Toshiyuki Tsumura, Executive Vice President and Director of Panasonic Imaging Solution Business Division. Photo: Abby Ferguson

Consumers' priorities have changed significantly in recent years, a Panasonic executive told us at this year’s CP+ show in Yokohama, Japan. Meeting those new priorities is part of the challenge, and Panasonic sees new energy not exclusively in full-frame flagships, but also in the small, portable cameras that smartphones never fully replaced.

At CP+ in Yokohama, Japan, we sat down with Toshiyuki Tsumura, Executive Vice President and Director of Panasonic's Imaging Solution Business Division, Takayuki Takabayashi from the Imaging Solution Business Division and Takashi Yamahara, head of the Global Marketing Division and Master of Project Design at Panasonic. In a wide‑ranging conversation, the team shared their candid thoughts on where the camera market is headed, how Lumix plans to serve a new generation of creatives and the role of AI in imaging.

The changing camera market and why compact cameras are booming again

Panasonic's LX100 II was a well‑liked enthusiast compact, but it dates back to 2018. Photo: Jeff Keller

"In general, the camera market is growing," says Tsumura. "For several years after COVID, the camera market shrank, but since then, it has been growing gradually every year. Last year it was up seven percent compared to the previous year." That's certainly good news for photographers, as a healthy camera industry means more support moving forward.

However, Tsumura is quick to point out that it's not the same market that peaked a decade ago, and consumers now have different priorities. "Previously, the driving force was high-end full-frame cameras. But recently, the value-zone cameras are driving the market, such as entry-level mirrorless cameras or compact cameras," Tsumura explains.

"The trend is shifting toward compact cameras," Tsumura goes on to say. "The reason is that a lot of people enjoy making and sharing photos and videos, and they want better image quality as much as possible. Many people feel that smartphones cannot fully satisfy their desire for good image quality."

"The trend is shifting toward compact cameras."

In Tsumura's view, compact cameras offer three distinct advantages over phones: better low-light performance, longer (and higher-quality) zoom, and options like genuine waterproofing. He points out that younger generations see images and videos constantly, and their analysis of those users found that they can distinguish the quality difference between smartphone images and those made with dedicated cameras.

For Panasonic, that shift could create a new kind of opportunity. Whether that means we should expect a new Lumix compact camera remains to be seen, but it is clear that Panasonic recognizes the shift in priorities and isn't ignoring it.

The future of Micro Four Thirds

The GH7 was Panasonic's last truly new Micro Four Thirds camera, though it was closer in size to full-frame hybrid cameras, rather than leaning into the compactness of the format. Photo Dale Baskin

Given the interest in smaller camera systems, we also asked the Panasonic team about Micro Four Thirds cameras. "Every year, we strengthen the Micro Four Thirds lineup, and we would like to continue this kind of development," Tsumura says.

The reason comes back to the same shift that's reshaping the broader market. Micro Four Thirds' core strengths are still compactness and low weight, and when you factor in lenses, the overall package can be significantly smaller than an equivalent full‑frame kit. That matters for the entry‑level and step‑up users Panasonic is increasingly targeting. "That's what entry users are requiring right now – portability and compactness so they can bring the camera everywhere," Tsumura explains. "So we are studying what kind of value we can propose to those users now and in the future with Micro Four Thirds."

"In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different"

At the same time, the company's expectations for the system have evolved. "In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different," Tsumura says. Panasonic now sees new customers who are more focused on the experience of using a camera and how it fits a specific purpose.

There's still room for more pro‑oriented full‑frame body

The S1H is the only S-series camera that hasn't seen an update. Photo: Dan Bracaglia

On the other end of the spectrum, the S1II is one of the most capable hybrid mirrorless cameras for video, but Panasonic thinks there's room to take it even further. While the original S1H remains the only first‑generation S‑series body without a direct successor, Tsumura avoids promising an exact S1H II. Instead, he frames the project more broadly: "Video production for the 'prosumers' is getting more and more important," Tsumura explains. "We are now investigating what kind of professional features we need to incorporate into new professional-type video cameras."

For what's next, the team is studying real applications, usage patterns and system requirements for higher‑end production, rather than just stacking on specs. As Tsumura puts it, they are looking beyond the current S1 II, "which already incorporates a lot of good video features, we are studying what we need to improve and what we need to add. That's what we're working on now," he says.

AI and computational imaging as core pillars

Computational photography has been a focus for Panasonic for some time, and AI is now an additional area of consideration. Inside Panasonic, AI isn't treated as a side project but as a central pillar of future camera development. "We put a high priority on computational imaging," Tsumura says. "This is very important for us. In order to evolve this area, we utilize AI technology."

