CP+ 2026 is in the rearview, but there are still aspects of the crew's experience there to talk about. Mitchell and Abby discuss their first time getting to experience some aspects of the photo culture at the show and in Japan, and go deeper on what it was like to shop at one of the biggest camera stores out there. Plus, Abby reveals whether she eventually went back and got the other film camera she had her eye on. (Spoiler: not exactly, but... well, you'll see.)

We're still hard at work on writing up the interviews we carried out with manufacturers at the show, so keep an eye out for those over the coming weeks. If you want to catch up on the rest of our show coverage, check out our show page.

Modern cameras are complex and they all benefit from some degree of setup and customization. We've already taken a look at some of the basic things you might want to do immediately, but here we're going to dig a little deeper and describe the settings we always change when we use Sony cameras.

Sony changed the menu system on most of its cameras starting with the a7S III in 2020. All our screengrabs represent the newer menu layout but we've also described where the comparable options live in the old menu structure if you're using a camera with the tabs arranged along the top of the menu screen, rather than down the left-hand side.

Engaging AF-C

Sony cameras are set to AF-A mode, when you first start them up. This is a mode that automatically switches between single AF acquisition and continuous attempts to refocus, if it detects subject motion. Which sounds clever but prevents you from using one of your camera's best features: its autofocus tracking.

Focus Mode is found at the beginning of the AF/MF section of the menu and often in the Fn Menu. Once you've selected AF-C, you'll find that, at the bottom of the list of AF area types and shapes, you now have one with an arrow pointing to a button, at the lower right of the icon. This is a subject tracking version of the AF area represented, and you'll find that you have a tracking version of each of the camera's AF areas. Now, when you half-press the shutter or press AF-On to initiate focus, the camera will continue to follow and focus on the subject under the AF target, even if it moves or you move the camera.

AF-C generally works very well on Sony cameras, so it'll be rare that you have to switch to AF-S. The tracking is useful both for following moving subject and for letting you choose a subject to focus on before recomposing your shot.

Limiting the number of AF areas

Sony's approach to tracking is to add a separate, 'tracking' version of each of the camera's AF area modes, meaning your choice of AF areas typically jumps from 12 to 24, as soon as you engage AF-C: tracking and non-tracking versions of each.

Sony cameras with the newer menu system have an option to let you limit which AF areas you can access, so that you don't have to scroll through lots, each time you want to switch. We'd suggest using the camera for a bit, getting a feel for which AF area sizes and shapes work for you and your shooting, then limiting the camera to only show the ones you use, it makes everything cleaner and quicker to use.

You can find this in the AF/MF tab, in an option called "Focus Area Limit."

Electronic first curtain shutter

By default, most Sony cameras use an electronic first curtain shutter, turning the sensor on one row at a time, to initiate the exposure, then using a mechanical shutter to end it. Some models, such as the a7C series, don't have a set of mechanical shutter blades for starting exposures, so always use this mode.

This is generally a sensible approach, and helps make the camera a little more responsive. However, if you shoot very short exposures when using a lens set to a very wide aperture, it can cause the out-of-focus highlights to become chopped off. If you find yourself shooting wide-aperture photos outdoors, it's worth knowing how to engage the mechanical first curtain, if you camera has one. This can be found in the Shutter/Silent section of the camera menu on newer models or the Camera Settings 2 tab on older ones.

Setting the Auto ISO Minimum Shutter speed

Auto ISO can be a very useful way of shooting, but key to getting the most out of it, particularly in P or A exposure modes, is telling the camera what the slowest shutter speed you can tolerate is, so that it doesn't bump up the ISO sooner than it needs to.

ISO AUTO Min. SS can be found either in the Exposure tab on newer cameras or the Camera Settings 1 section of older ones. If you frequently use auto ISO, we recommend assigning the setting to a button or putting it in the FN menu for easy access.

