Image: Sony

In addition to announcing the a7R VI and FE 100-400mm F4.5 GM OSS, Sony has unveiled its latest smartphone, the Xperia 1 VIII. The updated version brings a notable hardware change to the telephoto camera, but much of the focus of the phone is on the new AI Camera Assistant feature.

On the hardware side of things, Sony has moved away from the 85-170mm equivalent telephoto zoom lens used in the Xperia 1 VII, opting instead for a fixed 70mm equivalent lens. While the new telephoto camera loses the previous model’s optical zoom range, it gains a much larger sensor. The new 48MP telephoto camera in the Xperia 1 VIII features a Type 1/1.56 (50 mm²) sensor, a substantial boost over its predecessor's 12MP Type 1/3.5 (12 mm²) sensor.

The telephoto camera is the only one to receive a hardware change in this iteration of Sony’s flagship phone. The main (24mm equiv) and ultrawide (16mm equiv) modules carry over, with the main camera still built around Sony's larger Type 1/1.35 (65 mm²) sensor and both offering 48MP resolution.

There are some software changes for the cameras on the new phone as well. Sony says its Raw multi-frame processing now applies to all three rear cameras, expanding dynamic range for HDR images and promising less noise in low-light conditions.

The bigger focus for Sony, though, is the new AI Camera Assistant. Sony says the new feature, which is powered by Sony's Xperia Intelligence, is meant to "make photography even more enjoyable." When you open the camera, the AI assistant can automatically analyze the scene and subject and suggest various adjustments. For example, it may recommend you use a different lens, or suggest various color filters or different background blur styles (what Sony calls "bokeh expressions").

Image: Sony

Outside of the cameras, the phone has a bit of a redesign, too. Sony has introduced a new "Ore" design, which it says is inspired by the color and textures of raw gemstones. There's a subtle texture on the back of the phone, which is intended to provide a better grip, something that phone photographers will likely appreciate. It keeps the dedicated shutter button and 3.5mm audio jack, a rarity on phones these days, and promises up to two days of battery life.

The Xperia 1 VIII is available for preorder now in black, silver and red for £1,399 / €1,499 for the 256GB model. Preorders come with the Sony WH-1000XM6 headphones. Sony is also selling a 1TB gold version exclusively through its online stores in select countries for £1,849 / €1,999.

The Sony a7R VI is a high res, high speed full-frame mirrorless camera, built around a 66.8MP Stacked CMOS sensor, able to shoot at up to 30 frames per second.

Key specifications

• 66.8MP Stacked CMOS sensor
• Up to 30fps shooting with e-shutter, 10fps mechanical
• Adjustable pre-capture and Speed Boost options for action shooting
• Up to 8K/30 video with 1.2x crop
• Up to 4K/120p video
• 9.44M dot HDR-capable viewfinder
• Improved stabilization rated 8.5EV correction at the center, 7.0 at the edges
• New, higher capacity 'SA' battery
• Wi-Fi 6E

The a7R VI will be available in June, and will retail for $4499, a $600 increase from the a7R V's launch price, which has since risen to $4199.

Index:

• What's new
• Body & handling
• How it compares
• Image quality
• Video
• In-use
• Sample gallery
• Specifications
• Press release

What's new

New sensor

The heart of the a7R VI is a new, 66.8MP Stacked CMOS sensor. Unlike the sensors in Sony's previous high-end bodies, the second layer of the sensor isn't DRAM memory, to buffer the data coming off the sensor, instead it's described as a processing layer.

Noticeably, this means that the full sensor readout speed is slower than in the likes of the sports-focused a1 II; instead, it's able to combine the output of its two conversion gain modes, using both the low noise and high capacity modes to give wider dynamic range.

The net result is a sensor that's much faster than its predecessor (around 5.6x quicker than the a7R V, according to Sony) but with better dynamic range. This should significantly expand the range of photographic situations the a7R VI can lend itself to, without a negative impact on the areas where the a7R V already performed well.

The faster sensor allows the camera to shoot bursts at up to 30 frames per second, using its electronic shutter. This is a huge step forward from its predecessor, which took around 100ms (1/10th sec) to read its sensor in e-shutter mode.

