Photo from a Question of the week entry that didn't make it into the original article. This is a photo of community member, Blufftonian's memorable camera collection. Photo: Blufftonian

A ton of great content and related photography is created by the DPReview community in our forums: lively discussions, sharing of gear and photography in spotlight articles, collaborative photo events and more. In this "What you missed" roundup for June, we highlight community forum activity from the past month, including some of the photography that didn't make it into articles.

Scroll down to the section of interest as previewed in this list:

• Article of the month: Joining a local photography group
• 'What's in your bag?' community member spotlights
• Question of the week
• Join our collaborative photo chain
• Discussion of the month: Why is it so difficult to buy a first camera today?

Article of the month: Joining a local photography group

"A group shot (excluding me) of that first meetup that I attended." Photo: Abby Ferguson

DPReview's Features Editor, Abby Ferguson, wrote a great piece about the benefits of joining local photography groups. As a community manager, I naturally found this article fascinating and the kind of advice I feel all of you would find a great insight into photographers outside our forums. After reading her article, I even took it upon myself to look up some photography groups in my local corner of Texas, United States.

"Despite my reluctance, I knew meeting other photographers would only be a good thing. Plus, as this is a place my husband and I will be for the long term, I wanted to set down some roots and finally make some connections here. And so, last fall, I finally put aside my reservations and attended a meetup." - Abby

What's in your bag? A community member spotlight

Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series highlights a reader's favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.

"Soot-blackened steam traction engine driver – the youngest in the country. Seen at the Pickering traction engine rally in the north of England." Photo: Mark Lamb

Mark Lamb shared his portrait photography in celebration of our week of portrait-themed community content. Below is an interesting excerpt from Mark's story about his fondness for portrait photography in Britain. The photo above is a new one he provided us that we couldn't fit into the article.

"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."

Check out this month's other reader spotlights:

• Brian Ach: From Prince to NYC streets: A photographer's life in two worlds
• Giacomo Farabegoli: This DPReview reader backpacks with a Sony a7R IV in the mountains
• Alberto Tanikawa: Knives, whiskey, and RGB light: Inside one photographer's obsessive still-life work

See all 'What's in your bag?' spotlights

Question of the week: we ask, you tell

Every other week, we ask the community a question about their photography, usually on a specific topic, with the results spotlighted on DPReview's front page and in the forums the following week. There are often many great photos submitted that we don't get a chance to spotlight them all in a single article.

Here is a newly revealed reader's photo and excerpt of their story from the latest question.

What camera is your most memorable?

Photo: thorstenwulff

Featured quote: "My first love was the F3. In the summer of 1987, she went to New York with me and a box of T-Max 400. Paired with a 24mm F2.8 lens, it was my perfect combo for street photography, even if you had to get a bit closer. The other lens was the 105mm F2.5. In early May this year, I took them back to Manhattan, but was put off a bit by the flood of gimbal-toting influencers everywhere Instagram deems worthy of a shot. This couple is one of my favorite pictures from 39 years ago. I love the tenderness between them." - thorstenwulff

See what other questions we ask

Participate in community-led photo initiatives

Seattle boat parade Photo: Dale Baskin

Every week, new community-created photo discussions and mini-challenges pop up across the forums. Usually, these start as a discussion about a particular camera brand or type of photography. For the month of June, we wanted to highlight Alan WF's invitation to take fresh photos with your adapted lens cameras.

Visit our Community photo threads index for the latest opportunities to share a photo from your collection. We would also love for you to participate in DPReview's own initiatives: Weekly photo exhibitions and the new Collaborative photo chain.

Discussion of the month: Why is it so difficult to buy a first camera today?

Photo: FrancoD

Community member, BernardoSC, asked a great question in the forums that has gained quite a bit of traction. He asked everyone, "Why is it so difficult to buy a first camera today?" This is an excellent question, BernardoSC! I have asked this question of myself recently about various purchase interests, from cameras to computer equipment.

Here is a peek at what others had to say:

JT26: It's hard as there are so many options now. New cameras and new versions of the above are using new tech and are not sold in millions like they used to be, so they are naturally more expensive.

ahaslett: The optical viewfinder is what limits your choice. Apart from retro designs, cameras these days are nearly all mirrorless. There isn’t much between a phone and a camera for £1,000, given how fast phones have improved.

Plankowner110: In the 1960s, you simply adjusted aperture, shutter speed, and focus ring, and it didn't matter if you were using an inexpensive Sears Tower (camera) or a rugged pro-body Nikon F. The major variable was selecting which film to use. Cameras all operated basically the same way, and one could easily pick up any brand of camera and begin shooting. We didn't have to peruse a myriad of menu settings or press tiny re-programmable buttons all over the camera body.

Discuss buying a first camera today

What community content did you enjoy reading, and what more would you like to see in these regular updates? Let us know in the comments below.

For even more content directly from our readers, join the discussion forums and share your camera gear and photography curiosities!

Editor's note: Future editions of this article may include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.

Hasselblad Masters 2026 winners

Hasselblad has announced the winners of the Hasselblad Masters 2026 photography competition. The contest awarded 7 photographers from 70 finalists, chosen from more than 108,000 submissions across 160 countries.

Winners were selected across seven categories: Landscape, Architecture, Portrait, Art, Street, Wildlife, and Project//21. The winning photographers were selected by the Hasselblad Masters Grand Jury, which included representatives from National Geographic, Magnum Photos, Aperture Magazine, Getty Images, Foam, The Metropolitan Museum of Art and the Three Shadows Photography Art Centre. Images were chosen based on their conceptual strength, originality, creativity and technical excellence.

The competition drew some attention earlier this year when Hasselblad confirmed it had disqualified one shortlisted photographer for including AI-generated elements in violation of competition rules, replacing them with a new finalist. It's worth noting that the finalists were selected through an internal selection process at Hasselblad, not by the acclaimed photographers on the Grand Jury. A representative has confirmed that all of the winning images were "thoroughly vetted, and EXIF data was confirmed," and that they are all authentic photographs.

Each winner receives the title of Hasselblad Master, a Hasselblad medium format camera, two XCD lenses, and a €5,000 creative fund. Their work will also be featured in the commemorative Hasselblad Masters book.

We're showing one image per winner below, but you can view all three selected images for each photographer on the Hasselblad Masters website. Traditional captions and EXIF data were not available, and the descriptions and jury quotes accompanying each image are taken directly from Hasselblad's competition materials.

Art winner: Yudha Kusuma Putera

Yudha Kusuma Putera | Waste Colonialism (Sapi-Sapi Piyungan) | Indonesia

Rooted in everyday life and inspired by its complexity, Yudha Kusuma Putera turns a keen eye toward the social issues that hide in plain sight, exploring the tensions between humans, nature, and the systems we build around us.

The winning images are part of a project examining how developed nations export their waste to developing countries, where labor and costs are lower. This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Yogyakarta's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill.

He photographed the backs of these cows stacked together, with their forms mirroring the landscape of trash around them. The work does not seek to assign blame, but to invite collective reflection on the waste we produce, and the futures we are building from it.

"On the surface, the images appear direct and unambiguous, and yet they consistently resist easy reading, generating a sense of visual uncertainty that keeps the viewer engaged and questioning. The images do not announce themselves loudly, but reward sustained attention with a slow-building sense of strangeness that is both intellectually stimulating and visually striking," says Kalle Sanner, Executive Director at the Hasselblad Foundation.

Architecture winner: Kevin Boyle

Kevin Boyle | DaySleeper | Movieland | Canada

Kevin Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear. For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.

The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal 'portrait' of once important gathering places. Through his lens, these forgotten spaces become vibrant, glowing symbols of community heritage and shared human connection.

"The composition, and the fact that the images are empty of people, triggers our imaginations, taking us back to a time when these buildings would have thrived with the community meeting for evening entertainment. By making this series, the photographer invites us to consider the myriad of small venues that make up the social fabric of small communities," says Sonia Jeunet, Photography Consultant and Education at Magnum Photos.

Portrait winner: Svetlana Jovanovic

Svetlana Jovanovic | Otherness | The Netherlands

With a psychology background, Svetlana Jovanovic's portraiture is driven by a deep curiosity about identity – how we experience the world, construct our sense of self, and see ourselves through the eyes of others. Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning.

The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work. Each portrait is a collaboration, shaped as much by the relationship between the twins as by the photographer's own vision, inviting viewers to reflect on how we define ourselves both apart from, and through, one another.

"Through precise use of light and composition, this portrait series explores the themes of mirroring and duality. Whether capturing two sides of the same face or the closeness of two kindred souls, the images reveal subtle layers of emotion with quiet precision," says RongRong, Co-founder and Artistic Director at The Three Shadows Photography Art Center.

Landscape winner: Rohan Reilly

Rohan Reilly | Ephemeral Visions | Ireland

Rooted in the discipline of a composer, Rohan Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness. His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation. The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned.

This winning series captures a row of poplar trees planted along the banks of the River Po in Italy, which are natural guardians against flooding, now standing immersed in perfectly still water beneath soft, diffused light. What was once a purely functional landscape transforms into something surreal and dreamlike. In this quietly breathtaking scene, the photographer's vision can find its fullest expression: nature distilled to its core, and time momentarily held still.

"A forest of birch trees could be a monotonous subject. But these photographs are hypnotic objects of meditation, creating something expansive through repetition and ostensible sameness," says Zack Hatfield, Managing Editor at Aperture Magazine.

Project//21 winner: Panitbhand Paribatra Na Ayudhya

Panitbhand Paribatra Na Ayudhya | Dwellers of the Night | Thailand

Panitbhand Paribatra Na Ayudhya is a young underwater photographer and scuba diver from Thailand. His work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

His winning series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness. Using slow shutter speeds to capture the elegant motion of his subjects, and carefully chosen coloured lighting to reveal their form and beauty, he illuminates a world rarely seen. For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject – crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating. There’s a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction," says Alex Pollack, Director of Photography at National Geographic.'

Street winner: Gosse Bouma

Gosse Bouma | Morning Ritual | The Netherlands

Gosse Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather. Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.

His winning series, taken across the Netherlands, turns to the street market as its subject, a space where people of all ages and backgrounds meet, exchange a few words, share warmth, and move on. In capturing these small, unhurried encounters, Bouma preserves something increasingly rare in contemporary life: a genuine sense of togetherness.

"The photographer understands atmosphere, scale and timing. The small lit kiosks within the vast blue urban emptiness create images that feel both intimate and monumental. Here, genuine photographic tension emerges. The series uses color structurally, not decoratively. Mist, artificial light and architecture form one coherent world," says Aya Musa, Senior Curator at Foam.

Wildlife winner: Alfred Minnaar

Alfred Minnaar | The Forest I Roam | South Africa

Alfred Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behavior, environment, and relationship with the surrounding ecosystem. Over a decade of global exploration, his fine-art philosophy has evolved from a traveler's passion into a powerful voice for conservation, capturing fleeting deep-sea and wildlife narratives to inspire the preservation of our planet.

The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer. Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.

"The vibrancy of the palette immediately draws you in, and the way the small fish are framed against their environments creates a sense of scale that almost reads as landscape. There’s a nice balance here between detail and composition, with the micro subjects holding their own within a larger, almost abstracted environment," says Alex Pollack, Director of Photography at National Geographic.

Image: Panasonic

When I reviewed the Panasonic S1II, one of my biggest complaints about it was the price. It's a very capable camera, but it was also competing against other very capable cameras that were several hundred dollars cheaper, and which didn't ask you to give up much in return.