You have two options: you can either select a specific shutter speed, which can be useful if you're trying to maintain a fast enough shutter speed to prevent your subject's movement being blurred. Or you can set an 'Auto' value, which sets a shutter speed limit based on your focal length. This is the best choice if your primary concern is camera shake, but remember to reset it afterwards to avoid unnecessarily limiting your camera's exposure speed.

The 'Std' setting will increase the ISO to maintain a shutter speed of 1/equivalent focal length (ie: 1/50 seconds if you're using a 50mm equiv lens). For steady shooters, there are Slow and Slower options, which will reduce the shutter speed by one or two stops compared to the standard setting. The Fast and Faster options will raise ISO to maintain a shutter speed that's one or two stops faster than standard, which we typically wouldn't recommend, as the camera may end up choosing exposures that are too fast with telephoto lenses, or too slow with wide ones.

Turning on Raw shooting

We'd generally recommend shooting Raw, because it gives you more editing flexibility later, if you want it. Sony is the only major brand that doesn't let you process its Raw files in the camera, so we'd suggest shooting Raw + JPEG. This can be set using the File Format setting: in the Camera tab on new cameras and Camera Settings 1 on older models.

Once this is set, there's a separate menu setting [RAW File Type] directly below File Format to choose what type of Raw file your camera shoots.

On older models, you'll typically have the following choices:

• Uncompressed
• Compressed

The Compressed option is much smaller, but uses a lossy compression system. The limitations of this system only become apparent at high-contrast edges if you make quite significant tonal adjustments. For most types of shooting, this won't particularly matter, but it's worth being aware of: if your photography involves really exploiting the camera's full dynamic range, you may wish to consider using the Uncompressed mode for shots you expect to have to process heavily.

Newer models have a Lossless compression option, which we'd recommend. These files aren't quite as small as the Compressed ones, but you won't encounter any nasty surprises, even if you push your files extensively. The only benefit to the Compressed mode is that your camera may be able to shoot faster bursts in this mode.

The very newest models have a different set of options:

• Lossless
• Compressed HQ
• Compressed

We've not had time to test the new compression modes yet. As before, the Compressed option lets you shoot longer bursts, while the HQ version maintains greater quality. These two new compression options aren't widely supported by Raw conversion software yet, so we'd recommend using Lossless compression for now.

It's also worth noting that, while you can shoot Raw files alongside the newer HEIF format, if you want something with 10-bit color and more efficient than JPEG, you can't capture high dynamic range HEIFs and Raws simultaneously. The much more widespread support for JPEG means we'd stick with this.

Selecting which settings carry over from stills to video

Newer Sony cameras let you specify which settings carry over from stills to video shooting and which are configured independently. If you're using your camera to shoot both stills and video in the same sessions, we'd strongly consider adjusting these to make sure you don't accidentally shoot a load of stills at 1/50 sec shutter speeds or find yourself trying to color-correct clips in which Auto White Balance was constantly adjusting.

The option "Different Set for Still/Mv" can be found in the Setup / Operation Customize section of cameras with the newer, left-tabbed menus.

Customizing the camera to your needs

Sony is good at allowing lots of buttons to be customized and typically allows most of its menu options to be assigned to most buttons, rather than giving you a restricted option.

Older cameras let you customize the buttons using a menu option called "Custom Key" in the Camera Settings 2 section of the menu. You can set different settings for stills shooting, movie shooting and playback modes. In the new menu system, there are separate "Custom Key/Dial Set." menu items for stills, movie and playback modes. These live in the Setup / Operation Customize section.

The latest Sony cameras let you define different Fn menu layouts for stills and video shooting.

The Fn menu of the camera can be completely customized, with your choice of 12 functions that you use most often.

On older models this option [Function Menu Set.] can be found towards the end of the Camera Settings 2 section.

Newer cameras with the left-tabbed menus place it in Setup / Operation Customize. On these models it's called Fn Menu Settings and has the stills and movie icons next to it. On these cameras you can select define different Fn menus for stills and video shooting.