New processor

The a7R VI is built around a "Bionz XR2" processor, similar to the one in the a7 V (though not necessarily identical). This brings features and AF capabilities, including the Auto subject recognition mode, introduced in cameras such as the a9 III, and the ability to recognize subjects from further away, without the need for a dedicated coprocessor for the AI-derived algorithms.

Action-ready functions

The faster shooting is backed up with all of Sony's latest support tools. For a start, the 30fps shooting is blackout-free, to let you follow the action. The camera also offers an adjustable pre-capture mode that starts buffering images when you half-press the shutter or hold down AF-On, then saves up to 1 second's worth of images from before you fully press the shutter. This can be tuned down to as little as 0.03 seconds (ie: a single pre-capture frame, in 30fps mode), so that you can compensate for your reaction times without filling your cards with preemptive nonsense.

The a7R VI is not, nor is it intended to be, a sports camera

However, despite all of this, the a7R VI is not, nor is it intended to be, a sports camera. Sony talks about the camera being well disposed toward wildlife shooting, but doesn't list sports as one of its target applications. Having used it in a sporting setting, we found a significant real-world difference between the a7R VI and the a1 II, despite the superficial similarities.

Why the a7R VI isn't a rival to the a1 II

New battery

Sony is including a dual charger with the a7R VI to help ease the pain of the new battery not being backwards-compatible with the old one.

The a7R VI becomes the first camera to use a new 'SA'-type battery. It's slightly larger than the existing Z-type batteries and delivers a higher voltage. It has a capacity of 20.9Wh, a 27% increase over the capacity of the batteries in previous high-end Sonys.

The new unit isn't much larger than the FP-Z100, with the locationing rails and contacts more tightly integrated into the body so that approximately 30% more cells can be incorporated into the case without increasing the overall size too much.

Expanded video capabilities

The faster sensor also allows for much improved video, even though that's not immediately obvious from looking at the specs. The 8K mode now stretches to 30p, but still comes with a 1.2x crop, much like its predecessor's. However, while the a7R V needed a 1.22x crop to achieve 4K/60, the a7R VI can do full-width 4K/120, provided you activate "Field of View Priority," which comes at the cost of noise reduction.

Improved white balance

Like the a7R V, the VI has visible light and IR sensors designed to help produce more accurate and consistent exposure and white balance. The company says it has upgraded the algorithms that handle both parameters to better interpret things like shaded subjects and light sources, to reduce exposure or WB errors.

Body and handling

New grip

The new, larger battery, which sits longitudinally down the grip, rather than the transverse arrangement of the previous design, means the camera's grip has been reworked. It's a subtle change, but the lip around the top of the handgrip is slightly more prominent and the recess on the mount side of the grip, where your fingertips rest, has been reshaped.

Sony stressed that it's not the same as the a1 II/a9 III design (the shutter button isn't at nearly so steep an angle, for a start), but it seems more comfortable than even the recent a7 V's shape.

Another a9 III feature that's absent from the a7R VI is the C5 function button on the front plate of the camera. This is a shame, as we found it worked well for operating the Speed Boost function that the a7R VI has gained. It's a function we used most often in combination with using AF-On for back-button focus, so the absence of a front button makes it more awkward to find a control point that can be readily used while also using AF-On and the shutter button.

High-brightness viewfinder

While the a7R VI's viewfinder resolution remains the same as its predecessor's, the underlying OLED panel is different. It can go much brighter and offers a wider color gamut than before, making it the first camera we've encountered with a viewfinder bright enough to preview HDR imagery. Sony also says it can achieve this brightness even when you're using both its 120fps refresh and highest quality modes.

Illuminated buttons

Many of the buttons on the back of the a7R VI light up if you press the new illumination button on the top plate. Brightness can be set to low, mid or high, and they can be set to remain lit up.

Another brilliant addition (in the sense of light being emitted) is the provision of back-illuminated buttons. This is a first for Sony and makes a lot of sense for what is its leading landscape camera. A small button on the top plate lights most of the camera's buttons up, though you'll need to learn to locate it by touch, as it's not itself illuminated. This button can be reconfigured if you need, and illumination can be set to always-on, if you prefer this to battery endurance.

