Logo: Apple

Apple has acquired Patchflyer, the one-person company behind Color.io, a web-based color grading tool used by photographers and filmmakers, according to acquisition disclosures reported by MacRumors. Color.io creator Jonathan Ochmann has also joined Apple, though Apple hasn't announced what it plans to do with the technology.

Color.io was known for its film-inspired color tools, custom color models and an in-browser workflow. It appealed to creators looking for more advanced color grading without opening a full desktop editing suite. That service shut down on December 31, 2025.

In November 2025, Ochmann shared news of the closure on the Color.io site, as found via the Internet Archive. "Color.io isn't shutting down because it's struggling. But after 10+ years of running everything alone, I've reached a point where I need to grow in ways that aren't possible as a solo builder," he wrote. "I have an opportunity to work alongside a company whose products have shaped and inspired me, to work on creative tooling at a scale I could never reach on my own." It's now apparent that Apple was that company.

Color.io's browser-based interface helped make film-inspired grading tools accessible without a full desktop editing suite. Image: Color.io

The acquisition is especially interesting given Apple's recent interest in creative software. Apple completed its acquisition of Pixelmator in February 2025. Then, at the beginning of this year, Apple announced Apple Creator Studio, a subscription bundle of several of Apple's creative apps, serving as an alternative to Adobe Creative Cloud. The tech giant also acquired MotionVFX, a maker of Final Cut Pro plug-ins and templates, in March.

There's no word yet on whether, or how, Color.io's tools will appear in Final Cut Pro, Pixelmator Pro, Photos or the iPhone Camera app. But for photographers and video creators, the deal suggests that Apple is continuing to build out its color, imaging and creator-tool expertise, potentially with an eye toward making more advanced grading tools easier to access across its software ecosystem.

Panasonic's new Lumix L10 is the company's latest pitch for the enthusiast compact we've been waiting for. It's a modern, fixed-lens camera aimed at photographers who want more direct control in a carry-everywhere camera.

The L10 combines a 26.5MP Micro Four Thirds sensor with a 24-75mm equivalent F1.7-2.8 lens and the same processor found in the S1RII. It also offers phase detection autofocus and the latest subject recognition features you'd expect from a modern camera. Plus, Panasonic added an OLED viewfinder and an articulated rear screen.

We have the camera in hand, and in our latest YouTube video, we unbox the L10 and the included accessories. We'll be sharing more details about the camera once we've had an opportunity to put it through its paces, so stay tuned for more. For now, you can read more about the latest compact in our full article about the announcement.

Image: Panasonic

Panasonic is celebrating the 25th anniversary with the launch of a large sensor enthusiast zoom compact.

The L10 is essentially a fully modernized version of its LX100 camera, using the company's latest 26.5MP BSI CMOS Four Thirds sensor and the processor used in the S1RII. It features a version of the 24-75mm equivalent F1.7-2.8 lens from the LX100, updated in an unspecified way.

While the new model clearly shares much of the LX100 series' heritage, Panasonic says the L10 represents a new premium compact camera line.

The use of that sensor means it offers phase detection autofocus and the dynamic range boost function from the GH7 and G9II, along with all the company's latest subject recognition algorithms.

As with the other LX100 cameras, the lens doesn't cover the whole sensor, instead delivering up to 20MP images. It takes a multi-aspect approach, giving a consistent angle of view whether you shoot 4:3, 3:2 or 16:9 aspect ratios. A dedicated switch on the lens barrel lets you directly select these ratios or 1:1.

The camera has a full-metal body and a fully articulated 1.84M dot rear display. It also gains a more modern 2.36M dot OLED viewfinder, rather than the field-sequential display used by the LX100 models.

This makes it a significantly different camera than the LX100-related Leica D-Lux 8, which persisted with the sensor and processor from the LX100 II and kept the fixed rear screen design of the older models. The L10 also switches to using the much larger BLK-22 battery from the GH series, which should significantly improve performance.

The Lumix L10 Titanium Gold edition will be available directly from Panasonic in most markets. Image: Panasonic

The move to a modern AF system, the addition of an articulated rear screen, the switch to an OLED viewfinder and the adoption of a larger battery appear to directly address our biggest concerns about the LX100 II, making the L10 highly sought-after within the DPReview team.

Color changes

In addition to the major hardware changes, the camera gets several new image presets: L.Classic and L.Classic Gold, which give the look of historic film stocks. It also has the Leica Monochome look we've seen in recent Panasonics. On top of this, it has the LUT button on the back of the camera, first seen in the Lumix DC-S9. This accesses the camera's ability to upload, overlay and combine custom image styles using the movie industry standard Cube LUT format.

Custom look-up tables (LUTs) can be downloaded via the Lumix Lab app, which also lets you create your own custom LUTs or use the app's ability to generate 'Magic LUTs' that attempt to mimic the look of images you've uploaded to it. This system gives you a wide degree of control over your out-of-camera images. In addition, Lumix Lab will gain the ability to process Raw files both from the L10 and other recent Lumix cameras.

Panasonic says the L10 is primarily intended for stills, and it has neither a headphone nor HDMI socket. Despite this, it's capable of 10-bit log capture and 5.1K open-gate video recording, as well as 4K/120 capture.

The L10 will launch with a recommended price of $1499.99. The standard model will be available in black or black with silver-anodized aluminum top and baseplates.

There will also be a Titanium Gold special edition, with themed-color menus, a threaded shutter button, a leather strap and a matching auto lens cap. The Titanium Gold edition will retail for $1599.99 and will only be available via the Panasonic website and in limited numbers.

Panasonic Lumix DC-L10 specifications

A king surveys his snowy realm. The dark, monotonously colored forest background makes the colorful monkey stand out beautifully. Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1250 sec | F4 Photo: Erez Marom

In the first two articles in this series, I shared stories about photographing black and white snub-nosed monkeys in Yunnan province and mammal species in Tangjiahe Reserve and Wawu Mountain. In this third and final installment, I want to tell you about a very unexpected visit to shoot another species of snub-nosed monkey: the golden snub-nosed monkey.

The golden snub-nosed monkey is one of the most visually striking primates in the world, native to the high-altitude forests of central and southwestern China. It is instantly recognizable by its vivid golden-orange fur, pale blue face, and small upturned nose – an adaptation that may help reduce frostbite in cold mountain climates. These monkeys live in some of the harshest environments inhabited by non-human primates, enduring snowy winters at elevations of up to 3,000 meters, with thick fur and complex social behavior helping them survive.

I don't usually do many close portraits, as I feel anyone can do them, and I can't take a shot that shows both the animal and its surroundings in a compelling way. This was an exception, and the nice thing is that you can see the interesting details in the monkey's face, especially the nose. How cool is the pale blue skin? Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 1600 | 1/320 sec | F4 Photo: Erez Marom

Golden snub-nosed monkeys are highly social, forming large, multi-level groups that can include hundreds of individuals divided into smaller family units. They spend much of their time in trees, feeding on leaves, bark, fruits, and especially lichens during winter when other food is scarce. Despite their resilience, they are classified as endangered due to habitat loss and fragmentation, though conservation efforts in protected areas, particularly in regions like the Qinling Mountains, have helped stabilize some populations. Their survival is closely tied to the preservation of China’s temperate mountain forests, making them a flagship species for conservation in these ecosystems.

