Earlier this year, GoPro announced a bit of a departure from its usual products with the Mission 1 Pro ILS. The camera kept the company’s rugged, compact body design, but featured a Micro Four Thirds lens mount. Now, that relationship is formalized, with OM Digital Solutions and Panasonic announcing that GoPro is a member of the Micro Four Thirds standards group.

The announcement could be seen as a vote of confidence in Micro Four Thirds. GoPro brings a new kind of small, rugged video body into the mount’s ecosystem, and its support could help encourage more specialty lenses and accessories built around it.

Still, the Mission 1 Pro ILS isn’t a gateway to the full breadth of Micro Four Thirds glass. Its mount lacks electronic contacts, so it works only with compatible manual-focus lenses and manual or fixed-aperture designs, not the autofocus lenses that make up much of the existing OM System and Panasonic lineup. But it marks an interesting move in the industry, and we’ll be eager to see what, if anything, comes of it.

It’s also worth noting that action camera rival, Insta360, has said it’s working on its own mirrorless cameras, rumored to be built around a Micro Four Thirds mount as well.

When you use DPReview links to buy products, the site may earn a commission.

Camp Snap, the company known for its simple, screen-free digital cameras, has announced a new offering in its lineup with a substantially different look. The 110D is a narrow, rectangular camera reminiscent of the classic 110 analog cameras popular in the 1970s.

As the name hints, the Camp Snap got its start as a camera meant for kids to take to camp, without the risk of sending more expensive cameras with your child or the distractions found on other digital cameras. The 110D keeps that legacy alive, and like the company’s other cameras, it lacks a display for viewing photos, prompting users to stay in the moment and look at their photos later.

The only display on it is a monochrome reflective segmented LCD for checking settings. There’s a small optical viewfinder on the side for composing images.

Camp Snap

The camera keeps other kid-focused design features, too. That includes a screw-secured door where the memory card slot and a small selection of buttons to adjust settings live. However, those screws can be removed for those who don’t necessarily need to lock things down.

Also consistent with previous models are the built-in digital filter looks. The 110D offers five filters – Standard, Vintage 1, Vintage 2, Analog and Black & White – that can be changed on the camera itself with a slider. It also features a 30.5mm filter thread for those who want to use physical screw-on photo filters.

Camp Snap says the camera offers a near-instant shutter response, minimizing the delay between pressing the shutter button and capturing the image. It is also designed to maximize battery life by automatically entering sleep mode when it’s inactive. When you’re ready to take a photo, the company says you simply have to press the shutter button and don’t need to wait for the camera to fully boot up. Camp Snap says it can manage around 500 photos per charge.

Camp Snap

One thing even many adults will appreciate is that the camera can be used without an app. In fact, it doesn’t offer any sort of connectivity beyond a USB-C port. That means no fussing with connecting the camera to a phone or dealing with all the other things that come with it when a child is using it. Images can simply be transferred to a phone, tablet or computer using that USB-C port.

In terms of the nitty-gritty details, the 110D features an 8MP Type 1/3.2 (15.7mm²) CMOS sensor. It uses a 4.2mm F2.0 (26mm F11.5 full-frame equivalent) lens and offers a dual-tone LED flash, with options for 6500K and 3000K. Unsurprisingly, it only captures JPEG files, and it has fully automatic exposure and white balance. It features a pre-installed 4GB microSD card that stores roughly 2000 photos, though it can be upgraded as well.

Camp Snap

The Camp Snap 110D is available for pre-order now for $75. It comes in two colors: black and gray (called Back in Black), and white and orange (dubbed Dreamsicle).

Camp Snap

Camp Snap 110D

• $75 at Camp Snap

Over the last seven months, Samsung, Google and Apple have all released their latest flagship smartphones. Samsung’s Galaxy S26 Ultra arrived first, followed by Google’s Pixel 11 Pro and Apple’s iPhone 18 Pro. With its 6.9-inch display, the Galaxy S26 Ultra is more akin in size to the XL and Max variants of the Pixel and iPhone, but, unlike Google and Apple, Samsung doesn’t make a smaller version with otherwise identical specs.

Here’s how their cameras, displays, battery life and other core specifications compare.

Cameras

There’s a lot of overlap when comparing the camera systems of these three flagships. Each has an advantage over the others in some way; some are rather substantial, while most are only small differences.