Sony a7R V | Tamron 35-100m F2.8 | 35mm | F8 | 1/100 sec | ISO 100 Photo: Mitchell Clark

Last month, Tamron announced the 35-100mm F2.8 Di III VXD, a full-frame zoom lens that focused on offering a fair amount of reach and a fast aperture while still being compact and lightweight. We've had the chance to shoot with it a bit to get a feel for what it's like to use and how it performs.

The first thing that stands out about this lens is the weight. If you're used to shooting with a 24-70mm F2.8, this lens is noticeably smaller and lighter than most full-frame options. That's not to say that the focal length ranges are particularly comparable – they're not, especially on the wide end – but it's a good frame of reference.

The lens is quite small and light, which would make it a good pairing for some of the more compact full-frame bodies. It also includes a customizable mode switch and function button.

Despite the light weight, the lens feels solidly built. To my hands, the materials and design of the zoom and focus rings actually feel a touch nicer than other recent Tamron lenses that I've tried. While most wouldn't consider a $900 to be cheap by any stretch, it feels more premium than its price tag might suggest.

Paired with an a7R V, the autofocus was very snappy, and it never felt like the lens was holding back the camera.

The lens extends a bit when zooming in, but not enough to throw off the balance or meaningfully change the center of gravity.

While this isn't a full review of its optical quality, I was pleased with how sharp the samples I got with this lens were, even when I was shooting wide-open. As we've seen with many recent F2.8 zooms, especially ones that focus on size, it has a fair amount of vignetting at F2.8 and even still some at F4, but it largely clears up by F5.6. I also find the out-of-focus rendering to be perfectly fine; it's not distracting, and the falloff is pleasant enough, though if you inspect the specular highlights in the bokeh, there is some cats-eye effect.

Toward the edges of the frame, you'll start to see some cat's-eye bokeh. (Note that the lights on the left edge of the frame aren't being distorted by the glass cups.) Sony a7R V | Tamron 35-100mm F2.8 | 100mm | F2.8 | 1/100 sec | ISO 500

In the past few years, we've seen companies playing focal length ranges, such as Sony's 20-70mm F4 and 24-50mm F2.8, so it's interesting to see someone experimenting in the other direction. However, we suspect many people who learned photography after the era of the 35-70mm might feel restricted by a lens that only barely dips its toe into the wide-angle range, especially if they were trying to use it as an all-around standard zoom.

However, I found I really enjoyed working with this zoom range, especially given the size and weight of the lens. I could easily see being happy with just it and a wide (or maybe even ultrawide) prime, though your mileage may definitely vary, especially if you're someone who often finds themselves wishing they could go wider than 24mm, rather than someone like me who often wishes they could reach past 70mm. In that respect, I prefer this to Tamron's own 28-75mm F2.8, as it feels like I get more for giving up something on the wide end (though obviously it's a greater sacrifice).

For most people, though, this lens might make more sense as a complement to, rather than a replacement for, a standard zoom, especially if their standard zoom is a variable-aperture kit option. It offers F2.8 and some of the most popular portrait focal lengths with more flexibility than a prime, and without the need to carry around a giant piece of glass like a 70-200mm.

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 LensRentals for loaning us a Sony a7R V to shoot this lens gallery, and to Tamron for loaning us the lens. All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no vignetting correction. Before correction, the images have some minor pincushion distortion, but we wouldn't consider the profile 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.

A Playfight with two Asian Elephants Canon EOS 400D w/ EF70-200mm f/2.8L USM @ 200mm | F2.8 | 1/400 sec | ISO 400 Photo: Jagdeep Rajput

DPReview community member Jagdeep Rajput, known as J Rajput in the wider community, is our latest spotlight in this series about what's in your camera bag. This series explores the gear our community members bring along on their photography journeys and shares the stories behind how that equipment helps them capture memorable moments.

Culminating from more than three decades of wildlife photography, below is Jagdeep's amazing story and photos, along with the gear used to capture them.