Golden snub-nosed monkeys eat tree bark to aid their digestion. A positive outcome of this is that the orange colors in the tree are fully exposed, which complements the golden monkey's fur. With the contrasting green leaves, I like the color palette in this image, as well as the interesting behavior and overall composition. Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1L IS USM | ISO 3200 | 1/200 sec | F6.3 Photo: Erez Marom

This shoot was highly unexpected because the area leading to the golden monkeys' habitat had been destroyed last year by a huge flood (the aftermath of which was clearly visible on the road there), and so we had absolutely no assurance we could get there or that the monkeys would be there. It was thus not at all in the plans to even attempt to photograph this species.

After massive floods, not much was left of a bridge that used to be part of the road leading to the valley where the golden snub-nosed monkeys are visible. We were only able to get there by driving on makeshift dirt roads. Photo: Erez Marom

The monkeys are usually fed by rangers as part of their conservation program, and since the feeding stopped, the monkeys were not supposed to be reachable. But as we were photographing the Yunnan monkey, we got word that, due to snow on the mountains, the golden monkeys were coming down to the valley for the first time in weeks, which meant we might just be able to capture them. And capture them I did.

A wider shot of a golden snub-nosed monkey traversing the canopy. The warm-colored monkey against the forest's cooler green/blue hues in the background, along with the vastness of the mountainous forest, make this shot interesting and fun to look at. Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1L IS USM | ISO 6400 | 1/400 sec | F5.6

These young brothers were inseparable. The white fur color will gradually change to the golden-orange of the adults. Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/6320 sec | F4 Photos: Erez Marom

The fact that the monkeys are habituated and used to being fed played to our advantage. I could go super close and shoot them with my 24-105mm and even my 10-20mm(!), which led to really unique perspectives and shots with a level of interest I didn't expect. It's quite different being inside the action and seeing these beautiful animals interact and go about their business without much regard for my presence.

The extreme proximity I was able to achieve to the monkeys resulted in extreme perspectives and really cool images. Getting up close and personal with these beautiful creatures was a very special treat, only possible because they are habituated to human presence. The backlight adds a lot to the image. Not only does it highlight the animals, but it also separates them from the background, creating compositional depth. Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 100 | 1/640 sec | F4

It doesn't get much cuter than this! Canon EOS R5 II | Canon RF 10-20mm F4L IS STM | ISO 1600 | 1/200 sec | F5

The monkeys often quarrel, but those quarrels are short-lived. Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 400 | 1/1000 sec | F6.3 Photos: Erez Marom

The best golden monkey shoot was when we followed them to a slightly higher elevation, where snow was still on the ground, and the background was astounding. I even got a few jump shots when the monkeys were hopping between the snowy rocks.

The secret to shooting jump-shots such as this one is being able to expect the direction the monkey will jump. Then, all that is left is to frame the composition, spray and pray. After a few attempts, I successfully nailed the shot. The snow flying around really adds character and an Asian wintery feel. Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1000 sec | F4

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1000 sec | F4

Some more fighting, this time in the snow. This scene looked a bit like an 80s video game, for the Gen-Xers among you. Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 1600 | 1/800 sec | F4 Photos: Erez Marom

Imagine how grateful I was to go from expecting not to be able to even see this species to being able to shoot it at such close range, in the snow. Sometimes, the universe smiles upon you, and the rest is up to your shooting ability.

I highly recommend China as a destination for wildlife photography. My trip was nothing short of fantastic, and I plan to go back next year to lead a photography workshop and do some more shooting.

Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, China, Colombia, Vietnam, Madagascar and more.

Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.

Selected Articles by Erez Marom:

• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Behind the Shot: Tambora Sandwich
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Demon of the Deep: Shooting Kawah Ijen Volcano
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

If you've ever switched your camera from stills to video mode with Log enabled, you may have noticed that it seems you can no longer use the base ISO setting. But shooting video in Log doesn't arbitrarily force you to shoot at higher ISO, despite what the camera's settings might suggest.

In a two-part video explainer totaling less than two minutes, DPReview’s Richard Butler succinctly breaks down why ISO isn't quite what it seems in Log. In part one, which you can watch at the top of the article, Richard briefly walks through some of the very basics of ISO. Part two (the video below) gets into the details of why Log is different, and how that impacts ISO.

The videos do a great job of simplifying a complex topic, so be sure to give them both a watch. Should you want something more in-depth, you can read Richard's articles about what ISO is and what makes it so complex.

Left: Two IMAX film projectors. Right: Two digital IMAX projectors. Do note, this isn't the caliber of equipment you're likely to find in your local theater, even at "IMAX"-branded showings.

It's a rare thing to be able to see a full-fat IMAX film projection, but former Mythbusters star Adam Savage is letting everyone take a peek behind the curtain to see what goes into exhibiting movies using such a large format. Over the past few weeks, he's posted two videos shot at IMAX's headquarters, taking a look at the projection process in one and the film scanning and printing processes in the second.

The video on projection, which you can watch below, illustrates the scale of the machinery needed to project an image from a 70mm negative onto a 27m-tall (90') screen. The reels and projectors used are larger than a person, and the film has to travel up through the floor between the two. Watching it, it makes it seem like a miracle that the whole thing works at all.

Even more incredible is the process of scanning and printing the film, depicted in the second video. Both steps are essential for movies shot on IMAX that need VFX work (which is to say almost any contemporary movie shot with the format). In it, Savage admires what was apparently IMAX's only scanner until surprisingly recently, and which is built like a piece of fine furniture. Despite the extremely clever design, the decades-old machine has one asterisk: it apparently takes around 12 seconds to scan each frame. (The company keeps it around as a backup for its replacement, which is apparently much, much faster.)

What's harder to replace and, somehow, slower, are the film printers IMAX uses, as they utilize cathode ray tubes to expose the image onto the film. As they age, their output dims, so nowadays they take around one to one and a half minutes per frame.

The videos are full of little details like that, as Savage explores the company's headquarters and interviews some key members of its team. Both videos are well worth a watch if you're a movie buff or want to hype yourself up for upcoming IMAX movies, like Christopher Nolan's The Odyssey, which is the first feature-length blockbuster shot entirely in the format. Not that actually seeing a real IMAX showing of it will be an easy feat; they sold out a year in advance.

Canon has posted a video to its social media, which appears to tease an upcoming announcement.

The company says something is coming on May 13th at 9AM ET (6AM PT, 1PM GMT), with the caption "One camera. Endless possibilities." The post shows a person staring at a camera that is, as is often the case in these videos, cloaked in shadow, though a red tally lamp shines brightly from it. That detail, and the fact that, on Instagram, the post is a collaboration between Canon's main and Pro Video accounts, implies that we'll likely see something video-related.

This is the second teaser we've seen from a major camera company regarding an announcement on May 13th, which is, at time of writing, next Wednesday; Sony also posted a teaser for "the next R." Whatever the two companies are cooking up, it seems like the camera drought of 2026 may be coming to an end.

Sony has announced an event for next week via its social accounts, teasing "the next R." The video and Instagram post share that the event will take place on May 13th at 9:30 EDT / 14:30 BST / 22:30 JST.

Sony isn't sharing anything beyond that there will be an event, and the date and time. Unlike many teasers, the posts don't feature a blurred-out or silhouetted camera or lens that we can try to glean details from. However, the mention of "the next R" certainly doesn't leave much up to the imagination, at least in terms of which lineup is likely to benefit from the upcoming event.

In an Instagram post a few days earlier, Sony unveiled a separate upcoming community event called Alpha in Residence, happening in New York City on May 14-15. Alpha in Residence is a two-day event that will feature photowalks, styled shooting sets in a historic mansion, gear rentals, panel discussions and more. It is free, though you do need to register for a ticket, which you can do on Sony's website.