Now, though, things have changed a bit. Instead of selling for $3200 in the US, it's currently listed as $2900, an approximately 9% reduction. That makes it the same price as the Sony a7 V, and only $100 more than the Canon EOS R6 III. While Panasonic's website lists this as a sale, there's no clear indication of an end date. B&H's website, meanwhile, implies that this is just the new price, and, indeed, price tracking site CamelCamelCamel reports that it's been selling at this price for about a month.

The same has happened to the S1II's higher-resolution sibling, the S1RII. When that camera launched in February 2025, a few months before the S1II, it was listed at $3300. It's now an even $3000, putting more distance between it and cameras like the Nikon Z8 and Canon EOS R5 II (though those cameras' benefits over the S1RII are more obvious than with the S1II's competitors).

Cameras frequently get cheaper as they age

In some ways, this isn't unusual. The S1II and S1RII are over a year old now, and cameras frequently get cheaper as they age. The Nikon Z6 III is a perfect example; it launched at $2500, and is currently available for just under $2000 (which, despite its few minor flaws, is a screaming deal). This will happen to the EOS R6 III and a7 V, too, and at that time the S1II may go back to seeming like not as great a value, unless you specifically need the relatively niche features it offers that the others don't.

This is why we typically base our pricing analysis around MSRPs; it's not because the street price of the camera won't change over its life, but that they typically tend to change by around the same amount, relative to the camera's launch price and age. Still, it means that if you need to buy a camera right this moment and aren't currently wedded to a system, the S1II makes a lot more sense than it did before. And if this truly is a change to its MSRP, and it'll at some point go on sale even further, that could make it a very interesting option indeed.

Read our Panasonic S1II review

Panasonic S1II

Panasonic S1RII

Photo: Leonp

Happy World Camera Day! In honor of the day, we are sharing your responses to last week's Question of the week. We asked you which camera was (or is) your most memorable, and to share a photo of the camera and an interesting story about it. This is a spin-off of another question asked a couple of months ago about which camera brand was your favorite, but this time, it may not have been your favorite camera brand that took the spotlight.

Several of you, as expected, mentioned more prominent brands like Canon, Nikon and Sony, but others made unique selections dating back to brands that no longer exist. While the technology of those cameras is now dated, dusty and rusty, the photographs and the memories they conjure up are forever, as they say. With our community over 25 years old and its members' collective experience spanning well beyond that, there were plenty of memories shared.

Keep reading to see which cameras our readers chose as their most memorable.

Your most memorable camera

Leonp: "In the late 1970s, my nephew bought a Pentax camera. My father was jealous, so he bought one for himself, too. My father wasn’t really into high-tech stuff and never made it through the manual, so I must have sneaked into his bedroom to take the above photo in the mirror using a diving lamp as a light source, which, if you look closely, is also a selfie of me. It took years for it to become my camera, and it changed the way I looked at the world forever."

Daithi: "The Nikon D850. It was a troubling time for the birth of mirrorless cameras. They were all basically the ugly litter of the well-established DSLR world. For me, this camera kept on truckin' for many years. The D850 had peerless resolution/image quality, and still does to a large degree."

GruberSrb: "Minolta Dynax 9xi (with booster). It was hated in photography circles, but its tech and fabulous design remind me of a ballerina in 'Swan Lake'. It still works flawlessly with a carbon shutter 1/12000sec like new, despite very heavy usage over the last 30 years in some of the worst conditions on Earth, from Patagonia to Kamchatka."

Thorstenwulff: "My first love was the F3. In the summer of 1987 she went to New York with me, and a box of T-Max 400. Paired with the 24/2,8 it was my perfect combo for street photography, even if you had to get a bit closer. The other Lens was the 105/2,5."

Photo: lonewolf1983

lonewolf1983: "I present you the Sony A850. I had been shooting with the Sony APS-C SLT cameras (A57/A77/A77ii) and picked up the A850 to complement them and check out what the full-frame thing was all about. I took it soon after on a trip to New Zealand, and captured some amazing images with its 24mp sensor, rock solid build quality, amazing OVF and IBIS, clicking that shutter and hearing the mirror/shutter was just glorious."

LJ - Eljot: "Canon G3: My first digital camera. Introduced in 2003, a 4MP digital compact. This one was aimed at enthusiasts and featured RAW images. Unusual at that time. Base ISO is 50, and it is basically unusable at the max ISO of 400. It takes about a full second to take a picture after pressing the shutter button. A terrible camera, but I learned to love the tilt-screen. And at ISO 50, the images look quite good, actually. Good macro capability as well. And a hot shoe with full flash compatibility."

fatplanediaries: "The Sony a6300. It overheated like crazy and had rolling shutter only comparable to the most wobbly of jelly, but it was the camera where I honed my photography and learned videography. I shot my film school application film with it on a homemade gimbal."

GeoffRG: "The Olympus OM1: I bought it in 1979, and it traveled with me to Seattle, Tanzania, Trinidad, and Australia. I sold it in 1990, along with my OM2n, a pair of OM4s, and a pile of lenses and accessories. I still don't understand why Olympus discontinued the motor drive system."

wood_gnome: "The Certo SL 110, because it was my very first camera. I bought it secretly and conspiratorially from pocket money when I was 9 (!) in March 1980."

Photo: Gato Amarillo

Gato Amarillo: "Always my favorite, my Deardorff. The above is a 5x7 model, but I used it with a 4x5 back. The lens is a Schneider Symmar 180mm, a longish normal for 4x5. Contrary to what most might expect, I used it mostly as a portrait camera. The camera was a basket case when I got it. My partner said it looked like something that had fallen off a truck on the freeway. You may notice a couple of odd knobs - I was never able to get together a full matching set."

Don Sata: "I loved my X-Pro1 to the point that I sold a Sony full frame prize camera from the Sony World Photography awards to get this gem with three primes (18, 27 and 60 mm). In this picture, the camera is posing with a set of Zeiss lenses lent to me for a month. I shot the camera, banged it on rocks, got it splashed, scratched and dented until the shutter died."

Otto Union: "Without a doubt, my long-gone Leitz Minolta CL with 40/2 Rokkor and 90/4 Elmar lenses. I bought these with tax refund money in April 1978. It was my first real camera and a real gem. It was extremely pocketable and accompanied me to many concerts in the late 70s / early 80s. It was stolen from my residence in 1983, and I'm still gutted about it."

cbf_si: "I was introduced to photography at 17 during the era of the first AF film cameras in the second half of the 1980s. My classmates were enthusiastic about cameras like the Canon EOS 650 and the Minolta Dynax 7000, but the Minolta X-700 caught my eye. I only got a used one when I got a job in 1998. Like many others, I initially equipped myself with the classic three focal lengths, 28 mm, 50 mm, and 135 mm. Today, I have lenses with focal lengths from 7.5 mm to 250 mm."

Photo: RLHN

RLHN: My most memorable (and first serious) film camera was the Petri 7S, a rangefinder film camera with a selenium cell meter that required no batteries and used "match needle" metering, which made it trivial to tweak exposure. I bought it "used" at a local camera store with my high school graduation gift funds, after someone traded it in because it was "too complicated". It was barely used, if at all. I took many great photos with it for years, until the photo cell sadly died.

BobKo: I've had many cameras, but the camera I remember most fondly is a Panasonic Lumix GH5. I primarily shoot video, and the GH5 was just a video beast. It made shooting really high-quality video a pleasure, and it really upped the quality of my YouTube uploads. Suddenly, my videos looked as good as the big boys. I got my GH5 in 2018, and it still works fine today -- I use it for a back-up camera and to shoot time lapses. What a great camera!

Gramar: The one stand out camera from the many I've owned over the past 50 + years has to be the original Sony RX100. I bought mine new in 2016 four years after they were launched. I found it ticked every box and was always my go to camera until I sold it in 2024 for almost what I paid for it new. It went everywhere with me despite owning a number of other camera during those times.

So many other stories we couldn't fit in this article are shared in the forums. Thanks to everyone who took the time to explain what your most memorable cameras are and why.

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

Share your most memorable camera!

Photo: Mykim Dang

After teasing the Osmo Pocket 4P at the Cannes Film Festival in May and giving media and influencers hands-on time with the device at the beginning of June, DJI has finally fully unveiled its higher-end camera gimbal via its Chinese and Southeast Asia platforms.

DJI has yet to give Western media a clear timeline when full details can be published; we were told we could only post hands-on photos of the device, without any information about it. This is particularly unusual, since outlets in China have already been allowed to post their reviews, and it's available for purchase in China and Southeast Asia, making much of the information we're not allowed to share – specs, pricing information, test footage, etc. – public.

Like the Osmo Pocket 4, the 4P features a camera with a 20mm equiv. lens with F2.0 aperture. However, DJI opted for a new Type 1 (116mm²) sensor featuring LOFIC technology, rather than the conventional CMOS sensor used in the base model. In addition to that is a dedicated 60mm equiv. telephoto camera, allowing for greater flexibility than a single camera (contentiously, it's not the only gimbal camera to offer this). The telephoto camera uses a Type 1/1.28 (75mm²) sensor (only 35% smaller than the main sensor) and a slightly faster F1.8 aperture.

Photo: Mykim Dang

The camera supports up to 12x digital zoom for video and 9x for stills. The company's subject tracking (ActiveTrack 8.0) is compatible with the 12x zoom range as well, helping to keep subjects centered in the frame even when fully zoomed in.

As usual with DR claims, we'd take that figure with a massive grain of salt.

DJI claims the 4P's main camera provides 17 stops of dynamic range, which is 3 stops more than the Osmo Pocket 4. As usual with DR claims, we'd take that figure with a massive grain of salt; 17 stops would be exceptional even for a much larger sensor. The company has developed a new, flatter Log curve, D-Log2, which can encode a wider dynamic range, explaining the increased claim, compared to the Osmo Pocket 4, despite its use of the same camera. It's important to note that D-Log2 is only available with the main camera.

The camera can shoot at up to 4K 240p, enabling dramatic slow motion footage. It also offers a "Pro" mode that gives users control of the shutter speed from 1/16,000 sec to 1/4 sec, allowing for more creative control. As a gimbal camera, it benefits from three-axis mechanical stabilization for smooth footage even when you're moving. It also supports gesture control to start tracking and recording, and the ability to rotate the touchscreen to power the camera on and start recording.

Photo: Mykim Dang

While primarily meant for video use, the Osmo Pocket 4P does provide some photo features, too. It is capable of 37MP photos and can take images in 1:1 or 16:9. It also features a Live Photo mode, recording 1.5-second clips for every photo.

The Osmo Pocket 4P offers 103GB of integrated storage and supports microSD cards up to 1TB. It promises 210 minutes of runtime on a charge and is compatible with the existing Osmo lineup of accessories. It will be available in white and black

Unfortunately, there's still confusion about the timing of the full release of the DJI Osmo Pocket 4P. It is available in China as of today for ¥3799 (roughly $559), but full global availability – and whether it will come to the US – is still unclear.

The Tamron 17-70mm F2.8 Di III-A VC RXD is a versatile, fast lens that's great for activities like family vacations. Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/2000 sec | ISO 160 Photo: Dale Baskin

Last week, Tamron announced new versions of its 17-70mm F2.8 Di III-A VC RXD zoom for Canon RF and Nikon Z mount APS-C cameras. While the lens has been around for several years in E-mount and X-mount versions, this news brings an exciting new zoom option to Canon and Nikon shooters.

The 17-70mm F2.8 delivers a 26-105mm equiv. range on Nikon APS-C cameras, and 28-112mm equiv. range on Canon's APS-C bodies. Most other F2.8 zooms for APS-C cameras in this range top out around 50-55mm, making the Tamron a distinctive option for those who want extra zoom reach with a constant F2.8 aperture.

That range makes it a great walk-around or travel lens, but the extra reach to 105mm equiv. also makes it well-suited to events, portraits, and street photography in ways the shorter 50-55mm competitors aren't.

Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/100 sec | ISO 320 Photo: Dale Baskin

We had a chance to borrow the RF-mount version of the lens, which we shot on a Canon EOS R7. Build quality and handling are pretty typical of Tamron's product line; the lens is relatively light for its size, and the zoom ring is well-balanced and easy to turn. There's no zoom lock, but I experienced virtually no lens creep during my use.

Notably, the RF-mount version of the lens gains two hardware controls not found on the other versions: manual switches to turn autofocus and optical image stabilization on or off – a nice touch, in our opinion.

Optically, the Tamron 17-70mm F2.8 delivers solid performance throughout its range. While it doesn't deliver the same level of sharpness as the most premium zooms on the market, it doesn't command a premium price, either, making it accessible to a lot of people.

To learn more about this lens, see our detailed launch coverage. In addition to the gallery below,you can also check out our earlier sample gallery, captured when the lens was launched for E-mount.

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.

Looking for an original take in a scene set up by Pat Domingo, I asked the model if she could get into the driving seat of the car on the set. I wanted to see how much of the huge strobe outside would make it through the narrow windscreen. I asked her to look forward, as if driving, then turn to her right, as if something had caught her attention. This is the moment she did. Leica SL3-P | Summilux-SL 50mm F1.4 | F5.6 | 1/200 sec | ISO 64 Photo: Richard Butler

The launch event for the Leica SL3-P included not only the chance to get trackside at the famous Nürburgring motor racing circuit and a studio setup by fashion photographer Pat Domingo but also the presence of famed photographer Steve McCurry.

This meant I found myself in the frankly ridiculous position of asking to shoot a portrait of one of the world's most famous portrait photographers, as well as the more familiar challenge of trying to find a unique shot in a pre-staged studio scenario.

Included in the gallery are a handful of shots taken with the new 50mm F1.4 and 100mm F2.8 Macro lenses.

Here's Leica SL3-P (and I) got on:

Leica SL3-P 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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

Since it was released two months ago, Olivia Rodrigo's music video for the song "drop dead" has already garnered 42 million views. There are probably a lot of reasons it's been so popular: it's the lead single for a very popular artist's new album, was shot on location in Versailles and clips from it have been popular on social media sites like Instagram. But the aesthetic of the video probably helps too; it has a dreamy, old-school look to it that taps directly into 90s VHS nostalgia.

While that's well-trodden ground for modern music videos, the effect is very convincing... because it's real. A recent video from the YouTube channel Frame Set goes deep on how the video, directed by Petra Collins, was shot, in a wide-ranging interview with its cinematographer, Todd Banhazl.

The video obviously covers the mix of cameras used, going into why the crew chose to use BetaCam, VHS and MiniDV, and the different situations where they needed to go with one over the other. There are plenty of interesting details in it for camera nerds, but it also doesn't slack on discussing craft; a lot of the video is focused on the interesting lighting setups needed to film in a historic building with limited control while using cameras with very low sensitivity.

It also touches on other technical aspects, like the difficulties of editing interlaced footage that will eventually be shown using a platform designed for progressive video, and deeper topics like the rise of the lo-fi aesthetic in the age of AI-generated imagery. Even if you're not into music videos or Olivia Rodrigo's brand of pop-rock singer-songwriting, the interview is well worth a watch just to see a clearly talented creative talk about their process.

Photos: Mitchell Clark

Earlier this year, Nikon introduced a new version of one of its professional full-frame workhorse lenses: the Nikkor Z 70-200 F2.8 VR S II. We've now had the chance to spend some time with it, shooting portraits, firefighting aircraft and more. You can jump straight to the gallery to see the results for yourself, or read on to see what we thought about how it feels to use and the images it produces.

In Use

Three of the Z 70-200mm F2.8 VR S II's states. Left: its smallest and lightest configuration (998g / 35oz). Middle: the lens with the cosmetic bayonet cover (1028g / 36.3oz). Right: the lens with its foot and hood (1248g / 44oz).

The big (or rather, not so big) selling point of this lens is its size and weight. Without the tripod foot and cosmetic sleeve installed, it's only 998g (35.2oz); the lightest full-frame 70-200mm F2.8 for a mirrorless system. With that said, I typically preferred to use it with the tripod foot; it's Arca-Swiss compatible, making it very easy to mount to a tripod, and the lens isn't quite light enough that I feel terribly comfortable toting it around without a solid handle to remind me that I'm carrying a camera attached to a lens, not the other way around.

Even with the foot, the lens’s weight is competitive with that of its lightest competitors, and is a substantial improvement over the original. The lens's center of gravity is also remarkably consistent as you move through its zoom range, so you don't have to shift your grip as you change focal lengths.

The tripod foot and decorative bayonet collar are toollessly removable using a button and a bit of a tug.

In terms of features and controls, this lens has most everything you could want, with the exception of the top-display from the previous generation that some – though not I – may miss. And as someone who has long disliked clickless control rings, it's good to see Nikon providing the option to click or declick the one on this lens, even if I’d still personally prefer a dedicated aperture ring.

I also appreciate the ample number of function buttons, which are available no matter what orientation you're holding the lens in. The manual focus and zoom rings are also satisfying to turn, and the latter is a relatively short throw, letting you move through the range quickly if need be. While the pattern on them provides plenty of grip, I do wish they were just a bit softer, but not enough that I'd be willing to accept any trade-off in durability.

The tripod collar can be freely rotated, making it easy to switch from portrait to landscape, even when mounted on a tripod. I do wish it had detents or clicks at 90° intervals, though, as those make it easier to tell when you're perfectly aligned.

Nikon says the lens has an upgraded autofocus system, and I found it always kept up with the camera, snapping into focus very quickly. It never felt like the lens’s autofocusing motors were bottlenecking the body, or like I would have gotten a shot if only it had moved a bit faster.

When working in concert with a stabilized sensor, this lens's optical stabilization is among the most impressive that I've used in a full-frame zoom. It's so effective, in fact, that it can occasionally be a bit difficult to precisely recompose your image with it on, though I only really noticed that in a few situations.

Optics

With the lens wide open at F2.8, there's noticeable vignetting at the corners throughout its focal range (though it's most noticeable at the long end). It mostly clears up by F4, though you'll see further improvements going to F5.6. While this can easily be corrected using the lens's profile, this will come at the cost of having fractionally more noise visible in the corners of the image.

You can gain a small sharpness advantage in the corners by stopping down, too, but in our experience, this lens is very sharp corner-to-corner no matter what focal length or aperture you're shooting at.

70mm	F2.8	F4	F5.6	F8.0
200mm	F2.8	F4	F5.6	F8.0

I find the lens's bokeh to be very pleasing, rendering even busy backgrounds relatively smoothly. The specular highlights are also quite clean, without distracting aberrations, which is exactly what we'd want to see in a professional lens destined to shoot a lot of weddings with trendy lighting.

Nikon's latest coatings are also quite impressive. There was one time when I was shooting pretty much directly into the afternoon sun, which produced a somewhat washed-out image, but things improved as soon as I was shooting even a little off-axis.

1	2	3

The lens makes use of minor software corrections for geometric distortion – there's a very mild amount of pincushion distortion at the long end and barrel distortion on the short end – but we wouldn't consider using them mandatory. And, indeed, neither does Nikon; with the 70-200mm F2.8 VR S II attached, the camera allows you to turn off Auto Distortion Control, which isn't the case with every Z mount lens, such as the Nikon 24-120 F4 S.

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

Thank you to Nikon for the loan of a Nikon Z8 to capture this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting.

Nikon Z 70-200mm F2.8 VR S II specifications:

Image: Adobe

Adobe is acquiring Topaz Labs, the company behind widely used image and video enhancement tools, including Topaz Photo, Topaz Video and Topaz Gigapixel.

The announcement follows a previous partnership between the two companies, unveiled at Adobe Max in October 2025. At the time, Adobe integrated some of Topaz's popular upscale, denoise and sharpen models directly into Photoshop, providing access to the tools using Adobe's AI credits rather than a separate paid subscription for each app. Topaz Gigapixel was also added to the cloud-based version of Lightroom in February 2026.

With the acquisition, Adobe says it plans to expand Topaz's AI enhancement models – which include upscaling, noise removal, sharpening, stabilization, frame interpolation and footage restoration – across its Firefly AI generation software, Firefly Services, and Creative Cloud products. Adobe also highlighted the integration of Topaz's proprietary Neurostream technology, which enables large AI models to run locally on consumer hardware rather than requiring cloud processing.

What this means for existing Topaz customers isn't totally clear. Adobe says Topaz products will continue to be available as standalone offerings through Topaz's own website after the deal closes, and that Topaz Labs CEO Eric Yang will remain with the company. It adds that customers "can expect continued support and investment in future innovation." However, the announcement makes no mention of pricing, subscription structure or how Topaz's tools will be positioned relative to Creative Cloud subscriptions going forward.

The transaction is expected to close in the second half of 2026, pending regulatory approval (which isn't always a given).

"The horse is symbolic of that ridden by Hussein, the great-grandson of the Prophet Muhammad, who was slaughtered over 1400 years ago and still revered in the modern era. This is an important day in the Muslim calendar – the ‘Muharram Jaloos’ procession." Fuji X-H1 | Fuji 16mm F1.4 | F5.0 | 1/125 sec | ISO 200 Photo: Mark Lamb

Mark Lamb, known as Dark Inventions on the forums, serendipitously submitted a portrait photography spotlight to us right before we announced our community self-portrait mini challenge. This is a great capper for a week of luminous portrait photography among multiple community initiatives. Be sure to stop by the community forums to check them all out. In the meantime, see Mark's story and the people he photographed 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.

"Another image from the Whitby goth gathering – one of the regular attendees." Sony a7R V | Sony 85mm F1.4 | F1.4 | 1/400 sec | ISO 400 Photo: Mark Lamb

Meet Mark Lamb

Home base: United Kingdom

"Photography has been part of my life for over forty years. What began as an interest in recording people and places gradually became an exploration of memory, identity and the passage of time. I have always been drawn to portraits because they allow me to connect with people from every walk of life."

"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."

What's in Mark's bag

Mark's camera bag Photo: Mark Lamb

Favorite camera: Sony a7R V

"The camera has become less important than the conversation that happens before the photograph. The image is often the final stage of a much longer process of listening and understanding."

• Lenses:
  • Sony FE 24mm F1.4 GM
  • Sony FE 35mm F1.4 GM
  • Sony FE 50mm F1.2 GM
  • Sony FE 85mm F1.4 GM
  • Sony FE 135mm F1.8 GM
  • For the Olympus PEN-F: 12mm and 17mm lenses (equivalent to 24mm and 35mm full-frame).

• Support gear: Mark typically carries a silver/white foldable bounce board and, when using the Olympus PEN-F, its compact flash unit. Away from photography gear, he considers a notebook and pen essential, along with calling cards featuring contact information and samples of his work. He keeps the kit flexible primarily by changing lens combinations rather than adding equipment, usually choosing either a 24mm/50mm/135mm trio or a lighter 35mm/85mm pairing.
  
  
• Camera bags: Peak Design Everyday Sling 10L and a second Peak Design sling.
  
  "I use two Peak Design slings, but usually only carry one of them on a shoot. Despite its modest size, the 10-liter sling will fit an a7R V with a 50mm lens and another a7R V with a 135mm lens. If I'm carrying a third body with the wide-angle lens, it will be on a QD sling outside the bag. I love these bags because I'm never tempted to overload them, and they are reassuringly waterproof."

"The girl’s precious rabbit was initially hidden, but a cooperative mom negotiated an appearance from him. Whitby Goth Gathering." Sony a7R V | Sigma 65mm F2 | F2 | 1/3200 sec | ISO 200 Photo: Mark Lamb

"I am primarily a portrait photographer. I am interested in people who carry visible traces of their lives in their faces, clothing, surroundings and personal histories."

