Alors que la page Steam de Fracture Point affichait initialement une sortie pour le 28 août, le dev indé solo Kyrylo Burlaka a changé ses plans avec un nouveau trailer dévoilant officiellement la date du 4 septembre. Pour rappel, ce loot shooter avec des mécaniques de roguelite vous mettra dans la peau d’un mercenaire trahi par le chef d’une corporation toute puissante. En quête de vengeance, vous devrez traverser les différentes étages générés procéduralement pour atteindre le sommet d’une tour et faire la peau à votre ancien employeur. Pour vous défendre, vous utiliserez les armes lâchées par vos ennemis qui auront des caractéristiques propres. De plus, votre équipement pourra être amélioré en revendant le précieux loot récupéré durant votre partie, si vous ne mourez pas. Côté gameplay, ça a l’air plutôt nerveux, violent et un peu trop frénétique par moment. En effet, la cadence de tir est tellement importante que les flammes à la sortie du canon rendent l’action parfois illisible. En dehors de ça, le jeu semble être un bon défouloir sans prise de tête.
En attendant la sortie de Fracture Point prévue début septembre, vous pouvez l’ajouter à votre liste de souhaits Steam, si vous êtes convaincus.
The August update adds Enhanced Denoise, Color Balance, Heal & Clone and Keywords to Capture One’s iOS app, features that previously forced mobile shooters back to a desktop to finish an edit.
Capture One
Capture One has released version 4.0 of its mobile app as part of its August 2026 update, bringing four tools previously limited to the desktop software to iPhone and iPad. The release narrows the feature gap between the company’s desktop and mobile apps, giving photographers more editing capabilities on the go.
The three-way Color Balance wheel lets mobile users adjust shadows, midtones and highlights independently.Capture One
Enhanced Denoise is a standout addition to version 4.0. Like other noise reduction tools these days, it uses AI to reduce noise while, according to Capture One, preserving fine details. Capture One has also added Color Balance, its three-way color grading wheel that allows photographers to adjust the color balance of shadows, midtones and highlights. It gives mobile users more tonal control than what was previously available in the Capture One mobile app.
Another highly requested feature is the Heal & Clone tool, which lets photographers remove distractions on mobile devices. That means retouching no longer needs to wait until you’re back at the desktop. Capture One has also added Keywords support. Photographers can now tag and organize images in the field, making it easier to find the images they need. Lastly, the crop tool has been updated to follow the camera orientation when shooting tethered or copying and applying adjustments.
The Heal and Clone tool lets photographers remove distractions directly on mobile, no desktop required.Capture One
These tools are all welcome additions to the mobile version of Capture One, which has long lagged behind the desktop in features. Our 2023 iPhone app review found the app well-suited to professionals but noted the fairly substantial toolset gaps. Thankfully, version 4.0 closes several of the most significant ones. For subscribers also using Capture One Pro on the desktop, the mobile app should function as a more credible extension of that workflow rather than a stripped-down companion.
Version 16.8.5 of the desktop app also sees some small updates, including the ability to pan with the middle mouse button, support for the OM System OM-3 Astro and more.
The updated versions are available now for iPhone, iPad and desktop.
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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Vendredi soir à 18 h aura lieu le show COD NEXT sur Twitch et Youtube, où Infinity Ward parlera en long et en large de Call of Duty 23: Modern Warfare 4 (toujours prévu pour le 23 octobre) et de la nouvelle version de Warzone (qui sort habituellement début décembre). Au programme : le mode multijoueur classique en 6v6, Killblock (la map procédurale composée de portions d’anciennes maps) et Warzone avec la présentation de la nouvelle map Zodiac. Le mode extraction DMZ n’est bizarrement pas mentionné.
Le programme des festivités.
Dès la fin du show à 20h, la bêta fermée de Modern Warfare 4 démarrera sur PC / PS5 / Xbox Series, pour ceux qui ont précommandé le jeu (pour la modique somme de 70 € sur Steam ou Battle.net) ou ceux qui récupéreront une clé sur les streams des différents influenceurs participant au COD NEXT. Au programme de cette bêta fermée : le mode multijoueur 6v6 sur cinq maps et six modes de jeu (dont un inédit, Inflation), Killblock en Escarmouche 3v3 et 10v10, ainsi qu’une mission de la campagne solo. Cette phase de bêta fermée se terminera mardi 25 août à 19 h.