The camera uses the same pair of combined CFexpress Type A / UHS II SD slots, letting you choose between fast, warm storage or the better-established, slower, less rugged format.

Fast/slow USB-C

The a7R VI moves to a dual USB-C arrangement, with the upper one offering fast data transfer and the lower one Power Delivery for charging or powering the camera.

The a7R VI's main USB port is a 10Gbps USB-C socket that can be used for data or power. Just below it is a second USB-C port. Despite the new shape, it's essentially a continuation of the USB 2.0 (480Mbps) port used for connecting accessories on previous models. The second port is compliant with the USB Power Delivery standard, though, and utilizes high enough power options that it can be used to charge or power the camera.

Every time you connect a USB cable to the camera, it'll ask you which function you want (eg: Live Steaming, MSC Image Transfer, MTP Image Transfer, etc), and remind you of the data rates of each port, and which port you're connecting to, though you can set the default behavior if you always want a specific mode.

The downside of this change is that any external accessories you have that used the Micro-B 'Multi-interface' socket won't now work, even though the second socket is still a USB 2.0 port at heart.

Battery

The new NP-SA100 has a capacity of 20.9Wh, a 27% increase over its predecessor. This powers the camera to a CIPA-rated endurance of 600 shots per charge if you use the viewfinder and 710 if you use the rear LCD.

Even when you bear in mind that CIPA ratings tend to significantly underestimate most people's real-world experiences – double the rated value isn't unusual, more if you shoot a lot of bursts – these are numbers that are likely to push into the realms of 'beyond needing to worry about it,' for a lot of users, with perhaps only wedding shooters having to make use of the two-battery charger that comes with the camera.

That said, it's worth noting that the charge level will diminish over time if you're just offloading data over the fast USB port: you'll want the PD port connected too for prolonged tethered shooting.

How it compares

The a7R V was a high-resolution studio and landscape camera, but the VI's Stacked CMOS sensor expands its range of capabilities to something much closer to those of Nikon's Z8 and Canon's EOS R5 II, which offer both resolution and speed.

Not included on this chart, but still in the conversation, is the Panasonic S1RII. It targets a similar market of hybrid shooters, with a similar set of stills features and the most complete set of video features. It's not as fast as these rivals but accepts the more widely supported L mount.

We've also left off the Sony a1 II. On paper, it seems very similar to the a7R VI, raising the question of whether Sony has just obsoleted its top-tier sports/action camera. However, the actual shooting experience is quite different on the two cameras, in ways we've covered in more depth in a separate article.

As for autofocus and handling, the differences between the a7R VI, Z8 and EOS R5 II will all come down to your preferences and use cases (eg, whether you like a top-panel display, need illuminated buttons or both). All three cameras will outperform each other in different scenarios, and some people will prefer one camera's way of doing things over the others.

Autofocus was the main area where we found the S1RII fell behind this extremely capable competition, especially in terms of tracking reliability, but it offers a less expensive route to resolution if action isn't a regular feature of your photography.

The one major callout for the a7R VI is its rolling shutter speeds in its e-shutter modes; while it uses a Stacked sensor like the Z8 and EOS R5 II, it's the slowest of the kind we've seen. This means rolling shutter will put an upper limit on how fast the action it can follow is.

Image quality

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

We're only able to publish the JPEGs of the test scene at the moment, but hope to be able to follow them up with the converted Raw images very soon. But even if we only look at the JPEGs, we can see that the higher resolution sensor is resolving detail that its predecessor couldn't, putting more of a gap between it and the Canon and Nikon.

The a7R VI's image quality is truly impressive. 66MP offers the best resolution this side of medium format and is backed up by very high dynamic range. In mechanical shutter mode, the camera appears to be combining the low and high-gain readout modes of its dual conversion gain sensor, something that's made explicit as an option in 4K video mode.

The s7R VI's autofocus system is able to consistently deliver 66.7MP's worth of detail. Sony a7R VI w/ FE 85mm F1.4 GM II | F2.0 | 1/320 sec | ISO 100 Photo: Richard Butler

Sony says the camera captures 14-bit Raws, even at its fastest shooting modes, but doesn't make clear whether the equivalent of the 'Dual Gain Shooting' video function is being applied to e-shutter stills. Our measurements show that electronic shutter images have slightly higher noise levels in the shadows, and a sensor readout rate that's consistent with the 8K video mode (in which the "Dual Gain Shooting" option is not available), suggesting it's not.