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Elizabeth Line - London Nikon Z5 | Nikkor DX 16-50mm f/3.5-6.3 @ 16mm | F8 | 1/25 sec | ISO 125 Photo: Brian Ormerod

Brian Ormerod, who goes by the username ikon44, has a love of architecture of all types and periods across northern Europe. Over the decades, he has traveled extensively, meticulously planning trips to capture selected projects in Vienna, Barcelona, Prague, Paris, Istanbul and beyond. His work has evolved from casual holiday snapshots to carefully composed architectural studies at the School of Architecture in Nottingham, UK.

If you are interested in interior architecture that draws your attention to all the interesting angles, lighting conditions and other details, check out Brian's work below.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

Metro, Line 4 - Budapest Nikon Z5 | Nikkor DX 16-50mm f/3.5-6.3 @ 16mm | F8 | 1/25 sec | ISO 1800 Photo: Brian Ormerod

Meet Brian Ormerod (ikon44)

Home base: Milnthorpe, Cumbria, UK

Favorite camera and lens: Brian primarily uses a Nikon Z5 with a Nikkor DX 16–50mm f/3.5–6.3 VR lens for his walk-around photography. For special architectural projects, he keeps a Nikkor Z24–70 f/4 lens on hand. He values the Z5 for its manageable size and the 24MP resolution, which suits the level of detail he requires without adding unnecessary weight. His setup emphasizes practicality and comfort, allowing him to focus on composing images rather than being encumbered by heavy gear.

The Nikon Z5 is just the right size (a little lighter weight would be nice). 24MP is fine, it has the right level of controls and seems to suit my work.

What's in Brian's bag

• Primary cameras: Nikon Z5
• Lenses:
  • Nikkor DX 16–50mm f/3.5–6.3 VR (main walk-around lens)
  • Nikkor Z24–70mm f/4 (reserved for special architectural projects)
  • Viltrox 85mm f/1.8 (primarily used for family portraits)
• Support gear: Brian uses a generic L-plate to improve handling of the Z5, along with a wrist strap to keep the camera ready. He no longer uses a tripod, preferring to keep weight to a minimum and maintain flexibility while shooting. Batteries, SD cards and cleaning cloths round out his essential kit for a day of photography.
• Camera bags: LowePro Photo Active TLZ45 AW, which holds everything he needs to hand. The bag fits inside a lightweight, non-photographic backpack along with water, snacks and clothing for a full day out.

"I find the Nikon Z5 just the right size (a little lighter weight would be nice). 24MP is fine for me, it has the right level of controls and seems to suit how I work."

Brian's camera bag Photo: Brian Ormerod

My controversial camera choice

"This might raise a few eyebrows, but I’ve settled on a Nikon Z5 with a modest Nikkor DX 16–50mm lens for most of my photography. It’s a far cry from the heavier, higher-end gear I used when I was photographing architectural projects for clients in northern England and London. Over the years, I worked with everything from Nikon D600s and D750s to two Z5s with wide and standard zooms and even a Fujifilm XT2."

"Yes, my images are effectively 10MP from this DX lens setup, but that’s perfectly fine for me. It may seem like a compromise, but for me, the joy is in taking the shot itself. I still keep a Z24–70 f/4 for special projects, and I’ve dabbled in a Viltrox 85mm f/1.8 for family portraits – though it had a slight mounting fault that needed repair (which, of course, was just outside the warranty period)."

V&A Museum - London Nikon Z5 | Nikkor DX 16-50mm f/3.5-6.3 @ 16mm | F9 | 1/100 sec | ISO 100 Photo: Brian Ormerod

Civilizations are built on unique local architecture. What have you been impressed by?

"I’m most interested in the architecture of towns and cities across northern Europe. Since retirement, I have been traveling through parts of northern Europe, planning my trips carefully in advance to visit selected projects in Vienna, Budapest, Barcelona, Prague, Paris, Istanbul, Amsterdam, Athens, Bologna, Florence, Riola, Lisbon, Cordoba, and more, plus London, Glasgow, Oxford, Cambridge, Wells, Tewkesbury, Gloucester, Durham, Worcester and many others. In fact, I just had a day in Durham and am due to go to Helsinki for 10 days at the end of May 2026 – if my airline can find aviation fuel."

I just had a day in Durham and am due to go to Helsinki for 10 days at the end of May 2026 – if my airline can find aviation fuel.

How has your camera gear evolved alongside your photography?

"Starting from basic holiday 'snaps,' I quickly had to learn, after joining the School of Architecture in Nottingham, how to photograph streetscapes, individual buildings, sites, and architectural models, to produce photos that could stand up to serious scrutiny and criticism. I also taught myself to develop and print in makeshift darkrooms."

"My early cameras, bought second-hand on a student grant, included an English Corfield 'Periflex' Gold Star 35mm, followed by a Yashica SLR with clip-on exposure meter (which I later regretted parting with for an Olympus Pen-F). I then tried Minolta, Samsung, and Pentax film cameras before finally settling on Nikon, culminating in my current Z5."

IMO Microsurgery Hospital - Barcelona Nikon Z5 | Nikkor DX 16-50mm f/3.5-6.3 @16mm | F9 | 1/125 sec | ISO 100 Photo: Brian Ormerod

Of all your trips, which place would you recommend most to others?

"In May 2025, I went with an architect friend to Barcelona, which I found to be an architectural wonderland. We visited and photographed works by Antoni Gaudi, of course, but by pre-planning we were also able to visit a number of other projects including the IMO Eye Hospital by Josep Llinas, The University of Pompeu Fabra Library which is a spectacular arcaded masonry structure, the Santa Caterina Market, a neo-classical building refurbished by Enrique Miralles and the Fira de Belacaire flea market with spectacular fragmented mirrored canopy."

What Nikon Z5 camera modes work best for architectural shots?

"Very occasionally, I set my camera on a firm base (if I can find a suitable area) to shoot nighttime / dark shots using modes U1 and U2, with the second delayed shutter release."

"I have the user modes set up as follows:

• U1 – Serious architectural work (now much less often used) set to ISO 100, single point AF, single frame release.
• U2 – General architectural work set to Auto ISO 100-6400, single point AF, single frame release.
• U3 – Family portraits set to Auto ISO 100-6400, continuous AF, single frame release."

"All with matrix metering. I shoot almost exclusively hand-held now, and often in quite dark or very dark interiors, so I need auto-ISO set to max 6400."

Greek Orthodox Church - Vienna Nikon Z5 | Nikkor DX 16-50mm f/3.5-6.3 @ 16mm | F8 | 1/50 sec | ISO 900 Photo: Brian Ormerod

What can the community take away from your experiences?

"I'm still chasing that perfect shot! Keep pressing that shutter. Don't stop because you think it's becoming more difficult, just adapt yourself and your gear to what you can do."

Brian really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Brian, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Image: Nikon

Nikon has announced it is developing a 120-300mm F2.8 zoom lens with a built-in 1.4x teleconverter.

The Nikkor Z 120-300mm F2.8 TC VR S will not only offer a longer alternative to a traditional 70-200mm F2.8 but, at the flick of a switch, will turn into a 168-420mm F4, extending its reach and its flexibility.

No further details have been revealed, other than reference to the needs of professional photographers which, along with the S series designation, is likely to give an indication of a fairly substantial price tag. The announcement has been accompanied by a pretty final-looking product rendering, so we doubt we'll have to wait long to find out more.

Nikon already has an 'S-Line' 100-400mm F4.5-5.6 variable aperture zoom, which has a list price of $3000, but we suspect a more meaningful reference point is the Nikkor Z 400mm F2.8 TC VR S, which was launched for $14,700.

