The prompt for the photo chain is a feast for the eyes. Photo: Dale Baskin

In case you missed it, DPReview is gearing up for our biggest redesign in 25 years. As part of that transition, we've had to temporarily pause our long-running challenge system. Despite that, we don't want to miss out on seeing all of your incredible photographs.

To help provide an outlet during this pause, and in response to a recent article on collaboration in photography, we've launched a collaborative photo chain in our forums. The prompt is simple: share one photo (new or old) that responds directly to any visual element in the most recent image.

Read more about the photo chain and share your images!

We can't wait to see where this chain goes and are looking forward to highlighting the amazing variety of photographers in our community!

This was from one of my most recent collaborative projects, a double exposure series with a friend. Photo: Myra Holt and Abby Ferguson

If you're anything like me, photography most often feels like a solo endeavor. I typically go out to take photographs on my own. I edit alone. And, at least these days, I create images without any feedback or different perspectives.

Admittedly, all of that isolation is somewhat done on purpose. Photography for me is frequently quite personal. It can be a time for me to reflect, decompress or even work through things. Plus, as an introvert, doing things alone comes naturally.

Photography will always have a solitary side, since for many of us, that's part of the appeal. But I've been realizing that some of the most meaningful growth in my own work has come when I've let other people into the process. Thankfully, collaboration can take many forms and works well even for an introvert like me.

The number of ways to collaborate is essentially endless, so I won't be providing an exhaustive list of the possibilities here. But I will share some of the things that I have experience with and that have been meaningful for my practice.

Collaborative projects

When most people think about collaboration in photography, they likely think about projects worked on with someone else. I've previously written about using photo projects to find renewed creative motivation, but those were largely personal projects, not collaborative ones. Projects done in collaboration with others can also be very helpful for finding your creative voice again, and lead to some really cool work.

Double exposures

Two images from different rolls of our double exposure project. Photos: Myra Holt and Abby Ferguson

One ongoing collaboration I've been tackling lately is a double exposure project with a friend from graduate school. We live in different states, but we wanted a way to work on something together, so we schemed this up. We each shoot a roll of film, mail it to the other person, and shoot the roll of film again to create double exposures.

Thus far, the project has largely been about troubleshooting to get better results, so we've purposely kept the subject matter completely open. It's something we hope to narrow down and do something more specific with at some point, but for now, it's mostly just playing around. It's been a fun way to stay connected to a friend and a good excuse to get out with my camera (which I need to do, since I'm overdue in shooting a roll that she sent me).

Of course, this collaborative project requires access to film, film cameras and the means to develop and scan negatives. But the unpredictable results make it a fun way to work with someone, and it's an opportunity to have some fun with photography.

Photo challenges

One of the prompts during the photo challenge project was "fear." While I don't think this image does a perfect job of conveying that, it did get me to dust off some skills I hadn't used in a really long time, but that I really enjoy. Photo: Abby Ferguson

Another project I worked on for a while was a challenge project with a friend. Each week, we would alternate who picked the topic, and then we had to make an image with that in mind. The topics varied from broad, like black and white, to somewhat more specific, such as fear. We would typically each take more than one, sharing our top three picks at the end of the week before a new topic was selected.

When I started the project, I had been in a bit of a rut with my photography. The weekly challenge was a good way to flex my creative skills again. It pushed me to think outside the box for the first time in a while, which was refreshing and motivating. In this case, collaboration was a method for accountability, helping me to pick up my camera for something other than work on a more regular basis. I like the images I made, but it was more about the process and collaborative act than anything else.

There are plenty of variations on this type of idea, too. My local photo group is currently gearing up for a bingo challenge for our next photo walk, with a board created collaboratively as well. There are also group color hunting challenges (which the DPReview team tackled in Tokyo this year), and more. I've also seen collaborative editing ideas, from as simple as editing each other's photos to creating composite photos with elements from different people.

Shows as collaboration

Last fall, a friend put together a collaborative show to raise money for a wildlife area near us. Photo: Anthony Verdi

While not an area everyone will have interest in, group shows can be an excellent form of collaboration. I'm currently scheming up a show with two of my colleagues at the school I teach at, and last fall I participated in a group show with friends dedicated to wildlife and nature in our state.

A show could be based around a theme or simply an opportunity to show your work together, whatever it may be of or about. It could be in a formal gallery space, or maybe just the local coffee shop. No matter what, the process of planning and coordinating the show is a fantastic way to connect with others.

Seeing your images next to those created by someone else can give you a fresh perspective on your work and give you ideas for where to take it next. Plus, it's always nice to see your photographs up on the wall in some form.

Feedback as collaboration

Collaboration doesn't have to mean making something together, either. While feedback may not be the first thing people think of when it comes to collaboration, it can be a very useful form of it. Inviting someone else into the process, even after the photographs are made, can change how you understand the work and where you take it next.

Formal critiques

I have a somewhat unique experience in that I went to school specifically for photography, spanning both undergraduate and graduate degrees. As a result, I had 7.5 years of getting regular feedback on my work via critiques. In undergrad, every single project was critiqued, which meant one every couple of weeks.

"Those critiques could be difficult, but they forced me to consider how other people were reading my images."

Graduate school was less structured, since there wasn't a definitive end to projects, but there were still regular and formal group critiques. Those critiques could be difficult, but they also forced me to consider how other people were reading my images, not just what I intended when I made them.

School isn't the only place formal critiques can happen, either, so you're not out of luck if you don't go to school for photography. Some photography groups will host critiques, either in person or virtually, so it's worth checking locally. Photo conferences and expos will also often hold portfolio reviews or critiques, giving you the chance to receive feedback from experienced reviewers or significant names in the industry.

Informal feedback

My studio space in graduate school allowed for lots of impromptu discussions about my work. Photo: Abby Ferguson

While the structured critiques in graduate school were worthwhile, even better were the impromptu critiques that happened when a classmate would pop into my studio to say hi and we would end up discussing my work. They inevitably involved a mix of straightforward feedback and brainstorming on what could work better for a given piece or series.

Those casual conversations were often just as valuable as structured critiques, if not more so. They were more conversational and often served as a time for problem-solving rather than simply being told something isn't working, as can happen in a critique. They also happened in the middle of making the work, so they could help me think through problems before a project felt finished or fixed. That often meant I was more open to feedback, too.

Informal feedback is often easier to recreate outside of school than a structured critique. It can be as simple as sending a photograph to someone you trust to ask what they think or how they would suggest improving it. Or maybe inviting a friend over to flip through some of your recent images on a laptop to see if they have any suggestions. It can also be as simple as a conversation about something you're stuck on, either technically or visually. Or, you can even head to our forums to get input from our incredible community.

Learning to be open to feedback

Since leaving school, I haven’t sought out feedback nearly as much as I should, but I know how useful it can be. Formal and informal critiques have led to significant breakthroughs in my work, leading me to produce projects I'm still proud of to this day.

"If you find yourself in a position to have your work critiqued, be open to it."

If you find yourself in a position to have your work critiqued, be open to it. It can be scary, especially since not everyone knows how to deliver feedback well, but getting a glimpse into how others perceive your work can be a valuable opportunity to grow.

At the same time, staying open doesn't mean taking every comment as truth or instruction. Feedback is information, not a command. It also helps to remember that, no matter how personal the work is, the feedback is a comment on the photographs, not you as a person.

Start small

Collaboration doesn't have to feel like a chore or an overly structured project. It can be as casual or simple as trading prompts with a friend, asking someone you trust to look at a series or single image, or putting your work in conversation with another photographer's. For those of us used to working alone, even small forms of collaboration can be enough to shake something loose and open up renewed creativity and motivation.

If you have collaborated with others in meaningful ways, share those in the comments! It might give someone else an idea to try out as well. We've also started an easy collaborative project in our forums, so head over there to participate!

'The Grace Project' dancer: Joy Isabella Brown Leica M (Typ 240) | Leica Summicron-M 35mm F2 ASPH. | F11 | 1/750 sec | ISO 400 Photo: Josh S. Rose

Josh S. Rose has been capturing visceral reactions since the 1970s, when he wandered around a racetrack park as a kid to explore the event. He found himself hanging out at the photo booth and loved to watch a team develop film after each race, calling up the winners to the announcer upstairs, then hearing the crowd wildly react. His career kept him intrigued by those early moments of capturing scenes on film.

We virtually sat down with Josh to see where that early racetrack experience took him. His experiences and photos are gathered below.