"We can't say which companies, but we are talking with many partners and getting advanced technologies from them."

Panasonic isn't tackling AI integration alone, though. "To incorporate concrete AI technologies, we are now contacting lots of AI technology partner companies," Tsumura tells us. "We can't say which companies, but we are talking with many partners and getting advanced technologies from them. We then select and incorporate these technologies into specific features."

Twenty‑five years of Lumix

Finally, this year marks the 25th anniversary of Lumix, though internally, it seems Panasonic frames the milestone less as a victory lap and more as an obligation. "We were almost the last player to enter this camera market, so we feel we have a duty to continue this journey because of the customers who have supported us," says Yamahara. "The 25th anniversary is a kind of milestone, but we also need to continue beyond it."

In a nod to the anniversary, we ask Tsumura which single product he sees as the most important in Lumix history. Without any hesitation, he responds: "the G1, one of the first mirrorless cameras. That product created the mirrorless market and changed camera culture."

This article is based on an interview by Dale Baskin and Abby Ferguson at CP+ 2026. It has been edited for clarity and flow.

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."

This article is based on an interview by Mitchell Clark at CP+ 2026. It has been edited for clarity and flow.

Toshiyuki Tsumura, Executive Vice President and Director of Panasonic Imaging Solution Business Division. Photo: Abby Ferguson

Consumers' priorities have changed significantly in recent years, a Panasonic executive told us at this year’s CP+ show in Yokohama, Japan. Meeting those new priorities is part of the challenge, and Panasonic sees new energy not exclusively in full-frame flagships, but also in the small, portable cameras that smartphones never fully replaced.

At CP+ in Yokohama, Japan, we sat down with Toshiyuki Tsumura, Executive Vice President and Director of Panasonic's Imaging Solution Business Division, Takayuki Takabayashi from the Imaging Solution Business Division and Takashi Yamahara, head of the Global Marketing Division and Master of Project Design at Panasonic. In a wide‑ranging conversation, the team shared their candid thoughts on where the camera market is headed, how Lumix plans to serve a new generation of creatives and the role of AI in imaging.

The changing camera market and why compact cameras are booming again

Panasonic's LX100 II was a well‑liked enthusiast compact, but it dates back to 2018. Photo: Jeff Keller

"In general, the camera market is growing," says Tsumura. "For several years after COVID, the camera market shrank, but since then, it has been growing gradually every year. Last year it was up seven percent compared to the previous year." That's certainly good news for photographers, as a healthy camera industry means more support moving forward.

However, Tsumura is quick to point out that it's not the same market that peaked a decade ago, and consumers now have different priorities. "Previously, the driving force was high-end full-frame cameras. But recently, the value-zone cameras are driving the market, such as entry-level mirrorless cameras or compact cameras," Tsumura explains.

"The trend is shifting toward compact cameras," Tsumura goes on to say. "The reason is that a lot of people enjoy making and sharing photos and videos, and they want better image quality as much as possible. Many people feel that smartphones cannot fully satisfy their desire for good image quality."

"The trend is shifting toward compact cameras."

In Tsumura's view, compact cameras offer three distinct advantages over phones: better low-light performance, longer (and higher-quality) zoom, and options like genuine waterproofing. He points out that younger generations see images and videos constantly, and their analysis of those users found that they can distinguish the quality difference between smartphone images and those made with dedicated cameras.

For Panasonic, that shift could create a new kind of opportunity. Whether that means we should expect a new Lumix compact camera remains to be seen, but it is clear that Panasonic recognizes the shift in priorities and isn't ignoring it.

The future of Micro Four Thirds

The GH7 was Panasonic's last truly new Micro Four Thirds camera, though it was closer in size to full-frame hybrid cameras, rather than leaning into the compactness of the format. Photo Dale Baskin

Given the interest in smaller camera systems, we also asked the Panasonic team about Micro Four Thirds cameras. "Every year, we strengthen the Micro Four Thirds lineup, and we would like to continue this kind of development," Tsumura says.

The reason comes back to the same shift that's reshaping the broader market. Micro Four Thirds' core strengths are still compactness and low weight, and when you factor in lenses, the overall package can be significantly smaller than an equivalent full‑frame kit. That matters for the entry‑level and step‑up users Panasonic is increasingly targeting. "That's what entry users are requiring right now – portability and compactness so they can bring the camera everywhere," Tsumura explains. "So we are studying what kind of value we can propose to those users now and in the future with Micro Four Thirds."

"In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different"

At the same time, the company's expectations for the system have evolved. "In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different," Tsumura says. Panasonic now sees new customers who are more focused on the experience of using a camera and how it fits a specific purpose.

