40mm equiv. variant of snapshooting classic should arrive this year.
Ricoh
Ricoh has confirmed it is developing an “x” variant of its GR IV enthusiast compact. The GR IVx will be built around an all-new 40mm equivalent F2.8 prime lens.
The new model will use the same 26MP BSI CMOS APS-C sensor as the recent GR IV, rather than the 24MP FSI chip used in the GR IIIx.
Ricoh
The company has released the full planned spec of the camera, suggesting development is already well advanced. Details include a lens with 8 elements in 6 groups, including 3 aspheric elements, which is a more complex design than the previous model.
As with the 28mm-equiv GR IV, the specs say we’ll can expect improved startup times, a move to 5-axis image stabilization and the adoption of the larger DB-120 battery. It will also see the adoption of faster WiFi 5 standard.
Ricoh says the GR IVx will be launched in “Winter 2026 or later,” with no details of price yet given. For reference, the GR IV hit the shelves three months after its development was announced.
About the Author: Richard graduated as a scientist but had a lot more fun writing and shooting for his university magazine. A number of years spent variously as a reporter, writer and editor on science and engineering titles combined his knowledge of science with his interest in images and words. But it was spotting the connections between emission spectra, white balance and all the nonsense he’d taught himself playing around in Photoshop that helped kindle an interest in digital photography. Searching for a camera led to him discovering DPReview and Richard was recruited by Phil Askey in 2007. He’s been combining his love of photography, communication and attention to detail (pedantry?) ever since.
He has unusually strong opinions about lenses for the APS-C format.
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Apple has announced a special event on September 9 at 10am PT (1pm ET / 6pm BST). While the company is characteristically coy about what’ll be announced – basically the only information that it’s shared is the title of the event, which is “surprise and shine” – its early September events are traditionally reserved for new iPhones.
There was a time when it was relatively easy to predict what would be announced at these events: two sizes of iPhone Pro and one or two sizes of the standard iPhone. But Apple’s roster of annually updated models has expanded, and is rumored to do so further. There’s now a budget model (currently the iPhone 17e) and an ultra-thin phone called the “Air.” If rumors are to be believed, this year’s event will also see the introduction of what would be Apple’s first folding phone, too.
Based on how Apple’s release schedule has worked in previous years, we wouldn’t expect to see a new “e” model at this event, though there are murmurs that Apple may even defer the launch of the new base model iPhone to a later event. In other words, we’d get what’ll presumably be called the iPhone 18 Pro, but not the standard iPhone 18.
At the moment, though, that’s all still speculation. Only Apple knows for sure what it has in store, and we’ll find out in around two weeks.
About the Author: Mitchell started taking pictures at 10 and hasn’t stopped since. It’s been a wide-ranging adventure, spanning a wide variety of genres and locales, and occasionally dipping into fascinations with video and filmmaking. They honed their technical knowledge doing documentation, programing and QA, writing for The Verge, and just generally messing around on the computer to see what breaks.
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The 7Artisans AF 10mm F2.5 Max FF targets three full-frame mounts with a combination of AF and a 185° field of view that has rarely existed at this price.
7Artisans
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7Artisans has announced the AF 10mm F2.5 Max FF, a full-frame fisheye lens that offers autofocus with a 185-degree field of view. The lens is available for Sony E, Nikon Z and L-mounts and fills a gap for ultrawide photographers, as autofocus fisheye options for full-frame mirrorless cameras are particularly thin.
At 510g (1.1 lbs), the AF 10mm is still relatively compact for a full-frame fisheye, particularly given its autofocus mechanism, F2.5 maximum aperture and metal construction. It is 60g (2.1 oz) less than 7Artisans’ manual focus 10mm F2.8 fisheye, though just slightly heavier than Canon’s RF 7-14mm F2.8-3.5 L Fisheye STM (476g (1.3 lbs)). Thankfully, it substantially undercuts Sigma’s bulky 1.36 kg (3.0 lbs) 15mm F1.4 fisheye.
