Some of the Camera Intelligence team, all holding Cairas. Left: Vik Kumar, COO. Middle: Vishal Kumar, CEO. Right: Liam Donovan, CTO. Photo: Mitchell Clark

"I think a lot of people mistake our product as a gadget," says Vishal Kumar, CEO of Camera Intelligence, the company behind the Caira, a Micro Four Thirds camera that attaches to the back of an iPhone. "That's the wrong way to think about it," he says. "We're building the full technology stack, we believe, for the future of cameras."

While the company is currently wrapping up its Kickstarter campaign for the Caira, it has much bigger ambitions than selling an accessory that makes your phone a better camera, or even than selling dedicated cameras. Ultimately, it says, it's trying to change how cameras are made, and trying to convince the established camera companies that its tech is the way to photography's next step forward.

What is Caira?

The Caira has a Micro Four Thirds mount and an 11MP sensor. It doesn't work standalone – it requires an iPhone and has a corresponding app. Product photos: Mitchell Clark

While Camera Intelligence's ambitions clearly go beyond its first product, it's worth looking at where they're taking root. If you didn't catch the announcement in October, the Caira mounts to the back of an iPhone using MagSafe and connects to it via Wi-Fi. From there, you get your image preview and can control it using an on-screen interface or via voice.

Its big trick, though, is that it's not just a lens mount and an 11MP Four Thirds quad-Bayer sensor from Sony Semiconductor (think Panasonic GH5S). It also has a Snapdragon processor, which it uses to power its AI autofocus and to make decisions about white balance and exposure. It also handles the processing for the camera's computational multi-shot modes.

"At the moment, it's mainly designed for denoising," says Liam Donovan, Camera Intelligence's CTO. "It's optimized for reducing noise in low light and giving you more dynamic range." He explains that the algorithm, which the company is still working on but is shipping on production cameras, takes up to 17 shots: eight before you press the shutter, one when you press the shutter, and eight after. "There's an algorithm that runs on all of those shots to align them all. It moves the frames about so that they match the central frame, and then blends them together. And one of the hardest bits of the algorithm is making sure that there are no artifacts."

This Photo from the Caira was created by stacking eight frames together. Click here to see the original in HDR. Caira | OM System 20mm F1.4 | F2.8 | 1/710s | ISO 951

While the multi-shot capabilities are currently implemented as a separate low-light mode, the company is working on expanding what it can do with them. "We're working very hard on making it do super resolution, where you can actually increase the resolution of the images that it produces quite significantly," Donovan says. "Low-light mode is kind of a stepping stone on the way to that, because super resolution is much more difficult than denoising on its own."

The intensity of those algorithms is part of why the camera needs its own processor, despite being attached to a very powerful phone. "It takes quite a lot of time to transfer Raw photos off the camera, and it has to be the full Raws that go into the stacking algorithm," says Donovan. "So that all happens on the camera, and it's enabled by the fact that we have a very powerful smartphone-style processor from Qualcomm in the camera itself, which is pretty novel." He says it's much more powerful than the processors you'd typically find in more traditional cameras.

Influencing

While Camera Intelligence has obviously put a lot of work into the Caira and its predecessor, the Alice Camera, it has its eyes on a bigger prize: convincing other camera companies that this architecture is the way forward. "We're not just in Yokohama for CP+," says Kumar, who spoke to us at the Camera Intelligence booth, where the company is showing off Caira to attendees at the show.

"We're having deeper conversations with some of the camera brands to see if that resonates"

"We have more than a couple of meetings. We believe that the way in which we have gone about building our camera is more akin to how cameras in the future should be built. Because we use the image sensors from traditional mirrorless cameras, but we're using the processor from a smartphone. And that smartphone processor unlocks a whole bunch of things," he says. "So we're having deeper conversations with some of the camera brands to see if that resonates."

It's not just the features like AI-powered voice control, focusing, or exposure, he suggests. The company also wants to be able to implement other AI features, such as large language or image generation models; the current Caira app lets you edit images using Google's Nano Banana model, but it currently has to run in the cloud, rather than locally, and requires a subscription.

It's not all AI, though. "I think it's the full stack," Kumar says. "It's everything from the decisions we made on the electronics, the operating system layer that we've built, which is called Camera Intelligence OS, the image signal processing pipeline that we've built, which is entirely software-based, and can be updated over the air. And then it's also the user interface with the app and the large language model. It's that entire stack that we think is interesting."

In that respect, the Caira is almost a means to an end. "That's the product that we sell at the moment to prove that architecture and infrastructure can actually be robust. And we need to ship these units because it allows us to stress-test the architecture and the units. And it allows us to do those software and hardware improvements. But it's more to it than just a camera that attaches to your phone."

In that vein, Kumar tells us that the Caira is on schedule to start shipping to the 611 people who backed it on Kickstarter last year by the end of March. He also says they triple-tested a batch of 25 from the production line in their office in London to make sure they were ready to go. We have our hands on a pre-production model and have been doing some testing with it, so keep your eyes peeled for further coverage.

Tied to Apple

To start, Kumar says the Caira's target audience is smartphone shooters who want better image quality. "Smartphones, for better or for worse, have automated large parts of the three A's and everything else for almost a decade. And we always tell our users, 'You need to learn basic photographic theory because it will help you take better photos, take better videos, et cetera.' But we're approaching it from the point of view of: 'OK, how can we automate a lot of this complexity so that the UX matches up with the UX that our target customer base is familiar with?' Not something that's like a minefield for them to navigate."

The app lets you get at a level of manual control, letting you manually set aperture, shutter speed, and ISO (though there's currently no affordance for exposure compensation). "We're starting from a point of view of: 'let's automate as much as possible and then give you control,' rather than 'let's give you full control and then automate after.' Because our customers don't really want that."

There's also a hardware benefit; instead of having to build everything themselves at great expense, Camera Intelligence gets to benefit from the phone's display and connectivity. "I think the main reason was just a lack of resources," says Kumar. "So we were building the electronics. We're building the OS layer. We're building the Image Signal Processor. We're also building the actual physical body. So we thought, okay, why don't we just use the iPhone as the interface, as the screen?"

Donovon also points out that the displays on iPhones, which are up to 6.9" and can reach up to 3000 nits of brightness, far outclass those found on traditional camera models. That brightness, along with readily available software libraries, allowed them to easily add gain-map HDR to the camera, with results you can see as soon as you've taken the picture. The feature is similar to what we've seen with the Hasselblad X2D II; while the Sigma BF also pulls a similar trick with its files, you can't actually appreciate the effect with the screen built into the camera.

Kumar notes that Apple has put a lot of resources into ecosystem features like the App Store, APIs and AirDrop. "So it made sense for us to attach to the phone for our V1 and V2."

For us, our entire product relies on the UX being good.

Of course, that implies that there's a chance the company will try to produce a fully-featured standalone camera in the future, but Kumar says it'd take more than just money to make it happen. "I think we can only promise bringing a product like that to fruition when we have more resources. Not just in terms of money in the bank, but team and the right skill sets. Because if you get that wrong... We've seen a few camera brands release Android-based cameras with standalone screens in the last five years. And they didn't quite execute the concept as well as it could have been done, but those camera companies can absorb that because for them it's just experimenting. For us, our entire product relies on the UX being good."

Photo: Mitchell Clark

Nikon says it's discovered a "manufacturing issue" affecting a number of Z5II, Z6III and ZR models. It says the issue may cause the cameras to become inoperable.

A longer version of its statement blames the issue on the use of "parts that do not meet our quality standards."

The company says it's identified the serial number ranges subject to the issue and asked users to check whether their camera is affected. It says it will repair these cameras free of charge, including shipping costs.