"Many of my photographs are taken in northern England, particularly around Scarborough and Whitby. Whitby has been especially important because it brings together people from remarkably diverse backgrounds. The annual Goth events provide opportunities to photograph individuals who have consciously created identities that challenge conventional ideas of age, beauty and self-expression."

"My aim is always the same: to create portraits that are honest, empathetic and respectful."

"Alongside this, I photograph travelers (gypsies), circus, religious groups, family members, veterans, theatrical performers, dancers, and any of the charismatic people I encounter in my everyday life. My aim is always the same: to create portraits that are honest, empathetic and respectful."

"Beamish, near the city of Durham in the north of England." Sony a7R V | Sony 24mm F1.4 | F2.8 | 1/250 sec | ISO 2500 Photo: Mark Lamb

How has your photography changed over the years?

"I'm not getting any younger (my vintage is 1956), so I'm in a constant battle with myself to lose weight from my bag by shedding all but essential gear. I'm definitely more patient than I used to be and make a lot of effort to engage fully with my subjects."

"I tend to use a simpler visual language these days, and I think it helps give my work a recognizable stamp. I've been fairly successful in the last year or so since I made an effort to put my work out there (rather than sitting on a hard drive) and, as a result, found success in the Taylor Wessing Portrait Prize, when a portrait of my wife was selected in the English National Portrait Gallery in London. I've also had exhibition success and appeared in a few magazine articles."

"My wife and dog, Enid and Molly. This is entitled ‘Precious Things in the Stream of Time’ and was exhibited at the National Portrait Gallery in London." Leica Q2 Monochrom | Summilux F1.7 28mm ASPH | ISO 200 Photo: Mark Lamb

Portraits don't always reveal the surrounding scene. What places are your favorites to take these photos in?

"I'm a frequent attendee at the Whitby Goth Weekend, which happens twice a year, in the historic streets of this old fishing village. I also attend community events, special-interest meetings such as comic cons, and turn up regularly at cultural events such as gypsy horse fairs, religious processions and so on. In short, I will go anywhere that I can expect to find interesting people."

"As a younger man, I traveled the world extensively (circa 170 countries), but these days I don't feel the need to leave the UK in my search for subjects. I'm pretty certain that if I lived closer to London, I wouldn't need to travel outside the M25 (the motorway that encircles the city). Instead of traveling, I prefer to spend my effort in returning repeatedly to the same communities, which allows me to build relationships over time."

"Joan was ninety-three when this portrait was shot. She had just been running (!!) to catch a bus and had narrowly missed it. Luckily for me, she then had plenty of time for a portrait session." Sony a7R IVa | Sony 50mm F1.2 | F1.2 | 1/640 sec | ISO 100 Photo: Mark Lamb

Is there such a thing as "the perfect portrait"?

"The perfect portrait usually happens after the planned photograph. Once the subject believes the session is over, the performance often drops away and something more truthful emerges. I pay close attention to conversation, body language and silence. Technical decisions are important, but the most important part of portrait photography is creating an environment in which people feel comfortable enough to reveal themselves."

"The perfect portrait usually happens after the planned photograph."

"The only advice I could possibly offer to someone I don't know is to shoot what you know and not what you'd like to be seen shooting. That's how I view my ongoing One Thousand Contemporary Portraits project. I'm also continuing work on memory, aging, and identity, and I have a burning desire to create a lasting portrait record of contemporary Britain."

Mark really enjoyed participating in this spotlight article and would be grateful for you to join him in discussion in the forums.

You can check out his other work at darkinventions.com.

Thanks, Mark, for being featured!

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?'

Sample gallery

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The Leica SL3-P is a high-speed, high-resolution L-mount full-frame camera built around a 44MP BSI CMOS sensor. It's the latest in the company's SL range and perhaps the most polished and all-round capable camera in the series so far.

Key specifications

• 44MP BSI CMOS full-frame sensor with phase detection
• up to 40fps shooting with AF in 12-bit mode. Up to 15fps in 14-bit.
• Subject recognition AF
• 8K open-gate video up to 24p (7.2K open-gate up to 30p)
• Full-width 8K (UHD or ∼DCI) up to 30p
• Full-width 4K up to 30p, 4K/60 and 4K/120 with increasing crops
• Content Credentials image certification
• Battery rated to 383 shots per charge
• IP54-rated all-metal construction

The Leica SL3-P will be available immediately at a recommended price of $6695 excluding tax in the USA, or €5990, including sales tax.

Index:

• What is it?
• How it compares
• Body and handling
• Video
• Autofocus
• In use
• Initial impressions
• Specifications
• Leica press release

What is it?

That 44MP BSI CMOS sensor will be familiar to anyone that's been following Panasonic's recent launches.

Thus far, Leica has produced high-resolution SL models and high-speed SL-S versions. The SL-P appears to be something of an attempt to merge the two lines, offering both high speed and high resolution.

The result is something akin to Sony's recent a7R VI or, perhaps more pertinently, the Panasonic S1RII: not an out-and-out sports camera but more a studio and landscape camera that's happy to venture further afield. That Panasonic comparison is unavoidable as the 44MP, 40fps headline spec is shared between both cameras, as are their processors, even if the branding of them differs.

However, our experience of the SL3-P and the S1RII reminded us of how different you can make two cameras, even if you start with many of the same components and have similar destinations in mind.

Leica talks a good game about building cameras that last, and that's immediately apparent in the feel and heft of the SL3-P. But what's really striking is how few control points the Leica seems to have. That minimalism, honing the camera down to its core functions and little more extends to the menus and interface, meaning it gives a very different experience to the Panasonic. Or, indeed, any other mainstream camera.

How it compares

Although it offers both high speed and high resolution, the SL3-P doesn't match the do-everything levels of capability of the Nikon Z8 and Canon EOS R5 II, with their stacked CMOS sensors. Instead it's closer in ethos to the Sony a7R VI or, perhaps unsurprisingly, the Panasonic S1RII, essentially delivering a studio and landscape camera that isn't scared of a little action, rather than a camera you might pick for sports work.

We've also compared it here to the SL3, which offers higher resolution but less speed, if absolute image quality is more important to you than the added speed.

It probably shouldn't come as a surprise to find that the SL3-P's specs are a very close match for those of the S1RII. The differences between the two cameras aren't something readily captured in a specs table.

The original SL3 offers a slight boost in resolution capture but at the cost of a lot of the new camera's flexibility. Sony's a7R VI offers both though: higher resolution and competitively fast shooting with excellent autofocus and slightly wider dynamic range. It's hard to imagine how two user interfaces and user experiences could be more different, for two cameras ultimately trying to do the same thing, though.

Body and handing

The SL3-P's design is as simple and solid as the huge sans serif branding across its viewfinder hump. And with a vague sense that this is how it's always been.

The SL3-P uses the same body as the existing SL3 models: a solid, angular block of a thing with a few large control points and a substantial grip to wrap your hand around. The Leica branding across the viewfinder hump is so beautifully proportioned that it's easy to assume that this series (and, perhaps, a series of film cameras before it), have always looked this way. So it was a shock to see the original SL in the company's archives and see how far the design has evolved.

There are two buttons on the front of the camera, two on the top and one on the back, none of which have marked functions. Instead they can be re-programmed with a long press. In addition there are three marked buttons on the back of the camera: Play, Fn and Menu.

Then there are the three large command dials: one towards the front of the top plate, one protruding from the rear of the right shoulder and a third on the top left of the camera (which I kept forgetting about, as it's such an unorthodox place to find one).

Beyond this there's a small rubber joystick on the back of the camera, and that's about it. Relatively few control points and still fewer dedicated ones. No switches for focus mode or AF area, not even the seemingly obligatory stills/movie switch: that's controlled by swiping left or right on the rear screen.

Rather than making you dig through an incredibly long list of formats, the SL3-P makes it easy to filter down to the video modes that fit your shooting scenario.

We'll touch more on the user interface in the 'In use' section of the review, but Leica is continuing to refine the rather elegant and focused interface it introduced in the SL3. For instance, in this latest camera, the company has re-worked the way you select a video mode: letting you select the parameters that are most important to you: frame rate, resolution, codec, etc, then filtering down the available list from a seemingly unmanageable 193 down to the handful that fit your requirements. It sounds obvious once you've seen it done, but it's cleaner and simpler than most cameras we use.

Viewfinder and screen

The SL3-P has the same viewfinder as the other SL3 models: a 5.76M dot OLED panel (1600 x 1200px) with 0.76x magnification and a 21mm eyepoint. A large circular rubber cushion makes the camera comfortable to use if you wear glasses and there's a -4 to +2 diopter adjuster set behind that cushion.

The rear screen is a 2.33M dot (1080 x 720px) panel mounted on a tilt up/down mechanism.

Ports

The SL3-P has the same port arrangement as its sister models, with 3.5mm headphone and mic sockets and a full-sized HDMI socket under a large, rubber flap on the left flank of the camera. Below these is a USB-C socket that can be used for data transfer (10Gbps), tethering (including to an iPhone) or charging.

Battery

As has become standard for Leica, the base of the battery includes the outer surface of the camera. There's a sprung silver lever on the base to release the battery and a stepped latch to prevent it just dropping onto the floor when you do.

The camera uses the same BP-SCL6 battery as its siblings: a 15.8Wh unit that powers the camera to a rating of 383 shots per charge, when tested to the CIPA protocol. As always, this tends to significantly under-represent the actual number of shots you can expect to get, but a rating of nearly 400 shots per charge is the sort of number that should means an enthusiast photographer rarely has to worry about topping-up on a day's shooting. It's only intensive shooting such a weddings, or anything involving a mixture of video and stills that are likely to call for you to have a spare to hand.

Autofocus

The Leica's autofocus behavior is as innovative and unconventional as the rest of the UI.

The camera has three AF area modes, but offers more than three AF areas. The first is called "Spot / Field," the second is called "Multi-Field / Zone" and the last is called Tracking.

There are three AF area options available, but two of them represent a series of different AF area modes.

The clue is in the forward slashes. Spot / Field lets you select a single AF point of various sizes, while Multi-Field / Zone lets you choose between an adjustable AF zone and all-area AF, where the camera selects a subject from anywhere within the frame. Once you've chosen an AF zone mode, you can adjust it by pressing the AF area on your rear screen or long-pressing anywhere on the live preview. This then lets you use the rear dial to adjust the focus area size.

You can't adjust the size of the tracking AF target but you can, in the menus, reconfigure it so it doesn't keep jumping back to the center of the screen.

Like Panasonic's recent cameras, the camera will track recognized subjects when you have subject recognition turned on, but won't track non-recognized subjects at all. So you'll need to turn subject recognition on and off depending on what you're trying to photograph. We'd definitely recommend configuring a button to do this.

By default, the camera's Tracking AF mode gives you a small rectangle that resets to the center of the frame at the end of each burst. However, while you can't change the size of the initial target, you can configure the tracking target to revert to wherever you last triggered it. So, for instance, if you want to track a car down through a series of curves, across your frame, then have the camera jump back to where the next car is likely to arrive, you can.

In use

One of the Leica's most compelling aspects isn't something you can see from product photos or interpret from the spec sheets: the user interface.

The SL3-P uses the latest iteration of the back-to-basics interface Leica has been refining over the past few years.

Pressing the menu button brings up this status panel, which can be customized with a long press of any of the virtual buttons. You can even customize the list of available options, to make selection faster. Pressing the menu button again takes you into the main menu, which is impressively concise for a modern camera.