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

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

'LA Dance Project' Dancer: Anthony Bryant Leica M (Typ 240) | Leica Super-Elmar-M 21mm F3.4 ASPH. | F3.5 | 1/180 sec | ISO 100 Photo: Josh S. Rose

Meet Josh S. Rose

Home base: United States

Favorite camera and lens: Josh’s main setup centers around the Hasselblad X2D with 25mm, 38mm and 90mm f/2.5 lenses for his more artistic and environmental work. When shooting live performance and dance, he switches to the Nikon Z9 paired with 14–24mm, 24–70mm and 70–200mm zooms for speed and flexibility. A Nikon Zf stays in the bag as his everyday and backup camera.

What's in Josh's bag

• Primary cameras: Hasselblad X2D, Nikon Z9 and Nikon Zf
• Lenses:
  • Hasselblad 25mm F2.5, 38mm F2.5 and 90mm F2.5
  • Nikon 14–24mm F2.8, 24–70mm F2.8 and 70–200mm F2.8 zooms for performance work
  • Josh also carries and collects vintage lenses, including Leica Summicron and Super Elmar primes, a Helios and his favorite oddball lens, the vintage Nikkor 43–86mm F3.5 pre-AI zoom
• Support gear: ND and polarizing filters, prism and glass filters and Loop earplugs and AirPods to stay focused and comfortable during long shoots and performances.
• Camera bags: Josh rotates between several bags depending on the assignment, including the Nomatic Luma Camera Sling 12L, Domke F2, LowePro BP 300 backpack, Tenba Roadie Air Case and an SKB iSeries hard case with Think Tank dividers. He tailors each setup to the specific shoot, travel schedule or creative mood.

Josh's camera bag Photo: Josh S. Rose

"My set-ups are generally based on the physical ins and outs of the shoot. I do 100–200 shoots a year, so I’m always trying to streamline without sacrificing options. If I’m parking next to a venue and starting quickly, I’ll bring a bigger hard case. If I’m flying, I pack chargers, extra batteries and other essentials. For a recent shoot with Esa-Pekka Salonen at Disney Concert Hall, the small Nomatic bag was ideal, since we were moving fast and had little time to experiment. The process is to understand the shoot first, then rely on memory of similar shoots to decide what will help most."

A lot of great equipment! What's your absolute one-pick favorite?

"My Tanner Goods Cognac SLR Camera Strap that goes on my Nikon Z9 is probably my favorite thing in my bag. In photography, as in life, there are very few things that get better over time. That strap has been with me for so many years. Like a country singer's guitar, it has been the constant companion for me. Camera bodies come and go, lenses are a bit of a commodity, even the vintage ones. But that strap only gets more and more personalized, more and more beautiful and more and more comfortable as the years pile on."

What other equipment propels your photography forward?

"For me, photography is about creative flow. I feel like I have to be on, with energy and positivity, so that I can both generate ideas and not forget anything or screw anything up. So, all non-photography things in my kit are around keeping me energized and positive, starting with food and energy drinks (I admit a bit of an addiction to C4 and Bang, which I'm quite certain are poison, but they bring me joy and focus. Also, my partner hates energy drinks, so it's sort of my little rebellion, too – shh, don't tell her)."

Ate 9 Dance Company Leica M (Typ 240) | Leica Noctilux-M 50mm F0.95 ASPH. | F1.0 | 1/750 sec | ISO 1000 Photo: Josh S. Rose

You mentioned to us you have 10 different camera bags...

"Okay, so don't judge me, but I have at least that many bags. I like to pack specifically for any event, trip or shoot. The bag is sort of an expression of how I'm feeling that day."

"For a minimal set-up, I'll use the Luma Camera Sling 12L. When I'm feeling my inner photojournalist, I'll throw the Domke F2 over my shoulder. When I'm in a bit more creative mood, I'll throw everything into a vintage black patent leather Coast S-1 shoulder bag that I borrowed/stole from my producer. For long travel assignments, I usually go with the LowePro BP 300 backpack or, if I need more space, the Tenba Roadie Air Case. For performances, when I need the full arsenal, I go with the SKB iSeries hard case with Think Tank dividers and a lid organizer. And we haven't even gotten into my cinema cases..."

"A little travel hack I have learned over the years is to always bring a small satellite bag and stuff it inside a bigger bag. The smaller bag is great for little day trips or side quests."

A little travel hack I have learned over the years is to always bring a small satellite bag inside a bigger bag. The smaller bag is great for side trips.

How has your photography changed since you started?

"In the beginning, I tried to minimize mistakes. Because I shoot dance and movement a lot, this is exacting work, especially when you're inside – low light and fast movement is a nightmare for a camera. So, I kind of treated dance as one would sports, reaching first and foremost for clarity, focus and split-second timing. It isn't all that hard, honestly. It just takes a certain number of reps."

"What helped far more was learning how to embrace the elements of the camera in ways that break the normal image-capturing techniques, in pursuit of something less ordinary and more evocative. I use a lot of double exposure, slow shutter and dragged shutter techniques in my work. Also, I use glass filters, found framing and just about anything else to make the images feel less technical and more creative, alluring, beautiful or evocative."

Photo from 'The Grace Project' Leica M10-P | Leica Noctilux-M 50mm F0.95 ASPH. | F4.0 | 1/500 sec | ISO 100 Photo: Josh S. Rose

What excites you most about capturing dance performance?

"My most well-known work is in dance and performance. I have traveled the world as a photographer, often with dance groups and artists. Many times, I am inside shooting a performance, but it is the most special to me when art intertwines with art."

"For example, when I get to shoot dancers and a choreography among works of art, often with live music, something special occurs in this blend of art forms that is unlike anything else. To be an artist, working in and among other artists, to me, is the dream. I just love art so much. I feel like I am always and forever a student of art."

When capturing that perfect shot, what techniques come to mind?

"The 'perfect shot' is, of course, a loaded question. I've shot what I consider three perfect shots in my life, and they were all different from each other."

"One was with the Japanese rockstar, Yoshiki. We were high up in a hotel room with a bunch of people around. It was tense as we were awaiting some kind of press event to happen. Suddenly, a window washer came rappelling down, recognized Yoshiki through the window, and they had a funny moment. I had the presence of mind to see it occurring and move myself in real time to get the shot. The complexity of the shot is insane when you consider everything that had to happen for that to play out the way it did."

'The Window, with Yoshiki' Leica M10-P | Leica Super-Elmar-M 21mm F3.4 ASPH. | F3.5 | 1/180 sec | ISO 400 Photo: Josh S. Rose

"Another was in Qatar, in and around probably the most beautiful sculpture I've ever seen in my life: Shadows Traveling on the Sea of the Day, by Olafur Eliasson. A dance group led by Bouchra Ouizguen, for her piece Corbeaux, entered the space. It was absolutely overwhelming to me how much geometric beauty was happening all at once. It's the kind of thing that often overwhelms me, but I had gotten to the location early and spent two hours walking around and finding a composition I felt was really special. One of the dancers walked alone into the space, which I had no idea was going to happen. I happened to be present enough to remember where I had stood for that composition, and ran over to it just in time to get a shot that's still among my absolute favorites."

Photo from 'Festival In Motion, Qatar' Leica M11 | Leica Summicron-M 50mm F2 | F5.6 | 1/2000 sec | ISO 400 Photo: Josh S. Rose

"And the other one I'm thinking of is a shot I got on stage, looking out toward the house at the famed Koch Theater with the New York City Ballet. This was just one image in a set of many that I had planned for a giant mural for The Lincoln Center. We placed the bodies in the locations and composed them perfectly. I took the shot, and then I had this incredible moment I'll never forget. It is always my instinct to keep shooting until the bell rings. I just can't turn off. I keep pushing and pushing to see if there's a better angle or a different physical shape a dancer might try. But not on this day. I had already visited this place twice before. This, to my eye, was the best shot there was. I was done. There was no more to get. I have never felt that at a shoot before. It moved me."

'NYC Tableau' for The Lincoln Center, NYC Hasselblad X2D 100C | Hasselblad XCD 25mm F2.5 V | F8.0 | 1/20 sec | ISO 1600 Photo: Josh S. Rose

What would you say to a struggling photographer looking to break in?

"The biggest job of my life came from doing years and years of unpaid work in the field of dance. A lot of people (including family) didn't really get why I would keep shooting things without it being an official shoot where I was getting paid. Nonetheless, I stayed at it for years. Eventually, I got an artist residency, then another one, and suddenly these dominoes started falling for me."

"Find your weird, singular little passion first. And fight off the self-doubts and the disbelievers. Protect the passion like a butterfly. Don't be surprised if even your closest people don't quite get you."

Josh really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Josh, 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?'

Sony a7R VI | Sony FE 24-70mm F2.8 GM II @ 24mm | ISO 100 | 1/20 sec | F11 | Mech. Shutter | Edited to taste in Adobe Camera Raw Photo: Richard Butler

With the a7R VI, Sony is promising something that, historically, has been difficult to achieve: a camera that is both the fastest in the series, while offering better dynamic range than its predecessors. To help achieve this, it's using a technique that we've recently seen popularized by cameras with partially stacked sensors: combining the readouts of the camera's low and high gain steps, getting the benefits of both higher capacity and lower noise.