The company has not disclosed the specifics of the potential fault, nor the number of cameras affected.

Interestingly, the statements in some regions exclude certain models, with no Z6III built for the European market being affected and only ZR models intended for Canada being impacted. This, and the many posts on this article and in the forums by users saying their cameras aren't in the affected range, suggests a relatively small production period used the faulty parts.

Photo: Fujifilm

Fujifilm has announced the latest entry in its Instax lineup, the Instax Mini 13. The new model brings only subtle changes to the table: a redesigned body and the addition of a timer. Fujifilm also announced an update to its Instax Up smartphone app, and a new space-inspired instant film.

As we saw with the last few iterations, the Instax Mini 13 underwent a slight redesign. It still looks similar to the Instax Mini 12, though with some added vertical ridges for a more balloon-like look. Fujifilm also opted for a metallic silver logo on the front of the camera. There's also now a circular timer on the front of the camera, with the option to choose between 2 or 10 seconds. There's also now an indicator light around the front shutter button, presumably to let you know when the timer is about to run out.

Photo: Fujifilm

Functionally, the only change is the addition of dual timers. The camera still offers a close-up mode, auto exposure, automatic flash control and a selfie mirror. It also carries over the Parallax Correction feature introduced on the Mini 12, which aligns the viewfinder with the lens in close-up mode for easier framing. As with previous models, twisting the lens turns the camera on and off and changes to close-up mode.

In addition to the camera, Fujifilm updated its Instax Up app, which is a free smartphone app that allows users to scan and organize their Instax photos. The company says that the new version uses AI to improve scans. It promises better recognition of the image versus the background or any other nonessential content, producing more precise scans.

Lastly, there's also a new Instax Mini film on the block, dubbed Pastel Galaxy. As the name suggests, the film's frame features a pastel-colored galaxy design with scattered stars.

Fujifilm is sticking with pastel colors for its latest Instax Mini. The official color names for the are Dreamy Purple, Lagoon Green, Candy Pink, Frost Blue and Clay White. Photo: Fujifilm

The Instax Mini 13 will be available in late June 2026 for $94. It comes in pastel purple, blue, pink, green and white. The Pastel Galaxy film will also be available in late June 2026 for $18 per pack.

Yikes! Image: @gupigupigupigupigupigupigupi on Instagram

Sometimes, Instagram can be a source for creative ideas to put your own spin on. Other times, it can give you examples of what not to do. One of the videos that crossed our feed today was the latter: captioned "every photographer's worst nightmare happened to me," it shows a lighting stand with a flash attached crashing to the ground, ruining the photographer's laptop.

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A post shared by Артем Орлов | Gupi (@gupigupigupigupigupigupigupi)

Despite the apparent misfortune, the clip actually shows someone getting extremely lucky, as the heavy rig could've easily come down on the photographer or the model they were shooting, which could've resulted in a serious injury or worse. So how do you avoid making the same mistake?

If you look in the comments (and at the photographer's post itself), you'll see a ton of people suggesting the same thing: sandbags or something similar to weigh the stand down. And indeed, that's an excellent place to start. With an overhead lighting setup, I'd probably look to use at least two: one on the leg that's in line with the load and another on a second leg. If the load were super heavy or very far away from the center of the stand, I'd even consider using three, though I'd check my stand's weight limit first.

It also appears that the wheels may not have been locked, given how the stand kicked out when it started falling. If that's the case, they definitely should've been, especially with an overhanging load.

If the weight is sticking out from the stand without a leg under it, it can tip much more easily

There are a few things the photographer in the clip did right, even if they ultimately weren't enough to save the laptop. Ironically, there is, in fact, a sandbag in the video: it's hanging as a counter-balance on the end of the rod. The photographer also appears to have roughly aligned one of the legs and the arm, which is an important step. If the weight is sticking out from the stand without a leg directly under it, it can tip much more easily. Of course, none of that matters if you don't first secure the base of the stand with, say it with me, everyone: sandbags.

Some more sandbag pro tips: if the bag is touching the ground, it's going to be less effective, since some of its weight won't be transferring down through the stand's legs. And if you're using a stand with unequally sized legs, like a C-stand, the biggest, sturdiest and tallest one should be the one sandbagged first, and the one facing the load.

That also generally makes it the one facing the most important thing on the set: the people. That way, if it falls, it falls away from them In the case with the video, though, the photographer should've consulted the stands' manual to see where the manufacturer recommended hanging sandbags from. If there isn't a safe place to do so, they should've used a different stand for an overhead setup.

Have any light stand horror stories (or tips on how to avoid them) of your own? Feel free to share them in the comments or over on our forums. Stay safe out there.

Lake Kuttara is a lake in the caldera of a volcano in Shikotsu-Tōya National Park on the island of Hokkaido in Japan. Photo: Dale Baskin

Sometimes, you have to go to Hell and back to get the story, and I did just that with the Sigma 15mm F1.4 DC Contemporary lens. Specifically, I went to Noboribetsu Jigokudani (Hell Valley) in Shikotsu-Tōya National Park on the island of Hokkaido, Japan, a geothermally active volcanic area where sulfur-scented steam clouds seep from the ground.

The Sigma 15mm F1.4 DC Contemporary is a fast, wide lens designed specifically for APS-C cameras. Since we had the RF mount version, I shot it on the Canon EOS R7, resulting in a 24mm full-frame equivalent field of view on Canon's APS-C format.

In addition to taking the lens to Hokkaido, I also shot it around Tokyo and Yokohama, sometimes in very rainy conditions. It's worth noting that I had this lens (and the R7) around my neck in the rain for a couple of hours straight at one point, almost dripping with water, and neither missed a beat, suggesting the weather sealing on both is pretty effective.

"Sometimes, you have to go to Hell and back to get the story"

While the X-mount and E-mount versions of this lens include an aperture ring, the RF-mount version has a control ring. It's clicked, but I've never found a generic control ring to be a great substitute for a clicked aperture ring, particularly since it's very easy to rotate inadvertently. It also offers the flexibility to assign different settings to the ring. From that perspective, it's neither a pro nor a con, but something to be aware of if you're considering the Canon version.

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.

I found this ceremonial gate and pavilion of lanterns in Chinatown in Yokohama, Japan. It's one of my favorite places to shoot at night in Yokohama, thanks to all the illuminated signs and decorations. It's particularly fun in the rain when the lights reflect off the wet pavement. Photo: Dale Baskin

Our March Editors' photo challenge theme is "Night Lights."

Photos can be submitted between Sunday, March 15, and Saturday, March 21 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Submit your "Night Lights" photos to our March photo challenge

Sigma 35mm F1.4 DG II Art | F5.6 | 1/400 sec | IS0 80 Photo: Richard Butler

As the numerals suggest, the Sigma 35mm F1.4 DG II is the company's second-generation 35mm F1.4 for mirrorless cameras. It's also a successor to the 35mm F1.4 DG HSM Art: the lens that launched the 'Art' series as part of Sigma's Global Vision rebrand, all the way back in 2012.

At a time when a lot of manufacturers have been focusing on attention-grabbing, often neck-aching and typically wallet-worrying F1.2 lenses, it's refreshing to see an updated 35mm F1.4.

2025 saw Sigma significantly rework its 35mm F1.2, shaving 30% off the weight and a similar amount off its volume, making it a much more practical lens. Now it's done something similar to its (slightly) more modest 35mm F1.4.

The new 35mm F1.4 is 18% lighter than its predecessor (530g / 18.7oz in L-mount form) and both shorter and narrower, helping to reduce the volume by around 20%, too. This size and weight reduction leaves it 30% smaller and 30% lighter than the F1.2, and costing around 30% less. The 1/3EV difference between the two lenses should mean around a 20% reduction in peak light gathering capability.