Anyone who's used one of Nikon's recent lenses with the built-in TC is likely to be trying not to think too much about the reassuringly damped 'thunk' as the large thumb switch on the side of the barrel slots the teleconverter into place.

Camera images: Nikon and Canon

It's no secret that NASA is careful about the technology it uses on missions, including anything camera-related. After all, space is the epitome of an extreme environment, and it's important to perform thorough testing to ensure devices can function despite those challenges. A recently surfaced NASA presentation, highlighted by Digital Camera World, provides a glimpse at that process.

The 2022 presentation, titled "Handheld Camera (HHC) Initial Test Results," is available through NASA's Technical Reports Server and evaluates the performance of the Canon EOS R5, Nikon D6 and Nikon Z7II in a vacuum chamber that could also heat and cool the cameras. The presentation includes images of the testing procedures and details how the team performed the tests. It's worth noting that the team clarifies that the Nikon Z9 was not available during the thermal-vacuum testing period.

A slide from the presentation detailing parts of the testing procedure. Slide: Jonathan E Pryor, Marshall Space Flight Center

The headline result is that the Canon R5 and Nikon D6 both survived vacuum testing and operated across a temperature range of -30°C to +40°C (-22°F to +104°F), with NASA noting that the two cameras showed "similar operational characteristics" across that range. It's important to note, too, that these were unmodified, off-the-shelf versions of those cameras. It turns out stock cameras are tougher than you may have assumed.

Before testing, the cameras and supporting hardware were heated to 50°C (122°F) for 72 hours in a process known as a bakeout, which helps drive off volatile materials before equipment is placed in a vacuum chamber. The cameras were then placed inside a temperature-controlled enclosure within the chamber, while Wi-Fi and Bluetooth were used to control image and video capture.

The slide detailing the results of some of the testing. Slide: Jonathan E Pryor, Marshall Space Flight Center

The cameras were tested in both stills and video modes, though the D6 didn't undergo the same full set of video tests as the R5. In the hotter video tests, the R5 recorded until it overheated and shut itself down, then was given five-minute cool-down periods before testing continued. The researchers did not perform the second and third D6 video tests out of concern that it might lose connection in the same way as the Z7II (detailed below). Even so, NASA's results suggest both the R5 and D6 were usable in the chamber, with the caveat that the D6's video performance was not explored as extensively.

The Nikon Z7II, meanwhile, did not complete the same full temperature range. The presentation says it worked at ambient temperature, but under near-vacuum conditions, it lost connection after recording video and could not reconnect. The camera didn't outright fail, but a device used in space needs to be able to be reliably controlled, especially if there are plans for remote operation.

Details of the stills performances of the R5 and D6. Slide: Jonathan E Pryor, Marshall Space Flight Center

Another practical problem that the test highlights: remembering to turn Raw files on. The D6 was set up to capture both Raw and JPEG images, and the R5 was supposed to be the same. Unfortunately, the presentation calls out that the "setting was missed during setup process," so it only recorded JPEGs. Next time you discover after a shoot that your camera was set to JPEG only, just remind yourself that even NASA researchers do that.

In addition to camera testing, the deck also includes radiation testing of four CFexpress card brands: Lexar, SanDisk, ProGrade and Sony. SanDisk showed the best result in NASA's calculations, but the presentation strongly warns that the outcome depends on the exact test setup and amount of radiation used, and should not be treated as a buying recommendation. None of the cards completely failed; NASA says temporary radiation-related errors were resolved by power cycling the cards.

A slide from the 2024 presentation detailing camera modifications. Slide: Parker Weide

The 2022 presentation is especially interesting in light of NASA's later work on a dedicated lunar camera. In 2024, NASA published a paper on testing a modified commercial camera for lunar environments. It concludes that the camera and its thermal protection system continued to function under most simulated conditions, but highlights issues such as LCD screen ghosting and overheating in extreme environmental conditions. NASA has since said its Handheld Universal Lunar Camera, or HULC, is based on a modified Nikon Z9 with Nikkor lenses, a protective thermal blanket, modified electronics and a custom grip designed for astronauts wearing spacesuit gloves.

"The Photographer's Eye" (2007) photography book Image: John Szarkowski

For the latest Question of the week, we were curious to know what your favorite photography-related books and articles were. You took the idea a step further, not just listing titles but explaining how the works you read elevated your photography.

Some of your reasons were purely artistic, with many art-focused books suggested, while others were quite technical. Reading through your responses, it became clear that photography isn’t just about mastering a camera. Many of you shared personal stories of inspiration or creative struggles, showing that the right book or article can spark a change in vision as much as technique.

Check out the top book and article suggestions below, and then let us know in the comments what your favorite photography-related books and articles are.

Your book and article suggestions

"Mountain Light" (1987) book cover Image: Galen A. Rowell

Ruby Rod: When I was a kid, just getting started with photography, my mom brought home a book from a library or a garage sale, "The Fun of Photography" by Mario Scacheri. It's a bit corny and not as politically correct as it is today. The book gave practical advice on the basics of composition, darkroom work, and other aspects of the photo hobby at the time. I still use much of the advice today.

Don Sata: "The Photographer's Eye" by John Szarkowski. This is an old book that is as good as the day it was published. It clearly explains something that took me years to understand, that seems to be an ineffable mystery: what exactly is the language of photography, and how to use it?

Something I also love about this book is that it doesn't discuss any technical aspects of photography, which makes it timeless.

Gayle159626: Years ago, when I was in my 20s (I am now 66), I was gifted an interesting book called "A Day in the Life of Australia" by Rick Smolan. This book is the result of one of the most unusual projects in the history of photography. On March 6, 1981, a hundred of the world's greatest photojournalists were given the unique and challenging assignment of their careers – to capture an entire nation on film in a single day.

"Day in the Life of Australia" by Rick Smolan (1982) photograph collection Image: Arnaud de Wildenberg

On the pages of this unusual diary, you'll wake up with camel hunters in the Northern Territory, visit with prisoners inside an Adelaide jail, see Ayers Rock from outer space, travel through aboriginal missions in Arnhem Land and explore an entire community living underground at Coober Pedy.

The book features 367 stunning photographs chosen from the 96,000 shot on March 6, and includes six special photo-essays exploring a day in the life of unusual Australians. A Day in the Life of Australia is a slice of history – a moment frozen in time.

To communicate what you saw, you needed to translate the lost dimensions (depth, movement, and color) into your photograph.

Klaus dk: "Total Picture Control" by Andreas Feininger. His main message is that the photographer transforms a moving, three-dimensional world of color into a frozen, 2D (and, in the late 1950s, monochrome) picture. To communicate what you saw, you needed to translate the lost dimensions (depth, movement, and color) into your photograph.

With today's endless possibilities for manipulation, he looks like a purist, but he describes the techniques available for the creative photographer to get the message through.

paul13walnut5: As I progressed into video, the book "War Junkie" by Jon Steel really inspired me as well. Talk about calm under fire, until he wasn't... not to spoil the book. It was also a frank confessional at a time when it wasn't really all that cool to talk about mental health.

"The Photographer's Handbook" by John Hedgecoe (1982) handbook Image: Leondard Ford and John Hedgecoe

Gato Amarillo: Like most people of a certain age in the US, I grew up on Life magazine with photo reporting, some of it very tough reporting, from all over the world. I think the book that made me aware of photographers as individuals was Edward Weston's Daybooks. That got me thinking about the people behind the cameras and looking at the names under the photos.

