Last month, Yashica announced it was working on the Y16, a tiny pocket camera that mimics the design of the Y16 released in 1959 by the original Yashica company. While details on the camera were slim, the company has now fully revealed it, giving us its specifications, price and release date.

The Y16 has a 12MP ~18mm² sensor paired with a 27mm F12 equiv. lens. Like many of the other cameras the company makes, this means its image quality will be far lower than that of a typical smartphone, though for some, that’s part of the charm. Alongside the announcement, Yashica has shared some sample images from the camera, which you can see in the gallery below.

What phones don’t have is a proper xenon flash built-in, which will help in low-light situations. The company says it should work at up to 2m (6’6″) away from your subject. The camera also features an optical viewfinder, and a 1.45″ display.

Yashica

Physically, it’s minuscule, weighing only 93g (3.3oz). It measures 91 x 45 x 29mm (3.6 x 1.8 x 1.1″), so it should fit in most pockets and pretty much any purse or bag.

The Y16 has a microSD card slot for storage, and actually comes with an 8GB card. While that’s not huge, it should hold quite a few of the relatively small JPEGs the camera produces. Plus, given the price, it’s hard to complain about included storage: the Y16 will retail for $119. The company says it’s currently still in production, but it’s available for pre-order now and is expected to ship in late November.

The Yashica of the 1950s isn’t the same as the one today, as in the 1980s it was sold to Kyocera, which has since licensed the name to other companies. The current crop of Yashica cameras appears to be sold by the Hong Kong-based 100 Enterprises.

Manufacturer samples

Godox has announced the A2, a flash that’s designed to attach to the back of your phone. While almost every smartphone has a flash built-in, they’re almost always LEDs, which aren’t particularly powerful, and don’t really produce the look most people associate with flash photography. The A2, meanwhile, has a xenon flash tube, like you’d find on a traditional compact or flash gun.

It magnetically connects to the back of your phone, providing the classic front-on flash look that is nostalgically associated with photos from compact cameras. However, since it’s wireless, you’re also free to detach it from your phone and use it as a bounce or fill light. The company says its bluetooth connection should work at up to 15m (49′) away.

Godox

Unlike most cameras, phones don’t really expect you to be using them with an external flash, which means you can’t use the A2 with your phone’s built-in camera app. Instead, Godox is providing its own app, which lets you either shoot in auto mode, which decides how bright the flash should be and your exposure settings for you, or in a fully manual mode that gives you control over all those settings.

Godox

Godox says that, at launch, the app will work with the iPhone 15 or newer running at least iOS 18. The company promises that versions for Android and Huawei’s HarmonyOS are in the works.

The flash is small enough to fit in most pockets once detached from your phone, so it’s not surprising that it’s not the most powerful light out there, with a guide number of 15. The company says that, for best results, you should have the flash within 2m (6’6″) of your subject. But while it’s not particularly powerful in the world of standalone flashes, it’s still much brighter than the flash included on your phone.

The A2 also has a 3W bi-color modeling light built-in, which you can use to make focusing and composing easier in dark environments, or as a video light with adjustable color temperature. The company says you should be able to leave it running at full power for up to an hour off of the 500mAh internal battery, which is also good for up to 400 full-power flashes.

Alongside it, Godox is releasing several optional accessories that you can use to shape the light and change its look, and that give you more options for positioning it. The magnetic ring that lets you attach the flash to your phone also means you can theoretically mount it to any magnetic surface.

The A2 seems like a very interesting product for anyone who’s serious about phone photography, and we’ve enjoyed Godox’s flashes in the past. It will, however, be interesting to see how well its camera app works, and whether it comes with a hit to image quality. So much of mobile photography comes down to multi-shot exposures and computation, and it’s unclear whether Godox’s app will have any of that (and, if it does, how well it’ll play with flash).

Godox

Thankfully, Godox isn’t demanding too high a price for the A2: it retails for $85, and comes with a diffuser dome and carrying case. It’s also available in four colors which, perhaps unsurprisingly, match this year’s crop of pro iPhones: silver, black, light blue and dark red.

Getty Images has said it plans to go through the Chapter 11 bankruptcy process as a step to being taken private by members of the Getty family and Koch Inc’s investment arm, who will together invest up to $533M in the business.

“Under the Plan, vendors will be unaffected and paid in full in the ordinary course of business,” the company said: “There is no anticipated impact on content contributors, partners, customers, or employees across the Company’s worldwide network.”

The stock image library had given up on its attempts to buy rival ShutterStock after the UK competition body forced revisions to the deal. The heavily indebted company has now been delisted from the New York Stock Exchange and its two largest shareholders say they’ve developed a plan to take the company private.

Although the company said it expects a reduction in revenue from its iStock division, “due to reduced eCommerce
demand,” it said it still expects to see growth in its editorial business that provides images to news outlets.

This plan, if approved by the remaining creditors, will be implemented via a “prepackaged” Chapter 11 bankruptcy: a mechanism by which a company can be significantly reorganized, overseen by a bankruptcy court but under the control of the existing owners, in order to remain as a going concern. Some existing lenders have agreed to write-down and restructure some of the company’s debts as part of the process, and the company confirmed “the requisite majority of creditors have committed to vote in favor of the plan.”