At its heart, it's designed around putting the key photographic parameters at your fingertips and minimizing the extent of, and need for, menu options. For instance, holding down a customizable button or long-pressing any of the on-screen icons brings up a list of other functions you can assign to it. In fact one of the few options present in the main menu is one to filter-down which options are presented to you, when you long-press a control point to customize its function.

The result is an interface very focused on the fundamental settings of photography. It affords you the luxury of just ignoring what's going on in the interface, much of the time, and just letting you concentrate on the settings assigned to the two big dials, and what you're seeing in your viewfinder.

The Play, Fn and Menu buttons on the back of the camera are the only ones with marked functions: the rest are designed to be configured (and reconfigured) to suit your shooting style and preferences.

This minimalist approach extends to the body and its control points, too, with a smattering of custom buttons, a joystick and three large, solid-feeling command dials being your points of contact. It's remarkable how few dedicated control points there are and while, for my shooting, I found myself sometimes wishing for an AF mode selector, with a little work it's very likely that you can set the camera up in a way you find very quick and easy to work with.

Because it's such a different way of working, the interface takes a little bit of getting used to, though. It rewards you for taking the time to adjust to its design philosophy. One aspect of which is learning to save your setup as a user profile, or risk discovering that selecting the default profile erases any customization you've started applying.

It's also worth recognizing what is and isn't included in these profiles. Exposure mode is, but specific exposure settings aren't, so my attempt to build a profile for freezing the action and another one, with a slower shutter speed, for panning ended up being unsuccessful. Likewise, it's worth carefully planning your profiles before saving them: I thought it would be handy to define a custom button to switch between profiles. Which was great until I pressed the button and switched to a profile with different custom buttons settings, so couldn't get back.

Overall it works very well, though, giving a very photo-focused shooting experience where, for all the cleverness that modern cameras have brought, you end up remembering that the only things that really matter are shutter speed, aperture value, composition and where you're going to focus.

Video

Despite us saying that the SL3-P has a very photo-focused interface, it's probably better to say that it's a very exposure-focused. Swipe left on the camera's settings panel and you get a similar but now video-centric display, with yellow, rather than red accents.

The SL3 offers an incredible range of video modes: 157 in total. These range from 8K open-gate capture, that uses the full extent of the sensor, via 8K in either 1.89:1 or 16:9 aspect ratios and on to 4K capture, again with a choice of aspect ratios. But the camera also offers a selection of other resolutions for each of these capture regions, letting you strike a balance between resolution capture and speed.

Like Panasonic's S1RII, the SL3-P doesn't quite have enough pixels to capture DCI 8K (8192 x 4320px) footage so instead outputs 8132 x 4288px footage. UHD 8K is no problem, though, so you can also select the more conventional 7680 x 4320 resolution, if you prefer.

As you'd expect of a modern camera, you get the choice of 10-bit Log or HLG, or 8-bit if you don't plan to color grade, and you're targeting SDR displays.

Video options:

As with the Panasonic S1RII, the SL3-P has a Dynamic Range Expansion mode in video, which reads each exposure in both low conversion gain mode for maximum highlight capture and in high conversion gain mode, for cleaner shadows, and combines the two, to boost DR.

This is available in any resolution mode but only at frame rates up to 30p. In each case it increases the readout rate by around 33%. So, for instance, the UHD 8K/24 mode increases from 23.9ms to 31.9ms.

Initial impressions

The Leica SL3-P is the fastest-shooting camera Leica has ever made and should, in principle, be the only SL model they need to persist with. It offers an awful lot of what the SL3 offers, in terms of resolution, and it outperforms the more speed-focused SL3-S.

The subject recognition AF performs impressively well: finding subjects very quickly and following them well (especially when it's a subject the camera has been trained to recognize). Just as the user interface as a whole takes some getting used to, it's worth digging around in the menus and familiarizing yourself with the SL3-P's AF logic before you go out shooting. Without an instruction manual it wasn't obvious that Leica had grouped its AF area modes, or how to switch between them, nor that you can override the camera's default behaviour when it comes to AF tracking.

Some issues you can't overcome, though. The sensor is fast, but it's not as quick as the best stacked CMOS sensors. So the camera will start showing a slideshow of the images you've just shot, when you're shooting at its fastest rates, making it very difficult to keep pace with the action. Similarly, we were advised to shoot Raw-only and to disengage Content Credentials, to get the best performance.

Rolling shutter can become visible if the camera or subject moves too quickly. The camera makes clear whether it's shooting in 12 or 14-bit readout mode, which significantly affects the rolling shutter rate. Leica Vario Elmarit 24-90mm F2.8-4.0 @ 75mm | 1/320 sec | F6.3 | ISO 100 Photo: Richard Butler

And, even with that done, the camera's approximately 20ms (1/50 sec) readout rates in 12-bit mode mean that rolling shutter will be apparent if you're trying to follow really fast action.

In this respect it's a lot like the Sony a7R VI we recently reviewed: very fast for a high-res studio/landscape camera, meaning it'll handle itself very confidently in a much broader range of circumstances than that. It's not quite the high-res, high-speed all-rounder that Canon's EOS R5 II and Nikon Z8 are, but it'll still be more than enough camera for a very broad range of photographers, taking a very broad range of photos.

The challenge, as ever with Leica, is the price. It's a beautifully built object, constructed in Portugal and Germany, that wears the Leica name and is likely to sell in relatively small numbers, when compared to the volumes of the large Japanese manufacturers. As such, the price is high.

For that money you get the fruits of some very clever design work, in a body that feels like it's designed to last decades. However, parts availability and the continued march of technology (we can already see that sensors and AF will continue to get faster), will make it difficult to match the sense of longevity that a Leica film camera gave you. So, as always, part of the calculus comes down to: how important are those five letters to you?

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

Photo: Leica

Alongside the SL3-P, Leica has announced two new full-frame L-mount lenses: the Summilux-SL 50mm F1.4 Asph., and the APO-Macro-Elmarit-SL 100mm F2.8. The former is an update to an existing model, offering the same focal length and speed in a much smaller and lighter package, while the latter is a new addition to the company's mirrorless lineup.

The 50mm F1.4 features an optical design with 11 elements in 6 groups, with 2 aspherical lenses. It has an 11-blade aperture, and can focus as close as 0.5m (19.7").

The 100mm F2.8 Macro. Photo: Leica

The 100mm F2.8, meanwhile, can focus as close as 0.29m (11.4"), providing 1:1 reproduction. Its optical formula consists of 17 elements in 12 groups, and Leica says its apochromatic correction lets it provide "outstanding imaging performance right to the edges." It has a 9-blade aperture. Interestingly, these specs overlap precisely with those of Sigma's most recent 105mm F2.8 Macro.

Leica SL3-P | Leica APO-Macro-Elmarit-SL 100mm F2.8 | F3.5 | 1/200 sec | ISO 250 Processed in Capture One Photo: Richard Butler

The company says the 100mm F2.8 is designed to honor one of its classic designs, the 1987 APO-Macro-Elmarit-R 100 F2.8. It's 138mm (5.4") long, and weighs 862g (30.4oz)

The 50mm F1.4 is 76mm (3") long, and weighs 584g (20.6 oz). This is compared to Leica's previous Summilux-SL 50 F1.4 Asph., which was 124mm (4.9") and 1065g (37.6oz), making the new much nicer to carry around.

Leica SL3-P | Leica Summilux-SL F1.4 Asph. | F5.6 | 1/200 sec | ISO 64 Processed in Capture One Photo: Richard Butler

Both lenses feature an aluminum build painted black, and are sealed against dust and splashes. The 50mm features an extremely minimal design; its only control is the large focus ring. The 100mm has one too, as well as a focus limiter switch. Both are threaded for 67mm filters. For the 50mm, this represents a substantial downsizing from its predecessor, which used 82mm filters.

The Summilux-SL 50mm F1.4 Asph. will retail for $4950, and the APO-Macro-Elmarit-SL 100mm F2.8 will cost $2700. Both lenses are scheduled to launch at the end of the year.

Leica Summilux-SL 50mm F1.4 Asph.

Leica APO-Macro-Elmarit-SL 100mm F2.8

Specifications:

Photo: Chris Konesky / LK Samyang

LK Samyang has announced the AF 60-180mm F2.8 FE, a compact and versatile lens for Sony full-frame systems. The new lens joins the company's AF 14-24mm F2.8 FE and AF 24-60mm F2.8 FE lenses, completing the trio of lightweight zoom lenses designed in collaboration with Schneider-Kreuznach.

Like the other two lenses in the set, the 60-180mm offers a constant F2.8 maximum aperture and a compact, lightweight design. It weighs just 730 g (1.6 lbs), which LK Samyang says is the lightest in its class. For comparison, while it offers a slightly different range, Sony's 70-200mm F2.8 GM OSS II weighs 1045g (2.3 lbs). LK Samyang's lens is also lighter than the Tamron 70-180mm f/2.8 Di III VC VXD G2, which comes in at 810 g (1.8 lbs).

The lens uses an external zoom design, with a difference of 25mm (roughly 1") when zooming in or out all the way. Photo: Chris Konesky / LK Samyang

The lens consists of 17 elements in 14 groups. These include one high-refractive, seven extra-low dispersion and two aspherical elements, aimed at minimizing aberrations and helping produce sharp images. It uses an extending zoom design, with the length increasing from 149mm (5.9") at the wide end to 174mm (6.9") when zoomed in.

The 60-180mm F2.8 features a floating focus system to help maintain image quality across the focus range. At the wide end, it offers a minimum focusing distance of 0.35m (1.2') and a maximum magnification of 0.26x (a ratio of 1:3.8), making it useful for close-up images. A linear stepping motor drives its autofocus system, which LK Samyang says is quiet and precise.

In terms of lens controls, it features an AF/MF switch and a zoom lock to keep the zoom constant even when moving. It accepts 77mm filters, the same as the LK Samyang 14-24mm F2.8 lens. Unfortunately, the 24-60mm F2.8 lens takes 72mm filters, so one set of filters won't be compatible with the entire lens set. There's also a USB port for firmware updates and weather sealing.

The 60-180mm F2.8 joins the 14-24mm F2.8 and 24-60mm F2.8, completing what LK Samyang calls "The Perfect F2.8 Trinity System." Photo: Horia Vlad Bogdan / LK Samyang

The lens is only available for E-mount for now. However, LK Samyang recently released an L-mount version of the 14-24mm, and it says that the series will "continue to grow with L-mount." It isn't clear when we can expect it, but L-mount users should be able to count on the full trio coming to their system at some point.

The LK Samyang AF 60-180mm F2.8 FE lens is available for purchase starting today, though it hasn't specified a price. The company also says it will gradually launch across global markets with no set dates for specific regions.

85%

Overall score

Jump to conclusion

The Panasonic DC-L10 is an enthusiast compact with a Four Thirds sensor and an optically stabilized 24-75mm equiv. F1.7-2.8 lens with motorized zoom. Like the Panasonic's LX100 and Leica's D-Lux series of cameras, the camera doesn't use its entire sensor, instead letting you preserve the same diagonal angle of view for 4:3, 3:2 and 16:9 crops of it, which use up to 81% or around 183mm² of the sensor.

Key Specifications:

• Up to 20.3MP images from a 26.5MP BSI CMOS Four Thirds sensor
• 10.9 - 34mm (24-75mm equiv.) F1.7-2.8 lens with OIS
• 2.36M dot OLED viewfinder
• 1.84M dot 3" fully articulating display
• Phase-detect autofocus with 6 subject recognition modes
• Metal body
• 5.2K open-gate video up to 30p
• 1x UHS-II SD card slot

The black and silver versions of the L10 cost $1499, and there's a special edition "Titanium Gold" version for $100 more, available from limited outlets (typically direct from Panasonic). It includes a threaded shutter button, leather strap and a color-matched automatically-opening lens cap (the latter accessory is available to buy separately for the standard editions in silver and black).

