La semaine dernière, les développeurs de Cyan (Myst, Riven…) ont partagé une vidéo plutôt saugrenue. En effet, ils nous présentent Project Anglerfish, un prototype qu’ils ont développé pendant quelques mois entre 2024 et 2025, mais finalement abandonné. Ils précisent que c’est un trailer réalisé à destination des éditeurs, ce qui explique pourquoi on nous spoile une partie de l’histoire :
On peut y voir tout ce qu’on apprécie dans les jeux du studio : des puzzles et un univers onirique mystérieux. On est donc forcément un peu déçus, car c’est tout de même plutôt joli et ça donne envie. Mais que les fans se rassurent, ils annoncent travailler sur les prémisses d’un jeu de grande envergure dans l’univers de Myst, et nous promettent de partager des nouvelles dès que ce sera possible.
On croise les doigts pour que ce soit effectivement le cas, parce que le studio a traversé une période plutôt difficile après la sortie du remake de Riven. En 2025, ils avaient licencié 14 personnes, soit plus de la moitié des effectifs, pour tenter de rester à flot. A priori, ils tiennent jusqu’ici ; espérons qu’ils aient pu trouver des soutiens financiers pour leur futur jeu. En attendant plus d’informations, vous pouvez toujours vous rendre sur le site officiel pour suivre leurs actualités.
Il y a quelques jours, le studio DRAMA, célèbre pour avoir fait un buzz en présentant le trailer d’Unrecord en 2023, a partagé des offres d’emploi pour « encore accélérer le développement » du jeu. Pour rappel, c’est le tout premier bodycam FPS à s’être montré en vidéo, ce qui avait engendré une série de clones plus ou moins réussis, sortis finalement avant lui. Il avait ensuite disparu des radars pour refaire surface en septembre 2024 lorsqu’il avait sécurisé 2,5 millions de dollars auprès d’un fonds d’investissement, puis début 2026 lors du rachat d’une partie du studio par Tencent. A priori, la partie financière n’est plus trop un problème, mais l’équipe semble manquer de main d’œuvre.
Toute la communication est en anglais, mais il est amusant de voir que les postes sont situés à Rennes, sans doute au siège de la société. Apparemment, le télétravail semble possible, si l’on en croit le formulaire de postulation. Ils recherchent notamment un level designer, un game designer, un scénariste ou un développeur. Ils précisent également qu’ils sont ouverts à des postes qui ne sont pas listés.
D’un côté, on peut voir ces annonces comme le signe d’un projet en pleine croissance, mais on pourrait aussi les interpréter comme un manque de cadre ou d’idée bien définie. Il faudra donc encore patienter un peu avant d’en apprendre davantage sur Unrecord, qui reste, plus de trois ans après son annonce, toujours aussi mystérieux. En attendant, vous pouvez toujours l’ajouter à votre liste de souhaits depuis sa page Steam.
What would a Sony-owned Tamron mean for photographers?
Sony / Tamron
Photography and consumer electronics giant Sony has offered to buy Tamron, a company well-known for its lenses and optics. This would be, to put it mildly, a massive shake-up in the photography market, that could end up having profound impacts on the lenses available to photographers using other systems in the coming years.
What’s happening?
According to a statement Tamron made to investors, Sony has made “a non-binding proposal” that would result in Tamron being “a wholly-owned subsidiary of Sony Group Corporation.” Tamron says it’s set up a special committee to review the proposal, but that it currently has nothing else to disclose.
One of the most important things to glean from that statement is that, according to Tamron, it would end up as a subsidiary of Sony. That implies that, at least at the beginning, it would still exist as a separate entity. Keep that in mind, as it’ll be important later on in the discussion.
Why does Sony want to buy Tamron?
In a 2026 report to investors, Tamron said its photographic business was its “cash cow.”Mitchell Clark
There are several potential reasons for Sony to want to acquire Tamron, not all of which have to do with photography. While the majority – 74.2%, in 2023 – of Tamron’s sales come from its “photographic products,” the company’s surveillance, automation, mobility and healthcare divisions also make millions of dollars each year. Sony’s a big player in those spaces, too. While most of us are familiar with Tamron because of its camera lenses, we shouldn’t discount the possibility that those other businesses play a part too.
With that said, Sony told Reuters that its reasoning for the offer is because it thinks the acquisition would be good for Tamron’s shareholders, and that it could help Sony’s imaging business too. That seems to mean that the company’s photography business is one of the main draws for Sony.
Tamron’s place in photography
Tamron, like Sigma and Viltrox, is a third-party lens manufacturer, meaning it produces lenses for a variety of camera systems (unlike, for example, Sony, Nikon and Canon, which make lenses pretty much exclusively for their own cameras). The company is known both for making very good lenses that are much cheaper than the own-brand equivalents, and for making zoom lenses that are a bit out of the ordinary; think the 35-150mm F2-2.8, or the 17-50mm F4. Lenses that some people will find useful, but that might be a bit too niche for other companies to make.
Out of all the camera mounts Tamron makes lenses for, Sony’s E-mount is the best-served.Tamron
It’s worth explicitly saying that every single mirrorless lens Tamron makes is available for Sony’s E-mount; for many, it’s the only mount they’re currently available on. Tamron makes lenses for all the major mounts – Canon, Nikon etc – but, probably as a result of the stricter licensing policies of the other two big brands, it’s only Sony’s E-mount for which is can offer all its lenses. There are also occasionally differences between the Sony versions and the others. The company’s latest release, the 12-20mm F2.8, will be available for both Nikon and Sony, but the E-mount version is coming out first, and for less, with a spokesperson citing volume, manufacturing differences and a different competitive landscape for the price difference.
While Tamron is known for the lenses that bear its name, it’s also a major original equipment manufacturer, or OEM. That work, which includes making lens modules and interchangeable lenses for clients including Nikon, made up 29% of the company’s revenue in 2025, and accounted for 41% of the sales in its photography division in 2023.
So what happens if Sony buys Tamron?
Neither company has commented yet on what will happen if the deal actually goes through, but there are a few possible scenarios that are worth exploring should that happen.
Scenario 1: Tamron continues on with business as usual
Sony could essentially keep Tamron as a relatively separate company under its umbrella in perpituity, leaving it to continue making lenses for other mounts, and doing OEM work for other companies. And in some ways, this seems like the sensible move; why buy a company, and then nix 30% of its revenue?
