"English Village in the Cotswolds. No EXIF data due to Photoshop processing." Photo: Stephen Felce

Photography has been a lifelong pursuit for DPReview reader Stephen Felce, known in the forums as keepreal. Over more than seven decades, he has developed a passion for street scenes and beautiful landscapes, moving from black-and-white to color film, and then to digital and mirrorless systems.

"I started photographing at the age of nine, learning to print my own film with guidance from my father. My passion for capturing the world around me has never waned. Photography isn't just a hobby, it's a way of seeing and experiencing life more fully."

Stephen works to bring out the beauty of places like the lochs of the Scottish Highlands and the deserts of the American Southwest, highlighting their unique natural lighting. His approach to post-processing has enabled him to turn complex scenes into images that are quite evocative.

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

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

"Piazza in Arezzo, Tuscany, Italy. This is a panorama shot with extensive Photoshop processing to cope with the dynamic range. No EXIF data due to Photoshop processing." Photo: Stephen Felce

Meet Stephen Felce (keepreal)

Home base: Greater London, UK

Favorite camera and lens: Olympus OM-D E-M5 II with Laowa 6mm and 10mm Zero-D lenses. Stephen likes this setup specifically for landscapes and street shots because it delivers the best detail and edge sharpness. The wide-angle lenses let him capture expansive vistas and architectural subtleties with minimal distortion.

What's in Stephen's bag

• Primary cameras: Olympus OM-D E-M5 II
• Lenses:
  • Laowa 6mm F2 Zero-D
  • Laowa 10mm F2 Zero-D
  • m.Zuiko Digital ED 12-45mm F4.0 PRO
  • m.Zuiko 75-300mm F4.8-6.7 II
• Support gear: Stephen uses a compact Hama Traveller Mini Pro tripod for most shots and a full-size Velbon Ultra REXi L tripod for larger setups. He also employs custom-made panorama heads, multiple Manfrotto ball heads and quick-release adapters to handle panoramic and detailed landscape compositions with precision.
• Camera bags: He relies on three Crumpler bags – two for camera bodies and lenses, and one for panorama brackets and accessories. For his longest lenses, such as the 75-300mm, he uses a dedicated Nikon lens case.

Stephen's camera bag Photo: Stephen Felce

Any other interesting gear you take with you?

"I kept two Nikon SB-26 Speedlights from my Nikon days, which I can fire wirelessly from the small Olympus FL-LM3 flash to get balanced lighting like studio lights. I mostly use a lightweight Hama Traveller Mini Pro Tripod now, though I also have a full-size Velbon Ultra REXi L for heavier setups."

"I even built my own panorama head from hardwood with sections for horizontal and vertical shots, using Manfrotto quick-release adapters for fast and precise alignment. For printing, I use an Epson Stylus Professional 3880 for prints up to A2 and an Expression Photo XP-8605 for everyday use, both with pigment inks for long-lasting color."

"This is a picture of the River Thames in London, England, that I took when I was twelve years old. My father lent me his Leica IIIa, and I took this shot with the 9cm Elmar, processed and printed myself, toning it sepia. A framed copy hangs in my bedroom." Photo: Stephen Felce

How has your photography changed since you started?

"When I did my own monochrome photography, I settled upon Kodak Panatomic X and Ilford Pan F exposed at about half the nominal ISO. I also developed in the Beutler formula from raw chemicals to give a long scale with beautiful highlights."

"I have always gone for pictures from high-dynamic-range scenes, usually against the light. I rarely consciously decide on contre jour; it just happens, being in my element when those lighting conditions present themselves in brilliant sunshine. You cannot get those Beutler tones on digital, possibly because there is no shoulder to the highlights in a digital image, as the slope there is far too high."

"Still, when I switched to digital, my photography really took off, and somehow I found getting good colors easy, whereas with film I never felt my results were very good."

"When I switched to digital, my photography really took off, and somehow I found getting good colors easy."

How do you post-process a less-than-ideal scene?

"One of my picturesque street scenes, Gold Hill in Shaftesbury, Dorset, is familiar to most Brits because of a famous 1973 Hovis Bread advert. I took my picture there on negative color film and processed it myself. Early on in digital, I used to scan my negatives and got a superior result with Gold Hill, partly because of the light in the shot and partly because of the skills I developed with Photoshop Elements 2."

"Gold Hill in Shaftesbury, Dorset. No EXIF data due to Photoshop processing." Photo: Stephen Felce

"There was a street sign ruining the picture, weeds growing in the gutters of a nearby dwelling and more distractions spoiling the overall effect. I cloned out the distractions, straightened a wall and changed the creamy cottage to blue as the original looked sad against the white cottage two doors down. Next, I filled in the bald sky and sharpened the out-of-focus wall on the left."

"After two years of digital manipulation and printing, I finally get good results. The photo won me a copy of Photoshop CS2, which I had wanted but cost far too much for my liking."

Have you taken any particularly memorable trips?

"My best holiday ever was to the Southwestern USA in 2011... from San Francisco to LA, 3,000 miles through Utah and Arizona.

"My best holiday ever was to the Southwestern USA in 2011, driving for three weeks from San Francisco to LA, 3,000 miles through Utah and Arizona, as well as in California. I estimated the distance for my route before I went, and amazingly, it was only a mile out."

"I loved Zion National Park, where, unusually, you get different kinds of rock, different textures and colors adjacent to one another, creating a remarkable effect. I loved Zion so much that I had to include it again in a 2018 trip of a similar distance from LA to Denver to see other must-see places like Arches National Park, but I actually preferred Dead Horse Point State Park overall."

"Near the entrance to Zion National Park, Utah. I was lucky with the light, which, though extremely weak, was better than in other images I have seen of this. My favorite self-took picture, so I made an A2 framed print for my living room. No EXIF data due to extensive Photoshop processing." Photo: Stephen Felce

"Spectacular Rocks in Zion National Park, Utah. Unusual to see such variety in adjacent rocks. No EXIF data due to Photoshop processing." Photo: Stephen Felce

When capturing that perfect shot, what are your preferred techniques?

"I always take a spot reading for exposure on the brightest part of the image, more often than not, the sky, and set exposure adjustment to +3 stops. That way, highlights are never blown out, and it works in every natural-light situation. If the dynamic range demands it, I use bracketed exposures."

"On the E-M5 II, it is brilliant because I can set the gaps two or three stops apart and simultaneously use exposure adjustment to increase exposure for the deepest shadows, without having to resort to shorter exposures, which is not necessary."

For eager photographers to capture it all, what would you suggest?

"Most camera buffs feel obliged to take pictures. I don't, as I take very few even in the best of places. I can quite literally return from a trip with nothing, enjoying the outing no less for that. Some scenes are beautiful, but do not lend themselves to the camera. Instead, they can be quite an experience in real life if you are able and willing to see with insight."

"Ennerdale Water. Lovely clouds making a beautiful scene in the Lake District, northern England. No EXIF data due to Photoshop processing." Photo: Stephen Felce

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

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

---

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

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

Image: DJI

DJI has announced the latest iteration of its compact gimbal camera, the Osmo Pocket 4. The new generation brings more subtle changes than the last update, with integrated storage, a bump in frame rate, new controls and the promise of better low-light shooting.

Like the Osmo Pocket 3, the fourth-gen camera uses a Type 1 CMOS sensor and an integrated 20mm equiv. lens with an F2 aperture. Unlike the 3, which topped out at 4K/120, the Osmo Pocket 4 doubles its maximum framerate to 4K/240. It also uses 10-bit D-Log instead of the D-Log M found on the previous model, trading a more contrasty image that took less grading work for one with a bit more latitude. DJI promises the Pocket 4 can achieve 14 stops of dynamic range.

DJI says the new pocket camera will perform better in low light, delivering truer-to-life colors and better-looking skin tones. It also says that it will provide better results in high-contrast scenes as well. Given that the sensor hasn't changed, both changes are almost certainly thanks to improvements in processing.

When the screen is in landscape orientation, users have access to two additional buttons. Image: DJI

The Osmo Pocket 4 keeps the rotating screen that DJI added to the 3, though it adds two additional buttons that are revealed when the screen is in landscape orientation. One button is dedicated to cropping in, allowing users to digitally zoom to 2x or 4x. The second button is customizable, giving users a shortcut to their most-used settings. DJI also says the 5D joystick is new, though it isn't clear what new functions it unlocks compared to the previous iteration.

DJI added 107GB of integrated storage to its latest gimbal camera, compared to the Osmo Pocket 3's full reliance on microSD cards. It's still compatible with 1TB microSD cards as well. It also promises an additional 14 minutes of battery life, for a total of 3 hours of recording at full resolution, or 4 hours at 1080p.

Like many DJI products, the Osmo Pocket 4 supports gesture control and offers multiple subject tracking options to keep subjects sharp and centered in the frame. It relies on DJI's ActiveTrack 7, which it debuted on the Osmo Mobile 7 smartphone gimbal and promises smoother, more natural tracking, better subject reacquisition and the ability to recognize multiple subjects.

The Osmo Pocket 4 is compatible with DJI's vlogging accessories, such as its mic system. Image: DJI

The Osmo Pocket 4 is priced at £445, which is cheaper than the Pocket 3's launch price of £489. That's especially impressive given that the new model gains 107GB of internal storage at a time when that isn't coming cheap.