Index

• What's new
• How it compares
• Body and handling
• Image quality
• Autofocus
• Video
• In use
• Conclusion
• Sample gallery
• Specifications

What's New?

The LX100 II (left) is a fair bit smaller than the L10 (right).

Panasonic is pitching the L10 as the start of a new line of compacts, rather than a direct successor to the LX100 II from 2018, but the cameras' shared DNA and place in the market make it worth seeing what else the removal of an X and a zero has changed. The biggest difference is, of course, the design, which will be covered in the body and handling section.

Updated sensor

The L10 uses the same 26.5MP Four Thirds (225mm²) sensor that's found in the GH7 and G9 II. This results in images that have better dynamic range and are slightly higher resolution than you could get out of the LX100 II: up to 20.3MP in its 4:3 mode, rather than 17MP.

The L10 continues Panasonic's tradition of cropping in on its sensor to produce a multi-aspect ratio shooting experience, where the different crop modes it offers generally have the same diagonal angle of view. Graphic: Richard Butler

The bigger improvement, though, is the addition of phase detect autofocus. The L10 has essentially the same autofocus we've seen in all of Panasonic's most recent cameras, with algorithms for recognizing six kinds of subjects (humans, animals, cars, motorcycles/bikes, trains and planes), as well as part priority (e.g., focusing on a rider's helmet, or the cockpit of a plane) derived from machine learning.

New processor

Panasonic has used its latest processor in the L10, the same one found in recent models like the S1RII. The camera runs Panasonic's latest-generation of firmware, so it's compatible with the company's Lumix Lab app and has features like HLG HEIF output, Live View Composite (a multi-exposure mode that shows you the image as it builds up, and lets you stop it when you choose), in-camera processing of focus stacking bursts and the Real-Time LUT system, which lets you bake custom-designed color profiles into your JPEGs and videos.

A cornucopia of colors

While the Real-Time LUT system (for which there's a dedicated button on the rear plate) lets you use custom color modes for your JPEGs, the camera includes a few new built-in color modes too, which Panasonic says are "film‑inspired." These are "L.Classic," which the company says is low-saturation and highlights greens, and "L.ClassicGold," which gives your photos a very warm, amber look.

Standard Color Profile	L.Classic Neo	L.Classic	L.Classic Gold

The decision to include these new modes was apparently based on the popularity of the L.ClassicNeo profile that it's included in its cameras for years. For video shooters (or photographers looking for a video-like look), the camera also includes a suite of "Cinelike" modes such as Cinelike D2, which is designed to give you a pleasingly flat look that, unlike the also-included V-Log, can be used for output, while still offering some editing flexibility in post.

How it compares

One of the most exciting things about the L10 is that it's a new enthusiast compact camera aimed at photographers, which is something we haven't seen in quite a while. Companies like Canon and Sony still sell the latest entries in their G7X and RX100 lines, but both cameras were introduced in 2019, around 7 years ago.

While it can be tempting to compare the L10 to cameras with fixed prime lenses like the Ricoh GR IV and Fujifilm X100VI, the use of a zoom lens means it's targeting a different kind of photographer. Likewise, vlogging compacts like Canon's PowerShot V1 and Sony's ZV-1 II are much more focused on pleasing videographers than photographers.

By virtue of being the newest camera on this list by at least seven years, the L10 has the benefit of many modern features we've come to expect: subject recognition for more than just faces, fast Wi-Fi transfers to a modern app, pre-burst capture, full-width video even at ambitious resolutions and frame rates and more. And while Panasonic typically hasn't matched the autofocus performance of Sony and Canon's latest systems, the systems used by the compacts discussed here are noticeably less advanced.

Body and Handling

The L10 isn't a tiny camera by any means; it's noticeably larger and heavier than its Type-1 competitors, and even the LX100 II, though it's essentially the same size as Fujifilm's ever-popular X100-series. It feels solid, with ample grip and some breathing room for its controls. While the top plate controls aren't the most premium feeling – they're similar to the S9's – they're well-placed for one-handed use.

Controls and customization

The L10 has a wide variety of customizable dials, buttons and switches along almost every surface. While this affords a lot of flexibility to customize the camera how you want – you can easily set it up in a way that lets you largely avoid the main menus while shooting – some of the defaults aren't the most sensible in our view.

As an example, when you're in aperture priority or manual mode, the top plate command dial is set to control aperture... which it won't do unless the dedicated aperture ring is in the 'A' setting. When it's not, turning the wheel does nothing, wasting the camera's single top plate dial. In our view, it'd have made more sense to control exposure compensation by default, at least in aperture priority mode.

Most of what were dedicated controls on the LX100 cameras have become customizable. What was previously a shutter speed dial is now a mode dial, and what was once a marked exposure compensation dial is now a customizable dial with a button in the middle.

Speaking of aperture, though, we appreciate that the ring to control it is clicked, and that it handles the variable aperture in a sensible manner. For example, if you have it set to F1.7, but have the lens at 75mm equiv., it'll set the aperture to F2.8. The aperture setting will stay the same as you rotate it, until you hit F2.8, at which point it'll begin to change.

Behind the aperture ring is a smoothly-rotating, customizable control ring. By default, it's set to control the power zoom (another redundancy; the toggle rocker around the shutter button does that, too), but you can have it control things like exposure compensation, ISO, white balance, AF mode and more.

Switching between the 'A' setting on the lens and the aperture range takes a bit of force – it'd be difficult to accidentally knock it out of your preferred position. Conversely, we found the focus mode switch to be a bit too easy to knock into macro mode.

Finally, there's the four-position sliding switch on the top barrel of the lens. By default, it controls your aspect ratio, and you can customize what the 1, 2 and 3 positions do; the first position hands off control of your selected parameter to the body. If you prefer, you can remap the control to do something else, like switching between three color modes, focal lengths or subject recognition settings.

You can also set any of the physical zoom controls to work continuously, smoothly zooming in through the lens's entire range, or to jump between common preset focal lengths (24, 28, 35, 50, 70 and 75mm equiv.). If you're using the sliding switch for zoom control, you can also set it to take different levels of crop from the 75mm setting for additional reach, though they'll just take you to 75mm equiv if you're shooting Raw. You can also have the camera remember what focal length it was at when you turned it off, and return to it when you start it up again.

EVF and display

The OLED panel in the L10's view finder is bright and high-resolution for a compact. While its eye point is only 20mm, we found it was relatively easy to see, even when wearing glasses. Thankfully, the color tearing of the field-sequential displays that Panasonic used in the LX100 models is no longer an issue.

The rear monitor is fully-articulating, offering nearly unlimited flexibility in what angle you shoot from, though not the quickest deployment if you're just trying to shoot from above or below. Panasonic has created a vertical version of its on-screen UI, so if you're shooting in portrait, the details on the screen will be much easier to read, as they'll be in the correct orientation.

Fully-articulating screens aren't to everyone's taste, but this represents a big increase in flexibility over the LX100 cameras, on which we found the wide-angle lens and fixed screen were an awkward combination. And, while some photographers will inevitably have preferred a flip-up rear panel to keep things discreet, anyone traveling is likely to appreciate the ability to fold the screen in, leaving it protected from scratches when thrown in a bag.

Ports

You can have audio input, but you can't monitor due to the lack of a headphone jack.

The L10 doesn't have an immense amount of input and output options. There's a USB-C port for charging and data transfer, which it can do at 10Gbps, and a 3.5mm microphone jack. The camera also has a fully functional hotshoe, which can be used to connect to a flash, digital microphones, and even Panasonic's XLR2 accessory that lets you record four-channel and 32-bit float audio, all but eliminating the risk of clipping.

Battery

The SD card slot gets its own dedicated door, rather than having to share one with the battery.

The L10 uses the same 16Wh BLK22 battery found in many of Panasonic's full-frame mirrorless cameras, providing a CIPA-rated 410 shots per charge when using the EVF, and 420 shots when using the display. It's not unusual to get double those ratings in real-world use, so many users may be able to get through even relatively heavy weekends of shooting without having to recharge.

Image Quality

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.

Shooting in Raw at its base ISO, the L10 captures a good amount of detail, on par with the Sony and Canon, and slightly more than the LX100 II. Despite using the same amount of sensor area as the LX100 II, it provides an image that can be 1EV cleaner thanks to its ability to gather more light by shooting at ISO 100 instead of 200. Likewise, it produces slightly less noise than its Type-1 peers, thanks to its 66% additional sensor area.

This advantage continues through to higher ISOs, though if you find yourself shooting in the dark often, it's worth considering the noise advantage that APS-C compacts like the Ricoh GR IV or Fujifilm X100VI provide, at the cost of less versatility thanks to their prime lenses. The L10's JPEG engine does a decent job of retaining details while reducing noise, though the older cameras that act as its competition are decent in this regard, too.

Where Panasonic's processing has improved is when it comes to its JPEG colors. Overall, they're pleasing and more punchy, and we've enjoyed them in the pictures we've taken with it outside of the studio. And if you don't enjoy the colors in its built-in modes, it's almost infinitely customizable thanks to the L10's Real Time LUT system, which lets you download new looks from its app, or create your own.

Dynamic Range

The L10 provides plenty of latitude to shoot to preserve highlights, then brighten in post. Panasonic L10 | 75mm equiv. | F2.8 | 1/500 sec | ISO 100 | Edited to taste in Adobe Camera Raw Photo: Mitchell Clark

The sensor used in the L10 has been shown to have very good dynamic range in the other cameras we've tested that use it, and we're happy to say the L10 is no exception. While its deepest shadows aren't quite as clean as those of the cameras that use the sensor's entire area, you still have plenty of room to exploit them. There's perhaps not as much difference as we might expect from a camera that can combine high and low gain readout in a 16-bit space, vs the 12-bit, single-read approach from the LX100 II, but you should still find them pretty flexible.

Exposure Latitude | ISO Invariance

Likewise, the sensor has very little read noise, giving you the option to choose an exposure, then lower your ISO to preserve highlights in low light situations, without having to worry about a ton of additional noise showing up in post when you raise the shadows. Shots at ISO 100 pushed 4EV will show a little more noise than shooting at ISO 1600 in the first place, but even by ISO 200 the difference isn't particularly distinguishable.

Lens performance

When we reviewed the LX100 II in 2018, we said that camera's 17MP sensor was showing the limits of the lens. With the L10 essentially using the same optics, paired with a higher-resolution sensor, that's even more true today, with noticeable softness in the corners even when stopped down to F4 or 5.6 (though doing so provides noticeable improvement versus faster apertures like F2.8).

The bright, complex, foldable lenses on compacts of all brands are quite susceptible to sample variation. Putting them in the studio scene also pits them against extremely high-quality primes, many of which are larger and heavier than the L10 in its entirety, and holds them to a higher standard than most would expect from their real-world shooting. In the process of shooting our sample gallery, we haven't come across many situations where the L10's lens felt inadequate for what we were trying to capture.

Autofocus

The L10's autofocus can recognize several types of subjects, not just humans. Panasonic L10 | 30mm equiv. | F2.1 | 1/60 sec | ISO 800

The L10 has several modes for selecting your autofocus point: the fine-grained pinpoint, a resizable single area, area-plus, a customizable zone, horizontal/vertical zone, full area, and tracking.

It doesn't have an autofocus joystick, so positioning your AF point will require using the touchscreen, or setting up the four-way controller to move it around. You can also set the screen (or a portion of it) to act as a touchpad to move it when your eye is up to the viewfinder.

Besides pinpoint, all of those modes can be combined with subject detection, which can be set to recognize several different types of subjects. If there are multiple recognized subjects, the camera draws a box around each of them, highlighting which one is selected, and allowing you to switch to another one. In general, it does a good job of respecting your chosen AF point; it won't jump to a recognized subject unless it's quite close to your selected area, letting you leave it on most of the time.