Le weekend suivant, du 28 août au 1er septembre, aura lieu la bêta ouverte à tous, cette fois disponible également sur Switch 2 si vous voulez vous faire du mal. Le contenu sera enrichi du mode Guerre Terrestre (l’ersatz loupé de Battlefield) sur deux grandes maps, et du mode Résurgence de Warzone sur la map Zodiac.
En ce début de semaine, The Wild Gentlemen, le studio derrière l’intriguant RetroSpace, a publié un billet de blog Steam annonçant que leur jeu est prévu pour le 1er octobre. D’ici là, la démo que l’on avait plutôt appréciée durant le Steam Néo Fest de juin dernier, reste disponible. Cet immersive sim vous plonge dans la peau d’un concierge qui se trouve pris aux pièges dans une station spatiale remplie de monstres suite à un passage dans un trou noir. Vous devrez donc explorer les lieux pour trouver des réponses et tenter de revenir sur Terre. À l’aide de divers mutagènes, d’objets et d’armes, plusieurs choix s’offriront à vous pour résoudre moult situations et arriver à vos fins, quitte à condamner l’humanité.
En attendant le sortie de RetroSpace, vous pouvez toujours ajouter ce dernier à votre liste de souhaits Steam, si vous êtes intéressés.
Dans un billet LinkedIn, Warren Spector, roi de l'immersive sim et héros de notre enfance, a annoncé prendre sa retraite, après 44 ans passés dans l'industrie et plus de 17 jeux à son palmarès. Au revoir, capitaine, et merci pour la passion. ER.
Aftermath vient de sortir un article édifiant sur le processus de validation des jeux qui présentent du contenu considéré comme mature sur Steam : on y apprend notamment que Meredith Gran, qui a développé le fantastique Perfect Tides : Station to Station, a dû envoyer un build spécial qui ne comportait que les scènes à caractère sexuel de son jeu, avant d'attendre que le couperet tombe. Si Perfect Tides a depuis été commercialisé sans problème, le processus a été un peu plus houleux pour la développeuse Heather Flowers. Cette dernière a été contrainte de modifier une miniature de 500 Finger Fillet qui présentait une main à l'annulaire coupé en remplaçant du sang rouge par un liquide rose vif, ce qui fait au moins un point commun entre Gabe Newell et les pubs pour les serviettes hygiéniques des années 2000. ER.
The GX-P1 will reportedly be a fixed-lens digital camera designed to shoot XPan-inspired 65:24 images.
GXAce
Photography YouTuber Casey Cavanaugh, also known as GXAce, is working on something new: a camera called the GX-P1. Cavanaugh has been teasing the camera for a few weeks, and there’s still a lot more we don’t know, but a newsletter he wrote, seen by PetaPixel, has shed a bit more light on what it’ll look like.
According to PetaPixel, the GX-P1 will be a fixed lens digital camera that shoots images in the 65:24 aspect ratio popularized by the Hasselblad XPan. The goal is to make a camera “built specifically for photography,” something Cavanaugh says “not a single camera company seems to want to do.” His goal is to crowdfund the camera later this year, though there’s apparently still quite a lot of work to be done.
The goal is to make a camera “built specifically for photography”
While the ultra-wide format has a number of dedicated fans, there aren’t that many options if you want to shoot it these days. Fujifilm built a setting for the aspect ratio into the GFX100RF, and Panasonic has built support for it into many of its full-frame cameras, but it’s far from common. But even if you have no interest in a camera dedicated to it, there could still be reasons to follow the GX-P1 project.
According to PetaPixel, Cavanaugh plans on publishing videos about the process of creating the camera, offering a rare inside look into what it takes to build a digital camera from the ground up. As he himself points out in his review of the Pixii Max, a small, independent team’s journey to bring a camera to market will look very different than that of a major company that has experience, existing relationships and economies of scale, but I’m still excited to see the process.