Sony acting as a steward would potentially benefit it in a few ways. For one, it wouldn’t have to worry about outside forces messing around with a valuable partner; according to PetaPixel Sony was, until recently, the largest individual shareholder in Tamron before an investment firm took that spot, giving it less sway over the company’s decisions. It would also have greater insight into the company’s developments, and could plan its own releases around those, and could apply some of its optics expertise to lenses bound for other company’s cameras, letting it benefit in a way that it wouldn’t have been able to before.
it’s hard to imagine Tamron’s relationship with the other camera companies would be completely unchanged
However, there are some potential downsides, too. Sony wouldn’t be capitalizing on the ability to make access to Tamron lenses an exclusive benefit of buying an E-mount camera, and it’s hard to imagine that the company’s relationship with the other camera companies would be completely unchanged if it’s suddenly owned by a competitor. Nikon might think twice about choosing Tamron as an OEM (assuming, of course, that it has other options). Then again, it doesn’t seem in any rush to stop using sensors from Sony’s Semiconductor division, or sourcing its OLED EVF panels.
There isn’t a ton of precedent for this scenario in Sony’s history of acquisitions, though there are parallels. It famously purchased Konica Minolta in 2006, which has completely disappeared into its camera division. The same is true of Toshiba’s image sensor business, which it bought in 2015, though Sony’s sensor group does a lot of business with other camera companies.
To us, this path feels like the best outcome for photographers, if a buyout has to happen. Non-Sony owners would still get to benefit from Tamron’s lenses, and it could act as a competitive force in the market, driving other lens makers to improve their own offerings.
Scenario 2: Tamron stills exists, but only makes lenses for Sony
Tamron
Of course, Sony could keep Tamron around as a lens brand, but make it so the company only produces E-mount options. It’s hard to argue that Sony would need to do this to bolster its cameras – as stated, all of Tamron’s lenses work with them anyways, as do hundreds of options from Sony and others – but it would be a blow to its competitors. Canon and Nikon’s more restrictive licensing policies already limit the choices for their users: losing the few options Tamron provides would only make that situation worse.
In our view, this wouldn’t be good for the camera industry. We’d like photographers to have more options, not fewer.
However, this path is not unfamiliar to Sony, if you look outside of its imaging division. The company has acquired several studios that make video games exclusively for its PlayStation consoles. And while some of those games eventually make their way to other systems years after their original release, it seems like the company may be in the process of walking even that tepid support back.
Scenario 3: Tamron disappears into the behemoth
Tamron could also wind up broken up into pieces, with its medical and automotive divisions becoming parts of Sony’s corresponding groups, and its lens businesses folding into Sony’s. This would simplify things on Sony’s end, where it gets the benefit of the company’s designs and intellectual property without the headache of having two separate, somewhat competing brands. To us, though, it would seem like an odd decision; it’s not like Sony needs help designing lenses (though perhaps this is a play to increase its production capacity), and it would be forfeiting the cahcet of a brand that dates back to the 1950s.
What does this mean for photographers?
If the deal ends up going through, the impact on photographers will depend heavily on which path Sony chooses to take. But even if it went with the first option and mostly let Tamron be, that path wouldn’t be set in stone. Sony could, at any time, decide to cut of other company’s access to Tamron’s lenses and manufacturing, an outcome that wasn’t previously on the table.
While there are exceptions, consolidation in an industry with an already limited number of players isn’t typically in the best interest of the consumer. While it may be, as others have argued, a great option for Sony, that doesn’t mean it would be good for the camera market overall.
There are potential upsides
That’s not to say that there aren’t potential upsides. Tamron is a publicly-traded company, subject to the desires of its investors. While its latest fiscal reports don’t paint a picture of a company in dire straits (absolutely not financial advice, to be clear), we’ve all seen companies whose products have taken a turn for the worse because the money people decided that they weren’t happy with the current profits. It feels less likely that Tamron would meet that fate were it owned by a company that’s deeply invested in photography than if it were bought out by a private equity firm.
It’s also possible the company’s products could improve if it had access to Sony’s technology, expertise, manufacturing capacity and vast financial resources (Sony’s imaging division alone brought in $11.2 billion in 2025, compared to Tamron’s $533 million).
For now, though, this is all hypothetical. Tamron could choose to reject Sony’s offer, deciding to continue going it alone. But while neither company has commented on the terms of the deal, Diamond Online, the outlet that originally broke this story, has reported that the offer is somewhere in the neighborhood of $1.2 billion, which is around Tamron’s current market cap (or, at least, what its market cap was before the news of a potential acquisition broke).
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.
Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.
Comme annoncé, Carnival Hunt, le jeu multi asymétrique se déroulant dans l’univers du carnaval horrifique, est sorti en accès anticipé ce 23 juillet. D’un côté, vous avez une équipe de cinq joueurs qui incarnent les lapins mécaniques devant coopérer pour s’échapper et de l’autre côté, un autre joueur incarne le monstre avec des capacités spéciales, dont l’objectif est de stopper les lapins dans leur fuite. Les deux camps ont besoin de gérer avec précaution l’utilisation des clés qui permettent de régénérer la jauge de montage pour les déplacements, et d’activer divers mécanismes. Même si le concept a l’air, aux premiers abords, plutôt intéressant, les premiers retours sur Steam sont moyens et pointent du doigt le déséquilibre notable entre le monstre et les lapins, les divers bugs, les problèmes d’optimisation et de serveurs (notamment la stabilité et le rollback).
À la rédac, il y a très peu de chances que l’on se penche sur ce jeu d’horreur, qui n’a pour lui que la vue à la première personne, sans les pétoires. Mais si à tout hasard, vous seriez intéressés par Carnival Hunt, l’accès anticipé est actuellement en promotion à -10 % sur Steam jusqu’au 6 août, soit environ 18 €.
Une bonne dose de Quake, un peu d’ULTRAKILL, et même une pincée de Splatoon pour relever tout ça… Vous venez d’obtenir ALTEREDBLOOD+, un nouveau FPS nerveux et sanglant mettant à l’honneur la mobilité. L’aventure semble linéaire et les différents niveaux sont ponctués d’arènes tout en verticalité afin de mettre en valeur les atouts de déplacement du personnage joueur. La particularité du titre côté gameplay réside donc notamment dans un placement stratégique, puisque se tenir dans les flaques de sang laissées par vos ennemis permet de profiter de toutes sortes de bonus offensifs qui vous incitent à recouvrir le sol d’un maximum d’hémoglobine.