7Artisans didn’t specify the type of autofocus motor, but says it is smooth and reliable enough for dynamic genres like street photography. It can focus as close as 0.15 m (5.9″). The optical design comprises 11 elements in 8 groups, including 1 aspheric and 2 extra-low-dispersion elements. It also features a nine-blade aperture diaphragm.
7Artisans
Despite the budget price and compact build, 7Artisans included some useful on-lens controls, which the company says are designed for video use as well as still photography. There are two customizable control buttons, an AF/MF switch and a clicked aperture ring. 7Artisans also says the lens supports A-B Focus, a video-oriented feature that automates focus transitions between two saved distances.
The 10mm F2.5 is the second lens to carry 7Artisans’ Max designation, following the AF 135mm F1.8 Max. While the company has not yet fully defined the sub-brand, its first two entries suggest it is being used for higher-spec full-frame autofocus primes with more ambitious optical designs, metal construction and expanded on-lens controls.
The 7Artisans AF 10mm F2.5 Max FF lens is available for purchase as of today for $449.
About the Author: Abby Ferguson holds an MFA in photography and blends a fine-art background with extensive editorial and commercial experience. She built and led an in-house imaging program for a large vacation rental company and has served as an associate editor at Popular Photography. She also teaches at a local community college and serves on its Photographic Technology Program Advisory Board, sharing her knowledge and enthusiasm for the medium.
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For this Question of the week, we ask the community what interesting, and perhaps even unexpected, wildlife they’ve encountered on their photography journey.
swimmy
For several years, I lived in the western part of Austin, TX. A beautiful area covered with forested rolling hills and a couple of big lakes. It’s close enough to the edge of town that local wildlife sometimes walks right up to your front door.
A beautiful wildlife encounter happened to me a few years ago during a once-in-a-century snowfall across the area. Intending to shovel the walkway to the road, I opened the front door, and right there was an adult doe (a female deer) and two of her fawns, sheltering from the weather. Unfortunately, they bolted as soon as they saw me, so I never had a chance to take a photo.
Yesterday, we published an article about the National History Museum’s Wildlife Photographer of the Year sneak peek of the 100 winning images of this year’s contest. To celebrate the amazing talent in the wildlife photography community, as expressed in places like the history museum mentioned above, we want to see your unique and artistic captures of local fauna.
So, with that said…
What interesting, and perhaps even unexpected, wildlife have you encountered?
Special thanks to community member swimmy for allowing us to use one of his Yellowstone National Park photos as the lead article image. It’s a majestic depiction of a bison, one of the park’s flagship wildlife encounters.
Drop a reply in the comments section below, and if you’ve got a photo to include from your mentioned forum sections, it may be selected for next week’s showcase article on this topic!
About the Author: Mathew Anderson is a proud Community Manager for the technology industry and a past visitor to DPReview.com for all his camera needs. He is currently the lead of DPReview’s community and primary communication link between the community and DPReview’s team.
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OM System is teasing “something new” coming September 9. Whatever it is, the company wants you to know it’ll have an EVF: the video it posted to its social media channels prominently focuses on that particular feature, while showing way more than we’ve come to expect for this kind of pre-announcement teaser.
Usually, companies will post a silhouette of a camera draped in deep shadows, with just a few parts sticking through to suggest its shape. And at first, that’s what OM System’s video seems like, opening with a shot looking through an EVF before presumably showing several sample photos depicting city life. But then, it closes with a shot of a camera floating up through the air with a surprising amount of the top and back plate visible. Sure, there are still plenty of shadows, but we can still see that the camera is using OM System’s familiar design language, and that it’ll have a fair number of controls.
Of course, there’s still plenty the teaser doesn’t reveal; there’s no hint at specs, price or branding. For those, we’ll have to wait until September 9.