Cavanaugh is working with designer and creative director Ash Thorp, who has worked on movies like 2022’s The Batman and 2023’s Ant-Man and the Wasp: Quantumania, and the GXAce videos place a heavy emphasis on aesthetics, so I suspect we’ll get a lot of information about the work that went into the physical design the camera. So far, the team has only shown a few photos of the device, revealing what looks like an optical viewfinder, top plate informational display and a control dial.
We’ll have to wait until Cavanaugh releases more information, or the first video of the series, to find out more, but we’ll be eagerly waiting for the first episode.
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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Tower Optical’s coin-operated binocular viewers have stood at American overlooks since the 1930s, built by a company almost nobody can name. For the first time, it’s selling some of them off.
Tower Optical
If you’ve ever stood on an observation platform at Niagara Falls, at the edge of the Grand Canyon, or overlooking the Golden Gate Bridge, chances are pretty good you’ve seen a Tower Optical binocular viewer, and maybe even dropped a quarter into one, even if you’ve never heard of the company that made it.
These heavy, chrome-plated viewers are bolted to observation decks and overlooks across the US and Canada. But somewhere along the way, the viewers themselves became icons. And, for the first time in its history, the company is selling a small number of them to private buyers.
Tower Optical began in a Norwalk, Connecticut, machine shop in 1933, and remained in the same family until 2025. Between the 1930s and 1980s, it manufactured roughly 2,000 of the machines, with every component hand-assembled in the company’s factory in Norwalk, where the original machinery from the 1930s and 40s still stands. Today, the company has about 1,800 machines spread across roughly 400 locations in North America.
Tower Optics binocular viewfinders have been deployed to all corners of North America, in all types of environments.Tower Optical
In many places, these viewers have become part of the landscape as much as a means of viewing it. As someone with an interest in optics, what’s always fascinated me are the conditions these devices endure: freezing winters, blistering summers, rain, snow, ice, sand and every other environmental hazard you can throw at them. Yet the 10×42 binoculars inside keep delivering a sharp image, decade after decade.
Adam Rice, one of the company’s current owners, says the location and history of every viewer has been meticulously tracked by hand, decade after decade, as they moved around the continent.
For decades, Tower Optical used a pair of push-pin maps at its headquarters — color-coded by site — to monitor where each viewer was deployed.Tower Optical / Adam Rice
“There are two push-pin maps at headquarters that are pretty outdated now, but they were used to track all the different sites, color-coded by location. Beyond that, we have a physical card for every single machine detailing its maintenance and whereabouts. I scanned thousands of these cards with a high-speed scanner to digitize the company’s historical records.”
Looking at one of these cards can be like a walk through history, Rice tells us. “If someone’s interested in the history of a machine, we’ll look at the maintenance cards… For example, machine #507 was manufactured in the 1950s. Our records show it went to the Staten Island Ferry in 1961, Battery Park in New York City in the ’80s, the North Carolina Zoo in the ’90s, and, most recently, Coit Tower in San Francisco.”
The company maintained physical index cards for every machine, detailing its maintenance history and locations over the decades. This viewer appears to have spent a portion of the ’90s at the Empire State Building in New York.Tower Optical
One thing the company isn’t doing today is building new units, and the original manufacturing process may be lost to time.
“I’ve tried to understand the original manufacturing process, but no one is really left who knows how they were originally made. In our warehouse, there’s about 5,000 square feet of space filled with lathes and grinders from the ’30s and ’40s with overhead shafts to operate the pulleys. Our machinist estimated that if you had to make one of these domestically today, it would probably cost $15,000 to $20,000. The viewer heads are cast bronze and chrome-plated, and the rest of the components are iron.”
The glass inside has a pedigree of its own. “Interestingly, the metal plates on the viewers used to say ‘Bausch & Lomb Optical Viewer,'” he continues, “because the internal binoculars were manufactured by Bausch & Lomb. Many units still have the original Bausch & Lomb optics inside. At one point, they had a partnership where if binoculars needed to be serviced or replaced, we would send them directly to Bausch & Lomb, and they would fix them.”
Not much has changed over the years. The price crept up from a nickel, and the coin mechanisms were revised and hardened against people who tried sawing or drilling their way to the quarters inside.
Tower Optical assembled every machine by hand at its Norwalk factory, which still houses the original manufacturing equipment from the 1930s and ’40s.Tower Optical
The biggest challenge the company faces today is one the founders probably never saw coming: “No one carries quarters anymore, but people still love using these machines, so our goal from day one was to retrofit them with tap-to-pay,” says Rice.