John Crowe: "The Photographer's Handbook" by John Hedgecoe was my go-to reference that helped me develop my understanding of photographic techniques back in the 80s.

In the 1990's, the images in the magazine "Outdoor Photographer" drew me into 4x5 photography and gave me a perspective that I eventually applied to my own compositions.

Digital shifting and stitching became the cornerstone of my landscape and architectural photography, replacing my 4x5 film camera. I began experimenting with it in 2011 and was applying it regularly by 2013. I discovered the method online, but I don't remember where. It was probably at Photo.net, but it could have been here. It would be nice to know.

"Jungles" by Frans Lanting (2000) image portfolio Image: Frans Lanting

Ctesiphon: "Jungles" by Frans Lanting. Before reading it (do you say "read" for a book of photos?), I thought nature photography (be it macro, wildlife, or landscape) was about capturing nature in the sharpest, cleanest, most detailed, highest-definition images possible. This book completely changed that for me: it is a masterpiece of not-so-in-focus and grainy pictures that let transpire so much more emotion, mood and atmosphere because of it. You can feel the damp air and hear the birds and insects in these images.

It gave me a new appreciation of moody images (for lack of a better word), which I often try to recreate in areas beyond nature photography. And I don't care about noise in my pictures anymore.

Photographs are like gems: the real and the synthetic are often physically indistinguishable, but there is no question as to the ultimate value.

Astro Landscapes: Despite being decades old, I am still stunned by the current relevance and creative inspiration of Galen Rowell's "Mountain Light". As an adventure landscape and nightscape photographer, one quote of his has stayed with me for almost as long as I've been into photography:

"Photographs are like gems: the real and the synthetic are often physically indistinguishable, but there is no question as to the ultimate value. A photograph that depicts a moment of real life, whether that of a human activity or of the natural world, is of a higher order than the most perfect replication created by or for the camera with luck removed from the formula." - Galen Rowell, 1986

There were many other great book and article recommendations shared in the forums. You'll have no shortage of nostalgic photography-related content to watch.

Keep ready for the next Question of the week to participate in this series. New questions are posted here on the homepage and in the forums every other week. We can't wait to read and share your stories!

Share your favorite photography-related shows and movies!

Nikon Z8 | Viltrox AF 55mm F1.8 Evo | F1.8 | 1/60 sec | ISO 900 Photo: Mitchell Clark

Last month, Viltrox announced the AF 55mm F1.8 Evo, one of its first lenses to use an apochromatic design that's meant to reduce chromatic aberration. We've had the opportunity to test it out in a variety of scenarios, to see how it performs and, of course, to get samples for our readers to enjoy.

Impressions

Photo: Mitchell Clark

As we've come to expect from Viltrox's lenses, the 55mm F1.8 is quite well-built, feeling nice to use without being overly bulky or heavy. At 370g (13.1oz), it's roughly middle-of-the-pack when it comes to mid-range 50mm F1.8 lenses, and it's relatively easy to tote around town, or in a sling bag.

I enjoyed the fact that it had a physical, clicking aperture ring, rather than a command dial, like the one found on the higher-end Lab lens that I recently tested. While it has an "A" setting that allows the aperture to be controlled by the camera, it can't be locked into or out of it. And while I didn't find myself knocking it out of A mode too often, or accidentally changing my aperture setting, it did happen every so often. My coworker Abby also recently had this issue with another Viltrox lens.

The lens has most of the controls you'd want on a prime.

The lens also features an AF/MF switch and a programmable button, both of which are nice to have. The manual focus ring feels nice, but at least when paired with a Nikon Z8, it didn't quite give me the level of precision that I'd usually hope for. Likewise, the AF performance was just okay; the lens is quick and quiet, but, as we've experienced before with Viltrox lenses on Z-mount cameras, I just didn't quite get as many keepers as I'd expect to had I been using a Nikon lens.

One last odd quirk: the rear lens cap that came with the lens fits very loosely, as do the Nikon ones, and there were several cases where it came off in my bag. This didn't translate to the lens feeling loose on the camera at all, though; it never disconnected from the actual body when I was turning the aperture ring or otherwise manipulating it.

Nikon Z8 | Viltrox 55mm F1.8 Evo | F1.8 | 1/2500 sec | ISO 64

With that said, the majority of my photos were still in focus, and I was quite pleased with the results. They're sharp corner-to-corner, even wide open, and Viltrox has delivered on its promise to seriously reduce chromatic aberration. I also found the bokeh to be quite pleasing. While it does a nice job rendering out of focus specular highlights, I was actually more impressed by how it rendered the background in portraits I shot at F1.8.

Something about the background rendering in this picture really makes me happy, and the vignetting is a feature, not a bug, in this instance. Nikon Z8 | Viltrox 55mm F1.8 Evo | F1.8 | 1/3200 sec | ISO 64

There are a few things to complain about with its performance. There's heavy vignetting at F1.8, which doesn't completely go away until around F4 (though it's much improved by F2.8). I also found myself wishing it could focus a bit closer than 0.43m (16.9"), though that distance isn't unusually far for 50mm F1.8 lenses.

Overall, I found myself really enjoying shooting with it, and loving the photos it produced. Sure, I could certainly find reasons to covet Viltrox's higher-end "Pro" 50mm F1.4 – it has a switch to declick the aperture, more robust weather sealing and linear focusing motors – but I don't think I'd actually need anything more. And that's a nice feeling to have about a lens that costs $370.

Viltrox AF 55mm F1.8 Evo 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; we do so in good faith, so please don't abuse it.

All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting.

Image: I'm Back

Crowd-funded startup I'm Back has developed a clever fix for one of the drawbacks that photographers have pointed out in their digital module for film cameras.

The I'm Back Roll, which is currently approaching $1M of backing on Kickstarter, is a self-contained APS-C sensor module designed to fit into the film bay of legacy 35mm film cameras.

One of the challenges this latest project hadn't overcome was the need to activate the sensor before the camera body's mechanical shutter could then define the exposure.

When the Kickstarter opened, the company showed renderings of a Bluetooth-connected trigger unit that you would have to attach to the camera body, initiating a digital exposure so that the sensor would be active when the mechanical shutter opened.

This (along with the sensor size smaller than the cameras were originally designed for), was one of the main areas of concern expressed by backers.

The company has designed a clever workaround: a shutter button that screws into the camera's shutter button.

In response, the company has designed a clever workaround: a shutter button that screws into the camera's shutter button.

The "Sync button" add-on is a small additional button that can screw into the cable release threads of cameras that have one. The company also suggests another version may be possible without the thread, presumably to be glued onto cameras without a threaded shutter button.

Find out more about the I'm Back Roll project

The renders of the button show a flat cable extending from the button but don't show what that cable would need to connect to. The company's development video suggests it will need to connect to the I'm Back Roll unit, to avoid the latency that a Bluetooth trigger is likely to have.

While we've repeatedly stressed the many challenges that stand in the way of creating a quasi-universal digital module for old film cameras - challenges that prevented the original Digital Film project, back when the aim was to perpetuate the use of film bodies as an alternative to switching to dedicated digital cameras - we've been impressed by I'm Back's persistence to make it possible to revive old film cameras for the fun of it. And, even if the implementation still looks like it may be a bit clunky, it's an undoubtedly clever idea.

The Sync button can be added as an option during checkout and existing backers can add one to their order for around $38 (it costs 20 Swiss Franks, with an additional 10 CHF for postage to the US).