Looking at the dynamic range tests we shot in our studio, the results are what we've come to expect. We can see a touch less noise in the deepest shadows than with the already very good a7R V when shooting with the mechanical shutter (including in electronic front curtain mode), where the camera has enough time to do both readouts.

The sensor also performs very well in lower light, when dropping to lower ISO settings to preserve highlights, then raising your lightness in post. We see very little difference in deep shadow noise between a shot at ISO 6400, and a shot with the same exposure settings but at ISO 100, pushed 6EV in Adobe Camera Raw.

ISO Invariance | Exposure Latitude

While these improvements compared to the a7R VI are measurable – we can see them in our test scene, and they'll show up on DR charts – they'll be subtler in the field. If you weren't able to capture a scene with the a7R V, the a7R VI probably won't be able to handle it either. But if you often find yourself digging into the darkest tones of your image, you'd get a little less noise with Sony's latest.

It's worth repeating that this is only for modes where the exposure is ended by the mechanical shutter. The a7R VI's e-shutter mode, which is required for its fastest burst rates, has slightly noisier shadows than the mechanical shutter mode. But again, while this shows up in our test charts, you'll likely be harder-pressed to see the difference in day-to-day use.

As an example, Richard Butler took an image of a sunset over Seattle, seen at the top of this article, where the difference between the light coming from the sun and the darkest shadows under the bridge was around 13EV. He shot the same exposure with both the mechanical shutter and electronic shutter.

If you really pixel-peep, you can see that there's a bit of extra noise in the e-shutter version, but the difference is almost impossible to see when viewing the whole images (which you can do in our sample gallery, where you can also download the Raws).

To keep things in perspective, though, the benefits and differences we're discussing are only in the deepest shadows of the image, and it's rare that you'll need to exploit those in situations where you'll also need your highest burst rates. If you're not using those parts of your Raws, the a7R VI's extra dynamic range won't benefit you.

Still, the R series of cameras have historically been made for the types of people who would want to do that; landscape shooters, and anyone who needs the maximum image quality and flexibility. And, as with our standard studio scene tests, our DR tests show that Sony not only avoided making sacrifices in the name of speed, but even managed to eke out some improvement. The camera's greater flexibility to capture a wider array of situations and subjects doesn't come at the cost of its peak dynamic range and IQ.

"An external power bank. For some steampunk events and science fiction conventions, I disguise my camera in other things, and I've been using external power because it often takes me 1/2 hour to remove the camera from the disguise to change the batteries." OM System OM-1 | Olympus Zuiko Digital 14-54mm F2.8-3.5 II @ 27mm | F3.2 | 1/60 sec | ISO 2000 Image: Michael Meissner

Accessorize, accessorize, accessorize! For the latest Question of the week, we were curious about what accessories are must-haves in your camera kit or bag. You replied with everything from external power banks and filters to more exotic items like a collapsible kabuki brush and loop earplugs. Some of you even provided an entire list of things that would arguably be a great fit for a "bug-out bag".

Check out the top accessory suggestions below, then let us know in the comments which ones will make your GAS expand.

Your must-have camera accessories

A collapsible Kabuki brush for dusting off equipment.

Hike Pics: I have several collapsible kabuki brushes that I keep in my car, bags and around the studio. When I head out, a brush goes with me.

madecov: Ziplock bag with Q-tips. Sometimes you just need them to clean something off.

Fabian Joya: A great pair of shoes.

Jacques Cornell: Oh boy, here goes... A few items have earned permanent spots in my grab & go basic event kit:

1. First, an 80W USB charging block with a built-in retractable USB-C cable and USB-C and USB-A ports.
2. Downstream of this, a Tilta 4-battery or Limeta CR2Go (discontinued?) 2-battery charger. The Limeta has its own built-in battery, so it can recharge camera batteries without plugging into AC and can also serve as a general-purpose power bank.
3. A pair of retracting USB charging cables rated for 100W, with convertible USB-A/-C tips on one end and convertible USB-C/Lightning tips on the other.

Click Jacques's name above to view several additional inclusions!

"My barebones lightweight event kit." iPhone 17 Pro Max Image: Jacques Cornell

cbf_si: In the last six months, I have mostly been shooting with adapted lenses, so my bag contains various adapters for Sony/Minolta A-mount and Canon EF-mount. I also have various macro extension tubes and reverse rings for macro photography in the bag.

Since I started taking up film photography again, various filters for B&W photography are also in the bag. Luckily, I kept my Cokin filters for the P system, which I can use with any lens using adapters.

Michiel953: Different accoutrements. A chamois, a laptop, a notebook, and a pen (sometimes two; private and business), tissues, paracetamol (just in case ;-) ), and some small things I can't remember. A Wuchuan canvas messenger bag with a Billingham insert and lots of useful pockets! It serves me well, carrying a D850 with one prime (24, 35, 58, or 85, depending on mood and plan, if any).

Vello WB-DU Universal White Balance Handheld Disc. It's worth its weight in gold for setting Custom WB in theatrical settings.

Michael Meissner: I am not a fan of OEM neck straps. I rotate between various straps depending on mood, etc. Because I shoot with multiple cameras, each camera has a different strap so I can quickly identify which camera is which. Mostly, I prefer the 1.5" straps. For lighter-weight setups, I might go to the Peak Designs Leash straps, but I'm not as much of a fan of the wider Peak Designs Slide Lite or Slide straps. All neck straps and hand straps use the Peak Designs anchor system, so I can quickly switch them or take them off. I have hand straps, but I rarely use them.

If you thought Jacques list was extensive, be sure to click on Michael's name above for his complete list!

MGradyC: Vello WB-DU Universal White Balance Handheld Disc. It's worth its weight in gold for setting Custom WB in theatrical settings and under the lighting in high school and small college stadiums and gyms.

"Right-angle viewfinder, excellent for getting right down even to the ground level." Pentax KP | smc Pentax-FA 31mm F1.8AL | F14 | 1/160 sec | ISO 250 Image: KPM2

DrHook59: I've taken to using my home-made monopod a lot recently, not just for macro (à la Mark Berkery), but also for landscapes and low-light situations... and yes, I mention it because it fits in my camera bag or a pocket and only weighs just over 300gms. It's nothing clever, but it's easy to put together and may help anyone who suffers from encroaching old age, a lack of grip, or any of the many ailments that may cause tremors; and it helps in dark places a little 😁. It's also probably the cheapest monopod out there.

Mac McCreery: Small Vanguard Vesta Aspire 25 bag holding a Pentax K3ii and DA 15, 20-40 and 70 Limited lenses. Lenspen, spare batteries, grip, remote release, a pen, and polariser. Oh, and a plastic shopping bag (it's multi-purpose). I can sit or kneel on it, wrap it around the camera bag or use it to protect the camera and lens.

A lens Flipper Versatile. Allows me to quickly access a second lens and safely swap between them without risking one lens falling.

John Crowe: Whichever camera I take, and I don't carry a backup, has its own individual case. Individual camera cases vary depending on format. These can range from a PacSafe V2 camera holster (for one of my two Sony Nex/@ systems) to Pelican Micro cases for each small-sensor (such as 'tough') camera, to cite two examples.

From here, it gets more complex, but it works.

Part of the Jeep Wrangler roll bar system is a transverse bar that goes across the vehicle just behind the bucket seats (there is no rear seat, having been replaced by a carpeted dog platform). Hanging from this transverse bar, and adjustable for location across the roll bar, are three magnetic fly-fishing net releases (which would allow a net to be pulled and then have it in hand).

edge_cl: Single most important accessory: lens Flipper Versatile. Allows me to quickly access a second lens and safely swap between them without risking one lens falling.

"RGBACL light panels for very high CRI quality." Apple iPhone 13 Pro Max Image: Alberto Tanikawa

Alberto Tanikawa: I do a lot of still-life photography, such as knives and bourbon bottles, as well as macro and focus-stacking, so I always need to have my lights, along with mini tripods and magic arms.

RetCapt: For tightening/loosening tripod plates, I have a large-diameter washer tethered to each tripod, which is easily detachable. This gives more leverage on the slots since there is more surface area for the fingers to grasp. These washers come from the hardware store. I find that when I am trying to 'engineer' something new (fairly common), the hardware store is a great resource. That and mountaineering shops for carabiners, etc.