“Another challenge was that every machine was built by hand, so the dimensions aren’t exact CAD measurements. The engineering firm we worked with did an outstanding job engineering retrofit brackets that fit regardless of slight variations in screw hole placement between a machine built in the ’30s versus one built in the ’50s.”
What the company was unwilling to change was the viewers’ nostalgic appearance.
“Our mandate to the engineering firm from day one was that we did not want the look of the machines to change beyond the payment terminal itself. The terminal is very minimal, just a small black box, and we’re even considering putting a chrome foil on it to blend in further. The only other physical modification was drilling a small hole in the top shell for a cellular antenna,” Rice explains.
While many have encountered Tower viewers in their travels, it’s never been possible to own one. Tower Optical’s viewers are placed through revenue-share arrangements with host venues, but for the first time, the company has decided to sell a small number of the historic units.
Tower Optical currently has about 1,800 machines operating across roughly 400 locations in North America.Tower Optical
“It allows us to finance the engineering work and expand our network, since retrofitting and deploying machines isn’t cheap. We receive a ton of inbound interest from people who want to own one. It makes sense to pull the lever on sales for units we can’t retrofit,” says Rice.
“In an ideal world, we probably don’t want to sell more than 50 to 100 of them.”
Owning a piece of history won’t be cheap. According to the company’s website, they start at around $9500. “That includes full refurbishment, the original historical maintenance card, and a new pair of optics,” Rice tells us. “We work with OM Digital to supply those binoculars. Prices may carry a premium for units originating from iconic locations like the Empire State Building, Rockefeller Center, or the Statue of Liberty.”
So next time you’re at a scenic overlook in the US or Canada, look out for a Tower viewer. Rice envisions a future in which they might even get more upgrades than its founders could have imagined.
“Moving forward, we’re exploring ways to layer in digital experiences, like augmented reality at high-traffic sites like Rockefeller Center, while keeping the core viewing experience intact.”
About the Author: Dale Baskin is a professional photographer, writer, and filmmaker based in the Pacific Northwest. He is the Managing Editor of DPReview.com.
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Polaroid has released a nine-piece collection in collaboration with Pokémon, encompassing cameras, film and accessories.
Polaroid
Our guess yesterday about what Polaroid was gearing up to release was correct, but we didn’t expect just how big this launch would be. As we surmised, Polaroid has released a Pokémon-themed Go Gen 3 camera, but the launch also includes two additional cameras, three special packs of film and three accessories. Polaroid calls it its biggest collaboration yet, timed to coincide with the 30th anniversary of Pokémon, the hugely popular franchise that spans video games, anime and trading cards.
The Polaroid Now Gen 3 Pokémon edition takes its styling from a Poké Ball, with bold red, white and black colors.Polaroid
The core of the launch is three limited-edition cameras, which cover both the full-size Polaroid Now Gen 3 and the tiny Go Gen 3, which was released earlier this summer. The Now Gen 3 version, which takes full-size i-Type film, takes the styling of a Poké Ball, with bold red, white and black colors.
The Go Gen 3 editions are more character-focused, with one version for Pikachu and the other for Sylveon.Polaroid
For those who want something a bit more character-focused, the Go Gen 3 is available in a Pikachu-styled version with a bold yellow body and a hand strap shaped like Pikachu’s lightning-bolt tail. Or you can go for the Sylveon Edition, which features that Pokémon’s soft pink, blue and white colors. All three cameras also feature Poké Ball-shaped shutter buttons for an added thematic touch.
Polaroid also released a limited-edition i-Type pack of film and two themed Go sets, all of which also feature custom dark slides. Polaroid
The cameras aren’t all, either. If you already own a Polaroid camera, you don’t have to miss out on the fun, as the company also released three limited-edition packs of film, one full-sized i-Type and two packs of the smaller Go film. The i-Type film, like the camera, is more broadly Pokémon themed, with frames that feature iconic characters like Charmander, Clefairy and Squirtle. The Go film matches the theme of each of the Go cameras, with one pack focused on Sylveon and the other for Pikachu. Each pack comes with custom dark slides designed around the collaboration as well.