F1.2 lenses can be excellent: I thoroughly enjoyed using Nikon's 35mm F1.2 when it was launched last year, and I really like the idea that Sigma's version is smaller and lighter, but I've been traveling this last week and have to say that I really appreciate the further size and weight reduction that comes with the move back to F1.4.

It's easy to look at the numbers in isolation and think "225g grams difference, that's something like the weight of four chocolate bars, how could that matter?," but if you have to fit it in your luggage and have it compete for space in a bag you're constantly carrying, the difference makes itself apparent.

The coatings appear to do a good job of maintaining contrast and limiting ghosting

I tried to shoot a selection of images so that you can judge properties such as sharpness, fall-off and bokeh for yourself. To my eye the bokeh looks very, very slightly bright-edged, resulting in a slightly busy appearance in some circumstances, but with a somewhat swirly character that I suspect some people will really like.

I also found the lens to be somewhat prone to flare if used without its (supplied) hood. This just seems to be the result of the large front element catching the light: the coatings appear to do a good job of maintaining contrast and limiting ghosting, even when flare creeps in.

Overall, I rather like the F1.4. 35mm is probably the focal length where, personally, I'd be most tempted to spend the extra to get an F1.2, but carrying the F1.4 around this week has made me appreciate having the option of getting most of the light in something a fair bit lighter.

Sigma 35mm F1.4 DG II Art 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.

Thank you to Panasonic for the loan of a Panasonic Lumix S1RII to capture this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting. There is extremely minor pincushion distortion before the correction is applied: we do not consider it to be an essential part of the lens design, if you prefer not to use it or your preferred software does not support lens corrections.

Photo: SetWillFree

Most of us have a few ideas of what we'd do with the gear of our dreams if we ever get our hands on it; a bucket list of shots we'd try to get, or locations we'd take it to. For Will Freeark, who posts to YouTube on the channel SetWillFree, the vision was simple: he can see mountains from his backyard, but could he see his backyard from the mountains with the right lens?

Once he found a rental house that stocked the Canon RF 1200mm F8 L IS USM (and after putting a $20,000 hold on his credit card), he was ready to find out, a process he documented in a recent video.

While it's entertaining to watch him and his friends search for his house, battling atmospheric haze along the way, it's also interesting to see what else he does with the lens, a list that includes shooting a music video and commercial, as well as a spot of astrophotography.

The video is well worth a watch (though if you're at work be warned that there's a fair amount of swearing), as it's fun to see how different people use some of the gear that most us will never get to. It also gives me an idea for my next trip up to Mt. Spokane, I just need this lens, a teleconverter and an APS-C camera for unbelievable amounts of reach.

Photo: Erez Marom

This time I'd like to tell you about a trip I've been planning for over five years, and only managed to realize early this year. Every time I had planned to go, something went wrong, to the point that I was sure the universe was trying to prevent me from going, and this time was no exception. But this time, I didn't let anything stop me. I traveled to Sichuan and Yunnan provinces in the beautiful land of China.

This was my first visit to China, and I was overcome by the beauty of the land, its landscapes and wildlife. Apart from a terrible jet lag that I just couldn't shake throughout the trip, the visit went really well, and most importantly, the wildlife was even better than I expected. I'd like to take this opportunity to show you some of the images I captured during my two-week visit and share my experience.

The first stop on my visit was Yunnan province, where I spent four nights in a beautiful, tiny mountain town, nestled on a river between huge forest-covered peaks. A fitting setting for the highest-dwelling primate on Earth: the Yunnan snub-nosed monkey.

A family of Yunnan snub-nosed monkeys in the forest. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM + EXTENDER RF1.4x | ISO 3200 | 1/640 sec | F10

A young Yunnan snub-nosed monkey. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1250 sec | F7.1 Photos: Erez Marom

The black-and-white snub-nosed monkey, also known as the Yunnan snub-nosed monkey, is a large black and white primate that lives only in the southern Chinese province of Yunnan. Coniferous and deciduous forests in the mountainous regions of Yunnan are the ideal terrain for these primates. It is threatened by habitat loss and is an endangered species, rarer than even the giant panda. It was almost completely unknown until the 1990's(!), and remains relatively mysterious and enigmatic even today.

A baby in its mother's arms, in the safety of a tall tree. I used the leaves of a bush to enhance the interest by adding colorful elements and framing the subjects. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1600 sec | F6.3

The huge trees that make this monkey's habitat also offer some fantastic settings and backgrounds, and show the size and beauty of its natural habitat. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/320 sec | F8

Pretend-fighting among toddlers prepares them for the real deal later in life, when they will have to fend for themselves and fight for their feeding and mating rights. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM + EXTENDER RF1.4x | ISO 3200 | 1/640 sec | F10

There is never-ending action with the snub-nosed monkeys – there is always some interaction going on. In this photo, I liked the expression on both the worried-looking youngling on top and the threatening adult on the right. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/2500 sec | F5.6 Photos: Erez Marom

With their unique adaptations to their environment, these monkeys thrive at extreme altitudes despite the below-freezing temperatures and thin air. They live at the highest altitude of any known non-human primate, up to 4700m (15,400ft) above sea level. Surviving in such extreme conditions is only possible because of a mutation in the primate's genomic DNA that confers increased resistance to oxygen deprivation (hypoxia).

What an incredible creature. The winter coat is longer, which can be seen on the scruffy tail. The behavioral aspect of this shot is also quite nice – I loved how it shows its teeth while manipulating the cut-off branch. How do you like the back-lighting and the composition? Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/2500 sec | F6.3

A back-lit subadult finds shelter in the large coniferous trees. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 200 | 1/400 sec | F7.1 Photos: Erez Marom

This primate's diet is mainly made up of large amounts of lichens available in its region. Lichens are toxic to most animals, but the black-and-white snub-nosed monkey has specialized digestive enzymes similar to those of a cow that remove the harmful bacteria.

As part of the conservation program, park rangers collect the lichen from trees in the area and feed the monkeys. The rangers change the feeding locations often to preserve the forest habitat while supporting the monkey population and encouraging its growth and health. This means the monkeys congregate close to the feeding areas, making it possible to photograph them. Adult males and females, subadults, and babies swarm the trees and descend to the ground. Beautiful back-light, direct light and diffused light, I saw interesting and amusing behaviors without end.

An interesting pose I captured while the monkey was reaching out to the lichen. It always fascinates me when monkeys stand up like humans. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1000 sec | F7.1

The monkeys eat mostly, but not only, lichen. Wild berries also enrich their nutrition. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM + EXTENDER RF1.4x | ISO 800 | 1/640 sec | F10 Photos: Erez Marom

Many factors make this monkey an incredible photographic subject. Take the fur – one of the densest among all monkey species (to help it withstand freezing temperatures at high altitudes). Another distinctive feature, shared by both adults and babies, is their hairless and vibrant pink lips (some call them "botox-lips").

These primates get the "snub-nosed" part of their name, their most distinctive feature, from the absence of nasal bones. I particularly loved their mohawk hairstyle, a feature that completed their incredibly unique physical appearance. I usually try not to shoot close portraits of animals, but the look of these monkeys was so unique that I think such portraits are justified.