The real-world impact of the difference is extremely subtle, though, with the differences really only visible in direct side-by-side comparison. And in charts of DR numbers.

Video

The faster sensor in the a7R VI not only allows it to shoot stills much faster than its predecessor, it also allows much more extensive video capabilities. As usual for Alpha-series cameras, all the options are in the 16:9 aspect ratio, and there are also no options for Raw capture. You can output a Raw stream to an external recorder, if you wish.

The most obvious difference is the much-improved rolling shutter rates, but the a7R VI also gains a mode, comparable to Panasonic's DR Boost mode, that combines the low and high gain output of the sensor to deliver much wider dynamic range. As with the Panasonic S1II, this feature is optional, can only be maintained at slower frame rates and approximately doubles the readout times.

The 8K footage, taken from an 8.2K region of the sensor, is comfortably the most detailed. All the 4K footage is taken from the full width of the sensor and derived from 5.0K capture, according to Sony. Given the sensor is essentially 10,000 pixels wide, that would neatly correspond to 2:1 sub-sampling, which would certainly explain the significant increase in aliasing.

The rolling shutter numbers for 4K capture are very close to being twice as fast as 8K mode, which would also be consistent with 2:1 subsampling. This number then roughly doubles when Dual Gain Shooting is activated, but the sampling method and detail capture stay the same.

Audio

Like other recent Sony cameras, the a7R VI can record up to four channels of audio, if you connect a mic into the multi interface connectors at the front of the hotshoe.

It can also record, via an optional (and, at $780, quite costly) XLR adapter, 96kHz, 32-bit float audio. This is still relatively rare on hybrid cameras, but the dual analog-to-digital converters needed to exploit the much wider value range of the 32-bit Float notation live in the XLR adapter, so the capability is not built into the camera body.

Even so, the faster rolling shutter rates and the Panasonic-like option to opt for greater dynamic range at the cost of readout speed make the a7R VI a much more credible video camera than its predecessor, again boosting its utility for modern wedding and events shooting.

In-use

The a7R VI is both the most polished camera yet in its series, while also very much being a camera of its series. So the familiar lag when the camera boots up, checks in with the lens, has a bit of a think and then lights up the screen is still present.

Some of the a7R VI's menus and messages feel like the would have benefited from another round of regionalization.

Similarly, the menus, while much more sensibly arranged and easier to navigate, are still creaking under the weight of the complexity of the camera, and aren't helped by overly condensed titles and occasional messages that feel like they've been literally translated from another language, rather than being regionalized into comprehensible phrasing.

This sense is reinforced by little details such as pre-capture, which is one of the default options in the Fn menu, but doesn't work until you first switch from mechanical to electronic shutter mode, then engage continuous shooting. Similarly, the camera offers three multi-shot modes that combine Raw files, two of them have menu settings to select which type of Raw file you want, the third simply defers to the camera's main file type setting. It all feels like it's become too large of a task to ever finish or refine.

Which is odd, because the camera has some lovely details, such as the fact that the e-shutter sound changes with your shutter speed. Rather than it being the exact same sound whether you're shooting at 1/8000 sec or 1/8 sec, it'll simulate changes in pitch, and even the sound of a shutter opening and closing, so that you have an audible cue about exposure time, even when in e-shutter mode.

We found the a7R VI more comfortable to hold than the a7 V.

The camera's grip feels like an improvement over its predecessor, but still isn't as well optimized as Sony's pro-targeting a1 II and a9 III models. For instance, they both have a custom button on the front, which is ideal for engaging the Speed Boost function that raises or lowers the burst rate when held. Without this extra button, the a7R VI has few choices that are easy to hold if you're already using AF-On for back-button focus and have another finger on the shutter.

Pre-capture mode brings a distinct lag and jerkiness to the viewfinder, presumably held back by the camera having to operate in its slower, full-resolution mode while it's buffering images. This is a shame, because the viewfinder is otherwise very good, combining both high resolution and a good refresh rate at most other times.