The limited-edition release also includes a Polaroid Go Poké Ball camera case and photo album, along with a strap that works with both cameras. Polaroid
Finally, Polaroid also has three accessories for Pokémon fans. There’s a Polaroid Go Poké Ball camera case and Poké Ball photo album for photos from the Go, along with a Pokémon edition camera strap, which is compatible with both the Now Gen 3 and Go Gen 3.
Polaroid
The Polaroid Now Gen 3 Pokémon costs $140, while the Go Gen 3 Pikachu and Sylveon editions are $100, all of which represent a $10 premium over the standard versions. Likewise, the limited-edition film is slightly more expensive, with the i-Type coming in at $23 and the Go film at $25 for a double pack.
The Polaroid x Pokémon collection is only available in limited quantities, though Polaroid didn’t provide any specifics about how many are available. Pre-orders open August 25, with a full release on October 5.
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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À l’occasion du VR Games Showcase, le survival-horror Total Chaos développé par Trigger Happy Interactive a été officiellement annoncé en réalité virtuelle. Déjà enrichi par l’ajout récent d’un New Game+ et plus récemment d’un mode rétro pour les nostalgiques du mod DOOM II d’origine, on aura prochainement l’occasion de souiller notre slip directement en immersion 360° dans Fort Oasis.
Comme on peut lire dans la note Steam, l’expérience a été repensée pour le support de la réalité virtuelle avec une refonte de l’emplacement des objets et un rééquilibrage des ennemis. Certains passages environnementaux du jeu et le gameplay ont été optimisés afin de rendre l’immersion plus optimale. Pour le moment, aucune date de sortie n’a été annoncé. On sait simplement que Total Chaos: VR sera gratuit pour les possesseurs du jeu de base sur Steam. Une version autonome pour Meta Quest est également dans les tuyaux.
En attendant de découvrir le cauchemar en VR, Total Chaos est disponible pour 24,50 € sur Steam. Si ça vous intéresse, la démo est toujours disponible.
Cinq ans après avoir fait l’acquisition de Night School Studio (à l'origine d'Afterparty et de la merveilleuse série Oxenfree), Netflix a annoncé fermer les portes du studio indépendant, seulement six semaines après la sortie de leur jeu Unhinged. Même sort pour le studio Moonloot, dont le premier titre n'a même pas eu l'occasion de voir le jour. Dans cette industrie cruelle et absurde, on appelle ça un lundi. ER.
La suite de l’excellent Thimbleweed Park a été annoncée pour 2028, et Ron Gilbert s’est un peu étendu sur son financement, à l’heure où plus personne ne souhaite investir dans des point & click en pixel art. Dans une interview avec Bloomberg, il explique ne plus vouloir collaborer avec des éditeurs traditionnels, lesquels proposent selon lui des conditions de moins en moins avantageuses : « On nous fait parfois des propositions vraiment ridicules, comme le fait de ne pas nous refiler d'argent à moins que le jeu soit un immense succès. J’ai toujours trouvé ça injuste. » Thimbleweed Park 2 sera donc partiellement financé par un pote de pote de Ron Gilbert, un mécène richissime qui a tenu à préserver son anonymat, et je pense que tous les multimillionnaires inutiles (c'est un pléonasme) de ce monde devraient prendre exemple sur lui. ER.
We’re testing the new Pixel 11 Pro XL. Watch the unboxing, then tell us what questions you have.
DPReview Staff
We recently got our hands on the new Google Pixel 11 Pro XL smartphone, and it’s time to do some testing.
In addition to shooting a sample gallery to test the new cameras, we’re also planning to test two new features Google rolled out alongside the Pixel 11 series: Camera Looks, which let you customize how your photos look at the moment of capture, including presets Google claims will look “less processed,” and Magic Capture, a mode that captures photo and video simultaneously and uses AI to automatically select the best shots and a highlight clip once you’re done.
But before we dive in too far, we wanted to know what questions you have about Google’s newest Pixel Pro smartphones. Let us know in the comments, and if there’s something you’d like to see us test, let us know that too.
About the Author: Dale Baskin is a professional photographer, writer, and filmmaker based in the Pacific Northwest. He is the Managing Editor of DPReview.com.