The snub nose, thick fur, red botox-lips and mohawk hairstyle make the Yunnan snub-nosed monkey an absolutely amazing photographic subject. This image feels to me like a Renaissance painting. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 3200 | 1/500 sec | F7.1

Delicate and tender, with dreamy eyes set to the distance. In this image, I chose a wider framing to show the animal's full body in its forest habitat. Again, I used foreground leaves for extra interest and color diversity, and to better frame the subject. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1250 sec | F7.1

A young individual has yet to display the adult fur coloration, but it does show a budding mohawk hairstyle! Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 3200 | 1/320 sec | F7.1 Photos: Erez Marom

I spent 4 days in the Yunnan Snub-Nosed Monkey National Park, and had an absolute blast. Yunnan is a gorgeous area in general, home to marvellous nature and the beautiful town of Shangri-La, which is worth a visit on its own. If you ever get to visit Yunnan, the snub-nosed monkey national park is not to be missed.

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

Tree at sunrise, Jebel Akhdar, Oman Fujifilm X-T5 w/ XF14mmF2.8 R | F2.8 R | 1/25 sec | ISO 125 Photo: Paulo Bizarro

DPReview reader, Paulo Bizarro, known as biza43 in the forums, has taken up the challenge of writing about what he carries in his camera bag on photography journeys for our What's in your bag? spotlight series. The series showcases the interesting gear and photography of our community members, and shares their stories of how that gear helped them to capture the perfect shot.

Check out Paulo's gear and nature photography experiences below, all of which have built on his photography, which dates back to the early 1990s.

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

Meet Paulo Bizarro (biza43)

Home base: Muscat, Oman

Favorite camera and lens: Fujifilm X-E5 with the Voigtlander 27mm F2 – a small, manual-focus combo that Paulo enjoys carrying everywhere, from family outings to long hikes.

Typical photo scenes: Landscapes and travel photography, especially coastal scenery, mountains and desert environments.

“I’ve been photographing since my university days in the 1980s. It started while documenting geology field trips, and it never really stopped.”

Paulo describes himself as a patient landscape photographer who prefers quiet places and often shoots alone. Originally from Portugal, he spent many years exploring the country’s varied scenery, from the mountains in the north to the rugged southwest coast. Hiking trips along the coast were often the perfect excuse to bring a camera along.

His career as a petroleum geologist also gave him opportunities to travel all over the world. Since moving to Oman in the early 2000s, he has continued documenting nearby landscapes, from mountain wadis to as far as the vast dunes of the Empty Quarter. One of his most memorable photographic experiences was visiting that desert for the first time, where the immense red dunes made him feel as if he had arrived on another planet.

Mutrah, Muscat, Oman Fujifilm X-Pro2 w/ Voightländer Nokton 35mm F1.2 | F4 | 1/280 sec | ISO 160 Photo: Paulo Bizarro

What's in Paulo's bag

• Primary cameras: Fujifilm X-T5 and Fujifilm X-E5
• Lenses: Fujinon 14mm F2.8 for wide landscapes, Fujinon 70-300mm F4.5-5.6 for telephoto reach, and Voigtländer 27mm F2, a compact manual-focus lens that Paulo often keeps mounted on the X-E5 for everyday shooting and hikes.
• Tripod: A lightweight travel tripod that has been with him for more than 20 years and still accompanies him on many landscape outings.
• Filters and accessories: Spare batteries, a charger and a Lee Big Stopper filter, which he uses along the coast to smooth water and create long-exposure effects.
• Camera bags: For hiking, he prefers a simple Decathlon backpack rather than a dedicated photo pack. When traveling by air with his full kit, he uses a MindShift BackLight backpack. He also keeps a couple of shoulder bags on hand, including a classic Billingham Hadley and a Think Tank Mirrorless Mover for lighter outings.

Paulo's MindShift BackLight camera bag. Photo: Paulo Bizarro

What other gear makes a difference?

“A few small things always make a big difference. I usually carry spare batteries and a charger, and I still use a lightweight travel tripod that I bought more than 20 years ago. It has been with me on many trips and hikes and is especially useful for landscapes in low light. Along the coast, I often bring a Lee Big Stopper filter, which helps smooth the water and create long-exposure images.”

Carrapateira, Portugal Fujifilm X-Pro2 w/ XF16mmF1.4 R WR | F16 | 1/26 sec | ISO 160 Photo: Paulo Bizarro

How do you adapt your setup to outdoor challenges?

For long hikes or casual walks, he prefers to travel light. Paulo will often bring just a small camera and a single lens. When heading out specifically for landscapes, he will add his wider lens, telephoto zoom and tripod so he can be prepared for changing light or distant details in the scene.

“Most of the time I’m hiking or walking long distances. Depending on where I’m going, keeping things simple helps me focus on the scene rather than the equipment. Weather and light can change quickly outdoors, so being prepared, arriving early and taking time to observe the landscape often makes the biggest difference.”

Milfontes, Portugal Fujifilm X-Pro2 w/ XF50-140mmF2.8 R LM OIS WR @ 140mm | F5.6 | 1/3 sec | ISO 200 Photo: Paulo Bizarro

Paulo's advice for other photographers

One lesson that keeps Paulo coming back to familiar locations is that there’s always something new to discover. It's often a different lighting scene or a small detail previously overlooked. For Paulo, staying curious and attentive to your surroundings is what keeps photography rewarding.

Discuss with Paulo his photography and gear in the forums.

If you’d like to share your photography setup, 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?'

Samsung recently announced its latest lineup of Galaxy phones at its annual Samsung Unpacked event, unveiling the S26, S26+ and S26 Ultra. The company focused heavily on AI during the event, glossing over some camera hardware upgrades in the S26 Ultra. Those updates are worth looking at more closely, though. Thankfully, YouTuber JerryRigEverything took the time to break down the new flagship to see what's actually going on with the cameras.

In the video, JerryRigEverything meticulously takes apart the phone, looking at just about every component along the way, so it's worth watching all the way through if you are generally interested in the inner workings of smartphones. That said, the camera talk begins at 6:50 if you'd like to skip to that.

The S26 Ultra's 5x telephoto camera sees a notable aperture upgrade, going from F3.4 on the S25 Ultra to F2.9 on this year's model. JerryRigEverything also points out that Samsung has made the telephoto module 22% thinner. To do all of this, Samsung used its "All Lenses on Prism" (ALoP) design, which moves the entire lens group onto the periscope prism surface instead of between the prism and the sensor. The video shows the S25 Ultra's 5x telephoto camera module for comparison, so you can see the difference between the two designs.

The video compares the two 5x telephoto camera modules. Images: JerryRigEverything

The main camera and ultrawide also saw boosts in aperture from the previous generation. The main camera now features an F1.4 aperture, up from last year's F1.7, and the ultrawide now sits at F1.9 compared to the S25 Ultra's F2.2. The 3x telephoto camera is the only one that doesn't get the benefit of a brighter aperture; it keeps the F2.4 of its predecessor.

Other than aperture improvements, three of the phone's cameras retain the same sensors as last year. The 200MP main camera uses a Type 1/1.3 (∼72mm²) sensor, while the 50MP ultrawide uses a Type 1/2.5 (∼24mm²) sensor. The S26 Ultra features two telephoto cameras, including the aforementioned 5x telephoto module with a 50MP Type 1/2.52 (∼24mm²) sensor. The 10MP 3x telephoto camera, however, sees a very slight downgrade in terms of sensor size. It now has a Type 1/3.94 (∼10mm²) sensor compared to the S25 Ultra's Type 1/3.52 (∼12.54mm²).

Beyond cameras, the main upgrade for Samsung's new flagship phone is the latest Snapdragon chip, the Snapdragon 8 Elite Gen 5. It also offers faster charging: wired up to 60W and wireless up to 25W. Otherwise, the phone leans on AI-related software features rather than big hardware upgrades.

The latest Samsung Galaxy S lineup is available for purchase now, with the S26 Ultra priced at $1299, the same as last year's model.