Photo: Richard Butler

When the Fujifilm X half, a compact camera designed to provide a whimsical, nostalgic shooting experience rather than technical prowess, launched, it cost an eye-watering $849 in the US. Many commenters balked at that price, saying that they might have considered it as a fun toy, were it closer to $500.

Well, that time has come. The X half is currently on sale at multiple US retailers and on Fujifilm's own site, selling for $550, a substantial markdown compared to its launch price. But is that a sign that Fujifilm is so desperate to sell the cameras that it's willing to mark them down by around 35%?

Not quite. For the past few months, US stores have been selling the X half for $649, which is much closer to its price in countries like the UK or Japan. While some marked that as a sale price, others, like B&H and Fujifilm's official store, show it as a permanent reduction. And indeed, the camera hasn't sold for above that on Amazon since December 2025, according to price tracking site CamelCamelCamel.

Again, though, this isn't necessarily a sign of the camera's failure. When the X half launched in the summer of 2025, the environment around the US market was murky, as the country's arbitrary import tariffs sparked trade wars with several countries, including China, where the X half is made. While few companies ever actually confirmed their strategy, we wouldn't be surprised if many products launched during that time had some extra padding in their prices to avoid the companies having to later raise prices on newly-introduced models.

If the X half's price kept you from picking one up, your time may have come

Fast forward to the present day, and things have somewhat settled down, with the US Supreme Court ruling that those tariffs were introduced illegally. While that may not mean that the battle over tariffs is over, it does at least seem like Fujifilm is comfortable selling the X half for $200 less than when it was introduced, and even letting it go on sale to bring the price down further.

Of course, there were things people disliked about the X half beyond just the price, and those aspects haven't changed. The company has released a few software updates since we reviewed the camera, but none of them have fundamentally changed what the camera is. But if the X half's price was the main thing keeping you from picking one up, your time may have come.

Click here to read our review of the X half

Image: Tech Transfer HQ

CMOS sensors are now so ordinary that it's easy to forget how transformative they were. They're used in an ever-growing list of devices, from dedicated cameras, smartphones and webcams, to security systems, glasses and cars. A new video from the California Institute of Technology (Caltech) looks at how the CMOS image sensor, once a space-imaging technology tied to NASA and the Jet Propulsion Laboratory (JPL), became one of the defining inventions of the digital age.

The short video traces the sensor's path from deep-space imaging work intended to photograph Saturn up close to everyday devices. It highlights the roles of engineers Eric Fossum, the inventor of the modern CMOS sensor and a longtime friend of DPReview, and Sabrina Kemeny. It walks through the idea of the "camera on a chip," with a useful visual for understanding how it works and how it differs from CCD technology.

Interestingly, even though the team had success right away, NASA wasn't interested at first. "We were trying to get them to adopt this technology that we thought was the greatest thing since sliced bread, and they just weren't that interested," said Kemeny in the video. That's because the scientists didn't know how it would handle the harsh conditions in space, and they needed a camera that they could be confident would perform when spending millions on a mission.

That led the team to seek out industry applications, which snowballed into what we now see today. "I had no idea how massively useful or ubiquitous it would be," said Fossum. Of course, the CMOS sensor did eventually make its way back to NASA, with the Perseverance rover on Mars using the technology to send back photos and videos from the distant planet.

The video is part of a series that highlights how research moves from the laboratory to daily life. It's a good example of how scientific research can find its way into everyday tools, including those used by photographers. After all, the same broad push to make cameras smaller, more efficient and more capable helped set the stage for the image-saturated world we live in now.

Photo: Kamil Budzynski

Since 2018, Polish photographer Kamil Budzynski has been placing homemade pinhole cameras throughout the Chornobyl Exclusion Zone, leaving them in abandoned buildings, trees and other locations for months at a time. The resulting solargraphs are strange, quiet and even disorienting. Ghostly buildings and overgrown streets sit beneath bright arcs traced by the Sun, thanks to exposures that can stretch across seasons. Kosmo Foto recently published a fascinating interview with Budzynski about the long-running project.

Budzynski first visited the exclusion zone in the mid-2010s, but after several trips, he began looking for a process that could better match the feeling of the place. "After three trips to the Chornobyl exclusion zone, I began to feel that I couldn't do the place justice by walking around with a digital camera," he said. "Searching for inspiration in niche photographic processes, I came across solargraphy just as I was about to pack for another visit."

"I began to feel that I couldn't do the place justice by walking around with a digital camera"

For the unfamiliar, solargraphy is the process of capturing the Sun's path across the sky over long periods (days, weeks or even years) using pinhole cameras. Budzynski's cameras are often made from simple objects such as 35mm film canisters, drink cans and small tins, loaded with very low-sensitivity photographic paper and fitted with carefully made pinholes. He has installed more than 100 of them, though not all have survived because of Ukraine's harsh winters or Russia's invasion. After retrieving the exposed paper, Budzynski leaves the cameras behind to avoid bringing any radioactive particles out of the exclusion zone.

This photograph shows the metal shield built to contain the radioactive remnants of the Chornobyl Nuclear Power Plant. Photo: Kamil Budzynski

The distinctive look of the images is not the result of radiation, despite their months-long stay in the exclusion zone. Budzynski told Kosmo Foto that "for nuclear radiation to affect photosensitive paper it would need to be far too dangerous to get near it," but added that the weather was a much bigger challenge. Moisture, freezing temperatures and months of exposure can all leave their mark on the final image.

What makes the project more than a visual curiosity is how well the process matches the subject. Budzynski is using a camera to record time passing through places many people still think of as frozen in 1986. That distinction feels especially relevant this year, as April 26 marked 40 years since the Chornobyl nuclear disaster. Pripyat was evacuated the day after the accident, and tens of thousands of people were ultimately removed from the surrounding area. Budzynski's images push against the familiar "ghost town" shorthand by showing that the zone is not static.

"I wanted to capture the passing of time in a literal sense"

"I wanted to capture the passing of time in a literal sense," Budzynski told Kosmo Foto. "Pripyat and the entire exclusion zone may be frozen in 1986 to us, but life there continues. Stray dogs and wild horses roam the empty streets, plants climb tall buildings, and the sun still rises every morning – whether we are there to see it or not. I hope I can convey how insignificant I feel when standing among the ruins to those looking at my photographs."

Photo: Kamil Budzynski

Russia's 2022 invasion altered Budzynski's solargraphy trips. He has returned to Ukraine since then on humanitarian trips, during which he was able to recover a few cameras. "Most cameras from this period did not survive, destroyed by Ukrainian forces searching for booby traps and other surprises left by the retreating Russian army," he said. "I had quite a lot of explaining and apologizing to do when our guards learned of my little innocent photography project. One particular camera left right near the power plant caused quite a stir."

Kosmo Foto's full interview goes much deeper into Budzynski's process, the locations he has photographed and the practical problems of hiding a pinhole camera in a place where both weather and history are working against you. It is worth reading in full, both for the mesmerizing images and for the way the project's technical limitations become part of the story rather than obstacles to it.

You can also see more of Budzynski's work at his website.

Photo: Erez Marom

In the previous article about photographing mammals in China, I told the story of photographing black-and-white snub-nosed monkeys in Yunnan – the first of two species of snub-nosed monkeys I had the opportunity to capture. I'll tell you about the second species in the next article, but before we get to that, I'd like to tell you about a couple of pit stops I made to shoot other kinds of mammals.

Photo: Erez Marom

The pit stop was mainly planned to make use of a day that would otherwise be dedicated to driving. Tangjiahe National Nature Reserve, a renowned 40,000-hectare biodiversity hotspot in Qingchuan County, Sichuan Province, was on my route and allowed me to spend more time shooting, even if it was a very short visit. Tangjiahe is recognized globally as a premier spot for wildlife viewing, and the landscapes on the way – and in the park – are breathtakingly beautiful.