The camera will be available for immediate sale in the Chinese market on April 16 and for pre-order in all other regions. Official sales will begin on April 22. The standard combo costs £445 and includes the camera, USB-C cable, gimbal clamp, wrist strap, handle, and carrying pouch. DJI is also offering the Creator Combo for £549, and it includes the addition of the Osmo Pocket 3 Wide-Angle Lens, DJI Mic 3 kit, a fill light and a mini tripod.

As expected, the one exception in terms of availability is the US. DJI says the authorization application is still pending in the US, so it will not be available for purchase.

Sigma is now farming rice in Aizu, Japan, where the company's factory is located. According to CEO Kazuto Yamaki, it's an effort to support its own neighbors while maintaining an important Japanese tradition. Photo: Sigma

For Sigma, "Made in Japan" isn't just a marketing ethos; it signifies a commitment to the company's home country, and to the region surrounding the city of Aizu, where its factory is located.

In an industry where most companies manage global manufacturing and supply chains, Sigma CEO Kazuto Yamaki takes pride in anchoring his company not only in its geography but in its culture. In fact, when Sigma introduced its new logo last year, it also doubled down on this regional connection, making "Made in Aizu, Japan" a core part of its brand identity.

Which explains why we find ourselves in Japan talking to Mr. Yamaki about rice. As we wrap up our interview at CP+, he casually mentions, "Actually, I'm not sure if you know it, but we decided to start growing rice."

Sigma products and packaging proudly emphasize the company's roots in Aizu, Japan. Photo: Richard Butler

Sigma announced its rice-growing ambitions a few days before our meeting, and while we saw the same press materials as everyone else, it was fascinating to hear the story behind the project, and what inspired it, in Mr. Yamaki's own words.

It's about history and ecology

"Aizu is known for many things," he tells us. "But one reason it's well known is for being a good production site for rice. There are many rice fields in Aizu, and they produce top-quality rice. But these days, as you know, Japan is a rapidly aging country. Also, the kids don't want to take over the farmers' business. So the farmers are losing their successors. Actually, this is nothing new. This already started in the 90s or late 80s. But thanks to the tractor and combine, we don't need many people."

"Aizu is known for many things, but one reason it's well known is for being a good production site for rice."

According to Yamaki, this represents an important economic and cultural shift from the past.

"Before World War II, we had many big landowners, but after World War II, property was shared by the farmers thanks to the American government, which occupied Japan at the time. So in Japan, there are many small farmers. Until now, some farmers asked neighboring farmers to take care of their fields because, thanks to tractors and combines, they could grow rice through the neighbors."

The Sigma factory in Aizu, Japan. Under Mr. Yamaki's leadership, the company has leaned into its roots in Japan, focusing on the use of Japanese suppliers and working with local partners. Photo: Dale Baskin

But it's not just a matter of changing demographics. As Mr. Yamaki observes, the disappearance of the small farmer is having a lasting physical impact on the land itself.

"But what is happening today is these kinds of farmers are aging, and they are losing successors. I started seeing many abandoned rice fields or paddy fields in the Aizu area. This creates a lot of problems. Paddy fields contain water, right? There's a particular ecosystem there, so we lose that ecosystem."

"The disappearance of the small farmer is having a lasting physical impact on the land itself."

"Once the land loses its ability to absorb water, it creates floods and also mudslides. And the abandoned fields have unexpected, undesirable plants. It invites bugs and harmful animals from the forest. So it creates a lot of problems. And also, the look of the landscape – I mean the traditional Japanese landscape, including the paddy fields – we are losing. So our aim, our purpose, is to keep the traditional Japanese landscape as it is. We are not going to grow the agricultural business, but our purpose is to preserve the paddy fields as they are."

A view from the train

For Mr. Yamaki, the decision to farm was a deeply personal one, rooted in a final request from his father.

"My father [Sigma founder Michihiro Yamaki] passed away 14 years ago. He had liver cancer. At the very last stage, maybe two or three months before he died, he asked me to take him to Aizu several times."

Kazuto Yamaki's father, Sigma founder Michihiro Yamaki (far right), poses with supporting members of the Sigma Research Institute Co., Ltd, around 1961. Photo: Sigma

"Because of his illness, at first I drove him to Aizu. But at some point, he told me he wanted to go by train. The local train in Aizu runs through the paddy fields. And he was looking at the paddy fields. And I realized why he wanted to go to Aizu by train. He was just looking at the rice fields, and since then, I really like looking at the paddy fields."

"But these days," he explains, "I feel very sad looking at an abandoned paddy field. So I was interested in starting agriculture about three years ago, and finally, we can start this year."

Leveraging the experience already inside Sigma

At the Sigma factory, the line between technician and tradition is closer than one might expect; some of the same hands that craft many of Sigma's world-class lenses are now being tasked with a much older form of craftsmanship: maintaining Aizu's rice paddies.

"Many of our factory workers are farmers. They know how to make rice, and they have machines. So, we can ask people over age 60 or 65, "Could you work at the rice paddy rather than the factory?" And if we rent out their tractor, we can pay. If we rent their tractor for a week, it can be revenue for them. So we already have the resources to make it."

Some of the same hands that craft many of Sigma's world-class lenses are now being tasked with a much older form of craftsmanship: maintaining Aizu's rice paddies. Photo: Dale Baskin

However, don't expect to see Sigma brand rice on store shelves anytime soon. Yamaki has a pragmatic plan for what to do with all that rice: keep it within his own family of employees.

"We consume it ourselves, because we have a cafeteria in the factory and we have one at the headquarters. If we sell to wholesalers, we have to sell it very cheaply. But we can sell it directly to the company that runs the cafeterias. So we may not lose much money. So it's a kind of win‑win situation."

For Mr. Yamaki, Sigma's foray into agriculture is an opportunity to lead by example.

"For Mr. Yamaki, Sigma's foray into agriculture is an opportunity to lead by example."

"It's really important to commit to the local community," he states emphatically.

"Well, of course, as a company, making a profit is the most important responsibility. But in today's society, companies play many important roles in society and have many social responsibilities. I think the contribution to the local community is one of the important responsibilities a company has. So we are just doing what we can do."

"Of course, we cannot save the Earth. We cannot save the whole region. But I like the phrase, "Think globally, act locally." By announcing this kind of activity, it may influence others, and if such activity spreads to the world, people may be able to help the Earth."

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

Image: Adobe

Adobe is continuing the flow of video news from the National Association of Broadcasters (NAB) show with its announcement of a new "Color Mode" for Premiere. The company says it's a "first-of-its-kind color-grading experience," designed to be approachable for video editors, rather than professional colorists.

The mode will live as its own tab in Premiere, alongside Import, Edit and Export. Activating it brings up a new interface with a large preview window and several tools for adjusting things like color temperature, saturation, contrast and more. You can apply your adjustment, or multiple adjustments, to a single clip or to all (or most) clips in your sequence, and use masks to apply adjustments only to certain parts of your video. Color mode will also pre-select the most prominent hues in your image, so you can quickly and easily adjust them.

Image: Adobe

The tool will include several pre-made "Style Presets," which have their own adjustable parameters. You'll also be able to save your customized version of a style as its own preset, so you can easily apply it to other footage later. You can use the tools to build those presets on their own, to go beyond basic color grading as well.

Adobe is pitching the mode as an exercise in simplicity; something designed for editors, rather than professional colorists. Rather than tweaking numerical parameters, drawing custom curves on graphs or sitting at a physical piece of hardware with an ocean of knobs and dials, it seems like you mostly control the tools through a simple mouse-based interface that lets you drag controls until you get the look you're going for.

Color mode's simple interface doesn't preclude more advanced edits, like masking. Each tool also includes a "heads up display" window that pops up to show you how your edit is changing the color. Image: Adobe

However, the company also says the system "grows with your ambition," letting you do more complex grades if necessary. Still, it seems the main appeal is its ease-of-use, with Adobe's press release calling it an alternative to unnamed other apps that "pull you out of your edit entirely and force you to study out-of-reach pro-colorist tools that were never designed for you."

In the same vein of making things easier for editors, Adobe has also released a new program called Frame.io Drive, which lets you "mount" your projects stored on the cloud as storage media on your computer. From there, you can access and clips or files directly from your computer's file manager, without having to manually download or sync them.

Color Mode is available in the beta version of Premiere starting today, while Frame.io Drive will "roll out in phases," starting with enterprise users.

The Canon MS-510 surveillance camera is the second to use its SPAD sensor. Image: Canon

Canon has announced its second camera based around a 'single photon avalanche diode' (SPAD) sensor. It's a completely different sensor technology to the CMOS sensors we typically encounter, based on a completely different physical phenomenon, and able to measure the arrival of individual photons.

The MS510 is a box camera, designed for applications such as nighttime border surveillance and maritime monitoring over long distances. The MS510 has a 3.2MP Type 1 (∼131mm²) sensor, from which it derives 1920 x 1080 video footage, Canon says it has greater sensitivity to near-IR light than the previous model.