About the Author: Mitchell started taking pictures at 10 and hasn’t stopped since. It’s been a wide-ranging adventure, spanning a wide variety of genres and locales, and occasionally dipping into fascinations with video and filmmaking. They honed their technical knowledge doing documentation, programing and QA, writing for The Verge, and just generally messing around on the computer to see what breaks.
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The Mission 1 Pro ILS has a Micro Four Thirds mount, opening GoPro’s ecosystem to a world of lenses that action cams haven’t offered.
Mitchell Clark
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GoPro is finally releasing the Mission 1 Pro ILS, the tiny video camera with a Micro Four Thirds mount the company announced back in April. The standard Mission 1 Pro, which comes with a fixed lens and a Type 1 (128mm²) sensor, has been available for a while now and represented a big step up from the company’s traditional action cameras, but the version with an interchangeable lens is an even bigger change.
Like the standard Mission 1 Pro, the ILS’s Type 1 sensor has very fast readout speeds, allowing it to capture 4:3 open gate footage at 8K up to 30p, and at 4K up to 120p. Switch to 16:9 recording, and it can do 60p and 240p, respectively. It can also record using an HLG curve for HDR footage straight out of camera, or in GoPro’s GP-Log2 for more flexibility in post, and supports 32-bit float for audio, to virtually eliminate the risk of your sound clipping.
GoPro is launching a new app called Mission Monitor
While it’s tempting to see the Mission 1 Pro ILS as an enthusiast camera, there are clear indications that it’s aimed more towards video professionals, and the time we’ve spent with the camera so far supports this. Its Micro Four Thirds mount has no electronic contacts, so it can’t do autofocus, nor does it support the focus-by-wire or electronic aperture actuation required by most of the photo-focused Micro Four Thirds lenses on the market (as in, almost everything from Panasonic or OM System). That also means you’ll need to manually pull focus, and while the camera has assistance tools like focus peaking and magnification, that’s still no easy task if you’re using the 2.59″ rear display.
Thankfully, alongside the ILS, GoPro is launching a new app for iPhone and iPad called Mission Monitor. It not only lets you use a phone or tablet to preview your image and control the camera on a much larger screen, but also supports tools like focus peaking, LUT view assist and frameline overlays.
That app mainly operates over USB, rather than Wi-Fi, like the consumer-focused Quik app (though that can be used with this camera, too). This again reinforces that the camera is aimed towards a very different audience than the company’s traditional action cameras. Rather than being a self-contained option that you can set and forget, it’s something you or a dedicated camera operator actively have to manage, likely with the assistance of a rig with tools like a monitor and follow-focus rig. It’s also worth noting that, unsurprisingly, given its lens mount, this is a GoPro that’s only weatherproof, rather than waterproof.
We plan on doing some more testing with the Mission 1 Pro ILS soon to see how it works for a variety of use cases, including as a tool for photographers, as it also has the ability to take 50MP stills, and an accessory grip that makes it feel more like a traditional compact (albeit one with even less manual control than usual and no autofocus). If you have any questions about it, let us know in the comments below.
The GoPro Mission 1 Pro ILS is available to pre-order for $700 from the company’s website, which is the same price as the standard Mission 1 Pro (though it’s already on sale at a $100 discount and has a built-in lens). The company says it’ll be available at traditional retailers in September.
About the Author: Mitchell started taking pictures at 10 and hasn’t stopped since. It’s been a wide-ranging adventure, spanning a wide variety of genres and locales, and occasionally dipping into fascinations with video and filmmaking. They honed their technical knowledge doing documentation, programing and QA, writing for The Verge, and just generally messing around on the computer to see what breaks.
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Apple’s latest desktop excel at running the tech that have made them so expensive.
Apple
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Apple has updated its popular desktop computers, the Mac Mini and the more powerful Mac Studio. Alongside the new models come new chips: Apple is introducing an “Ultra” model into its M5 lineup, as well as its next generation of processor, the M6. But while the new models are exciting, their prices aren’t; the impacts of AI on RAM and storage pricing are extremely evident here.
