By now, you’re probably familiar with the DJI Osmo Pocket 4P, despite the fact that it hasn’t officially launched outside of China. It’s the company’s vlogging camera with an integrated gimbal, featuring a Type 1 (116mm²) sensor with a 20mm equiv. lens and, new to the series, a secondary Type 1/1.28 (75mm²) sensor with a 60mm equiv. lens.

Earlier this summer, DJI invited our Director of Video and Social, Mykim Dang, to an event in Toronto to let her get some time with it, but made the choice to let influencers and creators share their footage before traditional media outlets were allowed to do so. However, ahead of the official regional launch, we’re now able to share some of the footage we shot on that trip, including shots with both cameras, and ones that use D-Log2, the profile making its debut on the series (if only on the main camera).

DJI boasts that the new Log profile, combined with the main sensor’s use of LOFIC technology to capture additional information in the highlights, allows the camera to provide up to 17 stops of dynamic range when shooting with its 20mm equiv. camera. While this number, like most manufacturer-provided DR figures, should be taken with a massive grain of salt, it helps show the ambitions the company has for the Pocket 4P. It was initially teased at the famous Cannes Film Festival as a “a bold evolution of the Pocket series from a creator tool into a cinematic imaging device capable of professional-grade storytelling.”

We’ll be sharing more on the camera soon, so stay tuned.

We recently wrote about the experience of using Canon’s latest RF 20-50mm F4 L IS USM PZ lens for photography, focusing on what it was like to use its manual zoom mode which provides a more satisfying and tactile experience than the typical powerzoom. As usual, the process of writing that article involved – what else – taking lots of pictures in a variety of situations.

You can now see those images in the gallery below, and download the Raws yourself if you want to really dig into its performance. While we were relatively pleased with the images we got out of it, it’s also still clear that this is a hybrid lens that leans towards video use, rather than being a dedicated photo lens. The edges and corners aren’t the sharpest ever, even when stopped down, and it has just okay vignetting performance, with there still being a noticeable improvement going from F5.6 to F8.

Neither of these is likely to be a dealbreaker for photography, and may not even be noticeable in most videos, and it’s worth keeping in perspective just how compact this lens is for something that goes as wide as 20mm, while also being a constant aperture power zoom.

Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don’t abuse it.

Thanks to Canon for the loan of an EOS R5 II to shoot this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer’s distortion correction applied but no correction of vignetting. The profile is an essential part of the lens design, especially when shooting at the wide end of its range.

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Tamron’s 12-20mm F2.8 adds a fast, ultra-wide option for Sony and Nikon shooters. It goes wider than its rival zooms on the Z-mount and is smaller and lighter than its closest competitor on E-mount, making it an interesting addition to both systems.

We had a chance to use it, prior to launch, with Mitchell taking it with him on his vacation out beyond Eastern Washington. He’s been sending back samples, to broaden the range of the gallery. Have a look to see how this compact ultra-wide performs.

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The Sony RX10 V arrived just before a trip I had planned to San Francisco, giving me some more interesting / less familiar shooting opportunities, the chance to play with an extremely long lens, and a lesson in how hard it is to re-create Todd Walker’s famous 1964 photo of California Street.

I made sure to grab some low-light photos as well as some trams, sunshine and marine-layer gloom.

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Dale Baskin

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

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

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

Dale Baskin

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

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

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

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

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page ). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don’t abuse it.

Richard Butler

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

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

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

Here’s Leica SL3-P (and I) got on:

Leica SL3-P sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page ). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don’t abuse it.

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