Que diriez-vous d’un mot sur le scénario ? En résumé, dans un futur lointain, une mystérieuse entité du nom de MOTHER vous missionne pour exterminer les rares humains parasitant la mégastructure qui constitue à présent la quasi-entièreté de l’univers. Ça vous paraît flou ? Pas grave, la narration n’a pas l’air d’être le cheval sur lequel misent les devs du soft. En parlant de l’équipe, le précédent jeu de TrueWorld Studios était d’ailleurs lui aussi un FPS. Le boss rush roguelike du nom d’Unyielder avait d’ailleurs obtenu des retours assez tièdes de la part des joueurs, mais s’agissant de leur premier projet, on peut accorder le bénéfice du doute à leur nouveau bébé.
Si on jette un oeil aux séquences de gameplay disponibles en ligne, il y a du bon et du moins rassurant : la direction artistique est plutôt réussie, à l’image de leur ancien titre, même si quelques éléments d’interface restent à revoir – notamment le gros JPEG du personnage qui prend un quart de l’écran dans le coin inférieur gauche. Entre ça et l’affichage qui fourmille sans arrêts de couleurs et d’effets visuels en tous genres, il y a de quoi s’inquiéter pour la lisibilité de l’action. Cela étant dit, en dehors de ça, le feeling de vitesse, le shooting ainsi que les mécaniques de gameplay originales ont l’air de créer une expérience assez grisante qui donne envie de s’y essayer.
C’est en tout cas ce que nous pouvons vous dire à l’heure actuelle, mais sachez qu’une inscription aux prochains playtests du jeu est possible s’il titille votre curiosité et/ou votre soif de sang. En outre, il est bon de rappeler que la production du titre, comme le précisent les développeurs, en est encore à un stade assez peu avancé. Il y a donc fort à parier que ces playtests permettront de mettre le doigt sur les quelques améliorations à effectuer çà et là. De quoi relativiser concernant certains des points évoqués au cours du paragraphe ci-dessus. En attendant des nouvelles d’ALTEREDBLOOD+, n’hésitez donc pas à ajouter le jeu à votre wishlist Steam s’il vous intéresse.
The dual-lens vlogging camera is now available in Europe, the UK, Canada and Australia.
Mykim Dang
After what has felt like an odyssey of a product rollout, DJI’s latest vlogging camera, the Osmo Pocket 4P, is finally here. It’s launching in Europe, the UK, Canada and Australia, after its initial rollout in China a month ago.
Our coverage of that launch has the complete specs, but here are the most important parts, in case you missed them or have since forgotten them. The 4P is an upgraded version of the company’s Osmo Pocket 4 vlogging camera with an integrated three-axis gimbal. Like the standard model, it has around 100GB of built-in storage, and a Type 1 (116mm2) sensor with a 20mm equiv. lens, capable of shooting at 4K/240p in landscape. It can also take 33MP 16:9 stills or 37.7MP 1:1 stills, and a ~3K (1728×3072) vertical crop from the middle of the sensor for portrait-orientation video at up to 60p.
While those specs are similar to the original Osmo Pocket 4, the 4P uses a new sensor that utilizes a LOFIC (lateral overflow integrating capacitance) design to retain more information in the highlights, and a new version of the company’s Log curve, D-Log2, to capture the extra dynamic range. D-Log2’s base ISO is two stops lower than the original’s, meaning it can tolerate up to 2EV additional light.
It’s also not the only camera. The 4P adds a Type 1/1.28 (75mm²) sensor with a 60mm equiv. lens for extra reach, though that one doesn’t have the same dynamic range capabilities – it uses the original D-Log – and caps out at 4K/200p.
Taking a break from specs: what’s the camera like to use? DJI brought our social director Mykim Dang to Toronto for two days to test it, and you can see her impressions, along with sample footage from the 4P, below.
The power of the Osmo Pocket series has always been in its ability to be an all-in-one solution. The cameras provide image quality that’s more than good enough for social media or YouTube, work natively with DJI’s popular wireless lavaliere microphones and produce steadier footage than you can get from a phone alone
As a bit of inside baseball, we recently went through the process of putting together a standard kit for shooting social video here at DPReview and our sister company, Gear Patrol. It includes an iPhone, several accessories like a cage and ND filters, a microphone, tripod, etc. When we were discussing the Osmo Pocket 4P, Mykim said she wished it had existed when she was putting the kit together, because she would’ve just gone with it.
The power of the Osmo Pocket series has always been in its ability to be an all-in-one solution
What really sold her was the accessory remote, which provides a wireless live preview, the ability to start and stop recording, and a joystick to control where the camera is pointed at. It doesn’t come with the camera, but is available as part of the Vlog Combo, which also includes a fill light, Mic Mini 2 transmitter and receiver, a mini tripod and more, as well as a pouch to put it all in.
The Frametap remote is included in the Osmo Pocket 4P Vlog Combo, though it doesn’t easily integrate onto the camera like it does with the Osmo Mobile 8P gimbal it launched alongside… or like the screen on the Insta360 Luna Ultra does.DJI
This does, however, bring us to one of the elephants in the room: Insta360’s Luna Ultra, which is about as similar a competitor as you could ask for. It also puts a Type 1 sensor with 20mm equiv. lens and a Type 1/1.3 sensor for its 60mm equiv. lens on an integrated gimbal, works with the company’s wireless microphones and includes some (but not as much) internal storage. However, it shoots 8K (as well as 4K), and its remote is built-in; you can detach the front with the controls and rotating screen, and use it to remotely operate the camera.
The Luna Ultra launched just as DJI had gathered everyone for its Osmo Pocket 4P event, and apparently struck a nerve at the company. DJI sued Insta360 in US court, accusing it of patent infringement, and Insta360 is countersuing. The second elephant is that, despite DJI’s choice of jurisdiction, the US isn’t among the list of places the Osmo Pocket 4P is launching today. The company tells us “the application for authorization is still pending.”
That’s no surprise given the country’s government’s ongoing actionsagainst the company, and the fact that none of its recent products have been available there (at least, not bearing DJI’s name). Insta360’s offering, however, is, despite the fact that it’s also based in China and sells drones. For those in the regions that the camera is launching in, though, that may all be unnecessary drama, or at most food for thought when it comes to picking between the Osmo Pocket 4P and a competitor.