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

Meet Jagdeep Rajput (J Rajput)

Fujifilm X-T4 w/ XF100-400mmF4.5-5.6 R LM OIS WR @ 100mm | F8 | 1/340 sec | ISO 320 Photo: Jagdeep Rajput

Home base: Delhi, India

Favorite camera and lens: Canon EOS R5 II paired with the EF 500mm F4 IS II – a powerful combination Jagdeep relies on for capturing distant wildlife and dramatic animal behavior in the field.

Typical photo scenes: Wildlife photography, especially large mammals and wetland birds in national parks and open natural habitats.

"I started photographing in the early 1980s, and over the years it has grown into a lifelong passion for observing and documenting wildlife."

Jagdeep is a wildlife photographer who enjoys working with small groups of like-minded friends. Most of his photography takes place in India’s national parks, where he spends a lot of time sitting still, patiently watching and waiting for the right behavior or interaction with animals to unfold.

Fight during courtship season Canon EOS R5 w/ EF500mm f/4L IS II USM + 1.4x III | 700mm | F5.6 | 1/1250 sec | ISO 1250 Photo: Jagdeep Rajput

What's in Jagdeep's bag

• Primary cameras: Two Canon EOS R5 II bodies
• Lenses: RF 24–105mm F4 for versatility, RF 70–200mm F2.8 VCM for action and medium telephoto work, and a 100–400mm F5.6 for additional reach. For distant wildlife, Jagdeep relies on the EF 500mm F4 IS II, often paired with 1.4x and 2x teleconverters.
• Support and accessories: A beanbag is an essential part of his kit, especially when shooting from vehicles in wildlife reserves. He also carries a close-focusing tube to allow tighter framing when subjects approach closer than expected.
• Camera bags: Jagdeep prefers backpack-style camera bags, typically from Lowepro, Tamrac or Think Tank. For bird sanctuaries and longer walks, he uses a larger Tamrac backpack along with a tripod and gimbal head to support long lenses. When photographing from a vehicle, he relies on a beanbag for stability.
• Other Essentials: A sun hat is always packed for field protection, and gloves come along during the cooler winter months.

Photo: Jagdeep Rajput

What other gear makes a difference?

"I like to keep my setup fairly simple in the field, but a few accessories are always important. A beanbag is something I rely on often, especially when photographing wildlife from a vehicle, as it provides quick and stable support for long lenses. I also carry a close-focusing tube, which allows me to get tighter shots when an animal or bird comes closer than expected.

Other than that, I usually pack a sun hat to deal with the intense sunlight during long hours, and gloves during the winter months when mornings in the field can be quite cold."

Mock Charge of an Asian Elephant Canon EOS 5D Mark IV w/EF100-400mm f/4.5-5.6L IS II USM @ 117mm | F5 | 1/400 sec | ISO 500 Photo: Jagdeep Rajput

What has been one of your most amazing moments out in the field?

While India remains his primary shooting ground, Jagdeep also travels to Africa, photographing wildlife in places like the Masai Mara, Amboseli and Tsavo. One of his most memorable moments occurred at Keoladeo National Park in Bharatpur.

"Once, I went to Keoladeo National Park, Bharatpur, India, to photograph a nesting Sarus Crane. A Bluebull happened to venture close to Sarus's nest, the crane opened its huge wings and attacked the bull from behind. Since I liked to shoot animal behaviour, I pressed my continuous shutter, and the image I captured was unbelievable; it was 'Pegasus'."

A Territorial Call of Indian Sarus Crane Canon EOS 5D Mark III w/ EF500mm f/4L IS USM| 500mm | F5.6 | 1/640 sec | ISO 160 Photo: Jagdeep Rajput

Jagdeep's advice for other photographers

"Good subjects are hard to find. If you come across one, don't give up easily. Go for a couple of exceptional frames rather than hundreds of good frames."

Discuss with Jagdeep 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?'

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.

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?'