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The company has been hard at work on advertising its products to people nostalgic for offline summers (and perhaps ones spent playing Pokémon).
Polaroid
Polaroid is teasing something new coming tomorrow, posting a graphic on its social media page inspired by the hugely successful video game franchise Pokémon, implying that it could be some sort of collaboration. The post’s caption says “Something’s almost ready to show itself… revealed on August 18th.”
It’s always possible the company is riffing on a meme format to tease a completely new product, but if we had to guess, it seems more likely that it’ll be an existing product with a Pokémon theme. The silhouette in the image looks a lot like the existing Polaroid Go with a Pikachu tail, and we’ve seen instant cameras made to reference the franchise’s most recognizable character before. It’s also not out of the question that the announcement is about a co-branded film, rather than a camera; the company has done both, releasing cameras with Thrasher and MoMA liveries, and films with Pantone-colored frames.
Whatever it is, it’s more than likely it’ll be something camera-related. There was a time when the Polaroid name and logo appeared on a wide array of products that had very little to do with taking photos, from TVs to AA batteries, thanks to other companies licensing the brand. While this practice is still alive and well in the industry, it seems to be less common with Polaroid after it was purchased by the same person who owned the Impossible Project, leading to film and cameras once again being sold under the company’s name.
Recently, the company has been going after an audience tired of screens and phones, with its “the best summer is analog” campaign. The target audience clearly skews younger, the kind of people who would’ve grown up playing Pokémon games on their Nintendo DS or smartphone. So a collaboration between the two makes sense, tugging at people’s nostalgia for a time when the devices in their pocket were for having fun, rather than doomscrolling. Whatever it is, we won’t have to wait very long to see it fully unveiled.
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.
ON1 says its 2027 release rebuilds the AI from the ground up, adding subject-aware model selection and deblurring, and keeps the one-time purchase model that separates it from subscription-based rivals.
ON1
Photo editing software company ON1 has announced a new version of its standalone, AI-powered noise reduction software, NoNoise AI 2027. The company also says it’s updated the TackSharp AI deblurring models in NoNoise AI for sharper images with less noise.
One of the standout features of ON1 NoNoise AI 2027 is the addition of a model selector that matches a particular AI model to the subject of the photographs. ON1 says that it built the models for the situations when photographers are most frequently dealing with noise. That includes astrophotography, portraits and wildlife, though there’s also a general model and one made for ISOs greater than 128,000. Additionally, it offers a film scan-specific model, which presumably will maintain some natural film grain.
NoNoise AI 2027 adds a model selector that matches a specific AI model to the subject, including astrophotography, portraits, wildlife, film, especially high ISOs and a general option.ON1
ON1 says that the models will remove noise while retaining texture and details such as feathers, fur and starlight, resulting in a cleaner, more natural image that doesn’t look smoothed over. While you can select the model manually, it will also automatically match the right option to your subject.
The 2027 release also brings an updated TackSharp AI, its deblurring engine that promises to make images that were slightly soft look in focus without adding noise or artifacts. As with the noise reduction, TackSharp AI provides access to the model selector. It also provides access to automatic subject and background masking to sharpen or reduce noise in specific areas, and native support for Windows PCs that use Arm-based processors. ON1 has also added expanded Raw file support for more than 30 camera models, though it didn’t specify which ones.
TackSharp AI, ON1’s deblurring tool, is updated in the 2027 release to make slightly soft images look in focus while avoiding noise or artifacts.ON1
ON1 NoNoise AI 2027 is available for pre-order today for $70 ($50 for ON1 owners) and will be available in late September 2026. As with previous versions, it is available for Mac and Windows and can be used as a standalone app or as a plugin for Lightroom Classic, Photoshop, Capture One and more. The 2027 version is also included in the ON1 Photo Studio Subscription.
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.
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.
Pokémon Pokopia, le jeu en lequel personne ne croyait à la rédaction, pas même Kocobé qui lui a finalement collé 8/10, vient de se vendre à cinq millions d'exemplaires. Pour plus de pronostics flingués, continuez de lire Canard PC ! ER.