The Mac Mini and M6
Apple
Lets start with the Mac Mini, as it’s Apple’s mainline desktop computer, which will be more than powerful enough for most photographers. The biggest change is internal, as the base level Mac Mini ships with the M6, a new chip in Apple’s lineup. It has a 12-core CPU, made up of two “Super” high-performance cores, 4 “performance” cores for mid-level tasks and 6 “efficiency” cores. The M4 found in the previous generation had 4 “performance” cores – though at the time those were Apple’s fastest cores, closer to what it’d call “super” cores now – and 6 efficiency cores. The chip can now access its memory slightly faster, with 170GB/s of bandwidth, up from 120GB/s. Likewise, the GPU has two additional cores for a total of 12.
Apple says the M6 “is built using cutting-edge 2 nm process” (though, as is typical, that doesn’t necessarily mean all, or even any, of its features actually measure 2nm), and that it includes a “Dual 16-core Neural Engine” that can provide double the performance in on-device AI tasks compared to the M5. The company also claims the M6 has 1.2 times faster single-core performance than the previous-gen (not that you could buy the Mac Mini with that chip in it).
You can also now get the Mac Mini with the same M5 Pro chip found in the company’s MacBook Pros. While it’s built on an older process, it offers more cores – starting with 15 CPU cores and 16 GPU cores, and going up to an 18-core CPU and 20-core GPU – and higher memory and SSD capacity. The M6 Mac Mini can handle up to 32GB of RAM and a 2TB SSD; with the M5 Pro version, that expands to 64GB and 8TB, respectively. And while the M6 Mac Mini’s Thunderbolt ports are still the fourth-gen versions that can run up to 40Gbps, the M5 Pro’s are Thunderbolt 5, which can reach up to 80Gbps (or 120Gbps in an asynchronous mode).
Apple
Outside of the updated processors, not much has changed about the Mini’s capabilities. It still has three ThunderBolt Ports, two USB-C ports and an HDMI port, and can drive up to three external displays. Apple updated its Bluetooth and Wi-Fi to versions 6 and 7 respectively (the latter being a very welcome addition). Likewise, the Ethernet port has been updated, too; it’s now a 2.5Gb model, rather than a 1Gb one, which will be a big upgrade for anyone who often finds themselves transferring large files over the network. Of course, you can still upgrade to a 10Gb ethernet port for $100 at time of purchase.
These upgrades don’t come cheap, though. When the M4 Mac Mini launched in late 2024, you could get a model with 16GB of RAM and a 256GB SSD for $599. However, following the skyrocketing prices of DRAM chips, Apple recently got rid of that model, and the base level became the $799 version with 16GB of RAM and a 512GB SSD. The M6 version comes in at $899, but drops the SSD back down to 256GB. You still get 16GB of memory. While the starting price has “only” jumped $100 compared to yesterday, you’re getting less for more money than you would’ve previously, and much less compared to what you would’ve been able to buy a year ago.
These upgrades don’t come cheap
The story is slightly less painful with the M5 Pro model. The previous version with an M4 Pro launched for $1,399 with 24GB of RAM and a 512GB SSD, while the new model is $1699 for those same specs.
From ISO invariance to computational photography, Rishi’s insistence on understanding a camera from the inside out influenced how DPReview – and much of the industry – thought about image quality.
Carey Rose
It is with great sadness that we have to announce that DPReview’s former Science Editor, Rishi Sanyal, has passed away. Rishi, whose full name was Saurarshi Sanyal, died on June 26, 2026, at his home in California. He was 46.
During his years with DPReview, Rishi was a driving force behind the site’s scientific approach to camera testing, setting the standard for how we investigated cameras and lenses and, just as importantly, how we interpreted the results.
Rishi Sanyal processes images at his desk in the DPReview office.