It's a little disappointing that the first camera to offer an HDR-capable viewfinder is also the only mainstream brand to shoot HDR HEIF images but force you to turn off Raw capture to do so (you can shoot HEIF files with the HLG response curve and Raw, but it you want the camera to include the necessary metadata to display the images as HDR, then it's Raw only).

The first thing that hits you is the camera's seriously impressive image quality, backed up by excellent autofocus

All of which sounds like we disliked the camera, when that's really not the case. There are aspects that we felt would benefit from a little more polish, but the fact that it takes so many words to describe them doesn't mean they're the main things we took away from the experience of shooting with the a7R VI.

Instead, the first thing that hits you is the camera's seriously impressive image quality and the degree to which it's backed up by excellent autofocus. It only takes a single sentence to write it, but that's the thing that matters most.

The a7R V wasn't lacking in resolution, but the VI adds even more. Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 41mm | F8 | 1/250 sec | ISO 100

The a7R VI isn't as quick in practice as the Nikon Z8 or Canon EOS R5 II, but instead it offers higher resolution, excellent DR, a very customizable, multi-dial interface and by far the best battery life in class. There are plenty of people for whom that will (and should) matter a whole lot more than some of the menu phrasing needing another round of localization.

Anyone hoping for a cut-price a1 II will find themselves disappointed: you can definitely feel the limitations as you push towards the outer edge of what the camera promises to do. But, then again, it promises to do an awful lot, and it brings its image quality excellence to a much broader range of applications than previous a7R models could.

Impressions Video

Sample gallery

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

Product photos: Mitchell Clark

Sony has announced the FE 100-400mm F4.5 GM OSS, a full-frame telephoto lens that acts as a spiritual successor to the 100-400mm F4.5-5.6 GM OSS from 2017. Of course, there are a few differences; it now features a constant maximum aperture, as well as an internally zooming design, though both things come with a cost (and not just a monetary one).

The 100-400mm F4.5 GM OSS is made up of 28 elements in 20 groups, using a mix of Sony's advanced optics. That includes two "Super ED" and three ED elements to reduce chromatic aberration, an "XA" aspheric lens and an "ED XA" (extra-low dispersion extreme aspherical) lens to suppress aberrations and reduce onion ringing in bokeh. It has an 11-bladed aperture, and a minimum focusing distance of 0.64m (2'1") at the wide end, and 1.5m (4'11") at the long end.

It uses four of Sony's "XD" linear autofocus motors, which the company says will provide responsive tracking even when using the a9 III's 120fps burst mode. It speaks to the ambition of making a lens that's perfectly capable of shooting sports and wildlife. To that end, it can also be fitted with a teleconverter for extra reach.

There are a lot of controls on this lens (plus an extra one on the other side of the foot, hidden by a door).

The 100-400mm F4.5 GM OSS has all the other bells and whistles you'd expect from this grade of lens, too. A bank of switches along the side let you control things like autofocus / manual focus, Sony's "Full Time DMF" feature, applying a focus limiter, turning optical stabilization on and off, and choosing which mode it's in. It also features four customizable buttons; they're all assigned to the same function, but give you quick access no matter how you're holding the lens. Behind them is a toggle function ring, and then the zoom ring, which has adjustable tension, and only requires a quarter turn to go from 100 to 400.

The rotating tripod foot – which is quite comfortable to hold thanks to its dual-texture design – has detents at 90° intervals, which you can set to be clicked or click-less. Finally, Sony has a solution for anyone who balks at buying 95mm filters for this lens: near the mount is a drop-in filter holder, which can accommodate (much cheaper) 40.5mm glass. The lens is sealed for dust and moisture, and has a fluorine coating on the front element to repel oils, dirt and water.

At 328mm (12.9"), the lens is a fair bit larger than the previous 100-400, which had an extending design and was 205 mm (8.1″) long at its shortest. It's also heavier, weighing 1840g (64.9oz), versus 1495g (52.7oz). While that's certainly not nothing, in my experience, it actually feels shockingly light given its size and specs. I was able to carry it around a wildlife area for two hours, often pointing it into the sky to take pictures of birds, without wearing my arms out. It's also not immensely difficult to carry in a backpack, though it still physically takes up a fair amount of space.