Upon entering, I was greeted by a face only a mother could love: that of a very aggressive Tibetan macaque. The macaques are far from shy and are known to harass human visitors, meaning that one must approach them with caution. I got my fair share of aggressive grinning behavior and decided to retreat before getting into an actual fight with a monkey and ruining the rest of the trip.

I found it hard to make out this look by the Tibetan Macaque. One second, it was quiet; the next, it gave me the feeling that I was asking for trouble. In any case, I loved how colorful its face was. Tangjiahe National Nature Reserve, China Canon EOS R5 II | Canon RF 24-105mm F4 L IS USM | ISO 200 | 1/400 sec | F4 Photo: Erez Marom

Tangjiahe is home to a wide selection of mammal species. While not all of them are that exciting, I found a lot of pleasure in viewing and shooting things I don't usually take an interest in, specifically ungulates. I found a few muntjac (barking deer) gently grazing the mountain slopes.

Reeves's Muntjacs are roughly the size of a medium dog, featuring distinct facial markings, long canine tusks in males, and a tendency to be solitary, nocturnal herbivores. Tangjiahe National Nature Reserve, China Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 1600 | 1/250 sec | F7.1 Photo: Erez Marom

A more visually-interesting animal was the Sichuan takin - a large, muscular mountain ungulate native to the eastern Himalayas and the mountainous forests of southwestern China, especially in Sichuan province. It has a distinctive appearance – often described as a cross between a goat and an ox – with a heavy body, thick coat, and a prominent, arched nose that helps warm cold mountain air before it reaches the lungs. Both males and females have strong, curved horns, and their dense fur, along with oily skin secretions, helps them withstand cold, wet alpine environments.

Takins have such distinct and interesting builds and features. I love the elongated face and short horns; it gives them a bit of a mythological appearance. Do you agree? Tangjiahe National Nature Reserve, China Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 3200 | 1/500 sec | F6.3 Photo: Erez Marom

Sichuan takins live in herds that move seasonally, climbing to higher elevations in summer to graze on grasses, bamboo, and leaves, and descending to lower, forested areas in winter, which is the reason I could shoot them with relative ease. They are well adapted to steep, rugged terrain and can navigate cliffs with surprising agility despite their bulk. The species faces pressures from habitat loss and historical hunting, but it is protected in China, with populations found in reserves, such as Tangjiahe, that also shelter the giant panda, making conservation efforts for both species interconnected.

I tried to get a shot of a takin crossing the stream, but at the last second it backed off. Tangjiahe National Nature Reserve, China Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 3200 | 1/800 sec | F7.1 Photo: Erez Marom

Another location I'd like to talk about is Wawu Mountain (Wawushan), a striking flat-topped massif in Sichuan Province, rising like a vast natural plateau above surrounding valleys. Known for its sheer cliffs, dense temperate forests, and frequent cloud cover, it creates a dramatic, almost otherworldly landscape. Wawu's table mountain topography supports a rich mosaic of ecosystems, making it an important biodiversity hotspot.

A relatively rare shot of two red pandas cuddling together. This is almost exclusively possible during the mating season. Wawu Mountain, China Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 3200 | 1/500 sec | F6.3 Photo: Erez Marom

Among its most charismatic inhabitants is the red panda, a shy, tree-dwelling mammal that thrives in Wawu Mountain’s cool, bamboo-rich forests. These elusive animals spend much of their time in the canopy, feeding on bamboo leaves, as well as fruits, insects, and small vertebrates. Wawu Mountain’s protected status and relatively intact habitat make it one of the better places to support completely wild red panda populations, and sightings are practically guaranteed if you spend 2-3 full days. The same ecosystem also shelters other notable species, linking Wawu’s conservation importance to the broader network of Sichuan reserves that protect iconic wildlife, such as the giant panda.

A red panda munching on bamboo leaves. Wawu Mountain, China Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 3200 | 1/400 sec | F7.1

On the last morning, we even got some snow to accentuate the red pandas' beautiful red coloring. Wawu Mountain, China Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1 L IS USM + RF 1.4X | ISO 3200 | 1/200 sec | F9 Photos: Erez Marom

In the next, and last article in this series, I will share the story of how I managed to capture my most desired species of snub-nosed monkey, even though the universe tried to make it as difficult as it could.

Photo: Erez Marom

Erez Marom is a professional nature photographer, guide and traveler. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in China, Colombia, Vietnam, Madagascar and other locations.

Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.

Selected Articles by Erez Marom:

• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Behind the Shot: Tambora Sandwich
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Demon of the Deep: Shooting Kawah Ijen Volcano
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

The Kodak DCS was launched 35 years ago this month, in May 1991, but its roots go back a little further. Photo: Marc Aubry

Despite Eastman Kodak making tentative steps back into the consumer photo film market, and its name still being applied to the front of countless licensees' compact cameras, there's still a widely-held sense of 'What if?' surrounding the Kodak name.

Not only did the company dominate the film industry, it also did more than its share of founding photography's digital age.

It was a Kodak engineer, Steve Sasson, who in 1975 produced the world's first digital camera as we recognize them today: a self-contained, comparatively hand-holdable device that captured images with a CCD sensor. Though, perhaps thankfully, the Compact Cassette tape it used didn't last long as a storage medium.

Likewise it was a Kodak engineer, Bryce Bayer, who invented his eponymous, and now near ubiquitous color filter pattern, patented the same year.

So perhaps it's not a surprise that it was Kodak that, 35 years ago this month, launched the first commercial digital SLR.

The Kodak DCS (Digital Camera System) built on both these existing inventions, combining a 1.3MP CCD sensor with a Bayer color filter array. It was designed as a digital back that could be mounted onto an unmodified Nikon F3 film camera body, with the add-on unit including a motor drive to cock the camera's shutter between shots.

Where it all started (for camera buyers) Photo: Marc Aubry

The sensor was an in-house Kodak chip, the KAF1300, a 21 x 16.6mm sensor, roughly comparable in size to the 1.6x crop sensors in Canon's later APS-C digital camera. It delivered 1280 x 1024 px images, with both mono and color versions being offered.

A cable then connected the camera to a shoulder-slung 'Digital Storage Unit,' which contained a 20 megabyte hard drive, lead acid camcorder battery and the ability to add options such as a JPEG compression processing board. This allowed the camera to capture up to 156 uncompressed images or around 600 compressed photos.

If you're wondering why we're describing it as the first "commercial" DSLR, it's because the DCS was developed from a series of earlier, often government/military-funded digital camera projects. Kodak's earliest DSLRs were created by its Federal Systems Division (FSD), which developed a camera based on a Canon F-1 body and a 1MP CCD sensor, as early as 1988.

The company's Professional Photography Division developed a prototype somewhat closer to the DCS in 1990, based on a Nikon F3 body and that, intruigingly, led to FSD making the Hawkeye II, one version of which used a 5 megabyte memory card and lithium ion batteries, making it more directly comparable to a modern digital camera in many ways.

However, this more portable camera only had capacity for four full-res images, hence the decision to persevere with the external storage unit's development for the DCS.

Photo: Marc Aubry

Kodak continued to develop the camera, with the later DCS 200 (whose introduction prompted a journalist to coin the 'DCS 100' name, by which the original camera is now widely known), leading to a series of DCS cameras culminating in the Nikon and Sigma-bodied 14MP DCS Pro SLR models in 2004.