Rishi’s enthusiasm and intellect were evident from his very first interview with DPReview, and came to define his time with the site. Rishi wasn’t interested in data for data’s sake. He wanted to know what was happening inside a camera, why it was happening, and how a photographer could use that information to improve their work. A test result became interesting when it explained something a photographer might see in an image or, ideally, use to their creative advantage. Rishi might have been a journalist for a consumer website, but he was also a highly accomplished photographer and filmmaker, and as a scientist he was more than capable of meeting engineers on equal terms.
With his rare combination of deep technical understanding and an artist’s eye for color, light and composition, Rishi made a genuine and lasting impact on our industry. He changed the way many of us think about image-making, and exemplified DPReview at its best, as a site that could not only inform but also inspire. Among his many contributions, he was instrumental in our collective understanding of what is now known as “ISO invariance” (a term he helped coin), and his early fascination with the potential of computational photography led him to take on a camera performance engineering role at Apple.
Rishi sorts camera gear as former DPReview Studio Manager Sam Spencer observes from the neighboring cubicle.
Rishi’s scientific range had always been unusually broad. At Princeton, where he studied molecular biology, his thesis work included the design of a DNA nanomachine; he later earned a Ph.D. in biophysics. The subjects changed, but the instinct was recognizably the same: understand the system deeply enough to see what others might miss.
As far back as ten years ago, long before the distinction between “camera” and “software” became as blurred as it is today, Rishi was digging into how advanced processing algorithms could overcome traditional hardware limitations and change what photographers could expect from small sensors. Work that attracted the attention of some of the foremost imaging scientists working today, including Marc Levoy.
Levoy, then at Google and now Professor Emeritus of Computer Science at Stanford and Vice President and Fellow at Adobe, recalls interacting with Rishi many times during his tenure at Google. One example came around the Pixel 4, when Rishi independently estimated the improvement in signal-to-noise ratio achieved by capturing, aligning and merging bursts of Raw frames.
“That is not a calculation one expects a journalist to do,” Levoy wrote, “and speaks to Rishi’s deep understanding of photographic technology.”
Of course, like many perfectionists, Rishi could be exasperating. Not only to his coworkers and managers (his genuine bafflement in the face of deadlines was legendary) but also to the camera and lens manufacturers with whom he corresponded, both publicly in articles on DPReview and privately in lengthy, densely argued emails. To his editors, often the biggest challenge was persuading him that merely excellent was good enough, that it was time to hit publish, and perfect might have to wait.
Rishi and former editor Barney Britton review camera footage during a video shoot in the DPReview studio.
His editors were not the first people who had tried to convince Rishi that a problem had been solved well enough to move on. His father, Gautam, remembers giving him essentially the same advice from childhood: there comes a point when the work is already excellent and you have to let it go. Rishi was rarely inclined to believe that point had arrived if he thought there was still something left to understand.
That drive was visible early. In seventh grade, Rishi built a working magnetic-levitation demonstration for a regional science fair, earning a gold medal and an invitation to attend the International Science and Engineering Fair as an observer.
At age 15, Rishi earned a US Department of Energy prize at an international science fair for analyzing the best materials for designing magnetic-levitation trains.
The same instinct could also be remarkably generous. Scott Everett, who worked closely with Rishi and later managed him at DPReview, remembers showing him a photograph he had taken at White Sands National Park that he wanted to print. Rishi liked the image, and almost immediately became invested in making sure the finished print lived up to what he knew was there in the file. What followed was characteristically thorough: Rishi took over the processing and sent long text threads about monitors, color, printing technology and how to prepare the file properly. It was far more information than Scott needed, but that was partly the point. Rishi knew what was possible, and because the photograph mattered to his friend, he wanted the finished print to live up to the memory behind it.
More than anything else, the same instinct ran through all of it. Rishi wanted to understand things deeply and make them better, whether that meant a science project, a photograph, studio analysis or hardware design.