There's still room for more pro‑oriented full‑frame body

The S1H is the only S-series camera that hasn't seen an update. Photo: Dan Bracaglia

On the other end of the spectrum, the S1II is one of the most capable hybrid mirrorless cameras for video, but Panasonic thinks there's room to take it even further. While the original S1H remains the only first‑generation S‑series body without a direct successor, Tsumura avoids promising an exact S1H II. Instead, he frames the project more broadly: "Video production for the 'prosumers' is getting more and more important," Tsumura explains. "We are now investigating what kind of professional features we need to incorporate into new professional-type video cameras."

For what's next, the team is studying real applications, usage patterns and system requirements for higher‑end production, rather than just stacking on specs. As Tsumura puts it, they are looking beyond the current S1 II, "which already incorporates a lot of good video features, we are studying what we need to improve and what we need to add. That's what we're working on now," he says.

AI and computational imaging as core pillars

Computational photography has been a focus for Panasonic for some time, and AI is now an additional area of consideration. Inside Panasonic, AI isn't treated as a side project but as a central pillar of future camera development. "We put a high priority on computational imaging," Tsumura says. "This is very important for us. In order to evolve this area, we utilize AI technology."

"We can't say which companies, but we are talking with many partners and getting advanced technologies from them."

Panasonic isn't tackling AI integration alone, though. "To incorporate concrete AI technologies, we are now contacting lots of AI technology partner companies," Tsumura tells us. "We can't say which companies, but we are talking with many partners and getting advanced technologies from them. We then select and incorporate these technologies into specific features."

Twenty‑five years of Lumix

Finally, this year marks the 25th anniversary of Lumix, though internally, it seems Panasonic frames the milestone less as a victory lap and more as an obligation. "We were almost the last player to enter this camera market, so we feel we have a duty to continue this journey because of the customers who have supported us," says Yamahara. "The 25th anniversary is a kind of milestone, but we also need to continue beyond it."

In a nod to the anniversary, we ask Tsumura which single product he sees as the most important in Lumix history. Without any hesitation, he responds: "the G1, one of the first mirrorless cameras. That product created the mirrorless market and changed camera culture."

Parc de la tete d'or centaurs – The Centauress and a Faun (Lyon, France). Sony Cyber-shot DSC-RX10M3 @ 40mm (equiv) | F7.1 | 1/320 sec | ISO 100 Photo: Saint 112

For last week's Question of the week, we asked DPReview readers what 'image quality' meant to them. We knew that talking about the subject was going to lead to a wide range of results, but we were still impressed by how image quality is both emotionally perceived and scientifically analyzed in the same breadth. In describing their own meanings of image quality, we also got an important glimpse into why photographers do what they do.

Early on in our conversation, LakeSuperior 1 summarized it in a great way:

"I think there are two types of image quality. The technical type (sharpness, contrast, noise, etc.), and then there is the story within the photo. Some of the most famous photos ever taken didn't have good technical quality, but the image and story told made the whole photo great. I'm happy with either depending on the shot."

And Leonp put it nicely when talking about the point of a photo at the end of the day:

"For me, the summary of what image quality means is that the viewer sees what the photographer wanted to show."

Many of our readers felt there are two aspects to image quality. Keep reading to see which camp was chosen most, and why.

The Technicals

Nikon Z50 Photo: Howard V

jhwalker: I like my photographs to be an exact capture of what I see; i.e., accurate colors, clean and crisp details, balanced shadows and highlights, etc. The biggest concern I have is accurate colors. I'm so sick of hypersaturated greens and blown-out or too orange reds.

Impulses: Color rendition is the only thing on camera bodies that seems up for debate. As much as some swear you can't reproduce certain manufacturer combinations, with enough work (and a RAW file), I think you can. Don't quote me on it, though.

Klaus dk: I'm more in the camp for IQ, meaning measurables like resolution, sharpness, color, dynamic range, noise, bokeh, (lack of) geometric distortion, etc. This is different from the qualities that impact us and make us say, "This is a good photograph" when we see what the photographer wants us to see. Sometimes we can also recognize how they used the tools at their disposal, and learn from it. My personal opinion is that if genius should suddenly strike when I'm shooting, I'd hate to have gear fail me on what would have been the shot of a lifetime, but instead it was ruined with mediocre or even bad IQ.

The Feeling

Photo: Martinhb

AJF1934: For me, image quality means an image that I want to do something with. Perhaps that's by sharing it, printing it for display or putting it in an album. It has little to do with technical attributes and much more to do with the context, content and composition.

Satyaa: When it comes to color photos, the color accuracy, within a reasonable margin, fits the bill. I don't need to measure colors with charts. A white lily should look white, and a crow should look black. If the colors of a tiger (not a white one), a lion, a golden retriever, etc., look reasonably life-like, I am happy. I believe small differences are due to white balance algorithms (or the color filters used) by brand or model. They can simply be adjusted in post-processing.