No matter what else I carry in my bag, a right-angle viewfinder is always with me (and almost always attached to the camera).

cyuill2007: My “must-have” accessories these days are lens hoods and extra batteries. Lens hoods minimize unwanted flare and help protect front lens elements. During a session where I end up doing a lot of shooting, I find that my newer mirrorless bodies with features like image pre-capture drain batteries much faster than my DSLRs used to. These days, I make sure I have a fully-charged extra battery whenever I am out shooting.

KPM2: No matter what else I carry in my bag, a right-angle viewfinder is always with me (and almost always attached to the camera). With this tool, it is easy to get right down even to ground level – and in doing so, you capture perspectives that are simply nice.

There are many other great accessory recommendations shared in the forums. You'll have no shortage of nostalgic photography-related content to watch.

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

Share your must-have accessories!

Photos: Mitchell Clark

While Panasonic's new L10 compact bears the name of a new series, its lens, sensor, and set of features make it a clear continuation of the work the company did with the LX100 II line. But these similarities also invite comparison on one of the areas where the two cameras are substantially different: size.

As I've been testing the L10, I intellectually knew it was larger than the LX100 II; a glance at the spec sheet will tell you that. The newer camera is 127 x 74 x 67mm (5.0 x 2.9 x 2.6") and 508g (17.9oz), while the older one is smaller in every dimension: 115 x 66 x 64mm (4.5 x 2.6 x 2.5") and 392g (13.8oz). But knowing those numbers didn't really prepare me for just how much more compact the LX100 II would feel once I got my hands on it.

To be clear, I don't think it'd be fair to call either camera a "pocket camera." One thing that hasn't changed is the size of the lens, which protrudes far enough off the body that even the largest of pants pockets would struggle to contain it. However, I'd say the LX100 II is just small enough that it could comfortably fit in a jacket pocket without being too much of a burden (or on a, I've been told, very in crossbody strap in warmer seasons). But while I've been able to (uncomfortably) fit the L10 in the massive drop pocket of my Patagonia R1, it's definitely approaching the size where I'd want to put it in a bag, rather than in my coat.

While the cameras use the same size sensor and same class of lens (Panasonic says it's updated it in some way, but wasn't specific), there is still a benefit to the L10's larger size. It now uses the much larger 16Wh BLK22 battery, the same one that powers the company's full-frame mirrorless cameras, like the S1RII. The LX100 II, meanwhile, uses a 7.4Wh model. The difference in longevity should be quite noticeable; the LX100 II is rated to get around 270 shots per charge using the EVF, and 340 using the LCD. The L10, meanwhile, is rated for 410 EVF shots, and 420 ones using the display.

There are other upgrades with the L10, though it's unclear what, if any, of them have to do with its size. Those are features like autofocus recognition for a variety of subjects, crop zoom, open-gate video recording, and more. It also has a fully articulating display, rather than a fixed one, and has an upgraded EVF, fixing what was one of the major complaints with the LX100 II.

There's always the possibility that the L10 isn't bigger because it has to be, but simply because Panasonic chose to make it so. It's almost exactly the same size as Fujifilm's X100 VI a camera that has proven to be slightly popular, so it's possible the company is targeting a similar target audience (which it knows for sure is willing to buy a camera that large). It may be that it started with a different concept for the L10 than it did with the LX100, partially evidenced by the fact that this camera wasn't called the LX100 III.

The size isn't the only change to the camera's build quality. When Panasonic announced the L10, it touted its "signature saffiano leather-textured finish" and "high-quality metal exterior with magnesium alloy front case." Holding the L10, it feels slightly more solid than the LX100 II, and not just because the thicker grip fills out my hand more.

The LX100 II's rubber thumb rest versus the L10's hard plastic one may be one of the biggest differentiators when it comes to feel.

The rest is a bit more of a mixed bag, though. The top plate dials and buttons feel decidedly cheaper and more plastic-y to me. The rear plate buttons aren't especially pleasing to me either, though I appreciate that they're more prominent and easier to press. I also prefer the leatherette wrap on LX100 II to the L10's; it feels grippier and softer to the touch, while the L10's essentially just feels like textured plastic.

When I took the LX100 II out of the box my coworker had shipped it in, I'd been using the L10 for a few days, and I was immediately struck by how much nicer the LX felt. I wasn't the only one with that impression. I handed my wife the LX100 II and then the L10 without any context. Upon receiving the later she immediately said "this one feels cheap." Of course, these are two subjective opinions – I'm sure some people will prefer the L10 – but we both preferred the feel of the older model.

It's not an unalloyed win for the LX100 II, though. I find the L10's aperture ring feels and sounds quite a bit nicer, though I appreciate the noticeable detent when going into and out of 'A' mode on both.

We'll be comparing these two cameras in more detail later, after we finish our initial review of the L10. But given that we have both available, and that the L10's size has become one of its more widely-discussed aspects, we felt it was worth taking the time to show what that difference looks like side-to-side.

Photo: Mitchell Clark

Adobe has released its build of Camera Raw that supports the newly-announced Sony a7R VI, which allows us to process the Raw test images of our studio scene and produce Raw conversions from the samples we shot.

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

The Raw for our base ISO shot tells a very similar story to the JPEG: the a7R VI captures a bit more detail than its predecessor could, furthering its lead over the 45MP competition. Viewed at comparative sizes, there isn't a noticeable difference in the noise levels at ISO 100.

Thankfully, this remains the case at mid and high ISOs as well, meaning you're not paying a penalty for the increased speed and resolution compared to the a7R V. Given that the line has always been focused on image quality above speed, it's nice to see that the increased flexibility brought by the a7R VI's stacked sensor doesn't make it worse for its core audience.

Now that we can compare the two, we can also see that Sony's JPEG engine is doing a good job of including the details captured by the Raws at base ISO. At higher ISOs, it's deft enough at applying noise reduction to include most of the Raws' detail.

The ability to process Raws also lets us turn our Raws into HDR JPEGs. You can view the original on a device with an HDR-capable display to see the full effect. Sony a7R VI | Sony FE 24-70mm F2.8 GM II | 24mm | F11 | 1/20 sec | ISO 100 | Processed in ACR Photo: Richard Butler

Be sure to also check out our sample gallery, as we've added a few new shots and reprocessed a few of the original images from it. Many of these edits involved pulling up the shadows after we shot the images to preserve highlights, exploiting this sensor's excellent dynamic range. We also have a pair of images shot at the same exposure in mechanical and e-shutter mode, to demonstrate the difference in dynamic range when the camera is reading from both of its gain steps and when it's not. We'll go into more depth on that topic in a future article.

Panasonic L10 | 34mm (75mm equiv.) | F2.8 | 1/80 sec | ISO 6400 | 3:2 crop Photo: Mitchell Clark

We've had Panasonic's latest enthusiast compact, the L10, for a few days now, and have had some opportunities to get out and shoot with it. While we'll be shooting many more photos as we continue to review it, we figured it'd be worth sharing some of the shots we've taken so far, as there's been a lot of interest in this camera.

Included in the gallery are samples taken using the camera's various aspect ratio modes – it's designed to give you the same diagonal field of view throughout its 4:3, 3:2, 16:9 and 1:1 crop modes – and using a variety of the camera's built-in color modes, including some of the new L.Classic varieties. If you want a more in-depth look at the L10, you can check out our launch coverage, and our hands-on tour of it.

Although the transmitter says Insta360 in this shot, it's an e-ink display that can be customized. Image: Insta360

Insta360 has announced a new wireless microphone system, the Mic Pro. The company's flagship mic features a few promising tricks that set it apart from a crowded field of mics: the transmitters feature a three-mic array and an e-ink display.

Although simple, one of the more exciting features of the Mic Pro is the color e-ink display on the transmitter, which Insta360 says is an industry first. Most wireless mics feature a giant brand logo on the front, but the display makes it possible to customize the transmitter in a way that looks better than a piece of tape. The e-ink technology uses less power than other display types, so it won't chew through battery life, and it's also easier to see in bright sunlight, making it useful for outdoor productions.

Although it's hard to see, these mics have emojis on them instead of the Insta360 logo. Image: Insta360

Users can upload any graphic they want via the Insta360 app, including their channel art, personal brand logo, talent names or other key identifiers that would be helpful during production. The e-ink display stays on even when the transmitter is off, so identifying information will stick around during breaks. It allows you to put your own brand on display instead of the mic company's, or to display useful information that will help during or after production.

Insta360 also says that the three-mic array in the Mic Pro is an industry first, since most transmitters use a single built-in omnidirectional capsule, picking up sound from all around it. The Mic Pro, meanwhile, can combine the signals from its three mics and process them to focus on sound coming from specific directions, which you can set using the receiver or the Insta360 app.

For example, with the cardioid configuration selected, it can be mounted on a camera to function as a shotgun mic, while figure-8 mode is ideal for two-person interviews with only a single mic. Insta360 also says that an onboard neural processing chip powers the AI noise cancellation feature, aiming to reduce background noise without distorting the speaker's voice.