The three phones use main-camera sensors that are effectively the same size, all coming in at Type 1/1.3 (72mm²). The notable difference is resolution: the Galaxy S26 Ultra uses a 200MP main camera, compared with 50MP on the Pixel 11 Pro and 48MP on the iPhone 18 Pro. Despite the variety in resolutions, all three models will, by default output at lower resolutions; the iPhone and Galaxy at 24MP, the Pixel at 12.5. They all, however, offer modes that let you use the sensor’s full resolution, but due to the nature of Quad Bayer sensors, they’re typically best used in good lighting where you don’t need maximum dynamic range.

Apple

Apple’s main camera has its own edge, though, as it’s the only one here with a variable-aperture lens (though Samsung briefly experimented with something similar around a decade ago). It can be set to F1.48, F1.8, F2.8 or F4, promising a bit more creative control and exposure flexibility, especially when shooting video.

Samsung has the broadest rear-camera system, adding a dedicated 3x camera between its main and 5x cameras. Its long telephoto reaches 111mm equiv., narrowly exceeding the Pixel’s 106mm and iPhone’s 100mm equiv. lenses, and the 67mm equiv. provides a nice bit of flexibility that the others don’t. However, the Pixel’s telephoto sensor remains the largest in that class of the group.

All three phones support close-focus shooting with their ultrawide cameras, though, naturally, each brand handles it slightly differently and uses distinct names. Apple lists macro photography, Google specifies Macro Focus on the Pixel 11 Pro ultrawide, and Samsung’s Focus Enhancer can automatically switch to the Galaxy S26’s ultrawide camera for nearby subjects.

Video

Google

On the video side of things, Apple lists the most extensive video feature set. The iPhone 18 Pro records 4K Dolby Vision video at up to 120 fps and supports ProRes, ProRes Raw with external recording, Apple Log 2 and ACES color workflows. It is also compatible with Genlock, which lets the iPhone 18 Pro synchronize its frame timing with other cameras and video devices.

Lastly, the iPhone has finally caught up with the Pixel and Galaxy phones with the addition of manual camera controls for aperture, shutter speed, white balance and histogram monitoring (which also work in photo mode).

The Pixel 11 Pro records up to 4K/60p on the phone itself, while its 8K/30p option uses cloud-based processing. It also offers separate modes for low-light video, extra handheld stabilization and enhanced zoomed video, plus a post-capture tool for reducing distracting background sounds.

The Galaxy S26 Ultra records up to 8K/30p and 4K/120p. It also supports Samsung’s Advanced Professional Video codec, an open, professional-oriented format intended to preserve more image information while using storage more efficiently than conventional uncompressed video. Samsung also includes an enhanced stabilization mode designed to keep handheld footage level during movement (a feature Apple replicates with the iPhone’s “Action” mode).

Displays and battery

While all three sit in the flagship-phone class, Samsung takes a different physical approach with the Galaxy S26 Ultra’s substantially larger display. The iPhone 18 Pro and Pixel 11 Pro share the smaller 6.3-inch format, while the Samsung is closer in scale to Apple’s Pro Max-class phones and Google’s Pixel Pro XL models.

The three offer the same 120Hz maximum refresh rate, and their pixel densities are broadly similar despite their different screen sizes and resolutions. The Pixel has the highest stated brightness rating, while the iPhone’s specification is specifically an outdoor-brightness figure.

In terms of battery specs, Apple rates the iPhone 18 Pro for up to 36 hours of video playback and it says the phone can reach 50% charge in around 15 minutes with a compatible 60W-or-higher USB-C adapter. The Pixel 11 Pro has a stated 30-plus-hour mixed-use runtime and charges to 55% in around 30 minutes with a 30W USB-C PPS charger. Samsung’s Galaxy S26 Ultra supports up to 60W wired charging, and the company promises up to 31 hours of video playback.

Size and weight

The Galaxy S26 Ultra is much taller and wider than the iPhone 18 Pro and Pixel 11 Pro, reflecting its 6.9-inch display and four-camera system. At 214g, it is also the heaviest, though only by a small margin. It’s just 3g heavier than the iPhone and 10g heavier than the Pixel, but it is thinner than both.