Krummj: The longer I photograph, the more I'm interested in the story, composition and general impact of the photo, and the less I care about what we call "image quality". I also care about the memory. When I go through old files, I'm way more concerned about why the photo is interesting and what is in it than I am about its actual image quality.

Gloomy1: For me, a quality image is one where the image conveys what I was feeling at the time of capturing it. It is all about emotional impact. The technical aspects only come in if they are so poor that they get in the way of “enjoying” the image.

The Mix

Photo: Bruce Trailer Hiker

Schrammel: Generally, I’m more than satisfied with what modern cameras and lenses can deliver in terms of image quality. Sometimes, though, I take photos simply to capture spontaneous moments. In those situations, I’m often not really happy with the image quality – not because it’s too poor, but because it’s too good. Photos often don’t quite work because they feel too perfect: too neutral, clean and sharp. This includes too little noise and colors that are too accurate.

As much as I appreciate the technical image quality of modern cameras, I sometimes feel that something has been lost along the way – something you might call character, or maybe even soul.

gpwitteveen: Like so much else in life, the answer depends on your frame of reference. Image quality can have quantifiable gradations for the purpose of reviews or benchmarking, but for client work, it could be something else entirely, perhaps based on satisfying that audience of one.

Like so much else in life, the answer depends on your frame of reference.

For example, something crisp versus something with a "lo-fi" look, say. For color, there is the degree of immersiveness produced in a combination of viewing size, viewing (ambient) lighting, and the image elements themselves to lead the viewer in the frame and into the frozen moment. Meanwhile, for black-and-white, there is an inherent abstraction that separates a viewer from the source. Once the viewer acclimates to monochrome emotional responses, then some immersiveness is possible as well; but always different to the color.

Things like resolution and light values similar to unaided human vision can be a good standard of comparison for any image. But to express something beyond human vision, there is more than lines per millimeter or dynamic range to consider.

Photo: Gloomy1

There were many other great responses shared in the forums. Thanks to everyone who took the time to explain what image quality means to you.

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

Share what 'image quality' means to you!

Image via u/Radeon26

UPDATE MARCH 24: Panasonic has now officially released the TZ300. For more information, you can read our coverage here.

It seems like Panasonic may be working on a new compact camera: the TZ300. Reddit user Radeon26 posted a photo that appears to show the upcoming camera, alongside a specs card that says it has a 20MP Type-1 sensor, a 24-360mm equiv. F3.3-6.4 lens and a macro mode for taking pictures of subjects as close as 3cm (1.2") away.

The image came from a now-private video from a Polish creator, which we were able to watch before it was pulled. It appeared to show an official Panasonic event where the rest of the company's Lumix lineup, as well as other electronics, were being shown off.

While we weren't able to get more information from the video than what's visible in the screenshot, we can probably do some informed speculation, given that the camera's name and design imply that it's a follow-up to the Lumix DC-ZS200/TZ200 from 2018. That camera has the same sensor and lens specs, though is equipped with a microUSB port. It could be that, as with the Lumix DC-ZS99 from last year, the company is releasing a mild update of the camera to add USB-C.

One thing we wouldn't like to see repeated from the DC-ZS99 refresh is the loss of an EVF, though the video being taken down makes it hard to scrub through frame by frame for any hint of one on the TZ300. But, given the sticker next to the camera that says "Embargo Date 24 March 2026," it seems like we won't have to wait that long before there's an official announcement.

Image: Viltrox

Viltrox has announced the Vintage Z2 TTL on-camera flash, the third entry in its series of retro-styled accessories. Unlike the Z1 and Z3, this one folds down when not in use, allowing it to be higher off the camera body, avoiding shadows, while not adding much height to your overall setup.

The Z2 is compact and only weighs 52g (1.8oz), despite its built-in battery, which is rechargeable via USB-C. The company says that the battery is good for 700 full-power shots per charge, and at its max setting, the flash puts out 10Ws. It has a guide number of 6, though Viltrox doesn't specify an ISO; we've reached out to Viltrox to ask for clarification.

The flash can fold down to keep a low profile. Image: Viltrox

Viltrox is making versions of the Z2 for Sony, Fujifilm, Nikon and Canon, with each version being compatible with its respective brand's TTL system. The flash also has a manual mode, controlled by two top-mounted buttons which let you choose from five power levels.

The flash won't be the best pick for rapid-fire shoots, with a recycle time of two seconds, but for those just looking to play around with adding light to their scene, it could be a good option.

The Z2 costs $36, and is available from the company's website.

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.

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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