It says the restructuring process should be complete by the end of the year.

News agency (and competitor) Reuters reports that competition from AI-generated imagery and heavy debt have played a role in the move. It highlighted that the company’s total debt was around $2.1B at the end of June, whereas its market valuation had slipped to just under $21M when markets closed last Friday. The company’s revenue estimate for 2026 is $920M.

In an accompanying financial update, Getty Images said it had spent around $105M on the failed ShutterStock acquisition, along with $17M in ongoing costs relating to its copyright infringement cases against Stability AI, which it accuses of using its images to train an image generation model.

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Tamron has announced the 16-50mm F2.8, a fast standard zoom for all the most popular APS-C mirrorless mounts.

The compact, unstabilized lens arrives in the lineup alongside the existing 17-70mm F2.8 Di III-A VC RXD and will be available for Canon RF, Fujifilm X, Sony E and Nikon Z mounts. This makes it one of the few instances of a lens Nikon has lisenced that competes directly with one of its own lenses.

Richard Butler

Elsewhere, the 16-50mm offers a wider alternative to Sigma’s 18-50mm F2.8 and, while it’s physically longer, it takes the same 55mm diameter filter.

The lens delivers a 24-75mm equivalent range on Sony, Fujifilm and Nikon bodes, or a 26-80mm range on Canon RF bodies, making it a useful fast everyday lens as a kit zoom replacement.

At 80mm (3.2″) long and with a diameter of a little over 64mm (2.5″) maximum diameter, it is around half the volume of the stabilized 17-70mm F2.8 VC. And with a weight of 305g (10.8oz), it’s 42% lighter. It’s only 4% longer than the Sigma 18-50mm in their retracted states and around 5% heavier, despite covering an appreciably wider range.

Richard Butler

The new lens features 14 elements in 10 groups, these include one LD low-dispersion element, two molded glass aspherics and two hybrid aspherical lenses. It can focus as close as 15cm (6″) at wide angle, giving 0.22x magnification. Its 7 aperture blade design is the main area you can see costs being cut, vs the 9 blades on the more expensive 17-70mm.

Sadly, we’ve not had a chance to shoot with the 16-50mm yet, but we hope to in the coming weeks.

Richard Butler

The Tamron 16-50mm F2.8 A benefits from the company’s simplified naming system, with “A” indicating that it’s for APS-C and a code number (B091) to distinguish it from any future lenses with similar specs. The Canon, Sony and Nikon versions include a USB-C port, to allow firmware updates. We’re told this is not present on the X-mount version.

The 16-50mm F2.8 will arrive for Sony E-mount and Canon RF users in late October, with Fujifilm X following a month later and Nikon Z hitting the shelves just before the end of the year. It will sell with a list price of $529 for the Sony E and Fujifilm X versions and $549 for Canon and Nikon users. These are at least $170 less expensive than the larger, stabilized 17-70mm F2.8 VC will set you back.

It’s also significantly less than the camera makers’ own-brand 16-50-something F2.8s, which range from $900 for the Nikon 16-50mm F2.8 VR to $1700 for Sony’s 16-55mm F2.8 G.

Fujifilm has announced a new Instax camera, the Square 2. As its name suggests, it takes the company’s square instant film, and it offers some new ways to change how your photos look.

The headline feature of the Square 2 is what Fujifilm is calling “Mood Filters.” With the flick of a switch, you can change “the overall color, tone, or mood” of your photo, putting it into “Warm” mode for a “subtle golden tone” or “Cool” mode for “crisp, blue-toned color.” Of course, you can also shoot without a filter, to get the familiar standard Instax colors.

The Square 2 has also been redesigned. Somewhat ironically, it now features a more rounded design than the boxy SQ1, which was essentially all right angles. However, it comes in the same mix of colors, just with updated: white, red and blue.

Fujifilm

It retains several features from its predecessor, including a selfie mirror mounted to the lens, landscape, close up and standard shooting modes, and automatic exposure and flash settings. The 32mm F6.2 equiv. lens and flash also appear to be unchanged; the camera can focus as close as 0.3m (11.8″), and will take around 7.5 seconds to recharge between flash photos.

The Square 2’s electrical system, however, has been redone. Rather than requiring two somewhat specialized CR2 lithium batteries, it now runs off of four standard AA cells. Fujifilm says you should still be able to get through around 30 packs of film before having to replace them, but, when you do, it should be a bit easier and a lot cheaper.

Alongside the Square 2, Fujifilm has announced a new variant of its square Instax film. While the company will typically tweak the borders around the image, the new variant, called “Soft Haze” changes how the photo itself will look. Fujifilm says it features “color tone with reduced saturation and contrast” and “glowing highlights and warm, diffused shadows.”

The Square 2 will retail for $120 when it launches in late October, and will include a hand strap and batteries. The Soft Haze film, which will work with any camera that shoots the Instax Square format, will be launching around the same time for $18.99 a pack.