Image: I'm Back

[This story was originally published on March 12 2026, it has been updated with additional detail after the Kickstarter project launched]

I'm Back, the crowd-funded startup that has spent years trying to deliver on the promise of a digital module for film cameras has taken a step closer to doing so, via a new Kickstarter project.

The Kickstarter is now open and has received over $450,000 worth of funding from nearly 1000 backers. The project says it is targeting the delivery of units to backers by December 2027.

I'm Back Roll Kickstarter

The company says working prototypes exist but that the electronics are not finalized. Development of elements such as printed circuit board assembly, film shaped battery and steps including APS-C sensor integration will be funded from the money raised via Kickstarter.

AI-generated image of how the Bluetooth trigger may look Image: I'm Back

Further details include that there will be modules with between 64 and 256GB of storage. A version designed for Leica M cameras, including a rear door is also offered. No details are given about battery life, other than that it'll be limited. The bluetooth trigger that activates the digital sensor prior to using the camera's shutter to take an exposure has not yet been developed and the mockup shown is noted as being AI-generated.

The company says it it working on an optional external pack that boosts battery life and adds mic input and HDMI out.

The long-held dream of digital modules for film cameras

The concept of a digital module the shape of a roll of 135 film has existed almost as long as digital photography, with DPReview's founder Phil Askey following the story and failure of the Silicon Film project between 1999 to 2001.

Kickstarter-funded project I'm Back has been promising something similar in recent years, and has developed a series of interesting attempts.

Previous attempt: I'm Back Film

These have included a version that required you to remove the rear plate of your film camera and add a large box with a compact camera sensor that took photos of a translucent screen set into the film plane. And, more recently, an insert built around a Four Thirds sensor that slotted into the film bay, but required a large external box for batteries, storage and control.

Like Silicon Film's final attempt, the last-gen I'm Back Film connected to an external box that was home to batteries, processing and controls. Image: I'm Back

Although this attempt came close to the solution that Silicon Film had settled on, before its collapse, we've seen some fairly critical reviews from people who've tried to use it.

Why it's so difficult

And yet, true to the company name, I'm Back has returned, teasing another attempt at the elusive dream of simple film-to-digital conversion, a quarter of a century on.

Details of the I'm Back Roll are relatively sparse, beyond that it'll be built around an APS-C sensor and won't require any external parts. The implication appears to be that, like film, you won't be able to change settings such as ISO, or preview your image until after you've finished shooting and opened the camera up.

The company subsequently confirmed that it will be using the familiar IMX571 sensor from Sony Semiconductor, a 26MP BSI CMOS sensor that appears in a number of popular cameras.

Follow the original Silicon Film story

The company's talk of a "more human way of photographing" immediately makes us wonder why a vastly complex mechanical or electro-mechanical film camera, designed around pretty sophisticated chemistry, should be considered more "human" than a digital device, but it'll be interesting to see what they come up with, this time.

As always, our decision to report on a Kickstarter project should not be seen as an endorsement of the project. I'm Back has a history of successfully completing its projects, but opting to support a project does not guarantee that it will result in a delivered product.

Be Ryder may not have been at home in the water when she was young, but that certainly is the case now. Photo: Serena Lutton

Beatriz (Be) Ryder has built a career in one of photography's most unforgiving spaces: swimming a heavy camera rig into tumultuous surf while trying to capture photographs of the action. From Championship Tour stops with the World Surf League to a silver‑winning frame at the World Sports Photography Awards, her images favor quiet, in‑between moments over the typical hero shots.

Along the way, Ryder has made herself known in a space that's long been dominated by men and become a model for others who want to follow her into the water. I recently had an opportunity to sit down with her over video chat to talk about her path into photography, how she works in the water, and what keeps her swimming back out.

Finding the ocean and photography, slowly

Photo: Be Ryder

Given how comfortable Ryder is in the water, you may never guess that she hasn't been spending time in the ocean since she was young. She grew up in Portugal, where the ocean is really strong and cold, so being in the water wasn't a priority. Photography is somewhat of a different story, though. Ryder's dad was a photographer, and the medium was always a part of her life because of him.

"We used to go on little walks and take photos of things and then go back home, edit the photos and even upload to this website where other photographers would give you feedback on your photos and things," she explained. However, as many of us do as teenagers, she drifted away from the medium.

Things changed when she met her partner, who is a surfer. While at the beach watching him surf, she fell in love with the ocean. Eventually, her partner suggested she pick up a camera while hanging out. "Later on, he was like, 'Instead of sitting at the beach, why don't you try and take photos?'" she recalled. "And I'm like, 'Oh, I guess that's better than sitting there.' So I kind of picked up a camera again then."

She says it was during this time that she fell in love with photography again. Eventually, he gave her a camera, and later on, also gave her a waterproof housing. However, she still wasn't spending much time in the water at that point, so the housing sat on her shelf for over a year.

This image was from Ryder's first-ever shoot in the water, when she finally decided to take out the underwater housing. Canon 600D | EF-S 18-55mm f/3.5-5.6 IS II | F5.6 | 1/500 sec | ISO 100 Photo: Be Ryder

A trip down the coast in 2018 changed things, and Ryder finally took the step to try out getting in the water with her camera. "I was like, you know what, maybe I'll just take the housing and try it out. So I did, and to this day, my favorite photo that I ever took was in that session. I completely loved it," Ryder explained. "It was a glassy day, the ocean texture was just beautiful, and everything about it was magical. The water was actually warm, and the sun was out. It was sunset. It was just beautiful."

That moment marked the beginning of Ryder's surf photography path. "That kind of started things. I was like, 'Wow, well, if I can do this, then maybe I can do something else,'" she said.

Learning the ropes

For competitions, Ryder mostly uses a 70-200mm lens with her Nikon Z9. Photo: Matt Dunbar

After finishing school, Ryder decided to focus on her surf photography career and moved from Portugal to Australia. She may make shooting from the lineup (the zone where surfers wait for incoming waves) look effortless now, but learning to work in the ocean was a long, self‑directed process. When she first started taking it seriously, she was living in a caravan park at The Pass in Byron Bay, working in a cafe and surf shops and jumping into the water before and after every shift to figure things out. She didn't have mentors or formal training to lean on, so she treated each session as an experiment.

Early on, even the gear made things harder. Her first housing didn't allow her to adjust many settings in the water, so Ryder had to decide everything in advance. "I would just really have to think, okay, so this time I will try this, this time I'll try that," she explained. "And so it was basically like trial and error the whole time for maybe two years." Eventually, she started getting little jobs and meeting other creatives to learn from them. She was also watching heaps of YouTube videos and finding people on Instagram, all with the goal of learning as much as she could and getting information from everywhere.

Photo: Be Ryder

At the same time, Ryder was learning how to exist in the ocean itself. She had to get used to currents, sets and wipeouts, all while holding a camera. She credits living right by the beach with helping her build confidence in the water, since she prioritized getting in the water every single day. "It definitely helped so much moving here and living at the beach because it's literally a matter of the more times you go in the water, the more comfortable you'll feel," she said.

"Literally every time you shoot in the water, you feel vulnerable"

Over time, repetition built confidence, at least at home. But any new break means starting again. "It's like starting not from zero, but learning that spot in specific," she explained. "Literally every time you shoot in the water, you feel vulnerable, and you don't know what to expect, because it's such an unpredictable environment." She's had to get used to feeling like a beginner over and over as her career expanded, but with repetition, her confidence – and skills – grew.

Nikon Z9 | Nikon AF-S Nikkor 70-200mm F2.8E FL ED VR | F5.0 | 1/1600 | ISO 500 Photo: Be Ryder

There are still challenges every time, though. For competitions, Ryder is using a Nikon Z9 with a 70-200mm lens in underwater housing. The setup weighs nearly 5 kilos (11 lbs), which makes maneuvering in the waves to capture the action even more challenging. "You basically need to be kicking vertically so that you're out of the water, not shaking too much because otherwise the photo won't be clear enough, and make sure you're not in [the surfer's] way. It's a lot," she explained.