Key differences

Outside the camera system, the three phones still share a premium baseline: all start with 256GB of storage, use USB-C, support Wi-Fi 7 and are rated IP68 for dust and water resistance. The main hardware differences are scale and camera configuration rather than basic connectivity or durability.

Apple supports MagSafe and Qi2 wireless charging, including up to 25W MagSafe charging, while Google’s Pixel 11 Pro supports the Qi2.2-based Pixelsnap accessory system. Samsung supports wired, wireless and reverse wireless charging, and its Ultra model adds S Pen support and a built-in Privacy Display feature.

Software remains a fundamental distinction. The iPhone 18 Pro runs iOS 27 and integrates with Apple’s hardware and services. The Pixel 11 Pro runs Android with Google’s Pixel interface and a stated seven years of operating system, security and feature updates. The Galaxy S26 Ultra runs Android with Samsung’s One UI, Galaxy AI tools and S Pen software features.

The three phones are also close in price. In the U.S., the Galaxy S26 Ultra starts at $1300, the Pixel 11 Pro at $1099 and the iPhone 18 Pro at $1199. The Samsung Galaxy S26 Ultra’s larger display, S Pen support and fourth rear camera position it differently from the two 6.3-inch Pro models, but it also places all three phones within a $200 launch-price range.

Meet Stefan Pfeffer

Home base: Manila, the Philippines

I’m always drawn to photographers who treat their camera as a way to explore a scene from a humanistic perspective.

Known in the wider community as stipphoto, Stefan Pfeffer photographs the energy and small human interactions of everyday life, particularly across the Philippines and elsewhere in Asia. Working with a preference for wide-angle lenses and direct, unplanned encounters, Stefan embraces the reactions his presence can bring. In this edition of What’s in your bag?, he discusses his compact Sony a7CR kit while exploring his favorite stops in Europe, Hong Kong and the Philippines.

“I have always been curious about my surroundings and have photographed almost everything I encounter. During the days of film photography, I was somewhat restrained by the limited number of exposures; with digital photography, that restraint has largely disappeared.

My photographs are neither carefully planned nor intended to have particular artistic value. They are simply snapshots of moments in time.”

Our ‘What’s in your bag?’ community spotlight series features readers sharing their favorite gear and photography, including from past DPReview collaborators. See below for what Stefan has to share.

How do you get a good angle from others?

Stefan Pfeffer

“I’m drawn to documentary-style photography, with a particular focus on people and everyday life. Asia, with its crowded markets, densely developed residential areas, and vibrant street life, offers an endlessly rewarding environment for photography.

Whenever possible, I try to insert the camera into a scene rather than simply record what is in front of me. This is why I prefer wide-angle lenses: the wider the lens, the more immersed I feel in the environment.

My choice of focal length also depends on how approachable people are in different places. In Europe, they tend to use a 50mm lens; in Hong Kong, a 35mm lens; and in the Philippines, a 24mm lens. This approach makes it difficult to photograph people discreetly or unnoticed, but I see that as a positive thing. It often provokes a reaction and creates a kind of dialogue between the people I photograph and me. They may reject the photograph, which is perfectly fine, or, as is sometimes the case, give me the dreaded V-sign and pose for the camera.

I never stage my photographs or instruct people on how to pose. I prefer to capture people and situations as they naturally unfold, allowing the interaction between the photographer, the subject, and the environment to shape the image.”

What’s in Stefan’s bag

Stefan Pfeffer

“Gear does matter. A sharp lens and a snappy camera, such as the fantastic but ultimately disposable Sony a7CR, make the difference between capturing a moment and missing it.

Fast autofocus was the liberation from Leica rangefinder focusing, as digital imaging was the liberation from film. However, as objects, a Nikon F3 is infinitely more desirable than a Nikon ZF. Instagram and YouTube reviews of equipment confuse the correlation between gear and achieving a photograph.”

Favorite cameras(s): Hasselblad X1D II and Sony A7CR

“I’ve been through a lot of camera gear over the years. The perfect camera does exist, for me at least. It’s the Contax G2, paired with its wonderful lenses. Today, however, my preferred camera is the Sony a7CR.”