Unlike Sony's previous-gen 100-400, you can shoot at F4.5, even at 400mm. Sony a7R VI | Sony FE 100-400mm F4.5 GM OSS | 400mm | F4.5 | 1/400 sec | ISO 320 Out of camera JPEG Photo: Mitchell Clark

This lens is a more ambitious offering than its nine-year-old predecessor, both in terms of its aperture and its optical performance. It's clear Sony is targeting professionals and enthusiasts who are shooting sporting events (like the upcoming World Cup) and wildlife, but who want the versatility of a zoom and don't want to step all the way up to its highest-end telephoto primes. Those users will likely be willing to put up with the fact that the lens is larger and heavier for its speed at the long end, image quality and faster AF.

However, the lens is also coming in at a substantially higher price point than its predecessor, retailing for $4300, while the 4.5-5.6 will run you $2800. Still, for those who need the performance, Sony has clearly built a very capable option. It'll be available starting in June, alongside the newly announced a7R VI.

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.

While we typically process images for a lens sample gallery using Capture One, we used the Sony a7R VI to test the lens, which isn't currently supported by that program. The images are out-of-camera JPEGs, and will therefore have corrections applied. We'll look to replace them with processed Raws when we can.

Sony FE 100-400mm F4.5 GM OSS specifications:

The Canon EOS R6 V, with its kit lens, the newly-introduced RF 20-50mm F4 L IS USM PZ. Images: Canon

The Canon EOS R6 V is a video camera designed for "advanced creatives," built around the same 32MP full-frame sensor and processor as the company's hybrid mirrorless EOS R6 III. It has a boxier design, having lopped off the EVF (and mechanical shutter), and added a fan to help prevent overheating when using its more ambitious recording modes.

Key specifications:

• 32MP full-frame CMOS sensor
• Built-in fan
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Full-width oversampled 4K ≤60p, subsampled 4K 120p
• 3:2 Open Gate recording up to 30p
• Built-in image stabilization rated to 8.5EV
• 3.0", 1.62M dot fully-articulating screen
• Dual tripod mounts for horizontal/landscape shooting

A new design

While the EOS R6 V's capabilities are very similar to the EOS R6 III's, its design and controls are centered around video. Its flat top plate will play well with gimbals, and it has top-plate and front-plate record buttons, with the former also having a zoom lever around it. There are several customizable buttons, with one set up by default to bring you to the Color menu, where you can change from shooting in the standard color mode into C-Log 2 or 3 recording, the recently-added HLG HDR mode (which joins the existing PQ HDR mode), and more.

Like the EOS R50 V, the EOS R6 V features a side-mounted tripod socket for vertical shooting.

The EOS R6 V has the customary 1/4-20" tripod mount on its bottom plate, but it also has an additional one on the side of the grip, next to the card door that hides the CFexpress type B and UHS-II SD slots. This lets you easily mount the camera vertically when shooting for social media, though the cards would then be hard to access. On the other side of the camera are most of the ports you'd expect for an enthusiast video option: full-size HDMI, headphone and microphone ports, 10Gbps USB-C and a remote terminal (If you want timecode, you'll have to step up to the cinema line.)

Keeping cool

The EOS R6 V largely shares the EOS R6 III's selection of ports, but this side also shows the large exhaust for the fan.

Perhaps the biggest performance differentiator between the EOS R6 V and R6 III is that the new camera has a fan, which Canon says will allow it to record heavy formats for much longer, even under warm conditions. When the EOS R6 III launched, Canon said it could only record 20 to 30 minutes of oversampled 4K/60 or open gate 7K before overheating. With the Canon EOS R6 V, though, the company is promising two hours or more in those modes, even in ambient temperatures of 30°C (86°F), as long as you have the fan and overheat limits set to high, and the camera on a tripod.

Canon says the fan in the EOS R6 V is smaller than the one found in the EOS C50; while the more consumer-oriented version should perform well under most circumstances, the pro-grade camera is designed to essentially never overheat, no matter how long you're shooting for, and how hot it is.