"It is a lot of pressure because it's a live situation that's happening in front of you. People's careers are at stake."

At competitions, there's also a careful balance of being close enough to get the action without getting in the way of the surfer. "It is a lot of pressure because it's a live situation that's happening in front of you. People's careers are at stake, and you're in their field. It's like a tennis player having someone on the court," she explained. "We are very lucky because it's a unique angle and it's a privilege to be able to be in their field and capture that, but at the same time, with that comes heaps of responsibility."

Seeing surfing differently

Ryder took the silver-winning image from the World Sports Photography Awards on a day when conditions weren't great for many reasons, but they decided to play around with some duck dive shots (when you dive under the wave with your board) just to get something. When she looked at the back of the camera after taking this, she knew it was something special. Nikon Z9 | Nikkor Z 24-70mm F2.8 S | F3.2 | 1/5000 sec | ISO 250 Photo: Be Ryder

From the start, Ryder was focused on finding a way to stand out and capture her own vision. She's been less interested in documenting peak action just as everyone else is, and more interested in everything that happens around that moment. "I always try to capture the things that people usually don't look at, like the style or the emotion... the in-between moments," she told me. She knew her work would just blend in if she stuck to the status quo. "We get tired of seeing the exact same things, like always an action moment of the surfer in the center of the image, the color really blue and contrasty. You've seen that, so I'm not going to stand out," Ryder said.

Representation is part of that shift as well. Ryder feels that "women surfing we never see enough," so she's intentional about centering women in her work and making pictures that show a different side of the sport. That's a big reason the quiet duck‑dive image that she created in March of 2025, which later won silver at the World Sports Photography Awards, resonated for her: under the wave, it's not the loud, explosive surf photo audiences expect, but a calm, almost introspective moment that fits exactly with what she's been chasing.

Making space for women in the lineup

Nikon Z9 |Nikkor Z 24-70mm F2.8 S | F5.0 | 1/2500 sec | ISO 320 Photo: Be Ryder

When Ryder joined the World Surf League's (WSL) Championship Tour photo team in 2022, she walked into a space still dominated by older men who had been shooting surf professionally for decades. Because she'd been trained directly by the WSL's photography manager in Australia, she suddenly found herself as the person explaining updated workflows to veterans.

"Imagine a 26-year-old, 1.6m super tiny girl coming in and saying, 'I know you've been doing this for 20 years, but actually, that's not how they want you to do this, and they asked me to teach you,'" she told me. Earning respect in that first year was difficult as a result. Some of her colleagues repeatedly asked, "How did you get here?" and "Where did you come from?" But once they saw her work and spent a season alongside her, then it was okay.

Change has been happening in front of the lens, too. Ryder points to 2022 as the first year the tour offered equal prize money and sent men and women to the same stops, including a historic return of women's competition to Tahiti after more than a decade. Behind the scenes, 2025 quietly delivered another milestone: for the first time, a WSL event was covered by an all‑women photo team – Ryder and another female photographer. This happened as a result of a small scheduling twist that underscored how unusual it still is to see more than one woman holding a camera in the lineup.

Breathing through fear in Tahiti

Ryder's most high‑pressure assignment to date has been preparing to shoot the Olympic surfing events in Teahupo'o, Tahiti, a location that produces waves that intimidate even seasoned pros. Knowing she couldn't rely on instinct alone, she committed to breathwork and underwater training ahead of the trip. Her focus was working specifically on staying calm when held down so she could keep making pictures instead of panicking.

That preparation became the backbone of Breathe, a six‑minute short film created with Morgan Maassen and Dan Scott that follows her as she confronts her fear, learns to trust herself in heavy water, and tries to become the kind of woman in the lineup she never saw growing up. In the film, Ryder says, "Every single step outside of my comfort zone really opened a new door or created a new opportunity." That quote is a fantastic reminder to all photographers, and extends well beyond photography, too.

Belonging, burnout, and what's next

Nikon Z9 | Nikon AF-S Nikkor 70-200mm F2.8E FL ED VR | F4.0 | 1/3200 | ISO 200 Photo: Be Ryder

For all the travel and big‑stage moments, Ryder's career hasn't been a straight upward line. To secure some stability, she took a full‑time creative job with McTavish Surfboards in Australia, but the workload eventually left her burned out and questioning how much she could give. She's since stepped back to part‑time, but still enjoys working for the team. "It's really grounding because I have the same team. They're always there, you know? I can travel the world and feel like I'm from everywhere and from nowhere at the same time, but going there kind of makes me feel good, and like I belong somewhere," she explained.

Looking ahead, Ryder wants to keep balancing commercial gigs and WSL work. She also wants to focus on projects that feel personal, folding as much of her own voice as possible into client shoots when she doesn't have the energy for separate passion projects. Workshops, especially women‑focused ones like a recent retreat in Tahiti, are also becoming part of that future. Even if she's hesitant to call herself a mentor, she loves simply sharing what she's learned.

Whatever comes next, her plan is uncomplicated: keep working hard, stay humble and continue opening the door a little wider for the women who will paddle out after her.

You can see more of Ryder's work on her website and Instagram account.

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

MOTHRA observing at night. Each mount is equipped with a wide area web cam. Besides the mount in the foreground two others are visible. The skies at El Sauce Observatory in Chile are among the best on Earth for astronomy. The Milky Way is clearly visible, as well as the Large Magellanic Cloud, the patch just right of center. The Large Magellanic Cloud is a neighboring galaxy of the Milky Way. Image: Dragonfly FRO

A new telescope called MOTHRA (Modular Optical Telephoto Hyperspectral Robotic Array) looks less like an observatory and more like a photography gearhead’s fever dream. The system consists of 1140 high-end Canon telephoto lenses, all aimed at the night sky. Instead of a single giant mirror, the rig stitches together the views from every lens to chase down some of the faintest structures in the universe.

This isn't the first time a collection of lenses has been used to function as a single giant telescope. The MOTHRA project stems from the Dragonfly Telephoto Array concept, first commissioned in 2013. It started with eight commercially available Canon EF 400mm F2.8L IS II USM lenses and gradually expanded to two clusters of 24 lenses each. The bug-themed names probably hint at the inspiration they drew from insect eyes, which use a bunch of what are effectively lenses to maximize light capture.

Whereas the Dragonfly array used CCD sensors, the newer project uses nearly 1200 astrophotography cameras built by Atik Cameras. It says it will use an mixture of Apx26 and Apx60 cameras, built around Sony Semiconductor IMX571 and IMX455 BSI CMOS sensors. These are versions of the 26MP APS-C and 60MP full-frame chips familiar in a range of cameras from Fujifilm, Sony, Ricoh, Sigma and Leica. Each camera is controlled by its own Raspberry Pi 4B computer, with another 90 Raspberry Pis helping to guide the array.

Rendering of the completed array. By the end of the year MOTHRA will have 1140 telephoto lenses distributed over 30 individual mounts, in two buildings. Its unique design is optimized for the study of the "cosmic web", a huge network of gas and dark matter that is thought to connect all galaxies in the universe. Rendering: Dragonfly FRO

MOTHRA takes that idea to a new extreme, and represents a "dramatic upscaling of Dragonfly." Like the Dragonfly, though, MOTHRA will use Canon EF 400mm F2.8L lenses, each fitted with ultra-narrowband filters to isolate the faint light of hydrogen gas. The central wavelength of the filters is also adjustable by tilting them, letting each pixel sample a slightly different wavelength. The lenses will be arranged in 30 mounts, which will be held in two buildings, as you can see in the rendering above.