In conventional CMOS designs, a charge is accumulated as arriving photons of light trigger the release of electrons via the photoelectric effect. This charge builds up during the exposure and the magnitude of the accumulated charge is read out at the end of the exposure.

In a SPAD sensor, the photoelectrons that are released are then accelerated by a powerful electrical field. The energy of their impact triggers an avalanche of electrons to be released within the semiconductor. This allows sensors to detect down to the sensitivity of individual photons.

Such sensors don't need to accumulate charge before they're read out, so individual photon arrivals can be detected as they arrive: continuously sampling, rather than capturing separate, discrete exposures.

And, because each avalanche of electrons is so distinct from any coincidental electronic noise, it's possible to essentially factor-out all read noise from the system. However, the nature of light means that photon shot noise (the randomness of light) would still be unavoidably present in any photograph.

Nestling behind some magnifying optics is a Type 1 SPAD sensor, capturing 1920 x 1080 footage from its 3.2MP resolution. Image: Canon

These characteristics lend themselves very well to video capture in extreme low light. Canon has previously show its SPAD sensor visualizing a single pulse of laser light as it moves. The MS510 is geared towards slightly less rapid movement, and has a movable infrared filter, allowing it to capture some light just outside the visible spectrum, for even better performance in extreme low light.

Like its predecessor, the MS510 accepted broadcast lenses designed for Type 2/3 sensors, and features magnifying optics in front of the sensor to make full use of the sensor area.

However, while some of these properties sound like they would be useful for photography, and Canon has previously talked about the SPAD sensor matching the performance of a sensor 10 times its size, you shouldn't expect to see a SPAD sensor in an EOS camera any time soon.

Also, it's woth noting that the quantum efficiency (proportion of the incoming light that it successfully measures) isn't significantly different to that of current CMOS sensors, so the benefits primarily exist in ultra-low light, where read noise plays a significant role, rather than daytime photography where photon shot noise has the most impact.

The electrical field required to accelerate photons as they arrive in the sensor uses much more power than the CMOS sensors we're used to. We only have the figures for the MS510 camera as a whole, which includes powering its controllers and fan but, for reference, Canon's other MS cameras with Super35 and full-frame CMOS sensors consume between 8 and 12W, whereas the MS510 consumes 24W. This suggests both battery life and thermal management would be challenging to produce a photographer's camera. And, for now, at least, resolution.

Photo: MPB

Spring is synonymous with growth, and it might just be the best time to upgrade your photography kit. That's why we've teamed up with MPB, the leading platform for buying, selling, and trading camera equipment, to give away a $1,000 gift card.

Because MPB has everything from lenses and bodies to bags and tripods, one lucky winner will be able to customize their ultimate shopping spree to precisely their needs. Enter below by April 29 for your chance to win.

Enter Here

Terms: No purchase necessary. Enter from April 15, 2026-April 29, 2026 for your chance to win. Sweepstakes is open to residents of the United States and the District of Columbia who are lawful U.S. residents, and are 18 years of age or older, as of the start date of the sweepstakes. Void where prohibited by law. Sponsor: Gear Patrol. See official rules for details and Sponsor’s privacy policy.

---

This is sponsored content, created in partnership with MPB. What does this mean?

---

Image: Leica

Leica is opening a new retail store and, as we've come to expect, that means it's also releasing a limited edition camera to commemorate the occasion. It's called the Chicago Edition 17 (no points for guessing where the store's located), and it's an M11-P wrapped in a "boysenberry leatherette."

Special-edition Leicas are nothing new, and the company has a long list of limited releases and collaborations, including the city-specific models it released as part of its 100th anniversary celebrations last year. To my eye, though, this one looks especially nice, and the special edition tax is surprisingly low. The Chicago Edition 17 will retail for $10,900, around $500 over the price of a standard M11-P.

Image: Leica

As the name implies, there are 17 of the limited-edition cameras, and they're only being sold at the Chicago store. The company says the store is "soft opening" today, but that it will be holding a grand opening ceremony on the 30th, which will include an exhibition of work by Leica photographer Craig Semetko in the location's gallery space. The company also says the store will feature work from other artists, too, such as Alana Tsui and Dr. Romanelli. That's also when the camera will be available for sale.

Image: GoPro

GoPro has announced a new line of cameras, dubbed the Mission 1 series, which includes something entirely new for the action-cam company: an interchangeable lens camera with a Micro Four Thirds mount.

There are three cameras in the series: the Mission 1, Mission 1 Pro, and Mission 1 Pro ILS. The latter has the headline-grabbing mount, while the standard models have an integrated lens that the company says provides a 159° field of view.

Image: GoPro

All three cameras are powered by a 50MP Type-1 (128mm²) sensor with a Quad Bayer design, allowing for 8K 16:9 video capture across all of the models. All three can shoot in open gate mode, using their whole 4:3 sensor, though this is where they start to diverge in capability.

The difference between the base and Pro models largely comes down to framerates, with GoPro saying that the standard Mission 1 is designed for someone who doesn't need high-resolution open gate recording, or super fast frame rates for slow motion. The Pro versions' specs seem to match those of the recently announced Sony IMX06A.

While the cameras can be used as standard action cameras, GoPro is also clearly targeting them at more professional users, too. They support HLG-HDR recording, as well as GoPro's GP-Log2 10-bit mode, as well as 32-bit float audio, which can help prevent clipping. The company is also making a version of its Media Mod for it, adding a multi-pickup-pattern, three 3.5mm jacks (one for audio in, one for audio out, and one for timecode) and a microHDMI port, which can output 4K/60.

There are some physical changes compared to the Hero lineup of cameras too, with GoPro saying that the OLED display on the back is 14% larger, and the buttons are "chunkier" and more prominent, making them easier to use if you're wearing gloves.

Image: GoPro

The cameras are the first to be powered by the company's GP3 processor, which the company announced earlier this year. GoPro says that, compared to the GP2, its new chip has twice the processing power, which can help with things like noise reduction and scene recognition.

It's easy to get excited about the prospect of a small camera with a Type-1 sensor that can be used with compact Micro Four Thirds lenses, especially when GoPro seems to be leaning into the idea of using the Mission 1 for photography. It can shoot Raw, and the company is selling an add-on "Point-and-Shoot Grip" that it says is designed for "run-and-gun" handheld capture.

GoPro says the Mission 1 Pro ILS can use its "HyperSmooth" stabilization algorithm with "any rectilinear, prime focal length lens." The bigger news, though, may be what the mount doesn't appear to have in the press images: electrical contacts. Image: GoPro

However, there are still some questions about how an ILC GoPro will work, both for stills and videographers. The biggest is focus: GoPro's press release doesn't mention any sort of autofocusing system, and the company's main offerings have usually come with fixed-focus lenses. Having to manually focus on such a small display would likely end up being a dealbreaker for many potential buyers.

The smaller sensor also contributes a further 1.32x crop, relative to a Four Thirds chip, 2.64x relative to full-frame.

In some ways, the company has been building towards an interchangeable lens camera for a while. The company has been shipping accessory lenses like its Anamorphic and Macro "Mods" for a few years, and it harbored ambitions of going after professional users long before introducing those. Still, it's a very unexpected move from the company, not least because it built its brand on making the toughest cameras out there; you can't water- and shock-proof a camera with a lens mount as much as you can one with a fixed lens (though the company does say the Mission 1 ILS is "weatherproof").

Companies like Insta360 and DJI continue to make inroads into the traditional action cam market

But as companies like Insta360 and DJI continue to make inroads into the traditional action cam market, it's easy to see why GoPro is looking to expand its offerings. Just last week, the company announced it was restructuring and laying off almost a quarter of its workforce, so it clearly needs to do something big to win customers back, and it's hard to ignore a swing for the fences like this.

The company says pricing for the cameras will be announced later in the year. The Mission 1 and Mission Pro 1 will be available for preorder starting May 21st, and will hit store shelves a week after. GoPro says the Mission 1 ILS will release later, in Q3 of this year.

Image: BlackMagic Design

Adobe Lightroom is getting a new competitor from a surprising place. BlackMagic has added what looks to be a shockingly complete set of photo editing tools to the latest version of its Davinci Resolve software, which has traditionally been designed primarily for video editing, color work, and sound design.

Resolve 21 gains a new "Photo" mode, which lets you organize a collection of stills into albums, apply ratings and labels and even search through all your images with an AI-powered tool that you can use to find photos of certain kinds of subjects. The company says it "worked closely" with camera manufacturers to support Raw stills from Canon, Sony, Nikon, Fujifilm and Apple, but you can also use it to edit JPEGs and HEIC files. There's even a tethering mode for certain Sony and Canon cameras.

Node-based editing will take some getting used to, but can be a powerful tool, depending on how you edit.

The company's main pitch for Resolve as a photo editor centers around its color tools. They're extremely robust, as they're designed for editing movies, but offer a lot of flexibility for stills too. The editor uses what's known as a node-based approach, which lets you add adjustments as independent effects that can either chain together or not affect each other. For example, if you select part of your image using Resolve's "Magic Mask" feature, you can have your base color adjustments apply to the entire image, but have certain edits only applied to the masked area.