Image: Insta360

In terms of other general mic features, the Mic Pro supports timecode sync. It also offers 32-bit float to prevent clipping and stereo internal recording. It also provides 32GB of on-board storage. Insta360 promises 10 hours of battery life from the transmitters and up to 30 hours with the included charging case.

The mic system supports multi-channel recording in two configurations. In two-to-four mode, two transmitters can send audio to up to four receivers simultaneously, making it easier to feed the same mics to multiple cameras or recording devices. In four-to-one mode, up to four transmitters can feed a single receiver, though four-channel recording requires a compatible Sony camera and a separate adapter.

The Mic Pro can be paired with Insta360 products via Bluetooth without needing the receiver. Insta360 also says that future products will support dual-transmitter direct connection. For other devices, the receiver can connect via 3.5mm audio cable or USB-C.

Image: Insta360

The Insta360 Mic Pro is available now at a starting price of $330, which includes two transmitters, one receiver and the charging case.

Introduction

The L10 may have a new name, but conceptually it's a successor to the LX100 series that started in 2012.

It's built around a Four Thirds (225mm²) sensor, from which it uses up to a 182mm² region. This makes the sensor 50% larger than a Type 1 sensor and half the size of a standard APS-C chip.

It pairs this with a 24-75mm equiv. F1.7-2.8 lens. By always using a 1.1x crop of its total sensor area, it's able to maintain the same diagonal angle of view, whether you shoot 4:3, 3:2 or 16:9 aspect ratios. It also offers 1:1 capture, but this uses a crop of the 4:3 region, not a taller chunk of the sensor.

The camera comes in three colors: silver, black, and "Titanium Gold." The latter costs $100 more, and is only available from select stores, but also includes a threaded shutter button, leather strap and automatically-opening lens cap.

Updated Internals

The L10 gains the BSI CMOS sensor with on-sensor phase detection from the GH7 and G9 II models, meaning it offers improved dynamic range, improved resolution and faster focus than previous LX100 models.

It also gets the latest processor from the Panasonic S1RII, meaning it has access to the latest subject recognition algorithms, which again should significantly increase the ease-of-use of the AF system*, as well as the performance boost coming from phase detection and the more powerful processor. With that said, you may still find yourself waiting on the lens occasionally; the camera takes a full two to three seconds from when you flip the power switch to when you get a preview.

Finally, the connectivity has been updated. The camera now offers 5Ghz Wi-Fi, as well as a 10Gbps USB-C port.

*Though it inherits that camera's quirk of not allowing generic autofocus tracking when you've selected a subject recognition mode.

Multi-aspect shooting

Like the LX100 cameras, and many of Panasonic's previous LX models, the L10 opts for a multi-aspect design: always using a slight (1.1x) crop of its Four Thirds sensor, which allows it to deliver a series of aspect ratios, each extending out to the image circle of the lens.

This means that, unlike most cameras, you don't get a narrower diagonal angle of view if you crop away from the native aspect ratio. Instead, the L10 gives a choice of 4:3, 3:2 or 16:9 capture, while maintaining the same diagonal angle of view. This means the lens remains a true 24-75mm equivalent, regardless of which format you choose to shoot in. It also means you get the maximum resolution for all of the modes. The only exception is the camera's 1:1 mode, which is simply a crop of the 4:3 region, rather than extending up to use the full height of the sensor.

Maximum resolutions:

• 4:3 - 20.3MP
• 3:2 - 19.2MP
• 16:9 - 18.5MP
• 1:1 - 15.2MP

The downside of this approach is that you never get to use the entire sensor, so pay a slight sensor size penalty, meaning you get slightly less resolution and slightly more noise, at the whole image level. But plenty of people, including many DPReview reviewers, over the years, have found that the increased creative flexibility makes this trade-off worthwhile.

Bigger is better?

The L10 versus the D-Lux 8, essentially Leica's updated version of the LX100 II.

It's worth noting, though, that the L10 has a new name, rather than being a Mark upgrade of the LX100 series. And while the body looks very similar, it's a distinctly larger camera. It feels sturdier and more substantial, though not necessarily more premium; the buttons and dials feel decidedly less sturdy, and the "saffiano leather-textured finish" doesn't offer a ton of grip.

We previously said the LX100 looked a lot like a smaller X100 with a zoom lens, given the similarity of the control points and their layout. The L10 is no longer smaller, matching the larger sensor camera's dimensions almost to the millimeter. However, the controls have changed somewhat, which again justifies the change of name.

On the subject of names, there was previous a Lumix DMC-L10, which was a Four Thirds system DSLR. This new camera is technically called the Lumix DC-L10. This isn't the first time we've seen camera companies run out of names and have to re-use earlier ones. Canon has made two PowerShot S100 models, 11 years apart, whereas Panasonic's previous L10 came out nearly two decades ago.

A familiar lens

The lens has an ambitious F1.7-2.8 aperture range, giving an equivalent aperture range of F3.8-6.2 in full-frame terms. The lens drops away from its maximum aperture relatively quickly, hitting F1.8 as soon as you start to zoom in, and F2.0 by 27mm equiv. F2.8 is reached at 52mm equiv. and maintained to the full extent of the zoom.

The camera has an in-lens, 'leaf' shutter that can operate at up to 1/2000 sec. This maximum speed is maintained even at the brightest apertures (some leaf shutters can only deliver their maximum shutter speeds at smaller apertures, where they have less distance to travel).

This means the camera can sync with flashes all the way up to 1/2000 sec. The camera's hot shoe gives you the option to use a small flash such as the Godox iT30Pro (the 'O' version is compatible with the Olympus TTL protocol used by Panasonic), or the Godox iT32 / X5 flash/remote trigger combination. However, unlike the LX100 II, it doesn't come with an external flash in the box.

For shutter speeds above 1/2000, the L10 can use electronic shutter, which extends up to 1/32,000 sec and reads out the 4:3 mode in a relatively quick 16.7ms. This can't be used with flash but should work pretty well when you want to use a wide aperture in bright conditions, and is fast enough to avoid rolling shutter distortion on most (though not all) subjects.

Controls

The L10 has a mode dial on the top plate, rather than one dedicated to shutter speed. Likewise, the thumb wheel on the corner is no longer dedicated to exposure comp, and can be customized to change ISO, aspect ratio, autofocus mode, drive mode, or to control shutter speed / aperture (depending on exposure mode).

It gains a function button at its center, that, by default, controls your JPEG color mode (unless, of course, you want to switch to the "Real Time LUT" mode, for which you'll use a dedicated button on the back), but can be set to do essentially anything in the cameras' menus.

This camera feels like its control system has been borrowed from a camera with different dials

Like the S9, this camera feels like its control system has been awkwardly borrowed from a camera with a different dial setup (which is unfortunate, as the LX100s had a pretty coherent control system). As an example, the top plate dial controls aperture in both Aperture Priority and Manual modes by default, meaning that, unless your physical aperture ring is in A mode, it doesn't do anything in those modes. (In Shutter priority mode it, more sensibly, controls shutter speed). We found ourselves needing to customize the controls before they made much sense, and even then that required using the fiddly rear-plate dial more than we'd have liked.

Somewhat disappointingly, the aspect ratio slider on the lens has been replaced by a three-position switch, which has an additional position that hands control over to the camera. By default in controls aspect ratio, but can be re-purposed to control a few other parameters: switching between a set of autofocus subject recognition modes, zoom steps, or color modes. While some, especially those disinterested in changing aspect ratio, will appreciate the change, others – including members of DPReview's staff – are sad to see the despecialization of what was once a favourite control.

Other changes

The bigger body allows for the use of a much larger battery. Rather than the 7.4Wh battery used in the LX100s, the L10 gains the much larger, DMW-BLK22, which has a capacity of 15.8Wh. This powers it to an 420 shot per charge rating, measured by the CIPA standard test method, and over 1000 shots in power save mode. These are excellent figures for a relatively compact camera, and mean you're unlikely to have to worry about battery life when traveling with the camera.

Another feature adding to the camera'a size is the fully articulated rear screen. This is likely to divide audiences, as some photographers prefer a tilting screen, but we suspect most users will find it an upgrade compared with the fixed screen on the LX100 cameras. The L10's screen is a 1.84M dot panel, giving 960 x 640px resolution.

OLED viewfinder, rather than tearing-prone field-sequential finder. It's a 4:3 panel, rather than the wide 16:9 finder in the LX100 cameras, whose area was rarely used to the full. The new finder has an impressive 0.74x magnification (approaching the size of the finders in professional DSLRs), though with a relatively short 20mm eyepoint, which glasses wearers may find a little limiting.