The group says the array of 1140 telephoto lenses will be equivalent to a single 4.8-meter-F0.08 refracting telescope, making it the world’s largest all-lens telescope. The array will be powerful enough to detect ultra-faint gas between galaxies, helping scientists better understand where that gas exists and how it moves through a "web" of dark matter.

The nebula RCW 114, also known as the Dragon’s Heart Nebula, was one of the first objects that MOTHRA looked at. It is the remnant of a star that exploded as a supernova about 20,000 years ago. The MOTHRA image is in the light of ionized hydrogen and spans an area of sky that is 250 times larger than the full moon. Image: Dragonfly FRO

"MOTHRA is a telescope designed around a single idea: maximize discovery space for the dim glow of intergalactic gas," said Pieter van Dokkum, Co-Founder of Dragonfly FRO. "The combination of a huge effective aperture, wide field, and tunable ultra-narrowband filtering opens a new observational regime."

Dragonfly FRO, a research organization spun out of the original Dragonfly Telephoto Array project, is building MOTHRA at the Obstech / El Sauce Observatory in Chile. Construction started in the spring of 2025, and it's expected to be operational by the end of this year.

Pictured: a bounty of riches in 2026. Photo: Richard Butler

If you've shopped for any sort of electronic device recently or have kept up with the news, you've likely caught wind that there's something up with memory chips. But what exactly is going on, and will it affect photographic gear too?

What's happening with the chips?

The inescapable tech story over the past few years has been the emergence of generative AI systems. For reasons that are, frankly, mostly boring, the companies making the AI models need tons of memory and storage to train them. And because investors have been feverishly throwing money at anything branded "AI," they can get their hands on as much as they want. Which is to say: most of it.

There are currently three companies making the chips that end up in almost every device with memory and storage: SK Hynix, Samsung, and Micron. They've all said that demand for both their DRAM and NAND chips has increased enormously, and that they're essentially selling as much as they can make.

Producing these chips is one of the most complicated things that humans do, so you can't just spin up production overnight; it can take years to plan and build new factories, even if you're willing to bet that this isn't all a bubble and that demand will stay this high. That means these companies have to decide where to allocate their supply: do they use the limited number of silicon wafers and production lines they have to make the high-power, expensive chips that several companies with seemingly infinite money are frothing at the mouth to buy, or the lower-margin, run-of-the-mill stuff that powers consumer devices?

You probably won't be shocked to hear which one is winning out. As a result, the prices that consumers and the companies making any consumer devices that have storage and RAM – essentially any piece of tech – have gone up substantially. As for how that's specifically impacted photographers...

How has it affected SD cards?

Photo: Mitchell Clark

It might seem like SD cards should be completely unrelated to the AI fracas; surely the companies training those models are using something much higher-end, right?

Well, yes, but the rub is that SD cards use the same kind of NAND chips as the super-fast SSDs that datacenters need. They're not as advanced, sure, but making one means not making the other, so SD card makers will almost certainly have to pay more for the storage chips they're using.

This price chart is for the Lexar 128GB Silver SD card, but we saw a similar shape for various other cards from them and other brands. Chart: CamelCamelCamel

We're just starting to see price increases hit camera storage, but it's happened fast; according to data from Amazon price tracking site CamelCamelCamel, several of the cards we checked have nearly doubled in price since the end of 2025. This was true of both lower-end cards with 32GB and 64GB capacities, as well as higher-end ones.

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We found a few CFexpress Type B models that didn't seem to have changed much in price over the past year, but those appeared to be exceptions, rather than the rule. Some of our community members, as well as creators on social media, have found models whose prices have increased by over 100%. While it's still possible to get some for pre-AI boom prices, we wouldn't rely on that continuing to be the case as manufacturers continue to sell through stock.

How has it affected computers?

Even if you're lucky enough to have a computer with replaceable or upgradable RAM, you might struggle to afford the parts. Photo: Mathew Anderson

Computer memory, or RAM, has perhaps seen the biggest impact, with prices on upgrade kits doubling or tripling in price. While consumers don't typically install new RAM into their computers – or indeed, even own computers with upgradable memory (thanks, Apple) – those that do will really have to weigh how badly they need it.

It will also likely hurt if you're looking to buy a new computer; manufacturers will also be facing difficulties getting their hands on memory, and will either have to cut how much they include or raise prices. Before the boom, we would've suggested getting at least 32GB of memory, since it was typically a sensible upgrade that could ensure your computer was usable for longer. Now, though, we'd just advise not going below 16GB, if you can help it.

Storage has also been impacted. While SSDs (both portable and internal) don't seem to have their prices hit as hard, many suppliers seem to be struggling to keep them in stock. Unfortunately, conventional spinning disk hard drives also seem to have been hit as well; we've seen several reports from people struggling to find any available to buy, and manufacturers like Western Digital are saying they've sold out their production capacity for at least the next two years. If you're running out of storage on your computer or think you may in the near future, we would suggest you start looking for an external drive now, rather than later.

What's the impact on cameras?

Somewhere on the a7 V's motherboard (or built into the processor) is a memory chip that acts as the camera's buffer. Photo: Mitchell Clark

While most cameras don't have built-in storage, they still need memory for their buffers and to run their operating systems. So far, we haven't seen any manufacturers explicitly cite the shortage as a problem or raise their global prices substantially. However, we also wouldn't be surprised if we see something like that in the future.

Is there an end in sight?

It's hard to say when the situation will get better. Both Micron and SK Hynix have reported selling out their entire production capacity for the rest of 2026. That doesn't mean that nothing will be produced for consumers – presumably some of that capacity has been sold to companies that will package those memory and storage chips into consumer devices – but it does mean that the supply situation isn't likely to change for a while. It's also hard to imagine the situation changing all that much next year, either. Unless stock market enthusiasm for AI tanks and companies have to severely cut back on how much memory and storage they're buying, it's not like there's a ton of new production capacity set to come online in the short term.

What can you do about it?

As for what you can do about it, I again have to be incredibly unhelpful and say that, in the short term, there's not really much to be done on an individual level. Voting with your dollar doesn't work all that well when you're so economically outgunned.

There are a few options, though: you can continue to make do with what you have, while recognizing that you're using a scarce resource. If you were previously a little careless with your memory cards or external hard drives, now's the time to start taking a little better care of them.

You can wait it out, with the hope that the AI bubble will deflate before you need to make any purchases

If you know you'll need to purchase new computer equipment, memory, or storage in the near-to-mid term, you can just accept that prices are more likely to go up, rather than down. Sadly, that means stocking up on what you know you'll need. Or, you can wait it out, with the hope that the AI bubble will deflate before you need to make any purchases... and that when it does, it's in a controlled enough manner that memory and storage prices are still in your top 10 biggest financial concerns.

Ricoh GR IV Monochrome | F2.8 | 1/640 sec | ISO 320 Photo: Richard Butler

We're hard at work on finishing up our review of the Ricoh GR IV Monochrome, a version of the company's latest enthusiast compact with its color filter array removed. We've already seen how it performs in our studio, but in the process of testing it, we've also taken it out and about to capture the world (minus a bit of color).

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Image: Laowa

Laowa is continuing to be the torchbearer for bringing tilt-shift lenses to modern mirrorless mounts. The company's latest release is the 17mm F4 Zero-D Tilt-Shift / Shift, which is available for Sony E, Nikon Z, Canon RF, Fujifilm GFX, Hasselblad XCD and L mount, though the latter comes with a pretty big caveat that we'll cover in a bit.