While nodes can take a little bit of practice to wrap your head around, they can be a powerful and flexible way to edit. Using them isn't absolutely required, though; the software also has built-in "Film Looks" presets that you can customize, and supports applying Look Up Tables, or LUTs, to your photos. And if you just want to edit basics like lightness, color temperature, saturation, etc., you can use more traditional sliders. Resolve also includes basic crop and rotation tools, too.

Resolve's Raw editing tools will be more familiar than its color editing ones.

BlackMagic also says that edits and adjustments can be accelerated by your computer's GPU, which it claims allows Resolve to process photos "dramatically faster than conventional photo applications."

During a livestream announcing the update, BlackMagic's CEO said that the Photos mode will probably receive a lot of tweaks and improvements over time. But if it provides anything like the capabilities that BlackMagic has promised, it could be a viable competitor to more established programs like Adobe Lightroom and Capture One Studio right off the bat.

That's especially true given the price. Davinici Resolve is available for free, though to get all of its features, you'll have to pay $300 for the "Studio" version*. However, Blackmagic tells us that, currently, there's no differences between the free and Studio versions when it comes to the photos page, though some features of the color editor, and many of the program's AI tools, require a paid license.

Davinici Resolve 21 is being released in beta today, though it's worth taking that label seriously. We weren't able to successfully export a photo while testing to see if there were any obvious limitations, with the software just giving us an error message about not being able to decode it, so it seems like there's still definitely some work to be done.

The company also announced plenty of features for video editors, too, which largely center around AI. The software now has a suite of built-in AI-powered effects, such as voice generation, "CineFocus," which lets you add customizable blur to your video, actor aging/deaging tools, blemish removal and more. Many of those, and the software's other video-focused tools, such as AI-upscaling and noise reduction, can also be used when editing stills.

* - Currently, that's a one-time fee, with Studio owners getting free upgrades to each subsequent version. However, during the livestream, BlackMagic's CEO mentioned that the company may need to start charging for upgrades someday.

Satoshi Maetaki (left) and Yutaka Nakamura (right) holding the Canon RF 14mm F1.4 L VCM and RF 7-14mm F2.8-3.5 L Fisheye STM, respectively. Photo: Mitchell Clark

Last year, we had the opportunity to tour Canon's lens factory in Utsunomiya, to get a look at how the company produces its optics. This year at CP+, we had the chance to talk to some of the people who play a part in designing the lenses made there: Satoshi Maetaki, general manager of the Optics Technology R&D Center and Yutaka Nakamura, assistant manager at the IMG Products Planning Center.

Our conversation largely centered around two of the company's latest releases, the RF 14mm F1.4 L VCM and the RF 7-14mm F2.8-3.5 L Fisheye STM, but we also got to talk about some of the things the engineers consider when designing a lens, some of the tools and tech that helps them with that process and how they decide which lenses to work on.

Considering what lenses to make next

Nakamura says the process for deciding what lens to make next is a holistic one, based on several factors. "We always consider: 'what is the ideal lens lineup?' That’s always in our mind," he says. "It’s not just the market environment or the user’s feedback. We also have to consider the possible future advancement of our core technologies, and how consumers’ shooting styles will change."

"We always consider: 'what is the ideal lens lineup?'"

While many of Canon's recent lenses have been full-frame designs, in our interview with Canon's top executives, Go Tokura, Executive Vice President and Head of Canon's Imaging Group, said the company is still interested in crop systems. "We won't stop exploring the field of APS-C lenses," he says. "Our principle is both full-frame and APS-C. We will continue to explore."

Advanced materials, corrections and simulations

Once they determine what lens to make, the engineers and planners have to figure out how to actually build it. According to Maetaki, the decision on whether to use digital distortion correction is made at the very beginning of the process, as was the case for the 14mm F1.4 L VCM. "We developed this lens under the precondition that distortion correction is to be done on the camera side," he says. "Because some of the correction can be done by the body, the lens can be smaller."

"We developed this lens under the precondition that distortion correction is to be done on the camera side"

As with many other lens makers we've talked to, Maetaki said special elements like Canon's BR and fluorite lenses are especially important when it comes to making a high-performance lens that's still relatively compact.

He also says that Canon is taking advantage of recent advancements in simulation tech for lens designs. "At the time of development, we have a better idea of how it’s going to be post-correction. Thanks to the development of the simulation technology, we can select the optimal design." As the company designs the lens, it can run simulations in tandem with the physical design work it's doing.

AF motors

For modern mirrorless lenses, choosing which kind of actuator to use for the autofocus is also an essential part of the process. According to Maetaki, the decision is made on a case-by-case basis; sometimes the company will choose an autofocus technology based on the optical design, other times the type of autofocus actuator may influence the lens' construction.

"Simply put, we select the motor depending on the concept of each lens," says Nakamura. "Is it for professionals, for high-end amateurs, entry-level? Or is it specialized for still images, or a hybrid between stills and video? Also, price range is important for us to consider. And focal length, the maximum aperture… Based on all these elements, we’ll decide which motor or actuator is most suitable."

In the case of the 14mm F1.4 L VCM, the company went with the namesake voice coil motors because of their ability to move the lens's relatively large and heavy elements. And even though the RF 7-14mm F2.8-3.5 L Fisheye STM is a modern version of the DSLR-era EF 8-15mm F4L Fisheye USM, Canon decided not to go with the ring-type USM motor again. According to Nakamura, this was a lesson it applied from a previous lens, the RF 10-20mm F4 L IS STM, from 2023.

"That was an ultra-wide lens that had the STM as well," he says. "That let it be compact with quiet, speedy, smooth autofocus. We took that lesson and applied it to this model."

Making a line of lenses the same size

The lenses in Canon's VCM lineup have very similar dimensions to make it easier to swap between them if you're using a gimbal or other video setup. Image: Canon

One notable aspect of Canon's F1.4 VCM lineup is how all the lenses are all very similarly-sized, from 14mm to 85mm. Nakamura says this is so video shooters can use all the same accessories, such as ND filters, follow focus units and rigs, even when switching between lenses. "That’s why we stick with the same barrel size or diameter, so those accessory changes don’t become a burden. So this is one of the determining factors when we’re deciding to add a lens to the lineup. We have to consider all this, including the shooting styles of our users."

According to Maetaki, achieving this isn't actually as difficult an engineering challenge as it might seem. "With current focal lengths, it’s not much of a problem," he says. "If the focal length becomes even longer, the difficulty level goes way up. Because when that happens, the diameter of the glass becomes larger, so it’s harder to fit." He says that from 14mm to 85mm it's fine, but perhaps that means we shouldn't hold our breath for something like a 100mm entry in the F1.4 VCM lineup.

---

Perhaps the "Eject" button on the Nikon D5 was aptly named... Image: NASA (via r/ArtemisProgram)

It's an experience most photographers will be familiar with: you go to insert or eject your camera's card, fumble slightly, and the spring or ejection mechanism sends the card shooting out. If you're lucky, you catch it in time; otherwise, it tumbles to the ground.

It turns out that even astronauts aren't immune from this kind of gaff... but when it happens to them, the lack of gravity makes it all the more exciting. This week, a clip taken from NASA's livestream of the Artemis II mission around the moon has gone viral, showing what appears to be astronaut Christina Koch chasing after a card that shot out of her camera.

Unfortunately, you can only scroll so far back in NASA's official livestream (as it's still being broadcast), but the moment has been captured in several GIFs. You can also see it with the surrounding context on CBS News' archive, though it's only in a small part of the frame. Unfortunately, none of the clips currently available have audio of the moment.

Anyone who's been following the mission and looking at the photos taken during it will know that the crew is mostly using Nikon D5s, so the card is likely a CFexpress, XQD or CompactFlash model. (I'd guess the former, based on clips I found of another astronaut handling theirs relatively close up.) While I typically wouldn't expect this kind of slot to eject a card with much force at all, how things work on Earth isn't always a great indication of how they'll work in space without any gravity.

Thankfully, the Orion capsule is relatively small, so she was able to keep track of it and grab it within a few seconds and continue taking pictures. But it's a funny reminder of how things that are easy, or, at worst, little inconveniences on earth, can be much more difficult in a zero-gravity environment. Thankfully, Koch and her crewmates have been willing to put up with the camera-related difficulties they've encountered, because the photos produced by the mission have been incredible.

Fans crowd around a rookie baseball player who, an hour earlier, had broken the tie in overtime, winning the game. Kids offer him hats and baseballs to sign. Photo: Mitchell Clark

Our April Editors' photo challenge theme is "Film Photography."

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 "Film Photography" photos to our April photo challenge

Photo: NASA

After nine days of journeying around the moon, the Artemis II mission has come to a successful conclusion with the crew landing safely in the Pacific Ocean on the evening of April 10. The lunar flyby portion of the trip lasted roughly seven hours, and the crew said they took over 10,000 images during that time alone, so there are an untold number of images from the entire mission.

While NASA hasn't uploaded anywhere near that many, the organization has been sharing plenty across various platforms, including its own website. We've been keeping our eyes on those photographs and have compiled a selection of our favorites from pre-launch through splashdown, which you can see at the bottom of this article.

The photographs are absolutely stunning simply for what they are, but the crew wasn't only taking them to create pretty images. They were also intended for scientific purposes, and there's a lot you can learn from them as a result. I'm no scientist, though, so I've really been enjoying listening to those who know more explain some of what's going on.