More menu options

The camera also gains several video-focused features. It has a product-focused "Close-up demos" mode that temporarily overrides facial recognition when you're holding up something to the camera. Unlike on previous Canon cameras, including the EOS R6 III, where it was a scene mode that severely limited your control over exposure and audio settings, it's now just an AF option that you can enable across video modes.

The EOS R6 V also offers granular control over white balance, letting you customize how quickly its auto system will adjust when, say, moving from an indoor to outdoor setting. You can also assign a custom button to lock white balance, and to switch between up to four pre-selected kelvin settings.

The EOS R6 V uses the same menu system from Canon's other consumer-focused EOS cameras

It uses the same menu system from Canon's other consumer-focused EOS cameras, rather than borrowing the production-focused UI of Canon's cinema line, as you'll find on the EOS C50, a highed-end camera that uses the same sensor. While this undoubtedly makes the camera simpler for a beginner to pick up, it also means more advanced users won't have the ability to set shutter angle, rather than speed, or to get a desqueezed preview when using anamorphic lenses.

Video-first

The EOS R6 V's sensor is quite quick for video, but won't be so fun to use for stills.

In terms of stills, the EOS R6 V has similar capabilities to the EOS R6 III, in that it can shoot 32MP images in burst rates of up to 40fps. However, if you're shooting fast-moving subjects, you'll have to be aware of rolling shutter, since the camera doesn't have a mechanical shutter. This also limits its capabilities for flash shooting; in fact, the ability to even use a flash at all won't be added until after the camera launches, via a firmware update. Even after it arrives, though, we wouldn't expect it to sync above 1/60th of a second, given the EOS R6 III's 13.5ms e-shutter readout rate.

Even more competition

Up until now, Canon's V-series cameras have mainly been lower-end options aimed towards more casual creators. With the EOS R6 V, though, the company is competing with the likes of Sony's ZV-E1 and Nikon's ZR, providing an option between the entry-level vlogging cameras and its pro-grade ones designed to be operated by a team.

Canon is providing an option between the entry-level vlogging cameras and its pro-grade ones

It's an especially interesting competitor to the recent ZR, as they're similar in several ways: both use the full-frame sensors found in the companies' enthusiast-tier hybrid cameras, and both focus on letting you up your production value by shooting in Raw. There are pros and cons to each; the ZR has internal 32-bit float audio and a 4" display, compared to the EOS R6 V's 3" monitor, but Canon allows for full sensor height "open gate" recording, and has full-size HDMI and SD card slots, versus the ZR's micro-variants. But both clearly target the same market.

The EOS R6 V will be available starting at the end of June, and will retail for $2499, $300 less than the EOS R6 III. There's also a version with special firmware features for recording stop motion, available for $100 more. The camera is launching alongside the RF 20-50mm F4 L IS USM PZ, a video-focused power zoom lens that will act as its kit option, and which you can read more about here. The kit will cost $3699, $200 less than if you bought the camera body and lens separately.

Canon EOS R6 V specifications:

Image: Canon

Canon has announced a new full-frame power zoom lens: the RF 20-50mm F4 L IS USM PZ. As it's launching alongside the company's new video-focused camera, it's no surprise that the primary audience for this lens is videographers, though it has a clever trick that makes it an interesting choice for photography as well.

The RF 20-50mm F4 L IS USM PZ has 13 elements in 11 groups, with 2 glass molded aspheric lenses and ultra-low dispersion elements. It has a minimum focusing distance of 0.24m (9.4"), providing up to 0.14x magnification at its widest setting and 0.33x at its long end.

The lens's trick is how you change your focal length. Canon says this is its first switchable power zoom. That means that you can control it by jogging the zoom ring, like with its other RF power zoom lens, or by rotating the zoom ring between set points, as with most stills zooms. The first bit of the lens's zoom ring is its power zoom setting, letting you rotate it left or right to have the motors zoom it in or out, but flip a switch, and you can get to the more traditional, mechanically limited zoom ring.

The lens' zoom ring has two ranges: one for power zoom, the other for a more traditional zoom experience. Photo: Canon

In power zoom mode, its zoom can also be controlled by the camera body, and you can configure its speed. Canon also says you can control the zoom using its Camera Connect app, or with a Bluetooth remote connected to your camera.