DJI Osmo Pocket 4P
Insta360 Luna Ultra
Base camera kit
£529 / €599
£649 / €729
Vlog kit*
£605 / €689
£756 / €858
The black version of the Osmo Pocket 4P is launching today for £529 in the UK and around €599 in Europe, though the exact pricing for the latter will depend on which country you’re in. The Vlog Combo kit is available for around £/€80 more, which feels like quite an aggressive price given everything it includes.
* The two cameras’ vlogging combos are similar, though not exactly the same
Press release:
Osmo Pocket 4P Delivers Pro Filmmaking Capabilities, Advancing the Gimbal Camera Category DJI Pioneered
DJI’s First Dual-Lens Gimbal Camera Unlocks Cinematic Potential with 17 Stops of Dynamic Range and All-New 10-bit D-Log 2.
July 30, 2026 – DJI, the global leader in civilian drones and creative camera technology, today officially launched the highly anticipated Osmo Pocket 4P, elevating the category it pioneered with the original Osmo gimbal camera in 2015. Through dedicated innovation, this product line evolved into the first Osmo Pocket in 2018, ushering the era of the pocket camera. DJI has advanced this evolution with the Osmo Pocket 4P’s groundbreaking dual-lens pocket gimbal camera. It features a brand new 1-inch CMOS sensor boasting 17 stops of dynamic range1, plus a 60mm lens featuring an f/1.8 aperture for stunning, natural portraits. DJI is also debuting the new 10-bit D-Log 21 color profile, capable of capturing over one billion colors to render scenes with breathtaking light and shadow fidelity. Complementing its cutting-edge technology, Osmo Pocket 4P arrives in two exquisitely crafted color options, classic black that exudes understated power and pearl white with a fresh, eye-catching aesthetic.
Two Lenses for Cinematic Versatility Near and Far
The Osmo Pocket 4P features dual-lens that effortlessly achieve cinematic visual effects – from wide-angle cityscapes to delicate portraits. The primary wide-angle lens is equipped with an all-new 1-inch CMOS (20mm format equivalent and f/2.0 aperture). Powered by cutting-edge LOFIC technology, it delivers an unprecedented 17 stops of dynamic range1 and supports up to 4K/240 fps1. video. More typically found in high-end cinema cameras, these professional filmmaking capabilities can effortlessly handle high-contrast scenes like city nightscapes, sunsets, and backlit portraits. Meanwhile, a new high-resolution and large-aperture 60mm med-tele lens delivers the classic focal length for standout portraits. It supports 3× optical zoom and up to 12× zoom1. The f/1.8 large aperture (f/6.3 equivalent depth of field) strongly compresses the background, pulling it closer to the subject for a blurred effect. Combined with camera movements, this creates highly impactful, cinematic visuals.
Elevating Heights in Imaging, New Sparks of Inspiration
For high-speed action, the Osmo Pocket 4P can capture up to 8x ultra-HD slow motion1 footage at 4K/240 fps, giving the effect that time has slowed down for dynamic moments like spinning subjects, flowing hair, or falling snow in mesmerizing detail. Alternatively, the Slow Shutter Video can be used to trace flowing light, creating a motion blur or capturing movement trails and the passage of time for a truly unique visual narrative. The integration of the new 10-bit D-Log 21 color profile, paired with 17 stops of dynamic range1, preserves unparalleled highlight and shadow details – on par with premium cinema cameras. With a 10-bit color depth capturing over one billion colors, tonal transitions stay exceptionally smooth, maximizing flexibility for post-production color grading.
Intelligent Shooting, Unshakable Stability
The Osmo Pocket 4P is built upon DJI’s illustrious legacy in professional cinematography, including the groundbreaking Ronin stabilization system – recognized by both the Academy of Motion Picture Arts and Sciences and the Television Academy. Housed within a remarkably compact 230 g body, its advanced 3-axis mechanical gimbal ensures footage remains impeccably smooth and steady. The upgraded ActiveTrack 8.01 keeps subjects – whether people, vehicles, pets or dynamically shaped objects – firmly centered in the frame, even at 12x Zoom. It intuitively prioritizes a registered subject or centers multiple subjects at any focal length using auto framing.
Capture at Will, Share on the Go
Building on the enhanced user experience introduced with the standard version, the Osmo Pocket 4P features several intuitive features designed to streamline the creative process, including:
Instant Recording: Rotate the touchscreen to power on and start recording quickly.
Gesture Control: Flash an open pam to trigger ActiveTrack or flash a “V” sign to start recording
4K Live Photo1: Capture memories in motion by automatically recording 1.5-second clips for every photo in 4K detail
37MP High-Res Photo: Snap up to 37MP photos with crystal-clear details that can be reframed during post production.
800 MB/s High-speed Transfer1: USB 3.1 support enables wired transfer speeds up to 800 MB/s1 for near-instant export and a more efficient workflow.
Extended Runtime & Fast Charging: Recharge from 0 to 80% in just 18 minutes1 for up to three hours of shooting. When fully charged, it offers an impressive runtime of up to 210 minutes1.
Compatible with Osmo Ecosystem
The Osmo Pocket 4P is compatible with a versatile lineup of Osmo ecosystem accessories, expanding the creative possibilities. These include the Osmo Pocket 4 Fill Light, Osmo Pocket 4P Black Mist Filter, Osmo Pocket 4P ND Filters Set, Osmo FrameTap, Osmo Pocket 4 Battery Handle, Osmo Pocket 4P Wide-Angle Lens, Osmo Mini Tripod, and various OsmoAudio microphones (each sold separately or included in select combos).
For more information, please refer to: https://www.dji.com/osmo-pocket-4p
1 Only supported by certain camera modes. All data were measured using a production model of the Osmo Pocket 4P under controlled conditions. For more information, please refer to the official DJI website.
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.
Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.
The 25-200mm F2.8-5.6 is now much more usable when shooting close-up.
Tamron
Tamron has released a firmware update for its 25-200mm F2.8-5.6 Di III VXD G2 lens that actually makes a noticeable change to its performance. The company says that now, when you’re shooting at focal lengths between 25-70mm, the lens’ maximum magnification ratio is greatly improved, letting you get much closer to your subject.
When the lens launch, Tamron said it could achieve approximately half-macro, or 1:2, reproduction at its widest end. However, as lens reviewer Dustin Abbot points out, shooting so close at 25mm has practical challenges, and can make it very difficult to get a well-lit photo. By the time you were shooting at 50mm, where you had a more reasonable working distance, the maximum reproduction ratio dropped to 1:3.1, or around 0.32x magnification.