Video specs

Even though Panasonic talk about the L10 as being designed for photographers, its video specs are pretty impressive. Despite the microphone jack, there's no headphone socket for monitoring audio or an HDMI port, but the L10 is clearly a product of the company that brought us the GH series.

There's a Stills / Video / Slow & Quick switch on the back of the camera. It can shoot 4K video in either DCI or UHD aspect ratios at up to 120p, or 5.6K DCI-shaped video at up to 60p, or 4:3 'open gate' 5.2K footage at up to 60p.

The video modes make use of the same multi-aspect approach as stills modes do, so the 5.2K footage is taken from a much taller region of the sensor than the ∼17:9 5.6K video, making it tall enough to extract 2160 x 3840 (vertical 9:16 4K) crops, if you're using it to deliver both horizontal and vertical video from the same capture.

Price

The L10 costs $1500 at launch, which feels like a major step up from the $999 that the LX100 II cost, back in 2019. However, it's worth noting that inflation means you'd need $1320 in modern money to buy the equivalent of a 2019 $999 camera, and the L10 is a much more capable camera, with more substantial-feeling build than its forebears.

The original LX100 developed something of a reputation for sucking dust into its sensor, in part because pocket cameras tend to be carried and used in wide, varied and challenging conditions. Panasonic said they made efforts to reduce this risk with the Mark II, and we've heard fewer complaints from users of the newer model. No further claims were made about the L10, so it's likely to be worth remembering that it's not fully sealed (it has an extending zoom, after all), but shouldn't be as susceptible as the Mk 1 was.

Wrap-up

The L10 might not be as compact as the LX100s were, nor does it follow quite the same control layout, but it brings most of what we liked about those cameras and directly addresses just about all our concerns about them.

We're excited to see the launch of an enthusiast compact based on a modern sensor and a contemporary processor. We'll be using it extensively over the coming weeks to get a sense of what it does well and what it gets wrong.

We're hard at work on our initial review of the camera, and will be posting an initial batch of samples from it shortly, so stay tuned.

Sony a7R V | Thypoch 24-50mm F2.8 | 35mm | F4 | 1/40 sec | ISO 100 Photo: Mitchell Clark

After announcing last month that it had become the first Chinese lens manufacturer to create a full-frame autofocus zoom lens, this week Thypoch fully revealed its Voyager 24-50mm F2.8 lens for E-mount. The most eye-catching spec was probably its price: $649.

We were able to spend some time with the lens before it launched, shooting it in a variety of scenarios to see how it performs. You can check out our full coverage to read our impressions, but if you want to see for yourself, check out the gallery below.

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 Sony for the loan of an a7R V to capture this gallery. All images were processed using our standard lens workflow in Capture One, with no vignetting correction applied.

Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 70mm | F5.6 | 1/16 sec | ISO 100 Photo: Mitchell Clark

This week, Sony announced the a7R VI, the latest entry in its lineup of full-frame cameras focused on maximum resolution and image quality. We were able to spend some time shooting a variety of subjects with it: portraits, wildlife, landscapes (of course) and even some action to really test the speed and capability of its stacked sensor and AF algorithms.

So far, we've been quite impressed with the detail this camera captures, both in our samples and in our studio scene. But this sensor's resolution is only part of the story, as Sony also says it sets a benchmark for dynamic range performance in its lineup. However, we'll have to wait until we can edit its Raw files before we can test and illustrate that, so keep an eye out for some Adobe Camera Raw conversions in this gallery once support becomes available.

We've reached the end of a week jam-packed with announcements from Canon, Sony, Panasonic and others. There's actually so much camera news that it'd be hard to cover it all in a single discussion, so in this video the DPReview crew is talking about the Sony a7R VI and FE 100-400mm F4.5 GM OSS, and the Canon EOS R6 V and its kit 20-50mm F4 L IS USM PZ lens.

For those who want to hear our thoughts on the Panasonic L10, stay tuned; we'll have an episode coming soon talking about our feelings on it, after we've had some time to form our impressions.

Photo: Mitchell Clark

With its use of the latest AF algorithms and its ability to shoot at 30 frames per second, the new Sony a7R VI looks a lot like a higher-resolution, more affordable rival to the company's own a1 II, pro sports model.

However, having dug a little deeper and taken it pitchside to shoot some sports, that's not the reality at all.

On paper, both the a1 II and the a7R VI are high-resolution cameras with Stacked CMOS sensors that shoot at up to 30 frames per second. But, even though the a7R VI has a pretty deep buffer and accepts the same memory cards as the a1 II, out in the real world, the difference is pronounced.

In the real world, the difference is pronounced

Much of the difference comes from the fact that Stacked CMOS sensors aren't all the same. Sony's a1 and a9 series cameras' sensors have DRAM built into the back of their sensors to buffer the large amount of data that's coming off their chips. Meanwhile, from what we've heard, Nikon's sensors have the circuitry for dual readout streams: one for high quality image data and the other to minimize viewfinder latency.

The a7R VI's sensor's second layer is described as 'processing circuitry,' which we suspect includes its ability to merge the data from the low and high gain modes of its pixels, underpinning its higher DR. So, while the a7R VI's readout is quick, especially when compared with its predecessor's, it's not as rapid as the Nikon Z8, Canon EOS R5 II or the Sony a1 II.

The view from the sidelines

In practice you encounter the speed difference in a number of areas. With pre-capture mode engaged, in an attempt to compensate for our non-pro reaction times, we noticed the a7R VI developed a distinct lag or choppyness to its viewfinder refresh that isn't present in the a1 II.

Autofocus

We also noticed that the autofocus performance didn't quite seem as immediate or dependable as when we took the a1 II to a rugby game, as part of our review testing. It's still very good, but good for a high res camera, rather than giving the 'I have no doubt this is the best they can deliver' confidence that using a top-end, sports-focused camera can give.

In our briefing with Sony, we were told the a7R VI is able to conduct autofocus and autoexposure calculations at "up to 60 times per second," whereas the a1 II can conduct twice as many. The 60 vs 120fps distinction might account for some of the autofocus differences we experienced when really pushing the camera, but the phrase "up to" seems pertinent, too. Given the a7R VI takes 1/50th of a second to read out each frame in e-shutter mode, we suspect it can't maintain 60fps updates to the AF system in pre-capture mode, because it's trying to capture full-res images at the same time.

Rolling shutter

The a7R VI's rolling shutter is around five times faster than its predecessor but still about 5 times slower than the a1 II. Panning to follow the action was enough to induce visible distortion. Sony a7R VI | FE 100-400mm F4.5 GM | F4.5 | 1/800 sec | ISO3200 Photo: Richard Butler

In addition, the significantly slower rolling shutter of the a7R VI, compared with the a1 II starts to make itself apparent in some of the actions shots we took. For most work, a sub-20ms (1/50 sec) readout speed is quick enough not to be a problem, but photographing a sport that can feature plenty of fast lateral motion means that panning the camera to follow the action can result in some recognizably warped images.

The camera can go a little faster than this if you shoot JPEG only and/or lossy Compressed Raw, where the sensor readout appears to drop to a lower bit-depth mode and the shutter rate improves a little to 14ms (∼1/70 sec).

Hardware differences

Dig deeper into the a1 II's specs and you start to find other distinctions, such as the provision of an Ethernet port for rapid offload of images, which some pro sports applications require. Likewise the a7R VI lacks the a1 II's comfier grip and front-mounted custom button, which makes the Speed Boost function that both models share, much easier to use in conjunction with back-button focus.

The a7R VI doesn't have a C5 button on its front plate, as the a1 II (pictured) does. This is well placed for activating the Speed Boost function, when you're already using your index finger on the shutter and thumb back-button focusing. Photo: Mitchell Clark

Then there are the a1 II's locking drive/burst mode and AF mode dials, which the a7R VI lacks, relagating those settings to the menus. Little differences that add up if you only have a couple of seconds to adjust your camera's setup. And they're the differences that professionals have requested and that explain why Sony charges unapologetically pro prices for the a1 II.

Overall, these performance difference added up to make clear why Sony doesn't list sports as one of the intended uses of the a7R VI. Instead its newfound speed is designed to expand from its studio and landscape hinterland, reinforce its credentials for weddings and events, and lend itself to some wildlife work. But Sony isn't omitting sports from the list just to protect a1 II sales.

Then again, it's no criticism of what isn't supposed to be a sports photography model that it can't match up to Sony's $7000 pro sports camera.

As the saying goes, money can't buy happiness. That logic tracks in photography, too: the latest gear does not make an excellent photographer. Or, in Alli Forsythe's case, it might not provide the creative drive to inspire work that truly excites you.