Favorite lens(s):

• Sony Zeiss 55mm F1.8 in Europe
• Sigma I-Series 35mm F2 in Hong Kong
• Sony 24mm F1.4 GM in the Philippines

“My three-lens kit consists of the 24mm GM, Sony 50mm F2.5 G, and Sigma 90mm F2.8, a compact combination that gives me the flexibility to photograph at different distances while keeping the kit relatively light. My choice of lens depends largely on where I’m photographing and how close I can get to my subjects.”

Do accessories matter, or do you just bring the camera?

Stefan Pfeffer

“Accessories absolutely matter. For starters, I like the Crumpler 6 Million Dollar bag. It’s simple and functional. However, for a photo walk, I much prefer inconspicuous shoulder bags that I sourced from flea markets. My latest find is a Converse bag. Equipped with a cheap camera bag insert, these are perfect for a three-lens setup.

Otherwise, a plastic bag for my camera is always part of my kit. My main criticism of Sony cameras is their sensitivity to humidity and rain. The Multi-Interface Shoe is my main source of frustration. The design may make sense on a computer, but on a camera that is used outdoors, it’s infuriating. Sooner or later, all my Sony cameras have displayed the dreaded message: “This accessory is not supported by the device and cannot be used.” Infuriating.

An air blower and a spare battery are also essential. Fortunately, Sony’s battery life is fantastic, so I rarely have to worry about running out of power. If I need anything else, the beauty of roaming any Asian city is that there is always a convenience store or Sari Sari for a refreshment.”

How has your photography changed over the years?

Stefan Pfeffer

“Although I have always loved black-and-white photography, my digital photographs are almost exclusively in color. For me, this is simply because reality is in color. Since my photographs are essentially snapshots of the world as I encounter it, I prefer to preserve that sense of reality rather than reinterpret it.

Digital photography has also greatly improved both the number and quality of images I’m able to capture. Modern autofocus is remarkably capable, allowing me to shoot wide open at short shutter speeds.

What has perhaps changed – or, more accurately, developed over time – is my ability to overcome the hesitation to approach people and ask to photograph them. After doing this for a number of years, I’ve learned that the worst that can happen is being rejected.”

Why is Asia so special for your photography?

Stefan Pfeffer

“I like to wander and discover whatever happens to be around me. In many parts of Asia, the boundaries between public and private space are less clearly defined, making places that might otherwise feel inaccessible surprisingly open. People are generally quick to let me know when I trespass – somewhere, sooner or later.

Twenty-five years ago, what was meant to be a one-month trip turned into a year-and-a-half journey through Asia, with China in particular. It was a very different time to travel. The lack of internet and smartphones created a sense of freedom and spontaneity that is difficult to experience today.

In China in particular, the relative lack of surveillance at the time made it possible to travel extensively with a sense of anonymity. Walking around with a camera was generally met with curiosity rather than suspicion. People would ask where I was from or what I was photographing, but there was usually an openness toward a foreigner simply wandering around with a camera.

That freedom and unpredictability became an important part of how I experienced and photographed Asia.”

How do you plan out capturing a great photo?

Stefan Pfeffer

“My photographs are rarely planned. They are more often a matter of seeing what happens and responding to it.

The Sony a7CR’s excellent autofocus, combined with its high megapixel count, allows me to shoot short bursts of three or four frames at a moderate drive speed. The quality of lenses such as the Sony 24mm GM and Sigma I-Series 35mm also gives me enough resolution to crop heavily and refine the composition later in Capture One.

In a way, going out to photograph has become about collecting the raw material for an image. The final framing and interpretation happen later on the computer. It’s close to the analog process: going out and exposing the negative, then returning home to make the photograph.”

Stefan really enjoyed participating in this spotlight article and would love to hear what you think of his photography and to answer any of your questions in the comments below.

You can check out Stefan’s other work at stefanpfeffer.com.

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 your photography to be featured in a future installment? Tell us a bit about yourself by filling out this form.

When you use DPReview links to buy products, the site may earn a commission.

Earlier this week, Sony announced the FE 600mm F6.3 GM OSS, a super-telephoto prime that, along with its FE 400mm F4.5 GM sibling, aims to put G Master optics into a lens you can comfortably handhold for hours. At 995g (2.2 lb) without its tripod foot, Sony claims it’s the lightest lens in its class, and at $3,700, it costs a fraction of what the company’s 600mm F4 GM does.