Top: the lens’ previous maximum reproduction ratio of 1:3.1 at 50mm. Bottom: the lens’ new max. reproduction ratio of 1:1.7 at 50mm.Tamron
This is where the firmware update comes in. At 35-50mm, the lens can now manage a ratio of 1:1.7, or 0.58x, which is a substantial improvement. Tamron also says that it will achieve at least 1:2 reproduction throughout the 25-70mm range. For those that like to get close to their subject, this makes and already versatile lens a lot more flexible.
It’s rather unusual to see a lens firmware update that noticeably changes how you can use the lens. It’s not entirely unique – we’ve seen Laowa launch a macro lens that couldn’t autofocus in its macro range, only to enable that functionality later via software – but it still remains among the more interesting bits of lens firmware news. Tamron’s press release doesn’t include any technical details on how the company was able to achieve this, but we’ve reached out to see if it can share any. We’ll update this story if we hear back.
The V3 firmware is available to download for free via Tamron’s Lens Utility software.
Press release:
TAMRON Firmware Update Enhances Close-Focusing Performance of the 25-200mm F/2.8-5.6 Di III VXD G2 (Model A075)
July 29, 2026, Commack, NY – TAMRON announces a new firmware update for the 25-200mm F/2.8-5.6 Di III VXD G2 (Model A075) for Sony E-mount.
With this new firmware update, the maximum magnification ratio at focal lengths of 25-70mm is improved to “1:2 half-macro or greater.” This enables users to capture subjects larger than before, allowing for more impactful close-up photography.
Users can update to the latest firmware by visiting the TAMRON Lens Utility Download Page on TAMRON’s global website.
Product
25-200mm F/2.8-5.6 Di III VXD G2 (Model A075)
Mount
Sony E-mount
Latest Version
Ver. 3
Release Date
July 29, 2026
Update Description
Maximum magnification ratio at focal lengths of 25-70mm improved to 1:2 half-macro or greater. *At 35-50mm, the lens achieves a maximum magnification ratio of 1:1.7, surpassing the half-macro performance.
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.
Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.
Ça y est, Halo: Campaign Evolvedest sorti pour les sans dents hier, le 28 juillet, suite à quatre jours d’accès anticipé pour l’édition premium, comme le fait régulièrement Microsoft avec ses gros jeux. Cela fait donc quelques jours que les tests de la presse sont tombés, et qu’ils décrivent un remaster sans doute tout à faitcorrect, si on apprécie le matériau d’origine. Apparemment, les visuels sont plutôt réussis et le gameplay est légèrement plus dynamique grâce à l’ajout d’un sprint. En revanche, beaucoup se plaignent du doublage français, mêlant les voix d’origine avec de nouvelles pistes a priori enregistrées dans des conditions désastreuses avec de nouveaux comédiens pour Cortana et Master Chief. C’est évidemment atroce et on a hâte de pouvoir constater ça en live avec vous. En revanche, les avis Steam sont beaucoup plus mitigés : graphismes parfois dégueulasses, performances en dent de scie et combats un peu mous du cul.
À la rédac, on aurait bien aimé vous montrer tout ça dès le 24 juillet, mais Microsoft ne nous a pas envoyé de clef, malgré toute la publicité gratuite qu’on leur a fait ces dernières semaines. Et comme ça nous aurait vraiment fait très mal au cul de dépenser 72 € (malgré la promo de Gamesplanet) pour avoir l’édition premium et ainsi pouvoir y jouer quelques jours en avance, on est restés raisonnables : on a pris l’édition normale à 54 € (aussi grâce à Gamesplanet). D’autant qu’on n’attend pas particulièrement le jeu. On souhaite juste faire un test parfaitement objectif, puisqu’il ne sera biaisé par aucune nostalgie.
D’ailleurs, on fait nos premiers pas dans le remaster ce soir sur la chaîne Twitch de NoFrag. Si vous voulez constater les dégâts avec nous, et profiter d’avis totalement impartiaux et sans aucune mauvaise foi, rendez-vous à 21 h !
À l’occasion du The Secret Sauce Showcase qui s’est déroulé mi-juillet, le puzzle game Stretchmancer s’est de nouveau montré. On vous en avait déjà parlé en fin d’année dernière lorsqu’on avait découvert son concept original : étirer ou de compresser le décor pour résoudre des énigmes. Dans cette nouvelle vidéo, l’un des devs nous parle brièvement de l’avancée du développement, et nous renvoie vers un devlog plutôt intéressant sur la genèse du projet. Il explique que l’idée vient, à l’origine, d’un film qu’il a réalisé sur un jeu vidéo fictif, ce qui l’a fait mettre un pied dans le développement. Et de fil en aiguille, ses péripéties l’ont mené à la création du studio Triangle Wave avec quelques amis.
On était déjà très intrigués par cette mécanique qui semble être une première dans un jeu vidéo. Mais ces dernières présentations nous donnent encore plus envie de voir ce que ça donne clavier et souris en main. On espère juste que ce qui peut faire illusion dans un projet de game jam saura maintenir l’intérêt dans un jeu complet.
Pour l’instant, la date de sortie n’a toujours pas été annoncée. Mais en attendant, vous pouvez toujours ajouter Stretchmancer à votre liste de souhaits depuis sa page Steam.
Si vous trouviez votre quotidien trop monotone, peut-être seriez-vous séduits par un poste d’homme à tout faire dans une station-service pas comme les autres ? En dehors de vos tâches quotidiennes et ingrates, vous aurez la délicate mission d’interroger vos clients afin de démasquer et d’abattre les monstres parmi eux. Si vous ne réussissez pas, le monstre reviendra vous faire le peau et vous devrez donc préparez vos défenses pour tenter de survivre. Derrière ce synopsis intriguant et ces graphismes rétro sympas, Shift At Midnight, fruit du travail du dev solo Bun Muen, a connu un lancement plutôt réussi à sa sortie ce 22 juillet. En effet, ce jeu coopératif a réuni plus de 27 000 joueurs au moment où l’on écrit cette news, avec une note globale très positive sur Steam. Même si les bugs sont de la partie, le concept simpliste et fun entre amis a séduit la communauté de joueurs.
Si vos amis et vous-même êtes intéressés par Shift At Midnight, vous pouvez vous le procurer sur Steam en profitant de la promotion de lancement de -10 % jusqu’à demain, soit environ 9 €.