The L10's tracking mode won't fall back to generic tracking if you have it in subject recognition mode and it doesn't recognize a subject

The one exception is if you're a fan of the track to recompose focus method. Like the S1II-series, the L10's tracking mode won't fall back to generic tracking if you have subject recognition on and doesn't recognize a subject. The AF point will stay in the same place in the frame, instead of trying to stick to whatever you placed it over. This means you'll have to constantly engage and disengage subject recognition mode depending on what you're shooting, which you can do with a custom button or using the lens's sliding switch.

AF performance

As we've come to expect from Panasonic's current autofocus system, the L10 is at its most accurate and snappy when you're using one of its subject recognition modes, which we've found work well in a wide range of scenarios. They occasionally need tuning for best results – choosing the right human detection mode depending on how active your subject is, or manually switching between subject types, as there's no auto mode – but for most uses it's not something you'll have to worry about.

The generic tracking mode works well in proper lighting, but can lose track of subjects in darker settings, or if they're moving erratically. We found, though, that for the types of photography we'd typically use this kind of camera for, the system worked well without requiring too much attention (beyond the mild awkwardness of controlling the selection point).

Video

The L10 has a lot of video capabilities, but cuts down on at least some complexity due to its lack of advanced codecs like ProRes and ProRes Raw (which would likely be too much for an SD card to handle).

While the company mainly pitches it as a stills camera, the L10's use of the GH7's sensor means it has an extremely robust set of video features. In its H.265 mode, it can capture 5.2K 4:3 open gate at up to 30p, and full-width 4K at up to 120p. As we'd expect, there are a lot of other options too; 60 in total, with All-I recording modes, 1.89:1 'DCI' aspect ratios and >4K options.

It also incorporates Panasonic's MP4 (Lite), which is designed to produce files that are good enough quality for social media, but that are relatively small and therefore easy to transfer and upload. That codec supports 4:3 open gate at around 4K at 30p, which gives you the flexibility to take both horizontal and vertical crops for different platforms, as well as output-ready UHD 4K and FullHD, but, strangely, only in 60 and 120p.

The L10 mostly continues the tradition of offering every video assist feature

The L10 mostly continues Panasonic's tradition of including almost every video feature under the sun*. It has Log and HLG recording modes, and view assist tools for them, waveform exposure monitoring, multiple customizable frame guides, the Focus Transition tool that lets you do automated, repeatable focus pulls and more. All of its autofocus subject recognition modes are available in video, even when shooting at high frame rates, and you have a lot of control over which settings are or are not shared between your stills and video modes.

This means that it can be used as both a simple point-and-shoot video option for photographers who occasionally want to just capture something in motion without thinking too hard about it, and as a tool for someone serious about getting good video (though its form-factor comes with plenty of inherent limitations, despite its 43mm thread technically allowing you to attach an ND filter).

* There are a few omissions: unlike other Panasonic cameras, it doesn't offer a false color overlay for judging exposure, nor is there the option to use shutter angle instead of shutter speed.

In use

The L10 isn't comfortably pocketable, but it's a world away from the size of most mirrorless cameras once you factor in a lens.

Where the L10 really shines is being so easy to bring along if there's any chance at encountering interesting things to photograph, without having to worry about lugging something big and heavy around for no reason. When there are photographs to be taken, it's proven capable at capturing most of what I've asked it to, without demanding I compromise on features and autofocus capabilities I've grown used to from Panasonic's interchangeable lens cameras. And having something like that with me all the time has lead to me feeling more creative in my photography than I have in a while.

There are a few annoyances. Chief among them is the lens, which is ponderous to deploy and zoom. It takes around two seconds to extend when booting the camera up (and to retract when shutting it down), and another few beats to make its way through its range. And while I have no reason to doubt its build quality, it doesn't quite feel as premium as its price tag suggests.

The L10's use of a leaf shutter means you can sync flash at any speed, which can be a lot of fun when paired with a relatively inexpensive Godox iT32. Panasonic L10 | 24mm equiv. | F1.7 | 1/2000 | ISO 100 | Shot with external flash | Cropped and edited to taste in ACR

By default, the camera only uses its mechanical shutter, which I found frequently left me wishing for an internal ND, as it maxes out at 1/2000 sec. Switching the shutter type to Auto, and allowing it to go faster using the electronic shutter – up to 1/32000 sec – helped in most scenarios, though it introduces the risk of rolling shutter, and won't help if you're trying to shoot video with traditional amounts of motion blur. Any external ND you add will need to be pretty small to avoid putting too much force on the lens.

Conversely, it's lovely to be able to sync flash all the way up to that 1/2000 sec limit, because of its use of a leaf shutter, so there are definitely pros as well as cons.

The rear dial is extremely fiddly, to the point of it being a constant frustration when scrolling through the main menus, often deciding to jump to different pages or levels. This means the best navigation option is directly using the touchscreen; something you can, thankfully, do, but that usually requires two hands.

Where the dial is more annoying is in certain shooting modes. Panasonic has made the odd decision to move away from the dedicated shutter speed and exposure comp dials on the LX100 cameras, which closely mimicked the early Fujifilm X100 models and meant you rarely had to use the fiddly rear face dial. Instead the L10 can, particularly before customization, feel like it's running a different camera's firmware: a camera with front and rear command dials.

While there were plenty of complaints around the original LX100's propensity to gather dust, we've seen fewer about the LX100 II, after Panasonic said it worked to mitigate the issue. Realistically, it's a bit of a concern with most compacts – even more so if you put them in your pocket – and we wouldn't be more concerned about dust or weather resistance with the L10 than with, say, a GR IV or X100 VI (though the latter camera gives you the option of screwing on an adapter and filter for additional sealing if it starts to rain).

Conclusion

by Mitchell Clark

Things we liked	Things to consider
Very good image quality and DR Autofocus is usually accurate and easy to use Ambitious zoom lens is versatile EVF is a pleasure to use Extensive battery life Modern connectivity and app experience Some good color modes, and near-infinite customizability with LUTs Wide range of usable video modes Flip-out screen can be folded in to protect screen	Controls won't match everyone's tastes No dedicated autofocus control Not particularly pocketable Lens can be sluggish to zoom Feel doesn't consistently match premium price Lack of a headphone jack and IBIS limits video capabilities Flip-out screen won't be to everyone's taste A fraction more reach on the zoom would significantly expand capabilities Possibly prone to switching on in bags

The L10 is, essentially, the camera we asked Panasonic for in our LX100 II review. If you look at our list of cons for that camera, almost all of them have been addressed. Add to that the other improvements – its battery has gone from good to great, and it has a majority of the company's latest and greatest features – and it feels like it should be an instant classic. After a string of great prime lens compacts, the people who want the versatility of a zoom finally have something to be excited about.

It gets close to that exciting potential. You can set the controls up to provide an engaging shooting experience, and its sensor and relatively ambitious lens provide image quality that's a step above what you can get from a camera with a Type 1 sensor or a phone (especially when you're comparing its telephoto performance with the latter). Its autofocus is among the most capable and responsive we've seen on a compact, and that, paired with blistering burst rates and precapture, means it can adapt to a wider range of moving subjects than the LX100 II.

I suspect the L10 produces better photos than my iPhone 15 Pro. I know it's more fun to use. Panasonic L10 @ 33mm equiv. | F2.8 | 1/125 sec | ISO 125

Despite its clear focus on enthusiast photographers, it offers a lot to people looking for a capable and portable video camera, or beginners looking to upgrade from shooting on a phone, too. It may not be the perfect option for either camp – the lack of a headphone jack and IBIS limit its video ambitions, and the price may be a bit steep for someone looking for their first camera – but it's certainly a workable one, and it offers people just beginning their photography journey a lot of room to grow while still being approachable.

But despite all of that praise, the L10 isn't quite the unalloyed success that it seemed at first glance. While the new battery brings with it a lot of benefit, and there's not a centimeter of wasted space on or in it, the fact of the matter is that you used to be able to get this lens in a substantially smaller package (though with a slightly less impressive sensor, and much less advanced autofocus). And while the buttons now have room to breathe, that benefit is offset by its somewhat clumsy new control scheme and stuffed menus that feel grafted on from another camera, rather than custom-made to match the experience this camera wants to provide.

We appreciate the lens's fast aperture, but the actual experience is better described as sluggish. There just enough lag from when you push the zoom rocker and when it actually starts zooming to be annoying, and it's not in any hurry to make it through its range.

Despite those complaints, we've always said that a Gold isn't meant to say that camera is perfect. It indicates that if you're shopping for this kind of camera, the model in question should be at the top of your list. And the L10 should be. Not just because it's the first truly new enthusiast zoom compact we've seen in nearly a decade, but because it actually delivers the benefits of modern sensor and processing tech in a body that can provide an engaging shooting experience.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Compared to its peers

Compared to the Panasonic LX100 II (and its updated and more pedigreed sibling, the Leica D-Lux 8), the L10 is noticeably larger, no longer comfortably fitting in a jacket pocket. However, for the reduction in portability, you get better battery life, a much nicer viewfinder, and modern autofocus and connectivity. Its controls and interface aren't as refined as those of its predecessor or the Leica, but it's also capable of capturing a broader range of subjects and scenarios.

We find the L10 more engaging to shoot with than the Sony Cyber-Shot RX100 series, and appreciate its lens' speed (even if we wouldn't mind having at least a bit of the extra reach provided by Sony's most recent VII models). The L10's modern USB-C port and compatibility with Panasonic's most recent app are also big conveniences over the Sony as well. The cameras are relatively equally matched when it comes to autofocus performance, but the L10's inclusion of more extensive subject recognition will make it easier to capture certain kinds of subjects.

The Canon PowerShot G7X III suffers from being perpetually out of stock, but matches many of the L10's modern conveniences, while offering that bit extra reach at the cost of a bit of image quality. We find the L10 a bit more engaging to shoot with, perhaps because of its EVF, and despite the G7X III's focus on content creators, it doesn't come close to matching the L10's video capabilities.

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

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: Tamron

Tamron has announced that it's bringing its 17-70mm F2.8 APS-C lens to Canon's RF and Nikon's Z mounts, providing a versatile option for shooters on those systems. It delivers a 26-105mm equiv. range for Nikon shooters, and is a 28-112mm equiv. on Canon.

The lens, formally named the 17-70mm F2.8 Di III-A VC RXD, offers essentially the same experience as the E-mount version that was announced in 2020. The Z-mount weighs 540g (19oz), with the RF version coming in 10g lighter, and it uses an optical formula with 16 elements in 12 groups. At the wide end, it can focus on subjects as close as 0.19m (7.5"). zoomed in, that goes up to 0.39m (15.4").

Unlike the Sony and Nikon versions, the RF version of the lens has physical controls for turning its optical stabilization on and off and for selecting whether it's in auto or manual focus mode. Both the Z and RF versions of the lens have a USB-C port for firmware updates and for use with Tamron's Lens Utility app.

Image: Tamron

This lens is a welcome addition to both systems, as there wasn't anything really comparable for either. RF-mount has the Sigma 18-50mm (29-80mm equiv.) F2.8, and Z-mount has Nikon's 16-50mm (26-75mm equiv.) F2.8, but neither has an option that goes that bit further while still maintaining a constant aperture. For those looking for a single lens they can use while walking around, the 17-70mm F2.8 may be a more versatile option.

When we reviewed the lens in 2021, we found it was generally quite good, with a few optical downsides like distortion, onion-ring bokeh and longitudinal chromatic aberration. Given its price, though, there will likely be many willing to make those tradeoffs.