C’est avec une certaine surprise que l’on avait appris en mai dernier, que Prophecy Games planchait déjà sur Deadzone Rogue 2, à peine neuf mois après la sortie en version finale du très honnête Deadzone : Rogue. On ne peut pas dire qu’ils traînent, puisque le studio vient d’annoncer des playtests, qui se dérouleront du 20 au 23 août prochain.
Alors qu’on ne s’attendait pas à grand-chose, le premier opus nous avait finalement vraiment accrochés, grâce à des mécaniques de rogue lite parfaitement maîtrisées. Il offrait des améliorations de puissance très régulières, qui s’accordaient à merveille avec le gunfeel très efficace. Certes, les environnements étaient un peu étriqués, mais on y avait passé de très bons moments, que ce soit en solo ou en coop jusqu’à trois joueurs. Pour ce deuxième épisode, même si on n’a pas eu beaucoup d’informations, ce qui transparaît des trailers laisse penser qu’on sera sur une formule très proche. Espérons que les niveaux un peu plus ouverts ne plomberont pas trop les performances, que l’équipe avait su maintenir à un niveau correct grâce aux espaces clos dans le premier jeu. Mais outre cette différence, on se demande bien ce qu’ils vont ajouter pour justifier une véritable suite plutôt qu’un simple DLC.
Pour voir ce qu’ils nous ont concocté, rendez-vous sur la page Steam du jeu et cliquez sur la demande d’accès aux playtests. devrait avoir lieu du 20 août à 20 h au 23 août à 20 h. Les développeurs indiquent qu’une démo est également en préparation, et qu’elle devrait arriver d’ici un à trois mois. En attendant, vous pouvez toujours ajouter Deadzone Rogue 2 à votre liste de souhaits Steam.
GSC Game World a dévoilé, à quelques jours de la sortie de S.T.A.L.K.E.R. 2: Cost of Hope, le contenu de la mise à jour accompagnant le jeu : Back to the Zone – Update 2.0 : une mise à jour gratuite présentée comme la plus importante depuis la sortie de S.T.A.L.K.E.R. 2: Heart of Chornobyl. La longue description de l’ensemble, qui sera disponible le 20 août 2026, laisse entrevoir une mise à jour plus ambitieuse qu’un simple correctif.
L’une des modifications majeures concerne l’éclairage, entièrement retravaillé pour offrir une ambiance plus cohérente dans les extérieurs, les intérieurs et les souterrains. Ombres, reflets et végétation profiteront désormais des améliorations de l’Unreal Engine 5.5.4, afin d’atténuer les irrégularités qui pouvaient rompre l’immersion, sans toucher à l’identité visuelle du jeu. Le système A‑Life a lui aussi été retravaillé, d’après l’équipe de développement, afin de rendre le quotidien des habitants de la Zone plus cohérent et plus naturel. Trois paires de jumelles seront d’ailleurs ajoutées au jeu, offrant une bonne occasion d’observer de loin si le système A‑Life fonctionne réellement. Pour l’instant, on reste prudents, mais on espère enfin retrouver l’impression d’un monde autonome et une optimisation correcte, surtout depuis que les développeurs ont admis, après la sortie du jeu en 2024, que le système était complètement cassé et que le problème venait de la difficulté à optimiser le jeu.
Le menu des statistiques intégré au PDA avec la mise à jour 2.0
La mise à jour introduit également les Custom Rules, qui permettront d’adapter plusieurs paramètres de difficulté, économie, anomalies, agressivité, tout cela afin de personnaliser l’expérience selon ses envies. Le brouillard, comme présenté dans notre précédent article, devient un véritable élément de gameplay. D’autres effets météo semblent aussi avoir été retravaillés, ce qui devrait influencer notre visibilité, notre perception sonore, ainsi que le comportement des ennemis, selon les développeurs. Le PDA accueillera une page de statistiques, un petit ajout bien sympathique. La mise à jour ne présente pas de gros changement pour les mutants, mais les Bloodsucker et les Flesh adopteront une apparence différente selon leur environnement. Une retouche discrète, mais qui diversifie la faune dans la Zone. En parallèle de la mise à jour, GSC Game World s’apprête également à mettre à jour le Zone Kit, son ensemble d’outils destiné aux moddeurs, en y incluant des outils destinés à la narration, l’audio et la localisation. L’objectif semble être de permettre la création de contenus complets, doublés et structurés, ouvrant la voie à des projets plus ambitieux que de simples ajustements.