Il y a quelques semaines, Infinity Ward, qui développe Call of Duty 23: Modern Warfare 4, a publié une nouvelle vidéo sur les coulisses du développement du jeu. Ils y parlent de la manière d’adapter les animations et le comportement des armes suite à des essais avec les vraies versions sur des stands de tir. Les précédents Call of’ étaient déjà des références sur ces aspects, et on comprend pourquoi : ils mettent les moyens. Mais le plus intéressant, c’est que les développeurs sont revenus sur le bloom, un procédé qui envoie la balle aléatoirement dans un cône lorsque l’on tire à la hanche (et peut-être aussi en visant, corrigez-nous en commentaires). Dans le prochain opus, il sera tout simplement supprimé, et la zone de flou sur la mire sera réduite pour être plus réaliste, tout en permettant de mieux voir ses cibles. Cela peut paraître anodin, vu de l’extérieur, mais les habitués risquent d’être un peu chamboulés : moins d’aléatoire, donc plus de skill.
Bon, on ne va pas vous mentir, on ne porte pas particulièrement la licence Call of Duty dans notre cœur à la rédaction, mais la proposition différente du prochain épisode pourrait davantage nous intéresser – au moins pour son solo, qui ne pourra pas être pire que le précédent. Quant au multijoueur, il sera probablement très bon pour le genre, comme tous les ans. Encore faut-il l’aimer.
Call of Duty 23: Modern Warfare 4 est toujours prévu pour le 23 octobre 2026. Il sera disponible sur Steam, Battle.net et le Microsoft Store, au tarif de 70 €.
Annoncé il y a quelques jours, Blast Vein soulève de nombreuses interrogations si l’on s’en tient à son reveal trailer, qui a, cela dit, le mérite de donner le ton creepy du jeu. Heureusement, la page Steam du titre donne plus de contexte à de premières images qui ont de quoi laisser dubitatif. On y apprend notamment que le boomer shooter aura une structure roguelike dont le early game se rapprochera du survival horror, tandis que la fin de partie donnera au joueur un feeling de toute puissance à la DOOM. Le tout se déroulera visiblement au coeur d’une ambiance assez malsaine, servie par une direction artistique monochrome et glauque à souhait.
Pour l’instant, quelques questions restent en suspens, puisqu’on n’a par exemple aucune explication sur les éléments d’interface étranges en bas de l’écran. Probablement une mécanique de jeu qui nous sera révélée à l’avenir, et il y a fort à parier qu’elle sera liée aux thèmes abordés par le lore du titre. En effet, on a quelques infos à ce sujet, avec notamment un court synopsis : imaginez un comprimé qui promet d’effacer toute souffrance psychologique. C’est l’expérience que vous tentez. AXIOM vous immerge au plus profond de votre esprit et vous y met face à ce qui vous fait le plus mal. À vous de voir si vous êtes capables de le vaincre.
Une histoire qui justifie donc habilement la laideur des ennemis et l’aspect angoissant des environnements en leur donnant un sens concret dans l’esprit torturé du personnage incarné. C’est en tout cas une idée intéressante, même s’il est très surprenant de constater que le studio aux commandes du projet n’avait travaillé jusque-là que sur des jeux de petits robots trop meugnons qui n’avaient absolument rien à voir avec le genre FPS. Mais la prise de risque des devs hors de leur zone de confort ne nous décourage pas et il nous tarde d’en savoir plus sur ce titre pour le moins déroutant. Si vous êtes également dans ce cas, n’hésitez pas à mettre Blast Vein dans votre wishlist via Steam.
Dans le courant de la semaine, l’éditeur Apogee Entertainment a publié une bande-annonce pour la sortie de la nouvelle mise à jour du FPS d’horreur Total Chaos. Désormais, vous pouvez jouer au mode rétro qui utilise des assets retravaillés du mod original de DOOM II et découvrir une nouvelle fin après avoir complété le New Game+ Epilogue. Également, les devs ont amélioré les confrontations avec le Protector afin de les rendre plus fluides et intégré une carte in-game avec des repères de localisation. Pour en apprendre davantage sur les autres ajouts de cette maj, vous pouvez consulter le présent billet de blog Steam.
Même si l’aspect rétro a l’air plutôt réussi, on n’a pas vraiment eu le temps de se pencher dessus. Si vous avez pu jouer à ce nouveau mode, n’hésitez pas à nous en faire part dans l’espace commentaires. Et si vous êtes intéressé par Total Chaos, ce dernier est actuellement en promotion à -40 % sur GoG jusqu’au 1er août, soit un peu moins de 14 €, ou plein pot sur Steam ou l’Epic Games Store pour environ 25 €.
Découvert lors du Steam Néo Fest de juin, Project P.I.T.T., façonné par Froke, un développeur indépendant français, intrigue par son concept décalé. Le principe ? Fabriquer des canards en plastique afin de les jeter dans un trou sans fond. En fonction de votre score cumulé, vous pourrez acheter de nouveaux équipements qui vous permettront d’envoyer plus de canards et autres objets par la suite. Au-delà de cet aspect scoring accompagné de sons satisfaisants et d’effets visuels attrayants, se cache probablement une satire sur la surconsommation qui en demande toujours plus jusqu’au point de non-retour. Au moment où nous avions testé la démo, aucune date de sortie n’avait été communiquée. C’est maintenant chose faite, le dev a publié un billet de blog Steam pour annoncer que ce sera le 19 août prochain.
En attendant la sortie de Project P.I.T.T., vous pouvez ajouter le jeu à votre liste de souhaits Steam et même, jouer à la démo qui est toujours disponible, si vous êtes intéressés.
Comme prévu, le puzzle game Looking for Fael est sorti le 16 juillet dernier. Pour rappel, il s’agit d’un jeu un peu surréaliste développé par les Français de Swing Swing Submarine et La Poule Noire, dans lequel on doit retrouver son colocataire perdu dans des univers parallèles de notre appartement. Les premiers retours de joueurs semblent plutôt enthousiastes, mais malheureusement très peu nombreux. Tout comme ceux de la presse : on ne trouve que les avis d’une poignée de sites français, dont nos confrères de Gamekult, mais aucun internationaux. C’est ce que déplore un membre de La Poule Noire sur Bluesky, se demandant pourquoi seulement 4 % des whishlists ont été converties en achat. Si un manque de communication côté Arte France (l’éditeur) pourrait être une explication, il semblerait que Steam n’ait pas envoyé le traditionnel mail de notification de sortie.