The Tamron 17-70mm F2.8 Di III-A VC RXD will retail for $749 – $50 more than the Sony version, and $50 less than the Fujifilm one – and will be available starting July 2nd.

Canon RF

Nikon Z

Tamron 17-70mm F2.8 sample gallery

We got our hands on a copy of the RF-mount version of the lens and had the opportunity to shoot a small sample gallery with the Canon EOS R7. In addition to these sample photos, you can also check out our more extensive sample gallery, captured when the lens was originally launched for E-mount.

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

Tamron 17-70mm F2.8 Di III-A VC RXD Specifications

Product images: Nikon, Canon, DJI, Insta360 and Lexar

Amazon Prime Day is officially underway, running from June 23 to June 26. The shopping holiday is certainly flooded with noise, with loud claims of sales that aren't really that beneficial. However, there are good deals buried in all of that, including some all-time lows on popular cameras, and, perhaps more helpful, discounts on memory cards and storage. We've done our best to cut through the clutter to share discounts that actually matter for photographers and videographers.

It's important to note that Prime Day deals require an active Amazon Prime membership, and prices can – and do – change without warning mid-sale. The deals and prices below are confirmed at the time of writing, but they may sell out or revert before Prime Day ends on June 26.

Updated Wednesday, June 24

Prime Day deals on memory

Image: Lexar

It's no secret that the cost of items like memory cards and hard drives has skyrocketed, with prices doubling (and more) in just a few months. Thankfully, there are some discounts on these items with Prime Day, albeit not as plentiful as in years past. And, unfortunately, most of the discounts still don't bring prices back to last year's levels, but any discount is better than none right now. If you need to stock up on storage and can't wait for a potential AI bubble burst to bring prices down, this could be a good time to do so.

Memory card discounts

Lexar 512GB Professional 2000x SDXC $480 (was $640)

Lexar 128GB (2-Pack) High-Performance 800x PRO $80 (was $100)

Lexar 512GB Professional Silver $145 (was $175)

Delkin Devices Power 128GB SDXC UHS-II $119 (was $149)

Nextorage 128GB SD Card UHS-II $200 (was $255)

SanDisk 256GB Ultra microSDXC UHS-I $42 (was $53)

Nextorage CFexpress 4.0 Type A 1024GB $425 (was $900)

Nextorage CFexpress 4.0 Type B 256GB $161 (was $190)

Hard drive, SSD, and media server discounts

SanDisk 1TB Extreme PRO Portable SSD $178 (was $210)

Lexar 2TB Professional Go Portable SSD $230 (was $300)

Samsung T7 Portable SSD, 1TB $190 (was $275)

Samsung T9 Portable SSD 1TB $180 (was $288)

Synology DS425+ Private Cloud Media Server $401 (was $520)

Synology 4-Bay DiskStation DS925+ (Diskless) $497 (was $640)

Synology DS1525+ Video Editing & Production Server $625 (was $800)

Action camera and drone deals

Image: DJI

Summer is in full swing, which, for many, means more time outside adventuring. If you're looking to upgrade your means of capturing your summer fun, you could be in luck, since most of the camera-related deals we've seen this Prime Day are on action cameras and drones. That includes the lowest price we've seen on the highly popular DJI Osmo Pocket 3.

DJI Osmo Pocket 3 $378 (was $499)

DJI Osmo Action 6 Enhanced Combo $421 (was $496)

GoPro LIT Hero $180 (was $270)

Insta360 X5 $435 (was $550)

Insta360 Ace Pro 2 Xplorer Bundle $360 (was $450)

Insta360 GO Ultra Creator Bundle $400 (was $500)

DJI Mini 4K Fly More Combo $294 (was $449)

DJI Neo $139 (was $199)

DJI Flip Fly More Combo $619 (was $779)

Camera and lens Prime Day deals

Image: Nikon

Discounts on cameras and lenses are always hit-or-miss during Prime Day, and that's no different this year. There aren't many true deals out there (at least at the time of writing), but there are some worth checking out. That includes the lowest price we've seen on the Nikon Z5 and healthy savings on the Canon EOS R5.

Camera discounts

Nikon Z5 $897 (was $1450)

Fujifilm X half $549 (was $649)

Fujifilm Instax Mini 12 Green Bundle $80 (was $106)

Fujifilm Instax Wide 400 Instant Camera Bundle $149 (was $176)

OM System OM-5 Mark II with M.Zuiko 14-150mm F4.0-5.6 lens $1270 (was $1500)

Panasonic Lumix S9 with S 18-40mm F4.5-6.3 lens $1348 (was $1800)

Canon EOS R5 $2599 (was $3298)

Lens discounts

Canon RF15-30mm F4.5-6.3 IS STM $459 (was $639)

Viltrox 50mm F1.4 Pro $439 (was $549)

Viltrox 85mm F2 EVO $220 (was $275)

Viltrox 20mm F2.8 $141 (was $176)

Viltrox AF 50mm F2.0 Air Z $159 (was $199)

Sony FE 70-200mm F4 Macro G OSS II $1598 (was $2000)

Sony FE 35mm F1.8 $698 (was $850)

Tamron 70-300mm F/4.5-6.3 Di III RXD for E mount $369 (was $549)

Accessory Prime Day deals

Image: Canon

Last but not least, there are some healthy discounts on accessories like mics, lights, tripods and printers this Prime Day. That includes Insta360's newly released customizable Mic Pro and a very good price on the DJI Mic 3. Canon's Pro-310 photo printer is also at the lowest price we've seen, making it a good time to invest in a quality printer if you've been considering it.

Canon imagePROGRAF Professional 13" PRO-310 Inkjet Photo Printer $799 (was $972)

Canon PIXMA PRO-200S Professional 13" Wireless Inkjet Photo Printer $449 (was $648)

Insta360 Mic Pro (2 TX + 1 RX + Charging Case) $280 (was $330)

DJI Mic 3 (2 TX + 1 RX + Charging Case) $224 (was $264)

Neewer 100Ws 2.4G Round Head TTL Flash $226 (was $280)

Godox DP800III Strobe Flash $213 (was $296)

Neewer LiteTrip LT 32 Travel Tripod $161 (was $239)

Manfrotto Befree Live Travel Video Tripod $203 (was $335)

The new Pelican Gridpoint system provides even more organizational opportunities. Image: Pelican

Pelican has announced the "next generation" of its Protector-series cases, which many photographers and videographers have long turned to when their gear needs to be kept safe from the worst that nature (and airlines) can throw at it. The company says its new cases are not only even more protective, but it is also making them easier to use and adding some interesting ways to keep your gear organized.

The main upgrade is to the material used to make the hard polymer shell. The company says it's now using what it calls "HPX," which it claims is 12% stronger when it comes to impacts, letting it handle "high-velocity drops and extreme kinetic stress" better. Pelican also says it's more rigid under load, so it'll seal better under the kinds of pressures you'd find in "high-altitude transport or deep-sea deployment." Finally, the company says it should also stay strong and retain its color even with long-term UV exposure.

The company has upgraded the wheels on cases like the Protector 1510 and 1560, making them smoother, even when carrying a heavy load. It also redesigned the latch system, adding a push-button mechanism that it says will make the case easier to open.

From the outside, the cases look much the same as they have for decades. Photo: Pelican

Finally, there are some new accessories coming for the system. Perhaps the most exciting is the "Gridpoint" system that will be available for select models of cases. It replaces the traditional foam interior of the lid with a panel of hook and loop and standardized MOLLE attachment points. This lets you attach pouches or other organizational tools to it, which can be used to store accessories such as flashes, charging cables, storage media, etc. The company is also introducing what it calls the ModLight Pivot, which is essentially a rechargeable lamp designed to fold up on the inside of its cases, which you can swing out and illuminate your gear if you need to see it better.

The one thing that may be a minor disappointment is that the company hasn't taken this opportunity to rethink its "Pick N Pluck" foam system, which you have to painstakingly and semi-permanently customize for each gear loadout. While it has its advantages, we'd be interested to see if the company could adapt the Re-Set system it recently introduced for its gun cases to work with camera gear.

Still, it's nice to see a company making a good product even better and, if the few product pages that are up are anything to go by, doing so without substantially raising the price. The company says the full lineup will be available this summer.

Photo: NEEWER

Built for photographers who want strong output, fast control and dependable portability in one compact lighting tool, the NEEWER Q4PRO 400Ws Outdoor Flash combines versatile flash modes, high-speed sync, wireless functionality and intuitive operation to handle everything from portraits to action-focused shoots.

A high-capacity USB-C rechargeable battery helps minimize downtime, while Bowens mount compatibility opens the door to a broad range of modifiers and light shaping tools. With features aimed at speed, flexibility and creative control, the Q4PRO is a capable all-in-one solution for photographers who need power without sacrificing convenience. Here's what you need to know.

Features that maximize creativity

Photo: NEEWER

The Q4PRO’s core feature set gives photographers a high degree of control across different shooting conditions. TTL mode supports +/-3EV of flash exposure compensation, flash exposure bracketing, flash exposure lock, high-speed sync up to 1/8000s and front or rear curtain sync, making it well suited to changing light and fast-moving subjects. Manual mode offers precise 1/512 to 1/1 power adjustment at up to 400Ws, along with S1 and S2 optical triggering for more traditional multi-light arrangements. A 30W modeling light lets you preview the effect of flash position and light modifiers without the need for time-consuming test shots.

For creative motion work, Multi mode can fire up to 100 consecutive stroboscopic flashes to capture movement sequences with added visual impact. The flash is supported by an upgraded quartz tube with a GN42 guide number and a consistent 6000K daylight-balanced color temperature, helping deliver reliable brightness, clean color and natural-looking results every time. Plus, user-replaceable tubes means practical long-term value.

Streamlined operation

Photo: NEEWER

Everyday usability is another strength of the Q4PRO. The main LCD screen presents settings on a clear, straightforward interface, while an auxiliary display shows the current wireless group in a distinct color for quick identification during multi-light setups. Control via the dedicated NEEWER Studio app adds another layer of convenience by allowing remote adjustments from a smart device when the flash is positioned out of reach.

Power comes from a high-capacity 21.6V 2800mAh battery that delivers up to 325 full-power flashes, with a 1.2-second recycle time and quick recharging over USB-C to keep downtime to a minimum. The Bowens mount expands compatibility with a wide selection of light modifiers and shaping accessories, while the portable handle provides 180° tilt, a 5/8-inch stand receiver and an umbrella socket for easier positioning in different shooting environments. Weighing just 5.7lbs / 2.58kgs, including battery, flash tube and reflector, the Q4PRO is also light enough to transport easily, from location to location.

Wireless control and functionality

Photo: NEEWER

Wireless functionality adds another layer of flexibility to the Q4PRO. Its 2.4G sync system works as both a transmitter and receiver, allowing it to control or join broader lighting setups with ease. It can trigger all NEEWER Q System flashes and also sync with Godox X System triggers, the Sekonic L-858D light meter (RT-GX Modules) and native NEEWER QPRO and QZ triggers, which makes it easier to fit into an existing workflow.

With five groups, 32 channels and 99 IDs, the system is designed to reduce interference while maintaining a range of up to 328 feet in open environments. For high-speed action, Freeze mode offers an ultra-short flash duration of up to an incredible 1/28,570s and a recycle range of 0.01 to 1.2 seconds, while the mask function creates a clean background exposure that simplifies post-production when compositing.

Taken together, these features make the NEEWER Q4PRO 400Ws Outdoor Flash a strong option for photographers who need portability without giving up control or output. Its combination of versatile flash modes, outstanding battery life, wireless flexibility and modifier compatibility supports a wide range of creative and professional applications. Whether used for outdoor portraits, events or sports, the Q4PRO, which retails for $459.99, is designed to help you work quickly and efficiently to produce polished results every time.

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