In our latest episode of ISO: Camera Upgrades on a Budget, produced in partnership with MPB, Forsythe decided that her kit, owing to her professional relationship with Nikon, was pretty much perfect. So rather than chasing the next upgrade in search of creative inspiration – a futile pursuit, she realized – she decided to inject a new challenge into her workflow instead.

Forsythe had always been captivated by the cinematic look anamorphic lenses create in videos, so she devised an experiment: what would it be like to shoot a series of still photos on anamorphic?

After poking around the DPReview archives, Forsythe identified a set of Sirui lenses before jumping to MPB to trade in some of her lesser-used glass and offset the cost of the anamorphics.

Check out the video above to see the results.

If you have gear collecting dust on a shelf or you're simply looking for something new-to-you, head over to MPB to upgrade your kit today.

Buy, Sell, or Trade with MPB

Image: DJI

Just a month after releasing the Osmo Pocket 4, DJI is teasing another version of its new compact gimbal camera. Details on the Osmo Pocket 4P are minimal, to say the least, but the company attended the Cannes Film Festival to unveil the new camera.

DJI says that showcasing the Osmo Pocket 4P at such a prestigious event for filmmaking "signals a bold evolution of the Pocket series from a creator tool into a cinematic imaging device capable of professional-grade storytelling." That implies there could be some notable upgrades, but DJI isn't revealing much at this point.

We do know that the Osmo Pocket 4P will offer 10-bit D-Log2, a new version of the company's Log curve. How it differs remains to be seen, but DJI says it will enable professional color grading. The new camera will also offer "improved zoom functionality," which is intriguing, since the Osmo Pocket 4 only offers digital zoom. The lone teaser image shows two cameras, perhaps suggesting a combination of digital zoom and a telephoto focal length.

DJI is also promising that the new version will offer more natural skin tones, "cinematic depth," and better low-light performance. That's all the company is revealing for now, though, and simply says that more details and pricing information will be available at a later date. We'll just have to wait and see what this new camera brings to the table, then.

"Shot at the Huntington Beach surfing championships. I used an 800mm lens to get close to the action. Studying typical movements of the surfers helps with being ready to get the shot at the peak of the action." Nikon Z9 | Nikkor Z 800mm f/6.3 VR S | F7.1 | 1/4000 sec | ISO 720 Photo: Alan Randle

Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.

If you are interested in air show photography, check out Alan's work below.

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

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

"A dramatic shot of a Red Bull display aircraft taking off at a steep angle. The smoke adds to the drama." Nikon D5 | AF-S Nikkor 300mm f/2.8 @420mm (35mm equivalent) | F8 | 1/1600 sec | ISO 400 Photo: Alan Randle

Meet Alan Randle (AJR Images)

Home base: Southern California, USA

"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."

I love the Nikon Z 400TC. A fabulous lens with the versatility of two focal lengths.

Favorite camera and lens: Alan primarily shoots with Nikon Z9 bodies. For airshows and wildlife, he relies on super-telephoto lenses like the 400 F2.8 TC, 600 F4 TC, and 800 f/6.3 to capture subjects up close with exceptional detail. For travel or more general photography, he uses a Z6III with a 24–120mm F4. Alan values this setup for its versatility and reliability, allowing him to adapt quickly to different environments.

What's in Alan's bag

• Primary cameras: Nikon Z9, Nikon Z6III
• Lenses:
  • Nikon Z 400mm F2.8 TC ("I love the Nikon Z 400TC. A fabulous lens with the versatility of two focal lengths.")
  • Nikon Z 600mm F4 TC
  • Nikon Z 800mm F6.3
  • Nikon Z 400mm F4.5
  • Nikon Z 180–600mm F5.6
  • Nikon Z 70–200mm F2.8
  • Nikon Z 24–70mm F2.8 SII
  • Nikon Z 14–24mm F2.8
  • Nikon Z 105mm F2.8
  • Z6III with 24–120mm F4 (for travel)
• Support gear: Spare CFexpress cards and batteries, Gitzo and RRS tripods, monopods, and heads (rarely used; prefer handholding). Multi-tool and water bottles for long shoots.
• Camera bags: Think Tank and Gura Gear roller bags, backpacks, and shoulder bags, chosen for durability and to accommodate large telephoto lenses.

Alan's camera bag Photo: Alan Randle

What cameras does a professional aerospace engineer use most?

"I was a professional aerospace engineer for nearly 50 years, so I keep up my interest by attending airshows around Southern California. I’ve been fortunate to acquire some of the best super telephoto lenses over the last few years and have practiced honing my panning skills to the point where I can capture sharp images of aircraft with good prop blur. I look back at some of my older images, and certainly modern equipment has made it easier to get great images."

Have you changed up your gear since you got started?

"Oh yes. I started out with a Praktica camera and then an Olympus OM2 system, but got serious when I bought a Nikon F4S in the 1980's. I then moved from F to D to Z systems. Since investing in Nikon Z9s and Z lenses, my output has improved to no end."

"A nice, sharp close-up image of the Patriots display team with the smoke imparting a sense of action." Nikon D4S | AF-S Nikkor 300mm f/2.8D IF-ED II @420mm (35mm equivalent) | F5.6 | 1/4000 sec | ISO 320 Photo: Alan Randle

Besides impressive aerospace photography, what else do you shoot?

"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, again making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve even been asked by staff if I want to check my 'luggage.'"

"Living close to the beach, I shoot championship surfing (people and dogs). You need to take care of your equipment in this environment of saltwater and sand. I’ve seen photographers so engrossed in the action that they miss a rogue wave that drowns their equipment. Electronics and salt water don’t mix!"

"In the past, I’ve shot motor sports, tennis, and cycling. Unfortunately, as sports become more commercialized, it’s getting harder and harder to get good images unless you are credentialed. Not only are you kept further away from the action, but there are often limits as to the equipment that can be taken into a venue."

"The Blue Angels show in near-perfect light, showing the aircraft at speed." Nikon Z 9 | NIKKOR Z 400mm f/2.8 TC VR S @400mm| F5.6 | 1/6400 sec | ISO 900 Photo: Alan Randle

When capturing that perfect shot, what techniques come to mind?

"I try to understand the type of subjects I'll be shooting, like typical aircraft maneuvers, animal behavior, the way that sports are played, and so I try to get 'ahead of the game.' Knowing how the subject will react at any moment keeps my fingers on the right controls. On that point, do learn how to use your equipment. Read the manuals and understand what all the controls do so that setting up becomes second nature."

Alan really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Alan, 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?'

"Shot at the Huntington Beach surfing championships. I used an 800mm lens to get close to the action. Studying typical movements of the surfers helps with being ready to get the shot at the peak of the action." Nikon Z9 | Nikkor Z 800mm f/6.3 VR S @ 800mm | F7.1 | 1/4000 sec | ISO 720 Photo: Alan Randle

Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.

If you are interested in air show photography, check out Alan's work below.

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

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

"A dramatic shot of a Red Bull display aircraft taking off at a steep angle. The smoke adds to the drama." Nikon D5 | AF-S Nikkor 300mm f/2.8 @420mm (35mm equivalent) | F8 | 1/1600 sec | ISO 400 Photo: Alan Randle

Meet Alan Randle (AJR Images)

Home base: Southern California, USA

"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."

Favorite camera and lens: Alan primarily shoots with Nikon Z9 bodies. For airshows and wildlife, he relies on super-telephoto lenses like the 400 F2.8 TC, 600 F4 TC, and 800 f/6.3 to capture subjects up close with exceptional detail. For travel or more general photography, he uses a Z6III with a 24–120mm F4. Alan values this setup for its versatility and reliability, allowing him to adapt quickly to different environments.

I love the Nikon Z 400TC. A fabulous lens with the versatility of two focal lengths.

What's in Alan's bag

• Primary cameras: Nikon Z9, Nikon Z6III
• Lenses:
  • Nikon Z 400mm F2.8 TC ("I love the Nikon Z 400TC. A fabulous lens with the versatility of two focal lengths.")
  • Nikon Z 600mm F4 TC
  • Nikon Z 800mm F6.3
  • Nikon Z 400mm F4.5
  • Nikon Z 180–600mm F5.6
  • Nikon Z 70–200mm F2.8
  • Nikon Z 24–70mm F2.8 SII
  • Nikon Z 14–24mm F2.8
  • Nikon Z 105mm F2.8
  • Z6III with 24–120mm F4 (for travel)
• Support gear: Spare CFexpress cards and batteries, Gitzo and RRS tripods, monopods, and heads (rarely used; prefer handholding). Multi-tool and water bottles for long shoots.
• Camera bags: Think Tank and Gura Gear roller bags, backpacks, and shoulder bags, chosen for durability and to accommodate large telephoto lenses.

Alan's camera bag Photo: Alan Randle

What cameras does a professional aerospace engineer use most?