Parce qu’on n’avait que ça à faire hier soir, on a fait un petit stream sur notre chaîne Twitch. On a uniquement joué pendant deux heures, mais on a déjà pu constater des visuels très réussis et des énigmes franchement sympas. Point positif, on peut régler le FOV. Point négatif, on se déplace un peu lentement et on ne peut pas bunny hop. On a un peu moins accroché aux puzzles façon Tetris, espérons qu’on ne reste pas trop bloqués dessus dans la suite. Bref, c’est une très bonne proposition assez originale qui se rapproche un peu d’un The Witness. On essayera de vous proposer un test complet dans les prochains jours.
Et pour soulager vos lombaires, le bureau assis/debout JUMMICO à 144 €.
Et si aucun de ces produits ne vous fait de l’œil, vous pouvez tout de même nous soutenir en ajoutant ?tag=nofrag-21 à la fin de l’URL de n’importe quelle marchandise sur Amazon et ainsi nous permettre de grappiller quelques euros fort utiles.
Les bons plans Gamesplanet
Cette semaine notre partenaire Gamesplanet propose une réduction de 10 % sur les précommandes d’Halo: Campaign Evolved. Cela fait l’édition classique à 54 € et l’édition Premium à 72 €. Attention, ce sont des clefs Microsoft Store. À noter que l’édition Premium permet de jouer dès maintenant, alors que les sans dents devront attendre le 28 juillet. Sinon, il y a plein d’autres magnifiques promotions :
Le jeu coopératif The Mound: Omen of Cthulhu semble ne pas avoir beaucoup évolué depuis sa démo, donc on attend des patchs. Mais il était prometteur. Il est actuellement à – 30 %, soit 20 €.
Sorti discrètement il y a quelques jours, le puzzle game Looking for Fael a du mal à se faire une place chez les joueurs malgré ses qualités. Il est à -10 %, soit 18 €.
Et dans tous les cas, si vous trouvez des choses qui vous intéressent, vous pouvez ajouter ?ref=nofrag à la fin de l’URL pour nous faire gagner quelques centimes. Ça arrivera dans notre porte-monnaie virtuel Gamesplanet et nous permettra de nous payer les clefs que les éditeurs ne nous envoient pas !
On termine cette page de bons plans avec notre boutique ! Si vous avez encore quelques euros à jeter par la fenêtre, on a récemment mis à jour le catalogue Spreadshirt avec les nouveauxlogos. Alors pourquoi ne pas craquer pour un body bébé, un magnet, une gourde ou un tapis de souris ?
The company has released new firmware for the EOS R6 V and R6 III.
Canon
Canon has released firmware updates for its vlogging-focused EOS R6 V, and its enthusiast mirrorless hybrid EOS R6 III, adding some new features and quality-of-life improvements.
The EOS R6 V gets the heftiest update, adding the ability to shoot flash with the camera, which the company promised at launch. This comes with a new menu that allows you to adjust your settings when using a flash, though it’s still a relatively limited implementation. To start, the camera is still primarily designed for video, so it doesn’t have any sort of mechanical shutter. This means you can only use flash at up to 1/60 sec, which will be a big limitation if you’re shooting outdoors. The camera also doesn’t have any of the traditional pins on its hotshoe, meaning your limited to flashes that work with the digital mutli-function shoe, unless you happen to have an adapter. (Sorry, fans of the Godox iT32.)
Still, it’s nice to see Canon following through on its plan to add flash support to the EOS R6 V for the niche situations where it’ll be useful. The V1.10 firmware also adds support for the BR-E2 wireless remote that Canon announced alongside the camera, allows the gridline overlay to display on the live view screen while you’re recording video and fixes several bugs.
The EOS R6 III gains a feature introduced by the EOS R6 V
The list of updates for the EOS R6 III, which, as the names imply, features very similar hardware to the EOS R6 V, is unsurprisingly similar. It too gains support for the BR-E2 and grid lines while recording, and receives several bug fixes. It also gains a feature introduced by EOS R6 V: the ability to use the AF for close-up demos setting across video modes. This feature overrides the camera’s facial recognition system if it detects that you’re holding something up to show the camera, and was previously only available in a specific mode that took away most of your manual exposure, focus and audio controls. Now, you can use it while retaining control over the rest of your image, making it much more flexible.
While it’s a relatively small feature, it’s also not always a given that manufacturers will bring features from their newer cameras to their older ones, even if it seems that they should support them. While the EOS R6 III hasn’t received all of the EOS R6 V’s video tricks, it’s nice to see that one of the camera’s quality-of-life improvements isn’t exclusive to people who aren’t as interested in photography.
The firmware updates for the EOS R6 V and EOS R6 III are available for free from Canon’s website.
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.
Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.
Longtime Slashdot reader sandbagger shares the passing of John C. Dvorak, an early and influential technology journalist for PC Magazine. He was 80. Talking Biz News reports: Aric Mackey writes, "Widely recognized for his profound impact on the technology industry, John's career spanned decades of rapid digital evolution. He was perhaps best known for his influential, long-running column in PC Magazine and his groundbreaking work on the No Agenda podcast. Through his prolific writing, broadcasting, and distinct public voice, he helped shape critical conversations around both technology and political analysis, guiding generations of readers and listeners with his unique perspective.
"To those who knew him personally, John was far more than his public work. He was a beloved husband, devoted father, proud grandfather, and a loyal friend. Those closest to him will remember a man defined by his strong convictions, his exceptionally sharp wit, and an enduring curiosity about the world around him." Dvorak was also part of the startup team at CNET Networks, and appeared on MarketWatch TV.
The company has upgraded its existing folding phones, and added a new model in-between them.
Samsung
Samsung has announced three new folding phones, updating its existing models and adding a new one to its lineup, complete with a new form factor.
The flagship model is getting a rebrand. Formerly known as the Galaxy Z Fold series, this year’s entry is called the Galaxy Z Fold 8 Ultra. Like its predecessor, it has a 6.5″ display on the outside, and an 8″ one on the inside. As you’d expect from an “Ultra” phone, it has a triple-camera setup. The main “wide” and telephoto cameras are unchanged from the ones found on the Galaxy Z Fold 7, but the ultrawide has been upgraded from a 12MP Type 1/2.5 (25mm²) sensor with an F2.2 lens, to a 50MP one with an F1.9 lens, which Samsung says will let in 33% more light.