Shooting experience

I’ve spent the past couple of weeks with both lenses ahead of launch, taking the 600mm F6.3 to photograph wildlife in Montana at Ninepipe National Wildlife Refuge and the CSKT Bison Range, where, frustratingly, I didn’t see a single bison.

The first thing I noticed is how little the lens feels like a super-telephoto. Sony’s 995g figure doesn’t include the hood, which you’ll almost certainly have attached and which adds roughly 130g, but you’re unlikely to notice much difference. More importantly, the lens’s weight is concentrated close to the camera, so it doesn’t feel front-heavy the way many telephotos do.

Dale Baskin

I shot entirely handheld on a Sony a7 V, which is really the point of this lens: it’s built for walking, not for sitting on a tripod. I wandered the refuge’s primitive dirt roads and marshy areas with nothing but the camera slung over my shoulder and a small pack. My tripod stayed in the car the entire trip.

That’s why I can (mostly) forgive the one design choice I’d change: the tripod foot isn’t Arca-Swiss compatible. It’s not the end of the world for a lens meant to be handheld, but when you do need a tripod – for video, for example – a built-in Arca-Swiss foot would be very useful.

Dale Baskin

The hood has a locking button and a rubber bumper on the front, which is a welcome touch, since a lens this long inevitably bumps into things as you carry it. It also reverses for storage. Reversed, it partially blocks the focus hold buttons, but the function and focus rings remain easy to reach, so if an opportunity appears suddenly, you can still raise the camera and shoot.

The focus ring is nice and deep, and full-time DMF lets you take over focusing without flipping a switch. When subject detection couldn’t pick out an animal partially hidden by grass or plants, a quick twist of the ring to bring it into focus was often the fastest way to get the camera to recognize the animal and begin tracking.

Dale Baskin

The trade-off for its compact size is the F6.3 maximum aperture. For sample galleries, we keep ISO as low as practical so noise doesn’t affect perceived sharpness; I generally aim for ISO 1600 or below, though it’s not a hard rule. With this lens, that target had to move. In early-morning light at Ninepipe, or in overcast or misty conditions, I often shot at ISO 2000–3200 to get shutter speeds fast enough to freeze wildlife in action.

When not shooting sample galleries, I might push to ISO 6400 or higher, and with modern full-frame sensors and AI Raw noise-reduction tools, that makes F6.3 less of a compromise than it once was. Still, if you regularly shoot in low light, you might be the target audience for Sony’s 600mm F4, which is 1.3 stops faster.

Dale Baskin

Even at F6.3, I generally had plenty of subject separation and found out-of-focus areas pleasing both in front of and behind the plane of focus. The one exception was when something busy, like tall grass, sat in an awkward middle zone – not sharp, but not blurred enough to disappear – where the bokeh could look slightly distracting, though that kind of transitional distance is a tough test for any lens.

For a closer look at the design and controls, and how both lenses fit into the market, check out our hands-on with the 400mm F4.5 and 600mm F6.3 GM.

Sample gallery

Sony

Sony FE 600mm F6.3 GM OSS

• $3,698 at B&H

Earlier this week, Canon launched the EOS R8 II, a new, entry-level full-frame camera that takes the original EOS R8, gives it a redesign and adds IBIS and an autofocus joystick. And, like the original, it’s quite capable for video too, so we filmed part of our first-look video using it.

Keeping focus on a (relatively) still subject isn’t a particularly difficult task for modern cameras, but even Canon cameras as recent as the EOS R6 II would occasionally have some distracting focus pulsing in video. We’re happy to say it’s not something we noticed in the footage from the EOS R8 II, though we’ll have to spend more time shooting with it before we come to any full conclusions.

You’ll also see a variety of sample shots in the video, though if you want to see more – and check out the Raws for yourself – you can browse through our sample gallery.

Oh, and a fun behind-the-scenes fact for our readers: the plane picture at the 3:36 mark in the video was taken with Canon’s RF 400mm F2.8 lens, a massive piece of glass that costs as much as seven EOS R8 IIs.

It’s obviously not a sensible pairing with this camera, but I ended up having access to it for a few hours after attending a Formula Drift with Canon to test out the EOS R1, so I took the opportunity to make a silly video with it because who else would have that kind of opportunity?