Above: Rishi excelled at science projects and science fairs.
Those of us who worked closely with Rishi remember the good times we shared with our friend. Long days in the studio, figuring out some esoteric aspect of a camera’s behavior. Press events. Tradeshows. Video shoots in locations all over the US (he may have been the world’s worst camper, but he played a mean campfire guitar). And jet-lagged interviews with executives in Japan, whose obvious respect for his abilities spoke for itself. More than anything, we remember Rishi’s beaming warmth, and the ease with which he could strike up a conversation with almost anyone. The same curiosity he brought to imaging science extended to everyone he met. We’ll miss him.
Not long ago, former editor Barney Britton was looking through a book of photographs of the Grand Canyon, taken by a renowned National Geographic photographer. The daytime images were strong, but the nighttime landscapes and starscapes were technically disappointing. Before Barney was even conscious of making the comparison, one thought occurred to him:
“They should have given Rishi the job.”
Rishi celebrates with other members of the DPReview team at PIX2015, a photography expo organized by DPReview in Seattle in 2015.
Long before DPReview, Rishi was already bringing the same instincts to science and photography. As a teenager, he became fascinated by sonoluminescence, a phenomenon in which sound waves moving through liquid can produce tiny flashes of light. He spent night after night in his family’s basement building an apparatus to reproduce it. Eventually, he succeeded and, naturally, photographed the result.
His parents still have the glass vessel Rishi used for that experiment, the same one in which he finally managed to turn sound into visible light.
Tributes from colleagues and readers
To honor Rishi’s legacy, we invited current and former DPReview colleagues to share memories of Rishi that have stayed with them. Their recollections are below, in their own words.
We know that many members of the DPReview community will have their own memories of Rishi. We hope you’ll add them in the comments below and in the forums.
At some point around 2014, I mentioned to Rishi that my iMac was struggling. He was almost offended that I was doing photo and video work on a machine without maxing out its RAM and SSD. On that generation of iMac, upgrading meant pulling the display off and disassembling a good portion of the machine to get inside, which Rishi treated as a minor implementation detail. Before long, Rishi, our colleague Eugene, and I were crowded around the desk with the machine in pieces, while Rishi talked us through everything in great detail.
Eugene took this photo that afternoon. I wouldn’t have thought much of it at the time. I’m grateful to have it now.Eugene Hsu
Buried deep in my phone’s text history is a sort of archive of Rishi’s mind as I often experienced it: long threads about display calibration, HDR tone mapping, and the exact way an image should render on a screen. A simple question routinely became an exhaustive technical breakdown, because he simply wasn’t capable of leaving an interesting problem halfway explored.
And those conversations weren’t only about technology. Rishi and I often bonded over film and music. He especially admired Christopher Nolan films and Hans Zimmer scores, and cared deeply about experiencing them as well as the equipment would allow. All that calibration ultimately had a purpose.
One of these nights I’ll dig up those threads, calibrate my setup exactly as he would have insisted, put on Interstellar, turn the volume up, and watch it the way Rishi believed it deserved to be seen
Working with Rishi was like having access to a personal masterclass. He didn’t just want you to understand how cameras worked; he wanted that understanding to change the way you took pictures. I’m a better photographer today because of the things Rishi taught me.
Rishi loved whiteboards. I recall many an afternoon in the DPReview office, standing at one with him as he walked me through an important concept or technology. By the time we were done, the board would be covered with graphs, equations and illustrations. He was passionate about sharing his knowledge, not just with other DPReview staff but with everybody.
I saw him explain new camera technology to famous photographers with multiple National Geographic covers to their credit. When the two of us interviewed Academy Award-winning cinematographer Emmanuel Lubezki, Rishi went off on a tangent and started geeking out about the dynamic range of the Nikon D810. I’m pretty sure Lubezki came away from that conversation having learned something from Rishi, and not the other way around.