The camera hardware on the Galaxy Z Fold 8 Ultra is largely the same as that of the Galaxy Z Fold 7, but the ultra wide camera has been upgraded with a higher-resolution sensor and faster lens.Samsung
The company says it has enhanced its HDR mode for the main camera, as well as its low-light “Nightography” mode. The phone’s 8K video also now records in the APV codec, which Samsung says “gives users greater flexibility and quality for editing and production workflows.”
Aside from the upgraded ultrawide camera, Samsung has included the new Snapdragon 8 Elite Gen 5 processor with 12 or 16GB of memory (dependent on what storage size you get), along with a higher-capacity 5000 mAh battery, up 600 mAh from the one in the Z Fold 7. The company has also re-engineered the phone’s internal screen to make the crease less visible, while making it brighter and nicer-feeling to open. And despite all this, it weighs the same 215g (7.6oz) as its predecessor, and each half is a hair thinner at 4.1mm.
None of these improvements come cheap, though. Last year’s Z Fold 7 was $100 more than its predecessor, and Samsung has bumped the price again, with the Z Fold 8 Ultra starting at $2100 for the 256GB model.
The Galaxy Z Fold 8 Ultra (left) retains more or less the same form factor that the series has always had. The new Galaxy Z Fold 8, meanwhile, adopts the “passport” size and shape that’s been popularized by other phone makers like Oppo and Google (and which Apple is rumored to adopt with its folding phone). Samsung
There is, however, now a new option below it: the Z Fold 8, which takes on a slightly different form factor. While the Ultra has a relatively tall and narrow 3:7 outer screen and a nearly-square 1.11:1 inner screen, the new model’s cover is a wider, shorter 10:16, and the inner display is 4:3. The Z Fold 8’s outer display has a 5.5″ diagonal, while the inner one is 7.6″.
While the Z Fold 7 (which was, remember, moreso the predecessor to the phone now called “Ultra”) marked a turning point as a folding phone that didn’t come with big compromises to its camera system compared to its candybar counterpart, that trend hasn’t continued with the Z Fold 8. It drops the telephone camera entirely, and its main 23mm equiv. camera is smaller, slower and lower resolution than the one on the Ultra. The ultrawide, however, is the same 50MP model.
Galaxy Z Fold 8 Ultra
Galaxy Z Fold 8
Galaxy Z Fold 7
Main camera
200MP Type 1/1.3 (72mm²) 24mm equiv. F1.7 (F6 equiv.)
50MP, 23mm Type 1/1.57 (50mm²) 23mm equiv. F1.8 (F7.6 equiv.)
200MP Type 1/1.3 (72mm²) 24mm equiv. F1.7 (F6 equiv.)
Ultrawide camera
50MP Type 1/2.5 (25mm²) F1.9 (11.5 equiv.)
50MP Type 1/2.5 (25mm²) F1.9 (11.5 equiv.)
12MP Type 1/2.5 (25mm²) F2.2 (F13.3 equiv.)
Telephoto camera
10MP Type 1/3.94 (10mm²) 67mm equiv. F2.4 (F22.7 equiv.)
–
10MP Type 1/3.94 (10mm²) 67mm equiv. F2.4 (F22.7 equiv.)
Size (Folded)
158 x 73 x 8.9mm
124 x 82 x 9.7mm
158 x 73 x 8.9mm
Weight
215g
201g
215g
Battery
5000mAh
4800mAh
4400mAh
Price
$2100
$1900
$2000
Not everything is a downgrade compared to the Ultra, though. The displays may be a different size, but are still just as bright, and the Z Fold 8 has the same processor and storage options. And while it’s thicker both folded and unfolded, it’s also a touch lighter. Even if you don’t prefer the more passport-style form factor, though, the price may be slightly more attractive than the Ultra’s, as the phone starts at “just” $1900.
The Z Flip 8’s camera hardware is largely unchanged; most of its improvements come from software.Samsung
Finally, Samsung has also updated its Z Flip 8, the smaller model that unfolds to be a similar size to a more traditional smartphone. The company doesn’t seem to have made any changes to its cameras – it still has a wide 50MP Type 1/1.57 (50mm²) and ultra-wide 12MP Type 1/3.2 (15mm²) – but it’s lighter and thinner than its predecessor. The company has also updated the processor to that same Snapdragon model (though there’s no option for one with 16GB of RAM like with the larger models), and has made improvements to the front screen’s interface, making it easier to use if you want to avoid opening your phone and potentially getting sucked in by feeds and apps.
The Z Flip 8 retains its position as Samsung’s least expensive foldable, but its $1200 price tag represents a $100 increase over its predecessor’s.
The Z Fold 8 Ultra, Z Fold 8, and Z Flip 8 are all available to pre-order today, and are set to become available on August 7th.
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.
Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.
Viltrox seems set to start selling lenses for the mount.
Viltrox
Viltrox seems poised to start selling lenses for Micro Four Thirds, according to a post on social media platform Xiaohongshu. It shows a puzzle piece about to be slotted into a hole labeled “M4/3,” and teases an announcement coming on July 23rd. While the company hasn’t posted about it on its Instagram pages, the Viltrox US account did comment on a Reddit post about the teaser, saying “Something new coming soon.”
The teaser doesn’t say what to expect, beyond having hashtags that translate to “lens.” But the idea of getting a Micro Four Thirds lens from Viltrox is exciting on its own; the company has become a major player in the world of third-party lenses, and it’s an interesting sign that it’s looking to throw at least some of its weight behind the mount, as we haven’t seen many others do so for a while.
Viltrox
There are a wide variety of companies, well known and not, making manual focus lenses for the system, and a few that continue to sell a handful of autofocus options, too. But beyond Panasonic and OM System, who also make cameras using the mount, there haven’t been any new Micro Four Thirds lenses from a major player in quite some time. Sigma used to have some options for the system, which you can still buy, but they haven’t been updated like we’ve seen with the company’s APS-C and full-frame offerings.
Of course, there are many ways to release a lens for a system. While Viltrox could come out with a lens custom-designed for Micro Four Thirds, with a sensible focal length and a small, compact size. It could also, however, just be swapping out the mount on one of its existing APS-C or, worse, full-frame designs (not that such a move would be unheard of). Even if it is a lens with a larger-than-neccesary image circle, though, it’s still a start. If whatever Viltrox releases ends up being successful, it could lead to the brand giving Micro Four Thirds more attention.
Or it could wind up being something completely unexpected, like a camera that uses the mount. It’s hard to put anything past companies at this point. Whatever it is, we won’t have to wait too long to find out.
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.
Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.
Connexion