There are two versions of the lens, both of which use the same optics: 18 elements in 12 groups, with four extra-low dispersion lenses, two glass aspherical elements and five ultra high refraction glass elements. They both have 14-bladed apertures.

One just supports shifting, which gives you the ability to change perspective while keeping the camera level, which can be especially helpful when shooting architecture. The shift-only model supports 11mm of shift in either direction on full-frame system, or 8mm on a medium format camera.

Image: Laowa

The tilt-shift model bumps that up to 12mm of shift on a full-frame, and adds 12° of tilt (10° on medium format), giving you the ability to manipulate the plane of focus. You can use that to either maximize your depth of field without having to worry about diffraction or to create the miniature effect that tilt-shift lenses are famous for.

The company promises that the lens has no barrel distortion, and says it can focus on subjects as close as 0.25m (9.8") away. It has an 86mm filter thread and a built-in Arca-Swiss compatible lens foot. The mount can easily be rotated with a click of a button and has preset rotation positions in 15° increments. It weighs 810g for the tilt-shift model and 770g for the shift model.

Given that the lens is manual focus only, and that Laowa has brought its other tilting and/or shifting lenses to a wide variety of mounts, it's not surprising to see this lens coming to mounts that are usually more restricted. It is, however, worth noting that the company says the L-mount version isn't compatible with some of the system's most popular cameras: the S5II/X, S1II, S1RII and S1IIE. The company told us this is because the overhang of those cameras' EVF housings protrudes forward over the lens mount. While you can physically mount the lens on one of the camera, the barrel will run into the EVF cladding essentially as soon as you try to rotate it, which severely limits the lens' functionality.

Given that we haven't seen major camera manufacturers like Canon or Nikon release tilt-shift lenses for their most recent systems, it's exciting to see Laowa continue to expand its lineup of them.

The 17mm F4 Zero-D Shift costs $999, and the Tilt-Shift costs $1249. Both are available starting today.

Manufacturer samples

Laowa 17mm F4 Zero-D Tilt-Shift specifications

Image: Frame.io

You can now use Frame.io, the video and image workflow platform that integrates with several pieces of editing software, to automatically upload stills files from certain Nikon cameras to the cloud. The software has supported this kind of workflow for video files for a while, but the new JPEG and Raw support could be convenient if you have a Z6III, Z8, Z9 or ZR.

While some cameras from companies like Fujifilm and Panasonic can connect directly to the Adobe-owned service, that's not quite what's going on with Nikon's implementation. As Frame.io's update notes say: "Using NX MobileAir (iOS and Android), images upload directly from the camera to Frame.io—no need to remove cards or manually transfer files before sharing. From there, editors can move seamlessly into Adobe Lightroom for immediate editing and delivery." It feels a bit funny to describe images as being uploaded "directly" when you need another app in the mix to do it, but theoretically it should be relatively hands-off once you establish the connection.

Nikon offers similar capability with its Imaging Cloud service

If this all sounds familiar, it may be because Nikon offers similar capability with its Imaging Cloud service. With it, supported cameras can automatically upload images to Nikon's cloud, which will then transfer them to services like Dropbox, Google Photos or Lightroom.

While that approach is more convenient in some ways – you use it by directly connecting your camera to Wi-Fi, rather than your phone – the Z8 and Z9 famously haven't received support for Imaging Cloud, despite lower-end cameras like the Z5II and Zf having it. This update gives owners of those cameras an easy way to offload the images they take directly to a cloud service, even if it is a little less flexible.

Image: Adobe

Adobe has announced that its "AI Assistant" for Photoshop is now available in public beta. It's designed to let you describe how you want your image changed to a chatbot, and either have the program carry out the edits for you or tell you how to do them. And, if you're willing to use generative AI, you can even draw on your image to have it add new elements or remove existing ones.

When you open a picture in Photoshop for web or mobile and activate the assistant, it analyzes the image to come up with some suggested edits: things like brightening the foreground or cropping in on the subject. The suggestions come in two categories: do it for me, or show me how. If you have your own edits in mind, you can also type what you want done into the box, and it will either go off and do it or tell you what you should do, sometimes complete with links to the tools you'll need.

The company has been working on the feature behind closed doors for a while now, teasing it early last year before finally announcing it at its Max conference in October. When I spoke to a Photoshop product manager at Adobe's Max conference last year, it was clear that the company is thinking of the AI assistant as an automation tool first, and a learning tool second. However, in the little bit I played around with it, the current version seemed to be at its best when instructing, rather than executing.

This is exactly the kind of edit a beginner might need help with, and I think the answer it came up with is pretty decent for that audience, especially since it gives you links to open the tools.

As an example, I asked it how I could brighten the shadows in an image without also raising the highlights. It came up with a genuinely good answer: add a curves adjustment layer, and drag the shadow adjustment point upwards. It even gave me a link that opened up the Curve tool. However, it also told me it could do it for me, so I told it to give it a shot.

Instead of taking the steps it described, the assistant added a brightness/contrast adjustment layer and just raised the brightness of the entire image, blowing out the highlights. The bot then said: "Shadows are now brighter! 🕶️✨ The adjustment layer focused on lifting the dark areas (like faces and clothing), while the highlights stayed crisp and untouched-no blown-out windows here!" (Especially ironic since the chat box was covering most of the image except for the now blown-out window.)

The tool is at its best when using the tools that Adobe's already been working on automating, such as subject masking and adjustment, and removing objects.

Theoretically, this approach would've worked had it created a layer mask, an edit it was happy to do in other situations, but for whatever reason, it didn't decide to do that. Some other issues I ran into: when I asked it to brighten the foreground of an image, its initial selection was completely incorrect, including patches of the sky, resulting in an oddly splotchy result (though, in fairness, at the end the bot realized things hadn't gone to plan). On another photo, one of the suggested edits was to "enhance the colors for a more vibrant look," which would've been a reasonable suggestion had it not been a black and white photo.

The tool showed me the selection as it was making it, and I thought, "Well, that's not going to go well." And, indeed, it did not.*

There were some successes. Perhaps unsurprisingly, given all the work Adobe has put into distraction removal, the model did a decent job when I asked it to remove extraneous objects from a photo. It's also worth noting that the AI assistant's edits are broken down in the edit history pane, so if it fell over at the last step, you can just undo that and take control yourself. It also shows the tools being used on screen as it (slowly) runs through each step, potentially making it easier to do it yourself next time.

Adobe has also introduced a tool called AI Markup, which lets you sketch something onto your photo and have generative AI add it in for you. AI image generation in Photoshop is nothing new, but this should make it that bit easier to make sure the elements you're trying to add end up where you want them to.

I'm tired of every tool I use showing me endless pop-ups about their AI assistants, but...

I'm tired of every tool I use showing me endless pop-ups about their AI assistants, but I think there's definitely a place for something like this in a program as complicated as Photoshop. As long as it's not too insistent that you use it, it could wind up being a useful teaching tool for those getting into photo editing, or for more obscure edits that you don't quite remember how to do (not everyone will have memorized CollegeHumor's Photoshop tutorial rap for redeye removal). It seems like Adobe has a bit of work to do before the tool can reliably automate tiresome tasks, but the bones for that system are clearly here.

The AI Assistant is available in Photoshop for the web and mobile, and AI Markup is available in the web version. Adobe says Creative Cloud subscribers will have unlimited image generation with the tool until April 9th; after that, it'll presumably fall back to using however many credits are included in your plan. If you're a free Photoshop for web user, you'll get 20 image generations.

* - In fairness, giving it a JPEG with such high contrast wasn't really setting it up for success, but I at least expected it to select the black part of the image and try to brighten it. I would've tried it with the Raw, but Photoshop for web couldn't open it.