The first time I met him was when he interviewed me for a job at DPReview. He asked tough, technical questions that required me to synthesize a lot of information. When I told him I wasn’t sure about something, he stood up and walked to – what else? – the whiteboard, and talked me through the answer. He might be the only person I’ve ever seen turn a job interview into a teaching opportunity.
If there’s one thing I can be certain of, it’s that he’s already cornered an angel or two in front of a whiteboard, explaining dynamic range.
Rishi possessed a remarkable intellect, a patient teaching demeanor, an almost painful obsession with perfection, and a talent for photography. He understood that abstract lab measurements were meaningless unless they could be translated into tangible benefits when capturing real-world images. By combining his unique blend of scientific expertise and artistic vision, Rishi revolutionized the way we evaluate camera technology. He brought scientific rigor to our testing processes and earned the respect of the entire industry.
Rishi was also, for the last 10 years or so, someone I was lucky to call a friend – albeit a friend that would regularly drag me into drawn-out conversations about the latest developments in sensor technology or the failings of smart home technology. Not that I ever complained; Rishi’s infectious enthusiasm for his work was contagious, and I always gained something valuable from our interactions. Above all though, Rishi was the sweetest, kindest, and most genuinely humble person I’ve ever known, and his passing is a profound loss for everyone whose lives he touched.
I didn’t expect to ever have to write this, and I don’t know quite how to begin. So I’ll start with a gripe, which I know my friend Rishi would relate to. Among the most common lines of criticism of any technical analysis of a piece of photographic equipment is: “fine, but what relevance does this have to ordinary photographers?” I’ve always found this irritating. The idea that scientific testing is somehow “un-creative” is understandable: how many photographers (ordinary or otherwise) spend their time shooting test charts? But the best reviewers don’t test cameras and lenses because they enjoy plotting charts. They do it because they want to know how to use those data to take better photos, and to share that knowledge with others.
Rishi exemplified this goal. His ability to communicate the creative potential of technology that even camera manufacturers sometimes seemed not to fully understand was rare, if not unique. He knew what data mattered to photographers and, equally as important, he knew what didn’t. He was a scientist, yes, and a highly accomplished one, but he was also an artist, in the truest sense. A highly, highly unusual combination, even among imaging professionals.
My main memory of Rishi is just how immensely likable he was. I first met him more than ten years ago when he approached us about a position at DPReview. We interviewed him over lunch, and I recall Rishi actually struggling to eat in his excitement, almost choking at one point, so enthusiastic about what we did and what he might do with us, overflowing with ideas that seemed to come tumbling after one another, faster than he could verbalize them. He brought the same endearing enthusiasm to everything he did at DPReview. Outside of work hours, he was an avid cinophile, a borderline-obsessive audiophile, an accomplished musician and a loyal friend.
Even now, years after we last worked at DPReview, Rishi’s name still comes up in conversations I have with photo industry figures. Not just because of his intelligence and professional accomplishments (although they earned deserved respect) but because of his character. His warmth, his genuine interest in people, his unflagging creative passion and his total lack of cynicism (again—rare) impressed everyone he came into contact with. He was an extraordinary person, and he will be greatly missed.
When I had my first conversation with Rishi, I was still a photographer at the local power company. I had just applied to a rare opening at a website I visited almost every day, DPReview. I knew that Rishi was the Science Editor there, and I knew he was very smart, and I also knew that this conversation I was about to have was going to be a bit of a test.
When I picked up the phone around the end of the workday, I worked out my nervous energy by pacing endlessly around a corporate courtyard, phone pressed hard enough to my ear and face to leave a mark afterward. Introductions were made, and we promptly dove in.
Though I don’t remember exactly how we ended up on it, Rishi and I soon found ourselves animatedly extolling the virtues of Nikon’s 3D-Tracking autofocus to each other, and lamenting that so many photographers we knew never used it. (I later discovered that many a conversation with Rishi, if gone on long enough, would land on Autofocus eventually.)