Dans l’ensemble, la mise à jour donne l’impression d’une mise à plat réfléchie, où l’équipe corrige ce qui devait l’être, affine ce qui pouvait l’être et ajoute ce qui ne dénature pas l’expérience. S.T.A.L.K.E.R. 2: Cost of Hope et la mise à jour 2.0 qui l’accompagnera sont prévus pour le 20 août. En attendant, vous pouvez d’ores et déjà ajouter le DLC à votre liste de souhaits, et retrouver le jeu original sur Steam, l’Epic Games Store, GOG, ou chez notre partenaire Gamesplanet à environ 60 €.
En ce moment, être fan de Sam Barlow est enthousiasmant. Déjà, le boug, avec son magnifique Immortality de 2022, est au sommet de son art très particulier du jeu narratif en prises de vue réelles quatre étoiles. Surtout, ça fait un moment qu’il a annoncé travailler non pas sur un nouveau titre horrifique, mais bien deux. Et si on ne sait toujours pas à quoi correspond Project D, tricky Sammy vient de lever le voile sur son Projet C, désormais intitulé Precognition. Quelques images écarlates éclatées façon kaléidoscope, un pitch qui nous parle de Diana à qui on pose un implant lui permettant de voir son propre futur, une participation du réalisateur Brandon Cronenberg (oui, le « fils de ») et, et c’est sûrement la mauvaise nouvelle, une fenêtre de tir si lointaine : printemps 2028. Bon, au moins, ça nous donnera le temps avec Ellen de se répartir les jeux sans en venir aux mains. K.
New models were already effectively banned, but the ones that are still available will be more expensive
DJI
Tariffs are back in the US, and this time they’re targeted at drones. According to a statement posted by The White House on Thursday, there will be a 25% tariff on drones smaller than 25kg (55lb) and components for them. This comes as the drone market in the US has already suffered a major blow when the FCC said it would no longer approve new drones from foreign companies for sale, effectively making it so none of the major drone makers (read: DJI) could launch their new products in the country.
The White House positions the tariffs as a way to “address the national security threat posed by imports of drones and their components,” though the statement specifically calls out that the smaller drones being tariffed at 25% “lack certain capabilities that particularly implicate national security.” The tariffs come down much harder on heavier industrial and agricultural models, or drones that have thermal imaging capabilities; those are being taxed at 100%.
This is the latest move from the US government aimed at curtailing the popularity of foreign-made drones. Last year, it made it so companies couldn’t get regulatory approval to sell new drones in the country, but allowed existing models to remain on store shelves. That hasn’t changed, but with the addition of tariffs, it seems certain that those drones will now be more expensive, leaving Americans to pay more for now-outdated models.
The tariffs on drones will take effect 21 days from when the proclamation was signed
The tariffs on drones will take effect 21 days from when the proclamation was signed, while the ones on some components may take a while longer to go into effect. In case it wasn’t clear that the administration was largely targeting drones made in China, the proclamation also contains a carveout on drones and components made in the EU, Japan, Liechtenstein, Republic of Korea, Switzerland, Taiwan, and the UK, as long as “substantially all hardware, software, and technology originates from within these countries and the United States.” If they meet that bar, they’ll only be tariffed at 15% (or 10% for the UK).
DJI originally said it wouldn’t launch the Mavic Mini 5 Pro in the US, but it’s currently available at retailers for $759 for the base drone and controller kit. That price could go up substantially with a 25% import tariff (though it doesn’t necessarily mean it’ll cost $950; tariffs apply to a good’s import price, not its MSRP).DJI
This isn’t the current US administration’s first attempt at tariffs. Last year it announced wide-ranging import tariffs on goods from virtually every other country, sparking trade wars, which saw threats of tariffs as high as 25% on goods from Japan, and up to 145% on Chinese imports. While they were in effect, nearly every camera company raised its prices on most or all of their products. While the reciprocal tariffs were deemed illegal by the Supreme Court earlier this year, we’ve yet to see a wholesale softening of those prices.
As for whether these new tariffs will meet the same fate, it’s impossible to say. But if you’re an American considering a drone, it may be worth getting it sooner, rather than later.
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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