The power zoom is driven by two of Canon's "Nano UltraSonic Motors" – one for each of its zoom groups – while another Nano USM handles focusing. The company says that focus breathing, where the field of view changes with the focus, is minimized. It's also an internally zooming design, so its center of gravity shouldn't change substantially as you change your focal length, making it suitable for gimbal use.

As you might hope for a lens that you may hold at arm's length to film yourself, it's not particularly heavy at 420g (14.8oz). It's 98mm (3.9") long and is threaded to accept 67mm filters.

Canon says the lens' optical stabilization is good for 6EV at the center

Since it is a video-focused lens, it's also not a surprise that it features optical stabilization, which Canon says is rated for 6EV at the center on its own, and up to 8EV at both the center and corners when coordinating with a camera's IBIS system.

The lens' controls, as well as the switch to toggle between power zoom and manual zoom mode. Image: Canon

Beyond the fancy zoom ring, it has the controls we've come to expect from an L-series RF mount lens: there's a programmable function button, switches to control stabilization, power zoom mode and focus mode, and a customizable control ring. The company also says the lens is sealed against dust and moisture, and that it has a fluorine coating on the front element to repel oil and water. It includes a lens hood and a fabric carrying case.

This lens is an interesting addition to Canon's lineup, and will likely be an especially welcome one for content creators. It's Canon's first full frame lens for RF that has power zoom via internal motors, rather than via an external attachment, making it much friendlier to use. The zoom range is also a reasonable choice for vloggers, as, on a full frame camera, it'll be wide enough to comfortably film yourself without totally excluding your surroundings.

In that way, it's a very close analog to the APS-C 14-30mm F4-6.3 IS STM PZ that Canon launched alongside the EOS R50 V, though the constant aperture is a welcome addition, especially given the RF 20-50mm F4 L IS USM PZ's price. It will retail for $1399 standalone, and is also available as a kit with the EOS R6 V for $3699 (a $1200 premium over the camera's body-only price). It's slated to start shipping at the end of June.

Image: Canon

Canon wasn't content to just launch a new camera and lens today. Arriving alongside them is a collection of accessories. Some of them are clearly tied to the EOS R6 V, while others seem to have just been ready at the same time.

Starting with the one that'll excite every user of Canon's RF mirrorless system: a new rear cap for lenses. While that might not sound game-changing at first blush, it could be a big quality-of-life improvement. With the first-gen cap, there was only one correct way to attach it, making lens changes difficult if you were trying to move fast, or were in low-light conditions. Worse still, it was easy to leave it only partially attached, since you could somewhat fit it on in a different position. The new model fixes this, letting you attach it at three different points, like the old EF cap.

Image: Canon

You can buy new caps for $9 each, and Canon says that eventually its lenses will come with the updated ones out of the box, though it obviously has to sell through the existing stock first.

Image: Canon

Canon has also updated its bluetooth remote. It now features two customizable buttons, a shutter release (which allows for half-pressing to focus) and video record button, and a jog lever which can be used to control a power zoom lens or exposure compensation. Canon also says the new model, called the BR-E2, will be able to switch between different cameras without having to go through the pairing process.

The new tripod grip, with the remote attached. It's included in the "creator kits" that Canon introduced today, which pair the PowerShot V1 and EOS R50 V with video-focused accessories. Image: Canon

The remote can slot into the HG-200TBR, a tripod grip that gives you an ergonomic way to hold your camera, as well as a way to mount your microphone in the proper orientation if you're recording vertical video. At $160 it isn't cheap, though it comes with the remote.

Image: Canon

Finally, Canon is announcing the AD-M1 Macro Lite Adapter Set, which lets you attach the company's (sold separately) Macro Lit flashes to "macro lenses and select standard lenses." There's some irony in it launching alongside a camera that literally can't do flash photography at launch, but for macro enthusiasts using other Canon cameras, it could be useful. It will retail for $180.

The company says the products will launch in "late June."

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

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 Four Thirds sensor (though it only uses around 81% of it to produce up to 20MP images) 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 5.2K 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.

View this post on Instagram

A post shared by Sony | Alpha (@sonyalpha)

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.