One such example is a video by Hank Green, a popular YouTuber and science communicator. In the video, Green walks through some of the photographs taken by the Artemis II crew, explaining in depth what we are looking at and providing additional context behind the photographs. For example, in one of the images of the Earth, Green points out the sodium line that goes all the way around the planet, explaining what it is and what its importance is.

Green also covers some things we photographers already know, such as why Earth looks so big in some shots (telephoto focal lengths), and some things caused by factors inherent to space, such as the surreal lighting in some shots. In his words: "Pictures are often worth a thousand words, but sometimes they are worth considerably more than that." It's a fantastic video, well worth watching all the way through.

CSA (Canadian Space Agency) astronaut and Artemis II Mission Specialist Jeremy Hansen is seen taking images through the Orion spacecraft window during the Artemis II lunar flyby. Photo: NASA

Artemis II pilot Victor Glover summed it up nicely when witnessing the eclipse from the spacecraft: "It is truly hard to describe." We can't wait to see even more from NASA once they are able to go through the enormous number of images and videos from these inspiring astronauts.

Image: Peak Design

Peak Design, the company behind many popular camera bags and accessories, is making an L-bracket and is looking for people's input via a survey.

Given that the product is still in the works, details are relatively scarce, but that's where your answers come in. The survey collects basic information about you as a photographer – what types of photos you take, where you shoot, and which cameras you use – before getting into the specific questions about the upcoming bracket.

It asks whether you'd be interested if it has a quick-attach mechanism that lets it transform from a baseplate to an L-bracket, if you'd like a stowable accessory "similar to an AirTag," whether you care if there are add-ons like a cheeseplate or handstrap, and whether you own a Capture Clip and currently use it with an L-bracket. It also, of course, asks how much you'd expect to pay for such an accessory.

It's not particularly rare for Peak Design to send out these kinds of surveys. I recently got one asking about potential upgrades and additions to its lineup of photographer-focused bags, though those have yet to materialize. (Which is not a complaint, as I got that survey mere days after buying a new bag from them and would be sad to see it obsoleted so quickly.) But given how relatively popular the company's tripods and clips are with photographers, we figured it was worth sharing the survey so you could weigh in, in case this is the kind of product you're interested in.

Take the Survey

Photo: Dale Baskin

The compact film camera was widely seen as an outdated category relegated to the past. For years, the consensus was that film itself was fading away, smartphone cameras gutted the point‑and‑shoot market and repair expertise was thinning out. Yet as Stephen Dowling recently explored in a detailed feature for Kosmo Foto, the humble 35mm compact has quietly shuffled back into the spotlight in recent years.

Dowling’s piece takes an in‑depth look at the path of this revival. In it, he traces how compact film cameras went from niche products to the focus of new premium releases with renewed interest among younger shooters. A big part of the film compact revival story is the reality that most of the classic models people now lust after were never designed for a second life. They rely on aging electronics, brittle plastics and parts that no major manufacturer is producing – or servicing – anymore.

Takeo "TKO" Suzuki poses with a Pentax 17. Photo courtesy of Takeo Suzuki

That fragile ecosystem is exactly what pushed Takeo "TKO" Suzuki, the industrial designer behind the Pentax 17 project, to start thinking about a new film camera designed for today's beginners. "I wanted to create a camera especially for new and young users," TKO told Kosmo Foto via email. "When I heard about a young person who had saved up money to buy a used film camera – only to find it broken – I was moved to tears. My first idea was to create a camera they could use with peace of mind," he said.

Dowling's piece also makes clear how radical that ambition sounds inside a modern camera company. As TKO recalled, "what struck everyone was simply how unrealistic it seemed to build a film camera in the modern era. When I first presented the concept to the executive team, including the company's top leaders, everyone froze."

That comment underlines the tension at the heart of the compact revival: there is obvious cultural momentum, but bringing new hardware to market means convincing risk‑averse executives to invest in a format that had been left behind. Complicating things further, even if those executives were fully on board, the process would require recovering long-dormant or even lost institutional knowledge and figuring out how to make or obtain parts that haven't been mass-produced for a decade.

Image: MiNT

The Pentax 17 hasn't been the only compact film camera released in the past few years, either. The MiNT Rollei 35AF came out around the same time. Dowling spoke with MiNT's founder, Gary Ho, who highlighted the difficulties of manufacturing such cameras at this point. "Finding the right components is challenging. The supply chain for film cameras is long gone. But technology has advanced a lot and there are ways to do things that were otherwise impossible before,” Ho said.

Dowling also delves into the recently released Lomography MC-A and the currently in-progress Analogue af-1 to find out more about the processes and challenges of designing new film cameras these days. The article includes insightful comments from key players at both companies, providing a peek behind the curtain for devices that seem so simple on the surface.

Our article only scratches the surface of the history and personalities behind the compact film camera comeback. Dowling's original feature goes much deeper into what new cameras (and the people behind them) are keeping the market churning, and what it might take for new film cameras to become more than limited curiosities. If you want the full story, including more from TKO and others trying to give compact film cameras a true second act, it's well worth reading in full over on Kosmo Foto.

2026 World Press Photo Contest

The winners of the 2026 World Press Photo Contest have been announced, showcasing a powerful lineup of photographs that capture defining stories around the world. From intimate moments of resilience and hidden traditions to stark scenes of global conflict, this year's selections highlight photography's enduring power to inform, move and inspire.

This year's edition saw the submission of 57,376 photographs entered by 3747 photographers from 141 countries. The competition follows a regional model, introduced in 2021 to support greater diversity in stories and storytellers. Each region features three categories, highlighting single images, stories and long-term projects.

In addition to the already announced winners, the contest will select a Photo of the Year winner and two finalists, who will be announced on April 23. The overall winner will receive €10,000. They and two additional finalists will also each receive a Fujifilm GFX100 II with either two Fujinon GF lenses or the Fujifilm GFX100RF and one GF lens. The winning works will be featured in the World Press Photo’s annual traveling exhibition, which premieres in Amsterdam before visiting more than 60 locations worldwide.

The full collection of winning images, including the complete photo series, can be viewed on the World Press Photo website, alongside additional background details on each photographer, their project and this year's exhibition schedule.

*Note: Complete technical information was not available for every image.

Africa - Singles

Photographer: Ihsaan Haffejee, for GroundUp

Title: Joburg Ballet School

Caption: Young dancers from the Joburg Ballet School backstage at the Soweto Theatre during their year-end performance. Soweto, South Africa, 7 December 2025.

Story: In apartheid South Africa, ballet was the preserve of white culture, inaccessible to people of color. Today, the Joburg Ballet School offers subsidized training to children from historically disadvantaged backgrounds, with locations in Soweto, Alexandra, and Braamfontein. Parents describe seeing their children learn ballet as something they never thought possible.

Technical information: Sony a7 IV | 1/5000 sec | ISO 2500

Africa - Stories

Photographer: Chantal Pinzi, Panos Pictures

Title: Farīsāt: Gunpowder's Daughters

Caption: Noura attempts to control her horse after firing, the most dangerous part of the performance. Riders risk injury from gunpowder or falling and being trampled. Sidi Rahal, Morocco, 8 August 2025.

Story: Tbourida is a UNESCO-recognized Moroccan equestrian tradition dating back to the 16th century. Troupes gallop in unison, firing rifles in a choreographed performance of cavalry warfare. Historically excluded, female riders have fought for inclusion since Morocco's 2004 family code reforms strengthened women's legal rights. Today, seven all-female troupes now ride among some 300. These farīsāt (horsewomen) bear significant personal costs, funding their own horses, costumes, and gunpowder permits. Their perseverance stands as a powerful claim to women's rightful place in Moroccan cultural heritage.

Technical information: Sony a7R V | Sony FE 70-200mm F2.8 GM OSS II @ 129mm | F5.6 1/1250 sec | ISO 500

Africa - Long-Term Projects

Photographer: Mohamed Mahdy, Arab Documentary Photography Program

Title: Moon Dust

Caption: Amal holds an X-ray of her lungs. She moved to Moon Valley at three years old and developed asthma within months. Alexandria, Egypt, 31 January 2018.

Story: More than 30,000 residents of Wadi El-Qamar, also known as Moon Valley, in western Alexandria, Egypt, live less than 15 meters from a cement factory that fills their homes with toxic dust. Children are born with asthma. Families suffer from lung disease and irreversible respiratory damage. In 2016, the photographer – who lives nearby and has asthma himself – began documenting their stories and ongoing legal battles.

Technical information: Fujifilm X-T2 | Fujinon XF 18mm F2 R | F2.0 | 1/200 sec | ISO 250

Asia-Pacific and Oceania - Singles

Photographer: Rob G. Green, National Geographic Society, Henry Luce Foundation

Title: Mountain Resident of Wanglang

Caption: A wild giant panda is captured by a camera trap in the Wanglang National Nature Reserve. Sichuan, China, 11 November 2025.

