was first announced, the company pitched it as an option that would allow users to select between a circular image with black edges at the wide end, and a diagonal fisheye image that fills the entire rectangle of the image when zoomed to 15mm. It also offers a fast F2.8 aperture for low-light use.
Left: the GFX mount version of the lens at 8mm, shot using a Fujifilm GFX 50R. Right: the lens at 15mm. Images: Laowa
However, it's a bit of a different story with the new medium format versions. While the mounts may fit on cameras with larger sensors, the optics are still designed for full-frame. As a result, it will not fully cover the image circle of the medium-format cameras. even when at 15mm. At 8mm, there is a lot of space around the circular fisheye image. At 15mm, where the full-frame versions fill the frame, the medium format versions will still have black corners.
Laowa says that the new mount versions are still compact and lightweight. Both versions weigh roughly 650g (1.4 lbs). The FFX model is 101.2mm (3.98") long, while the XCD version is 96.36mm (3.79") long.
The Laowa 8-15mm F2.8 FF Zoom Fisheye lens for GFX and XCD mounts are available for purchase for $699.
Laowa Expands Compatibility: GFX and XCD Mounts Now Available for 8–15mm f/2.8 FF Zoom Fisheye
Anhui, China, August 26, 2025 – Laowa is thrilled to introduce GFX and XCD mount options for its 8–15mm f/2.8 full-frame zoom fisheye lens. Originally crafted for full-frame systems, this lens now brings its signature circular fisheye effect to Fujifilm GFX and Hasselblad XCD medium-format cameras. While the image doesn’t fully cover the larger sensor area, photographers can creatively crop to achieve their desired composition—unlocking fresh possibilities for imaginative framing and bold visual storytelling.
Overview of the Laowa 8–15mm f/2.8 FF Zoom Fisheye Lens
The Laowa 8–15mm f/2.8 FF Zoom Fisheye is a full-frame lens designed to deliver exceptional creative flexibility through its dual fisheye capabilities. Offering both a 180° circular fisheye and a diagonal fisheye effect, users can effortlessly switch between two distinct visual styles to suit their artistic vision. With a constant f/2.8 aperture throughout the zoom range, the lens performs brilliantly in low-light environments and enables faster shutter speeds—ideal for capturing dynamic scenes such as sports or action shots. Its close 16cm (6.3") minimum focusing distance empowers photographers and videographers to get up close and personal with their subjects, producing dramatic compositions with bold fisheye distortion and immersive visual impact.
Previously available in full-frame mounts including Sony E, Nikon Z, L mount, and Canon RF, the lens is now expanding its compatibility with the addition of GFX and XCD mount options for medium-format users. Despite the new mounts, the lens remains lightweight and compact, measuring 101.2mm × Ø76.4mm (GFX) and 96.36mm × Ø76.4mm (XCD), with a weight of approximately 650g.
Performance on Medium Format Cameras
When paired with medium-format systems like Fujifilm GFX or Hasselblad XCD, the Laowa 8–15mm f/2.8 FF Zoom Fisheye delivers a unique visual experience—producing a bold circular fisheye image at 8mm and a broader diagonal fisheye effect at 15mm. As the lens was originally designed for full-frame cameras, its image circle doesn't fully cover the larger medium-format sensor, resulting in a circular or partially cropped frame. Photographers can embrace this dramatic aesthetic or crop the image to suit their desired composition, unlocking fresh opportunities for playful framing and creative exploration on medium-format platforms.
The Laowa 8–15mm f/2.8 FF Zoom Fisheye delivers its most complete circular fisheye effect at 10mm.
Creative Cropping Possibilities
In addition to its distinctive fisheye rendering, the Laowa 8–15mm f/2.8 FF Zoom Fisheye opens up a world of creative cropping options for medium-format users. One standout choice is the XPan-style 65:24 panoramic crop, a favorite among GFX and XCD shooters for transforming circular fisheye images into cinematic, widescreen compositions. Photographers can also experiment with classic aspect ratios like 4:3, 1:1, and 16:9—each offering a unique interplay of scale, framing, and perspective. Thanks to the high-resolution capabilities of modern medium-format sensors and the lens’s superb optical performance, these crops retain remarkable detail while inviting fresh interpretations of fisheye photography. Whether aiming for dramatic panoramas or balanced square frames, users can craft visuals that are both technically sharp and artistically bold.
Pricing & Availability
LAOWA 8-15mm f/2.8 FF Zoom Fisheye (GFX and XCD Mount) are available to purchase via Venus Optics official website (Home - LAOWA Camera Lenses) and authorized resellers from the 26th August, 2025.
The US price is $699. Pricing varies in different countries.
Connexion