The DCS's lead engineer, Jim McGarvey, said the prominence of Nikon in the US photojournalism market led to the decision to built the original DCS around an F3, but both F-mount and EF-mount versions of later DCS models were produced, with varying levels of input and support from Nikon and Canon. It would be another eight years before Nikon introduced the first Japan-designed DSLR, the recognizably modern Nikon D1.

McGarvey's own website is host to a fascinating details and insights into the Kodak DCS and the cameras that came both before and after it.

With thanks to Marc Aubry for the photos from his camera collection. You can see more of his images on his Flickr page

Shanghai, China – Bund downtown river view. 70 image 360-degree panorama. Sony a7R IV | 35mm GM | F1.4 | 1/125 sec | ISO 1600 Photo: Kevin Zhang

Kevin Zhang, known as fatplanediaries in the wider community, began photographing at a young age under his father's influence, a dedicated Leica street photographer. What started as a focus on street photography evolved over time, especially after a chance moment in Shanghai, when he experimented with panoramas using only a prime lens. Since then, his work has developed into a distinctive blend of candid street scenes and highly detailed panoramic images, each discipline informing the other.

"I was far from a prodigy; it took a million photos until I considered myself to be halfway decent. I still have a long way to go, always looking at my own photography as an ever-developing thing. The style changes all the time as I try to demolish what I did previously."

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

Love, the Neighbors – performance rehearsal photo Sony a7R IV | F1.4 | 1/200 sec | ISO 1600 Photo: Kevin Zhang

Meet Kevin Zhang (fatplanediaries)

Home base: New York, USA, but also Shanghai, China

Favorite camera and lens: Kevin’s go-to setup centers around the Sony a7R IV, a high-resolution full-frame camera known for its exceptional detail and well-suited to his panoramic work. He pairs it with Sony’s G Master lenses, particularly the 24–70mm f/2.8 GM II and 35mm f/1.4 GM, which provide the sharpness and consistency he prioritizes. This setup supports both his fast-paced street shooting and the precision required for high-resolution stitched panoramas.

What's in Kevin's bag

• Primary cameras: Sony a7R IV in a small rig cage
• Lenses:
  • Sony FE 35mm F1.4 GM (soulless but sharp)
  • Sony FE 50mm F1.2 GM (still a bit soulless, but f1.2 has personality)
  • Sony FE 70-200mm F2.8 GM OSS II (much better than gen 1)
  • Sony FE 24-70mm F2.8 GM II (probably my favorite lens of all time ever)
• Support gear: Kevin hates tripods and viewfinders, relying instead on a SmallRig cage for grip on his Sony a7R IV and custom lens-head holding techniques to shoot 20-frame panoramas in 10 seconds handheld – even against glass at observation decks or amid NYC street dance battles. He carries 4 Viltrox FZ100 USB-C batteries, dual Peak Design Captures (one for camera, one for E-mount lens kit), and a backpack-mounted DJI Osmo 360 with remote for video content.
• Camera bags: Kevin uses the Peak Design Everyday Backpack V2, which has endured alongside his a7R IV through some rather tough conditions.
  
  "I'm rather nostalgic for when Peak Design felt cutting-edge. The bag I have comes with side-access via two captures for a camera and an E-mount lens kit."

Kevin's camera bag Photo: Kevin Zhang

Accessories can make or break a field trip. What does your bag have?

"DJI Osmo 360 with a jerry-rigged way of attaching it to my backpack as a 360 camera antenna (because my generation of people are encouraged to make video content about their photography to be successful), plus the remote for it."

"2 Peak design captures on my backpack, one for my camera and one for the Peak Design e-mount lens kit, so I can change lenses easily."

"I also carry a variety of tools, snacks, personal hygiene items, etc. This includes my trusty Macbook Pro with case on (often need to check my panos in the middle of a shoot). Some other miscellaneous supplies and trinkets of mine:

• Shokz Openrun Pro 2 (great way of listening to maps, navigation directions, while still listening to the world, plus I always listen to music while shooting)
• Apple Watch Ultra 2 (weather, humidity level, sunset time, compass, etc. Very essential to my use case)
• Technics az100 (just a tws I like and keep with me when I want to shut out the world, plus it can connect to my MacBook and my two phones at the same time)
• USB4 Zikedrive with 4TB SN850x (to backup the MacBook)
• Nampons and some Band-Aids (in case of nosebleeds or injuries)

"And to top it off, I carry two phones – an iPhone (for the Apple Watch I love and as a backup camera), and a Samsung (what I actually enjoy using)."

Battle 101, 3v3 NYC dance battle event. 4 image panorama. Sony a7R IV | 24-70mm GM | F2.8 | 1/200 sec | ISO 4000 Photo: Kevin Zhang

What got you started, and how long have you been a photographer?

"My dad became a Leica enthusiast shortly after I got into middle school, and it's been downhill from there, lol. He became a really good street photographer, so I followed in his footsteps and essentially focused on street photography for the next decade or so. I only stopped for a few years when I went to film school to focus on film."

"A few months after I graduated, I was stuck with a prime lens while at a very scenic landscape view in Shanghai, so I just winged it and gave panoramas a shot. Ever since then, my focus has been on panoramas and street photography. It's a truly odd combination, but I like to say they complement each other and, in a weird way, my film career. So I keep doing photography even if I don't get enough gigs in this field as I'd like."

"I've been doing photography since age 10, I think? The launch day Sony a7R IV I currently own has been with me for more than a quarter of my life, which feels crazy to say, as my memory of that camera launching is still very fresh."

The Jam Showcase Volume 9. Full audience 8-image panorama. Sony a7R IV | 35mm GM | F1.4 | 1/250 sec | ISO 3200 Photo: Kevin Zhang

What's different about street scenes?

"I like to shoot candid street subjects, but I'm often pretty shy about approaching people to get the right shot. The best alternative is to get hired for events instead; everyone's vying to have you shoot them in those kinds of situations. I've had a lot of good practice at my friends' parties before getting to events as a photographer."

"On the panorama end, I like detail – lots and lots of detail. Ever since the Pureview 808 launched, my dream kind of photo has been the one where you can zoom in nearly infinitely and see a very complex world. That's been the ethos of my panoramas. They tickle that itch really well. I zoom into my own 750mp PTGui stitches all the time."

How has your photography evolved over the years?

"I've always loved reading Roger Cicala's articles, absorbing DXOMark data, and of course, content on DPReview. All the technical deep dives and teardowns that teach you technical stuff, YouTube will never teach you about. That's always helped me out a lot I think, just being nerdy about stuff, and having a good theoretical foundation so that you never need to second guess yourself when you're out and about shooting."

"I really miss Barney Britton from the 2009 era. His Chris Burkard a6000 video was what got me hooked into DPReview in the first place."

New York City skyline from Staten Island Ferry. 12-image panorama. Sony a7R IV | Tamron 70-180mm G2 | F5.6 | 1/800 sec | ISO 160 Photo: Kevin Zhang

What unique street environments have you discovered?

"Probably the most unique environment I've shot at is the New York City street dance events. There's one called Battle 101, and at the end of the year, they host a massive battle with hundreds of spectators. In that sort of situation, the subjects you're shooting are also the background. If you shoot your handheld panos fast enough, you can also do them for people. Really. Not a lot of others have tried it but me."

What can the community take away from your experiences?

"Be humble and be open to drastically altering your approach. Be happy to teach other people and learn from others. Both G.A.S. and the Dunning-Kruger effect are way too commonplace in photography. And please don't be a snob."

Kevin really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Kevin, for being featured!

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