"I was a professional aerospace engineer for nearly 50 years, so I keep up my interest by attending airshows around Southern California. I’ve been fortunate to acquire some of the best super telephoto lenses over the last few years and have practiced honing my panning skills to the point where I can capture sharp images of aircraft with good prop blur. I look back at some of my older images, and certainly modern equipment has made it easier to get great images."

Have you changed up your gear since you got started?

"Oh yes. I started out with a Praktica camera and then an Olympus OM2 system, but got serious when I bought a Nikon F4S in the 1980's. I then moved from F to D to Z systems. Since investing in Nikon Z9s and Z lenses, my output has improved to no end."

"A nice, sharp close-up image of the Patriots display team with the smoke imparting a sense of action." Nikon D4S | AF-S Nikkor 300mm f/2.8D IF-ED II @420mm (35mm equivalent) | F5.6 | 1/4000 sec | ISO 320 Photo: Alan Randle

Besides impressive aerospace photography, what else do you shoot?

"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, again making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve even been asked by staff if I want to check my 'luggage.'"

"Living close to the beach, I shoot championship surfing (people and dogs). You need to take care of your equipment in this environment of saltwater and sand. I’ve seen photographers so engrossed in the action that they miss a rogue wave that drowns their equipment. Electronics and salt water don’t mix!"

"In the past, I’ve shot motor sports, tennis, and cycling. Unfortunately, as sports become more commercialized, it’s getting harder and harder to get good images unless you are credentialed. Not only are you kept further away from the action, but there are often limits as to the equipment that can be taken into a venue."

"The Blue Angels show in near-perfect light, showing the aircraft at speed." Nikon Z 9 | NIKKOR Z 400mm f/2.8 TC VR S @400mm (35mm equivalent) | F5.6 | 1/6400 sec | ISO 900 Photo: Alan Randle

When capturing that perfect shot, what techniques come to mind?

"I try to understand the type of subjects I'll be shooting, like typical aircraft maneuvers, animal behavior, the way that sports are played, and so I try to get 'ahead of the game.' Knowing how the subject will react at any moment keeps my fingers on the right controls. On that point, do learn how to use your equipment. Read the manuals and understand what all the controls do so that setting up becomes second nature."

Alan really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Alan, 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?'

Photos: Mitchell Clark

Last month, Thypoch announced that it was working on the Voyager 24-50mm F2.8 AF, the first full-frame autofocus zoom lens from a Chinese manufacturer. Now, the company has revealed the full details of it, including its price and full specifications.

The former is perhaps one of the most exciting aspects of this lens. When we interviewed Thypoch's Go-to-Market manager for this lens, we were told the company was aiming to price it similarly to a prime. It turns out that meant $649, pretty much half of what Sony charges for its 24-50mm F2.8.

Despite being a very similar offering, the lens isn't a clone of Sony's. The most noticeable difference is that Thypoch's is an internal zoom design, while Sony's extends. And while both lenses have 16 elements in 13 groups, the formulas are different: the Voyager has two aspheric lenses, three ED lenses and three HR elements, while the Sony uses one aspheric and two EDs. According to our interview, the company hasn't used any software distortion correction in its design, so it has to do everything optically, a limitation Sony doesn't have.

For a full-frame F2.8 zoom, the Thypoch is quite light.

Another difference between the two lenses is minimum focusing distance. Both are 0.3m (11.8") at the long end, but at the wide end Sony's can get as close as 0.18m (7.1"), while Thypoch's is still at 0.3m

The Voyager 24-50mm F2.8 has a 10-bladed aperture, and a clicked ring to control it, complete with an "A" setting that lets you control it using a command dial on your camera instead. It also features a customizable function button, and an AF/MF switch.

At 450g (15.9oz) and 92mm (3.6") long, it's fairly compact for a full-frame lens, making it relatively easy to carry around. We appreciate that, as we've found this kind of lens to be great for travel, given its size and ability to get wide shots to capture everything in front of you, without giving up the ability to get in a little closer. Thypoch also claims that it's sealed for dust and moisture resistance.

Optically speaking, we found the lens to be relatively sharp. While there's some vignetting, it's not more than we'd expect from other budget lenses with a focus on being compact. Where it fell down a bit was in flare resistance; Thypoch says the lens has its "Epoch" coating, but there were times where we found that bright lighting outside the frame would result in a washed out image, even when we were shooting with the included lens hood.

The flare from the window above the cat has substantially washed out this image. Sony a7R V | Thypoch 24-50mm F2.8 | F2.8 | 1/50 | ISO 1000

Autofocus performance was mostly fine. We tested the lens with a Sony a7R V, and it was usually able to lock onto a subject and follow it, even if it was moving. Still, there were a few instances where it had to hunt in lighting conditions that we'd have expected an own-brand lens to handle without any issues. But given that this is the company's first autofocus lens, period, and that it doesn't have an official E-mount license, its performance was quite impressive.

While there's a lot to recommend the Thypoch 24-50mm F2.8 on its own, it’s also hard not to feel like this is the just start of something exciting. Obviously, third-party autofocus zoom lenses are nothing new; we’ve seen them from Sigma, Tamron, LK Samyang, and others. But it’s hard to ignore what happened with primes, where Chinese lens makers came in, started competing, leading to a flood of especially interesting, or affordable (or sometimes, both) lenses. That wave has also coincided with similarly exciting lens releases from the major manufacturers, too. If the same thing happens with zoom lenses, the next few years could be very interesting, and we may finally get some options that we haven’t had before.

The Thypoch Voyager 24-50mm F2.8 will available for Sony E-mount starting in June. The company says it's running a special launch promotion, selling the lens for $619.

For more impressions on this lens, you can watch our video on it below. You can also check out our sample gallery to see how it performs for yourself.

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 Sony for the loan of an a7R V to capture this gallery. All images were processed using our standard lens workflow in Capture One, with no vignetting correction applied.

Thypoch Voyager 24-50mm F2.8 specifications:

Image: Insta360

Insta360 is leaning into the popularity of retro vibes with its latest release, the Go 3S Retro Bundle. The special edition bundle includes its tiny Go 3S action camera with a fresh design, along with a new Retro Viewfinder in place of the Action Pod it normally comes with, which mimics a more traditional action camera.

The focus of the new bundle is a more retro-looking replacement for the Action Pod. The standard 360 Go 3S can be docked in the Action Pod, which provides a touchscreen, charges the camera, and can also be used as a remote monitor. The new bundle, however, comes with the Retro Viewfinder, which is a much simpler accessory.

The new Retro Viewfinder features an optical waist-level viewfinder instead of a rear display. Image: Insta360

Unlike the Action Pod, the Retro Viewfinder doesn't offer a touchscreen display, remote shooting functionality or charging capabilities. There are no buttons, and no battery whatsoever. It does, however, feature an optical waist-level viewfinder designed to mimic certain vintage film cameras. It also has a built-in selfie mirror for easier selfies.

To address the lack of extra battery that the Action Pod normally provides, the Retro Bundle comes with a separate battery pack. It doubles battery life, promising 76 minutes of run time. It can also charge while recording. Using the battery pack likely means that you can't have the camera slotted into the viewfinder, however.

The bundle also includes a "Custom Skin" that lets users tap their smartphone against it to instantly launch the Insta360 app, thanks to a built-in NFC tag. Since there's no display on the Retro Viewfinder, you'll need to use a phone to take the place of the Action Pod for reviewing photos and videos, editing clips or adjusting settings. The quick access via NFC should make it easier to do those things.

The Insta360 GO 3S Retro Bundle comes in Canvas White (left) and Classic Red (right). Image: Insta360

In addition to hardware changes, Insta360 is also introducing three filters that mimic film. Negative Film features soft contrast and lower saturation, Positive Film offers punchier colors and contrast, and Sticker Filter functions like pre-exposed film with three pattern options and "film-like colors." These are exclusive to the Retro Bundle and won't be coming to the standard Go 3S.

There are also five new built-in film-inspired color profiles: NC, CC, GR-F, Mono and Vintage Vacation. These will be available for the standard GO 3S via the app interface.

Beyond the new look, the camera portion of the Go 3S remains unchanged from the original version. It retains its tiny size outside of its enclosure, weighing just 39g (1.4oz), and the built-in magnetic mounting system. The camera can capture 4K video, uses Insta360's FlowState Stabilization to smooth out footage, and features integrated storage.

Image: Insta360

The Retro Bundle is available as of today in white with colorful stripes and red. It comes in two storage capacities, 64GB and 128GB, priced at $250 and $270, respectively. That’s significantly cheaper than the $399 (64GB) and $429 (128GB) launch prices of the Go 3S. You can also buy the Retro Viewfinder on its own for $48 if you already own the Go 3S but want the retro look.