Fast forward to my in-person interview, and Rishi comes in with a Sony a7R II. Now, I had never even seen a mirrorless camera in person before, much less used one, and perhaps sensing my naïveté, Rishi proceeded to absolutely blow my mind with the camera’s Eye Autofocus feature. Not only was this system fundamentally more accurate than what I had experienced with my DSLR’s, but it could track someone’s eye almost to the very edge of the frame.
For someone used to a middling clump of central AF points in an optical viewfinder, it was a revelation for me. And that really sums up what I remember and admire most about Rishi. When you got him on a topic he was into, and there were a wide variety of those, his enthusiasm would fill the room. He found so much joy in all of the details, and he couldn’t help but share that joy (and all those details) with everyone around him.
I’m so grateful to have gotten to know and work alongside Rishi for six years at DPReview. We spent a lot of time in the studio together, a lot of time shooting videos together, and a lot of time on press trips together. We had the privilege of working two of the best jobs on this earth, and I will treasure those memories for the rest of my life. Farewell, Rishi. I’ll miss you.
Rishi’s influence expanded the way I approach photography, both from a technical and a compositional standpoint, almost certainly more than any other colleague I’ve worked with over the past 20 years. His brilliance and creativity behind a camera, and unmatched knowledge of imaging science, were a rare and potent combination that made Rishi an infectious person to be around and especially to talk shop with. But it wasn’t just Rishi’s technical chops that made him a delight; it was also his big open heart.
Rishi wasn’t afraid to open up about deep, personal topics. He was also a fantastic and reliable listener, and someone I felt safe sharing my own inner musings, both good and bad, with. Our working relationship started rocky – what do you expect when you put two guys from Jersey in the same room? – but blossomed into something really special. Rishi, I miss you profoundly, but am so glad our paths intertwined as they did. A true friend and celebrated colleague, I’ll think of you every time I expose to the right in-camera and pull my shadows in post.
I’ve never worked with anyone else quite like Rishi. We butted heads often, usually around deadlines and such, but we could always laugh about something in the middle of it. I’ll remember those moments with him most of all. Making Rishi laugh always felt really good, and he laughed easily, even when we were annoyed with each other about something. He was truly one of a kind.
Rishi was a dear friend who changed the course of my professional career a decade ago.
We had become friendly while attending press trips, with him representing DPReview and Chris Niccolls and I still working for The Camera Store’s YouTube channel. While I felt I had adequate technical skill to review cameras, Rishi’s astounding depth of knowledge was somewhat intimidating, but more importantly inspiring. I began messaging him directly for clarification or information on sensors and autofocus systems whenever I got a wall.
Eventually, Chris, Rishi and I were on an extended press trip in Thailand, having one of our regular conversations that careened from the incredibly nerdy to surprisingly personal when he said “You guys should come work for DPreview with me.” The opportunity to work side-by-side with Rishi and learn just a fraction of his incredible scientific knowledge was too good to pass up.
While I wasn’t able to see Rishi in person as I may have hoped, our near-daily text exchanges were a source of inspiration, levity and occasional temple rubbing frustration as I attempting to understand topics that seemed obvious to my co-worker. My time at DPReview was an incredible education, and Rishi was a massive reason for that.
We both went our separate ways in a few years, with Rishi leaving to work with Apple, and Chris and I taking our YouTube show to PetaPixel. While those text exchanges were no longer daily, I’d still regularly hear from Rishi, especially when an exciting new camera or lens was announced. Thankfully though, reviewing the latest iPhone every year gave me the opportunity to grab a bite and catch up with Rishi when I was in Cupertino. While it only happened annually, we always picked up like no time at all had passed.
There is a lot to love about my job making videos, from using the latest technology to traveling to beautiful places, but the best part is the opportunity to get to know many amazing people I’d otherwise never have the chance to interact with. Rishi Sanyal was one of those.
Connexion
Ricoh
Ricoh
Ricoh