Story: Recent population estimates suggest that fewer than 2,000 pandas remain in the wild, and only a few dozen individuals live within Wanglang National Nature Reserve’s 323-square-kilometer territory. This rare sighting was made possible through a pilot exchange program between the National Geographic Society and wildlife biologists, aimed at supporting wildlife monitoring efforts and fostering cross-cultural cooperation in conservation. Established in 1965, Wanglang is one of China’s oldest wild panda nature reserves and today serves as a key site for education and scientific research collaboration within the larger Giant Panda National Park system.

Technical information: Canon EOS 6D II | Canon EF 16-35mm F2.8L III USM @ 18mm| F2.8 | 1/160 | ISO 400

Asia-Pacific and Oceania - Stories

Photographer: Matthew Abbott, Oculi, for The New York Times

Title: The Last Dolphin Hunters

Caption: Paralyzed for the past two years, Eddie Sua is confined to a hut that floods during high tides. He notes that without food and income from dolphin teeth, the community would starve. Fanalei Village, Fanalei Island, 16 February 2025.

Story: Fanalei, a low-lying island in the Solomon Islands, stands at a crossroads between contested tradition and a changing economy. For generations, dolphin hunting provided food and income, with dolphin teeth used as ritual currency for bride-price and other forms of local exchange. Today, as rising sea levels displace the community and threaten its future, seaweed farming is providing an economic alternative to the seasonal hunt. As seaweed farming expands, fewer people are available for the collective efforts upon which dolphin hunting depends. This story captures a community reshaped by environmental pressure and shifting traditions.

Technical information: Nikon Z9 | Nikon Nikkor Z 24-70mm F2.8 S @ 24mm | F4 | 1/60 | ISO 2500

Asia-Pacific and Oceania - Long-Term Projects

Photographer: Wu Fang

Title: Motherhood at 60

Caption: Sheng Hailin prepares for delivery at a hospital in Hefei. At 60 years old and over seven months pregnant, she faced pain, hemorrhaging, and other physical hardships to bring her twin daughters into the world. Hefei, Anhui Province, China, 25 May 2010.

Story: After the death of her only child, retired doctor Sheng Hailin sought in vitro fertilization treatment (IVF) and gave birth to twin girls named Zhizhi and Huihui at the age of 60. This story follows Sheng Hailin's family over 15 years, offering a portrait that is both extraordinary and mundane, but always filled with enduring love. In China, Sheng Hailin is only one of many shīdú, parents who have lost their only child born during China's one-child policy era.

Technical information: Nikon D3 | Nikon Nikkor AF-S 24-70mm F2.8G ED | F2.8 | 1/640 | ISO 1250

Europe - Singles

Photographer: Evgeniy Maloletka, Associated Press

Title: Russian Attack on Kyiv

Caption: Valeria Syniuk (65) sits near her badly damaged home. She was asleep when a Russian missile destroyed the building opposite hers. Kyiv, Ukraine, 24 April 2025.

Story: On 24 April 2025, Russia launched one of the deadliest attacks on Kyiv since the start of its full-scale invasion of Ukraine in 2022. Hours after international peace negotiations stalled again, missiles and drones struck at least five residential neighborhoods, killing 13 people and wounding 90. Russia's intensifying air campaign continues to devastate life across the country, systematically targeting infrastructure, hospitals, and educational institutions. By December 2025, at least 14,775 civilians had been killed since the invasion began. April 2025 was the worst month for child casualties in nearly three years.

Technical information: Sony a1 | 1/160 sec

Europe - Stories

Photographer: Brais Lorenzo, EFE, Revista 5W, El País

Title: Burned Land

Caption: The Larouco wildfire, the worst in Galicia's recorded history, burns through the night as flames reach O Courel – a mountain range of great biodiversity. Sierra de O Courel, Galicia, Spain, 19 August 2025.

Story: 2025 was a record year for wildfires in Europe. More than 200,000 hectares burned across Galicia during Spain's worst fire season in about three decades. The increasingly severe fires in this region are attributed to drought and heat intensified by climate change, rural depopulation, and shortsighted forest management policies, including the widespread planting of highly flammable non-native species. Born in Ourense, the photographer grew up with the smell of smoke every summer and has documented Galician wildfires since 2011.

Technical information: Nikon Z8 | Nikon Nikkor AF-S 24mm F1.4G | F4.5 | 30 sec | ISO 320

Europe - Long-Term Projects

Photographer: William Keo, La Bibliothèque Nationale de France, Die Zeit

Title: Extramuros

Caption: Younes and Sandra embrace in a car close to Villepinte. Seine-Saint-Denis, France, 18 April 2024.

Story: In the peripheral neighborhoods of France's banlieues, migrant families navigate postcolonial legacies, higher rates of unemployment, and structural inequality. France's integration system requires migrants to culturally assimilate while prejudice persists, leaving communities caught between exclusion and belonging. Yet these communities are also spaces of creativity and resilience that shape contemporary French culture. Documenting his friends and family, the photographer – born to Cambodian refugees – portrays lives in which community and solidarity are the clearest markers of identity.

Technical information: LEICA M (Typ 240) | 1/90 sec

North and Central America - Singles

Photographer: Jan Sonnenmair

Title: Portland Protests ICE

Caption: Officers from the Department of Homeland Security and other federal agencies clash with demonstrators outside an ICE processing center. The intense summer protests centered on opposing the administration's escalating mass-deportation agenda. Portland, Oregon, United States, 24 June 2025.

Story: In 2025, the Trump administration shifted its immigration enforcement from the border to the US interior, aiming for 3,000 arrests per day and abandoning protections for schools, hospitals, courthouses, and places of worship. In response, Portland, a "sanctuary city" that prohibits its own state and local law forces to cooperate with federal immigration enforcement, became a flashpoint for resistance. During the nationwide "No Kings" demonstrations in June, localized protests escalated into nightly clashes outside the city's Immigration and Customs Enforcement (ICE) facility.

Technical information: Sony a7 IV | 135mm | F3.2 | 1/320 sec | ISO 25,600

North and Central America - Stories

Photographer: Ethan Swope, for Associated Press

Title: Los Angeles on Fire

Caption: The Palisades Fire ravages a neighborhood amid high winds. The Los Angeles blazes inflicted between $28 and $53.8 billion in property damage, disrupting thousands of local businesses. Los Angeles, California, United States, 7 January 2025.

Story: In January 2025, severe drought and 100-mph (roughly 160-kph) Santa Ana winds fueled 14 devastating wildfires across Los Angeles, destroying over 18,000 buildings and displacing 200,000 residents. While officials reported 31 direct fatalities, public health studies estimate 440 excess deaths linked to toxic smoke and disrupted medical care. In the disaster's aftermath, a stark wealth divide has defined recovery efforts, with lower-income residents facing displacement while wealthier communities leverage private resources to rebuild.

Technical information: Canon EOS R5 | Canon EF 16-35mm F4L IS USM @ 26mm | F4 | 1/20 | ISO 8000

North and Central America - Long-Term Projects

Photographer: César Rodríguez, Norwegian Red Cross, SNCA, The New York Times

Title: Mexico, A Changing Climate

Caption: A child runs up to the second floor of a partially submerged home. The 2024 floods affected 7,000 residents. Many families lost personal belongings like photographs and other cherished items. Chalco, State of Mexico, Mexico, 19 August 2024.

Story: Mexico is especially vulnerable to climate extremes, with 52% of its territory situated in arid or semi-arid zones. Over the last two decades, environmental disasters have internally displaced approximately 2.7 million people, a figure projected to reach up to 8 million by 2050. This project documents the enormous cost of these changes on a human scale: from the rapid erosion of Tabasco's coastlines, where sea levels are rising three times faster than the global average, to the systemic water scarcities in Monterrey and the State of Mexico, where renewable water availability has plummeted by 81% since 1950.

Technical information: Sony Cyber-shot RX100 VII @ 28mm equiv | F5 |1/3200 sec |ISO 640

South America - Singles

Photographer: Santiago Arcos, for Reuters

Title: Funeral for "The Four of Malvinas"

Caption: Teammates mourn Ismael Arroyo (15) who was tortured and murdered by Air Force personnel. Families, neighbors, and residents of Las Malvinas accompanied the coffins from their homes to the cemetery, turning the funeral into a massive public act of grief and protest. Guayaquil, Ecuador, 1 January 2025.

Story: Ecuador's militarized crackdown on transnational gangs has transformed vulnerable communities into targets for state violence. In December 2024, four Afro-Ecuadorian boys – aged 11 to 15 – disappeared after a neighborhood football practice in Guayaquil. The government initially denied involvement, then attempted to label the children as criminals. The discovery of their burned remains near an air force base shattered the Las Malvinas community and exposed the dangers of security policies that racially profile and criminalize marginalized youth.

Technical information: Sony a9 | Sigma 24-70mm F2.8 DG DN Art | F2.8 | 1/125 sec | ISO 4000

South America - Stories

Photographer: Eduardo Anizelli, Folha de S.Paulo

Title: Those Who Carry the Dead

Caption: In October 2025, a massive police operation targeting the Comando Vermelho criminal syndicate unfolded in Rio de Janeiro's Complexo do Alemão and Penha favelas. Deploying a record 2,500 local and military officers, the raid was the deadliest police operation in Brazilian history. Of the 122 who were killed, the vast majority were Afro-Brazilians. In the aftermath, authorities failed to deploy forensic teams, forcing the community to bear the physical and emotional weight of carrying their own dead.