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For years, Pelican has dominated the arena of hard-sided roller cases meant to keep camera gear safe while traveling across land, air and sea. And while several competitors have started to crop up, none have really had the same brand recognition.

That may change today, though. Yeti, a company made famous by coolers that has branched out to other outdoorsy gear, has introduced its LoadOut GoBox cases, the smallest option of which is aimed squarely at photographers and videographers.

Yeti

Like most of these kinds of cases, the GoBox is focused on durability. Yeti says it’s designed to withstand “serious impact” and that it’s IP65 and IP67 rated to withstand even total immersion. It also has points that let you lock it closed, and tie-down slots for securely mounting it. Interestingly, Yeti has opted for a segmented, telescoping handle for use when rolling it around.

Unlike Pelican, Yeti isn’t offering a foam insert that you can customize to fit your exact gear. While the case comes empty by default, you can equip it with the company’s “Kor” protective insert, which basically vacuum seal into the shape of your gear. This makes them substantially more reconfigurable than foam, though they cost a pretty penny: Pelican demands about $40 for a roller-bag-sized foam insert (when you purchase it with the case), while the Kor will run you $250.

Yeti

Of course, you can also fill the case with more traditional packing and camera cubes. Yeti sells its own, but they don’t really seem to have the padding you’d want for valuable camera gear.

Like Pelican, Yeti is selling other accessories, too, including multiple organizers for the top lid, which let you keep small bits and bobs oriented.

The GoBox 28 is slightly heavier than the Pelican Protector 1510, which has a similar size and volume: Yeti’s is 6.1kg (13.5lb), versus 5.4kg (12lb). Both companies promise the cases will fit as a carry-on for most airlines, though obviously both will eat into any weight budgets that might exist.

Yeti

Photographers aren’t the only market Yeti’s targeting with the GoBoxes, but with this latest product (and its recent, smaller boxes) the company is clearly starting to take an interest in protecting people’s cameras. It’ll be interesting to see if these start showing up on sets, rather than their Pelican or Nanuk counterparts, though getting people to trust you with their most valuable gear can sometimes be an uphill battle.

The LoadOut GoBox 28 costs $350 by itself, and comes in tan, black and orange. The company also makes much larger 68 and 88 options, but they’re larger than most photographers and videographers would use.

Yeti

Yeti LoadOut GoBox 28

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GoPro has announced a free firmware update for its Mission 1 series of cameras aimed at making them nicer to use for photography, as well as adding greater support for anamorphic lenses and upgrading its external monitoring software.

One of the big new features in the release is the addition of a burst mode, which will let you hold down the shutter button to capture more than 100 12MP stills (or over 20 Raws in the camera’s 50MP mode). The company says the camera will have an on-screen indicator for when the buffer is getting full. The company doesn’t say what burst rates the camera will shoot at, or whether you’ll be able to change them, but we’ll be sure to update this article as soon as we can test it for ourselves.

The company also says it has changed the sound that plays when you take a picture, updating it to a “modernized shutter sound delivers clear, distinguishable audio confirmation for each photo as it’s captured.”

Mitchell Clark

More importantly, it’s also attempted to reduce the amount of lag between you tapping the shutter button and the camera taking a photo. While I haven’t found it to be particularly bad while testing the Mission 1 Pro ILS, it does take a considerable amount of time to process and save the photo after taking it, so it’ll be interesting to see if the update lets you quickly take one photo after another, even if you’re not in Continuous mode.

The update isn’t just for photographers, though. The company is adding beta support for anamorphic lenses to the Mission 1 Pro ILS, its model with a Micro Four Thirds mount. GoPro says this update will make its digital image stabilization work with anamorphic lenses, and will add metadata to your files that tell your editing software what squeeze ratio it was recorded in, with support for 1.33x, 1.5x, 1.6x, 1.8x and 2.0x. The update doesn’t include a way to preview desqueezed footage on the camera, but the company says that feature will be “coming soon.”

Finally, alongside the firmware upgrades, GoPro is updating its Mission Monitor app, which is designed to let you control the camera from an iPhone or iPad, and to see the preview on a larger screen with some pro-level assist tools and overlays. The app can now work wirelessly, rather than requiring a USB-C tether, and supports controlling the new photo modes.

It also gains support for four new assist tools: histogram and waveform exposure monitors, a false color overlay, which displays your image in a variety of colors according to their brightness level, and an RGB parade display to let you see scopes for all three of your color channels side-by-side.

It’s nice to see GoPro making improvements to the Mission 1 line, even if I’m still not entirely sold on the concept of using an action camera in lieu of a compact. (More to come on this later, but I’ve found the photo cage accessories from GoPro and others to be quite unsatisfying, especially when paired with touchscreen controls.) Still, it’s hard to complain about a product getting better at taking pictures; for someone carrying it around to take video, it’ll make the experience of grabbing the occasional still nicer.

The updated firmware for the Mission 1, Mission 1 Pro and Mission 1 Pro ILS is now available through GoPro’s website or the Quik app.