Story: Municipal workers wash away blood in São Lucas Square. Despite the unprecedented death toll and failure to apprehend key gang leaders, the state government declared the operation a success. Rio de Janeiro, Brazil, 29 October 2025.

Technical information: Canon EOS R3 | RF 35mm F1.4 L VCM | F1.4 | 1/16,000 sec | ISO 400

South America - Long-Term Projects

Photographer: Pablo E. Piovano, Manuel Rivera-Ortiz Foundation, Philip Jones Griffiths Foundation, Lawen.doc

Title: The Human Cost of Agrotoxins

Caption: Fabián Tomasi, a former agrochemical worker, suffered from severe toxic polyneuropathy and became a global face of the fight against agrotoxins. He passed away in 2018. Entre Ríos, Argentina, 25 October 2016.

Story: In 1996, Argentina approved genetically modified, herbicide-resistant soybeans paired with glyphosate-based herbicides, a policy adopted without independent research. In three decades, pesticide use skyrocketed from 40 million to 580 million liters annually. Today, 60% of Argentina's cultivated land is sprayed, affecting 14 million people. Despite independent studies linking exposure to increased risks of cancer and congenital malformations, regulations continue to loosen even as agrochemical usage moves closer to human settlements. This project documents the human cost of an economic model that prioritizes agro-industrial profit over the lives of its rural citizens.

Technical information: None provided

West, Central and South Asia - Singles

Photographer: Yasir Iqbal, Outlook India Magazine

Title: A Daughter's Grief in Kashmir

Caption: Sanam Bashir (21) collapses with grief at her mother's funeral. Nargis Begum (45) died from shrapnel wounds after a mortar shell struck while the two were fleeing their home. Uri, Jammu and Kashmir, India, 9 May 2025.

Story: The Kashmir region has been contested between India and Pakistan since the 1947 partition of British India, a territorial dispute that has fueled decades of conflict. On 22 April 2025, an attack on tourists in Pahalgam killed 26 people. India blamed Pakistan-backed militant groups and responded with strikes on 7 May. Four days of intense cross-border shelling, drone attacks, and airstrikes followed. Thousands of civilians were displaced, dozens killed, and homes and infrastructure along the Line of Control (the de facto border) were destroyed. Widespread international pressure secured a ceasefire on 10 May, averting further escalation between the two nuclear-armed rivals.

Technical information: Nikon D810 | 24mm | F2.8 | 1/160 sec | ISO 400

West, Central and South Asia - Stories

Photographer: Saher Alghorra, for The New York Times

Title: Witnessing Gaza

Caption: Tamer Hassan al-Shafei and his family break their Ramadan fast in the remains of their home. Food shortages meant only basics were served instead of the usual spread. Beit Lahia, Gaza Strip, 4 March 2025.

Story: In 2025, civilians in Gaza endured starvation, famine, and relentless bombardment as the death toll surpassed 75,000 and Israeli authorities severely restricted the flow of humanitarian aid. A ceasefire agreement in October has yet to bring meaningful relief. Palestinian journalists – living through the reality they document – are the world's few witnesses to what a UN Commission has concluded is a genocide. Israel disputes this. The photographer worked under immense danger, driven by a refusal to let the world turn away. "Even when everything around me told me to stop, I couldn't – silence would mean surrender."

Technical information: Canon EOS R6 II | EF 70-200mm F2.8L IS III USM | F/4 | 1/80 sec |ISO 2500

West, Central and South Asia - Long-Term Projects

Photographer: Diego Ibarra Sánchez

Title: Hijacked Education

Caption: Students walk to Miadad Primary School in Khartanai Village. Hundreds of children across Afghanistan travel long distances on foot to attend classes. Haska Meyna District, Afghanistan, 13 November 2025.

Story: Across the world, war, extremism, and displacement deny children the right to education. Schools are destroyed, teachers killed or forced to relocate, textbooks burned, and classrooms turned into barracks. The UN estimates that 85 million of the 234 million school-age children affected by conflict worldwide have no access to education at all. The consequences extend far beyond the classroom, impacting physical, emotional, social, and cognitive development. Since 2011, the photographer – son of a teacher and father of an 11-year-old – has documented this crisis across nine countries, from Western and South Asia, to Europe and South America.

Technical information: Canon EOS R5 II | 1/800 sec | ISO 100

Sometimes the lions are so close you need your 24-120 mm lens to get them all in. Near Crocodile Bridge, Kruger National Park. Nikon Z6 w/ Nikkor Z 24-120mm f/4 S @ 27.5mm | F6.3 | 1/500 sec | ISO 720 Photo: Friedrich von Horsten

Wildlife photography often finds its strongest expression in moments of atmosphere rather than sheer variety, and few places deliver that quite like the African bush. Harsh sunlight, drifting dust and fleeting golden hours transform even familiar scenes visited multiple times into something with a unique perspective by the photographer.

For community member Friedrich von Horsten, the pursuit of African wildlife began with a borrowed Minolta SR-1 and a roll of Agfachrome slide film on a trip to Gorongosa National Park. Over the years, he's developed a deep appreciation for the natural world and built a great deal of patience to photograph it.

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

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

Meet Friedrich von Horsten

Home base: South Africa

Favorite camera and lens: The Nikon Z6III with a versatile telephoto setup.

Typical photo scenes: Friedrich focuses on African wildlife and landscapes. From the dry intensity of Hwange National Park to the elephant-rich floodplains of Chobe National Park and the vast ecosystems of Kruger National Park, his photography is rooted in misty mornings and dusty sunset encounters that reveal the essence of the wild.

"My first 36 shots were duds, but one picture of a sable antelope silhouette on a misty morning in Gorongoza, Mozambique, looked like a painting. That made me decide that was what I wanted to do – shoot African wildlife and landscapes in special light that showed the essence of Africa – harsh light, dust, vibrant wildlife."

The most striking feature of the Serengeti is those vast plains dotted with all kinds of animals. In this case, elephants stand out beautifully against the grassland. Nikon D7200 w/ Nikkor 200-400mm f/4G IF-ED @ 220mm | F8 | 1/500 sec | ISO 400 Photo: Friedrich von Horsten

What's in Friedrich's bag

• Primary cameras: Nikon Z6III and Nikon Z50
• Other cameras: Nikon Z6
• Lenses: Nikkor Z16-50mm kit lens, Z50-250, Z24-120, Z100-400, Z180-600
• Support gear: Friedrich keeps things simple, carrying only essentials like spare batteries and chargers. By avoiding extra equipment, he stays mobile and ready to respond instantly to changing light and wildlife behavior.
• Camera bags: A medium Lowepro bag that offers enough space for core gear while remaining compact and easy to handle for long hours in the field.

Friedrich's camera bag Photo: Friedrich von Horsten

Any other interesting gear you take with you?

"I typically shoot maybe 3,000 pictures on a 2-week trip, since I only photograph what I really like. The Z6III on electronic shutter is another story – 16 fps is too much for me, so I don't take hard drives, laptops, etc."

"I also love to chew dried fruit while watching sightings at dawn. Every time I have a good lion sighting, I stop at the next picnic spot and eat a huge mango to celebrate. Some people spend hours preparing bush meals, but I would rather spend the precious hours in the bush, and then rest from 10 a.m. to 3 p.m. around the pool or in my chalet in winter."

Reticulated giraffe in Buffalo Springs, northern Kenya. The lush green and dark clouds were part of the wettest rainy season in 20 years, causing us to evacuate our accommodation that day. Nikon D7200 w/ Nikkor AF-S 70-20mm f/4G ED VR @ 72mm | F8 | 1/1250 sec | ISO 800 Photo: Friedrich von Horsten

How do you adapt your setup to different situations?

"I shoot manually with auto ISO, and start the morning at 1/125 @ F5.6 until light improves. Auto ISO is vital in Africa, where light conditions vary widely from shade to sunlight."

"My absolute favorite setting on mirrorless cameras is the magical focus/control ring. I use it for exposure compensation, so twirling the ring left instantly darkens the frame, and twirling to the right instantly lightens up subjects against bright backgrounds. Imagine being able to instantly see the final result without having to wait to develop a film, when you only discover two weeks later it was underexposed!"

What's unique about photographing African wildlife?

"In Southern African parks, we always stop approaching vehicles, and quickly share our best sightings and ask what they have seen, especially if you stop the same people during another visit next year."

"My greatest joy was to teach school kids photography, so for 17 years I did local photography outings over weekends, and at least 2x week-long annual outings to more exciting destinations like Sossusvlei, Fish River Canyon, Namib Desert around Luderitzbucht, Swaziland, Addo elephant national park and Tiger Canyons where John Varty has free-roaming Asian tigers in African savannah. What an experience! We drove at least 60,000 km on rough roads in a Toyota Quantum school bus with 14 kids and 2 teachers during this time."

Soaking wet lionesses doing a tug-of-war over a dead warthog in Samburu, Kenya Nikon D600 w/ Nikkor 24-85mm f/3.5-4.5G IF-ED @ 48mm | F6.3 | 1/2500 sec | ISO 1250 Photo: Friedrich von Horsten

"My greatest joy was to teach school kids photography, so for 17 years I did local photography outings over weekends."

"Africa has amazing places like South Luangwa in Zambia for leopards, Serengeti and Masai Mara for vast landscapes and huge herds. Elephants are my favorite animal, so I spend a lot of time in Hwange and Chobe."

"My favorite annual trip is to the Hwange Annual Game Count around the end of September, where groups from all over the world get together, and each group spends 24 hours at a designated waterhole in the bush during full moon. Some counts deliver close to 1,000 elephants. The exciting thing is to be there in the dark, all on your own, in a small vehicle, surrounded by wild animals that come right up to you in the moonlight."

Iconic African sunset with elephants and baobab trees at Tarangire National Park, Tanzania Nikon D600 w/ Nikkor 24-85mm f/3.5-4.5G IF-ED @ 85mm | F5.6 | 1/400 sec | ISO 320 Photo: Friedrich von Horsten

What inspires you to press on with your photography?

"I love sharing my favorite spots with people who don't know Africa well yet. Photography on this continent opened my eyes to the intricate designs and patterns that an amazing Creator made for our delight. It is a fabulous excuse to get excited about all creatures great and small, as well as stunning light and magical moments. Imagine the joy it brings to others when they share your happy moments!"

"In Kruger Park South Africa there is a WhatsApp called Latest Sightings — not popular with park officials because it causes congestion at sightings that have been reported, but very good to do research BEFORE your self-drive safari to know latest whereabouts of wild dog dens, leopard cubs etc."

"I do research on waterholes in dry parks like Hwange in Zimbabwe, to determine popular approaches by elephant herds."

"Google Earth is also excellent for planning safaris – I do research on waterholes in dry parks like Hwange in Zimbabwe, to determine popular approaches by elephant herds to the waterholes. You then choose pans like Dom or Nyamandlovu where most elephant herds approach from the west in the dry season. This gives excellent opportunities at sunset with backlighting and dust."

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

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?'

Photo: Mitchell Clark

When the Nikon ZR was released, there was discussion about whether R3D NE, the new Raw video format it introduced, was just Nikon's N-Raw with a splash of red paint on it.

While it quickly became apparent that they were essentially the same under the hood, our testing shows that despite their similarities, there are actually quite a few important differences between the formats that become evident when you're shooting with and editing them.

Gain

The most significant difference between N-Raw and R3D NE is how they deal with ISO and gain. N-Raw works the way most people will be familiar with: you set your ISO, and the camera generally applies a corresponding level of gain to the signal coming off the sensor. If you set your ISO too high at the point of capture and your highlights clip, there's nothing you can really do, unless there's still some data left in one of your color channels.

With R3D NE, you choose between the low and high gain step settings. Changing the "ISO sensitivity" just writes a metadata tag to the footage that changes its brightness.

R3D NE, however, uses an Exposure Index approach, exploiting the camera's dual gain steps. You choose whether to use the low step, at 'ISO 800,' or the high step at 'ISO 6400'. You can then choose a different "ISO," changing the lightness of your preview in the video file and writing a tag to the metadata. This change only affects how the footage is rendered; the camera isn't changing the amount of gain being applied while it's recording. This lets you change the "ISO" (really, just the lightness) of the footage in post.

Compatibility

DaVinci Resolve and Adobe Premiere both support N-Raw and R3D NE (with the caveats about lens corrections noted below), but if you edit with Final Cut, you'll have to choose a bit more carefully. Apple's software can work with R3D NE if you install Red's free plugin (which gives you full control over all the Raw parameters), but it currently can't open N-Raw footage.

Lens corrections

There's also the matter of geometric lens distortion correction, which are part of the design of many Z-mount lenses. As with the Z6III, the ZR embeds correction profiles into N-Raw, but, at the time of writing, DaVinci Resolve is the only editing software that actually recognizes and applies the profile. You can open N-Raw footage in Premiere, but it won't implement the lens corrections.

Currently, you have to use the (not particularly user-friendly) RedCine-X Pro software to apply software lens corrections.

Getting lens corrections on R3D NE is currently even more limited. The profiles are embedded in the files, but even Resolve won't render the footage using them. We'd expect it to support them in the future, but BlackMagic says it can't provide any details on future releases.

To apply corrections to R3D NE footage, you currently have to use the very latest version of Red's relatively clunky RedCine-X Pro transcoding software to render it as ProRes with the profiles applied. During this step, you can also adjust your clip's lightness or white balance and apply LUTs, but you'll probably want to use a different program for heavy color work, sharpening and denoising.

Log curves

As is standard practice, N-Raw and R3D NE are typically converted into Log gamma when opened in editing software, so that you can use existing Log-to-[working space] LUTs and because rendering the data in a linear manner would be incomprehensible/not especially helpful.

The R3D NE workflow appears rather more sophisticated

Like the handling of ISO and gain, the R3D NE workflow appears rather more sophisticated. N-Raw files are typically rendered to N-Log and the gamut of the Rec.2020 colorspace. This is a relatively simple Log curve that we've not always got on especially well with.

The R3D NE files render to Red's Log3G10 and RedWideGamut. Like Panasonic's V-Log system, Log3G10 is a curve designed for more dynamic range than any camera currently offers, with each camera using the subset of that curve that's appropriate for its output. This means that the R3D NE files can be used with any LUT designed for existing Red cameras, rather than needing dedicated LUTs to be produced for it.

Interestingly, Adobe says it uses Red's software development kit to handle both R3D NE and N-Raw files, so if you edit using Premiere, the starting point for N-Raw files is also Log3G10 (though you can transform this across into N-Log, if you want to use LUTs designed for N-Log).

LUTs

There are more professionally-designed LUTS for R3D NE's Log3G10 curve than Nikon's N-Log, since it's been in use in cinema cameras since 2017.

While Nikon provides default LUTs for N-Log and Log3G10 that you can grade on top of, the ecosystem around the two Log curves is quite different. There are a lot of LUTs designed for Red footage available, many of which were designed by professional colorists, since Log3G10 has been used in cinema cameras for years. N-Log has a comparatively limited selection, which is worth considering for those who want the option of using or tweaking existing looks, rather than having to come up with their own from scratch.

Other workflow considerations

Focus peaking can be quite faint when shooting R3D NE, but it disappears completely if you turn on View Assist. Making things more difficult, you can't punch in to check critical focus while recording Raw, like you can when shooting compressed footage.

There are a few other things to consider when choosing between formats. For instance, when shooting R3D NE, you can't use focus peaking when using the View Assist feature to preview what the footage will look like with a LUT applied, which you can with N-Raw.

Another difference is that N-Log mode allows you to use Auto WB (which, due to its unpredictability, isn't really best practice but can be a handy way to get something close to usable if you're moving between indoor and outdoor shooting, for instance). If you adjust the WB of the Raw clip during your edit, that single WB value is applied to the whole clip, and any variation is lost, so the usefulness of being able to shoot with Auto WB becomes questionable.

Finally, N-Raw offers a "high quality" and "normal" recording mode, with the latter cutting the bitrate in half, reducing how much storage your footage will take up. R3D NE doesn't provide any such option; it always takes up (exactly) the same amount of space as N-Raw's "high quality" option.

The third option

The ZR also shoots ProRes Raw, which is compatible with pretty much all professional editing software, but also produces much larger files. Despite the format adding support for lens correction profiles, Nikon doesn't appear to have implemented that feature for this camera (or for the Z6III). It also uses N-Log, rather than Log3G10.

The takeaway

Each Raw format the ZR supports has its own pros and cons, but to us, R3D NE appears to be the most well-considered option, despite the few workflow annoyances that come with shooting it.

Whichever Raw format you choose, it's likely best to pick one and stick with it for most situations. As we found with our test scene, they all offer similar image quality, so your choice can be dictated by how you want to shoot and ease-of-use considerations.

Image: Viltrox

Viltrox has teased that more L-mount lenses are on the way ahead of the National Association of Broadcasters (NAB) trade show in Las Vegas. The announcement was decidedly short on details but suggests the company is ramping up to expand its L-mount lineup after joining the L-Mount Alliance last year.

The press release simply says that the Viltrox NAB booth will "spotlight its growing L-mount portfolio," including "several new and unreleased L-mount lenses." Whether these lenses are existing Viltrox offerings that will soon be available for L-mount or completely novel additions to its lineup is unclear, though it is exciting to hear that there will be more than one.

When Viltrox announced it was joining the alliance, it said it would be bringing its AF 16mm F1.8 and 28mm F4.5 lenses to the mount. The company released the 16mm F1.8 back in February, but we are still waiting on news of the promised 28mm lens. No matter what lenses are coming, it looks like Viltrox is finally hitting its stride with L-mount lenses after a bit of a slow start.

Beyond L-mount lenses, Viltrox also teased that it will be announcing new Evo-series lenses at NAB. The Evo series is a newer line of compact full-frame autofocus primes that sit between its premium Pro lenses and budget Air lenses, aiming to balance solid build quality, modern features, and relatively affordable pricing. These new ones will feature apochromatic elements to better control chromatic aberration.

The NAB show runs from April 18-22, so stay tuned for more news as the show approaches.