Flashback, the company behind the disposable-inspired One35 digital camera, has announced its next offering, the One75. The new digicam takes on the half-frame format and brings a more premium aesthetic.

Flashback says the One75 is inspired by classic half-frame film cameras, and, like those, it produces vertical photos. The company says it takes 13MP photos, though it doesn’t specify a sensor size or sensor resolution. It also didn’t specify the lens’s focal length, though the sample photos suggest a fairly wide-angle view. Unlike its vertical frame competitor, the Fujifilm X half, the One75 can capture Raw photos (in DNG format), though you’ll have to plug it into a computer to access them, rather than using the Flashback app, which can access the JPEGs.

Flashback

There are other film-inspired features, too. The camera supports up to 27 photos at a time (like a small roll of film), with a frame counter on the OLED display and a mechanical winder for advancing the “roll.” Users then need to transfer images to the app or a computer using Bluetooth, Wi-Fi or USB-C. That transfer triggers a reset on the camera, like putting in a new roll.

Photographers can choose to wait 24 hours to view the photos (using Film Camera Mode) or use Digicam Mode to see photos instantly in the Flashback app. The camera also offers a double exposure mode and eight built-in film types for different looks, which can be changed on-camera.

Flashback

The One75 isn’t technically screen-free, as it features an OLED display on the top of the camera for adjusting settings. However, it lacks a display for viewing photos. Users will need to use the free companion app or transfer the files to a computer to see them. There is a portrait-oriented optical viewfinder for composing images.

Instead of a full plastic build like the One35 and many other film-inspired digicams, the One75 features aluminum top and bottom plates and brass controls. It also offers a tripod mount and self-timer, giving photographers more flexibility with how they use the camera. In addition, the lens features a 25mm threaded mount, making it compatible with filters and add-on lenses. It also includes a xenon flash.

Flashback

The Flashback One75 is available for pre-order now for $179 (no, that’s not a typo, it doesn’t cost $175), with the company stating that pre-orders will arrive before Christmas. It comes in Brushed Aluminum (silver and black) or Noir (all black).

The Micro Four Thirds standards group recently posted a warning on its site saying that it can’t guarantee that products made by companies not in the group will work as expected. The message, a link to which is prominently displayed in the site’s top navigation bar, doesn’t name any specific brands or products, but comes at an interesting time for the Micro Four Thirds system.

The official statement says that “the Four Thirds Office does NOT guarantee that products manufactured or sold by non-member companies comply with the Micro Four Thirds System standard or are compatible with individual devices.” It also tells users to check specific compatibility information with the manufacturer or seller of whatever gear you’re trying to buy.

Micro Four Thirds

When we first saw the warning at DPReview, we thought it might be related to the recent GoPro Mission 1 Pro ILS. That camera has a Micro Four Thirds mount, but without any electrical contacts, so most of the lenses for the system from OM System and Panasonic won’t work, since they require those contacts to control aperture and focus.

That’s something potential buyers of the camera should be aware of, and it’s probably the most prominent instance of a product that uses the mount but that’s incompatible with many other products in the system. However, it also seems unlikely that the warning is referring to the ILS: while GoPro wasn’t a member of the group when that camera launched, it has since joined, and the warning explicitly calls out products from non-member companies.

So why was it issued? Honestly, there’s no clear answer. We’re not aware of any major scandals in the Micro Four Thirds world recently, though there have been rumors swirling around Insta360 using the mount for the cameras it’s currently working on. As of the time of writing, it isn’t listed among the supporting companies on the Micro Four Thirds website.

There’s also, as was pointed out several times in a Reddit thread, the case of SG-image, a budget lens company which is also not part of the Micro Four Thirds group. It has released one lens for the system that, according to several reports, doesn’t work at all with older cameras, and has some limitations on several newer models too. However, that lens has been out for a few months, so it would be a bit odd for the group to issue a warning about it only now.

Of course, it’s also possible that it’s just a general message, issued as a standard bit of housekeeping as an increasing number of companies release gear with Micro Four Thirds-shaped mounts without official support. As always, it’s worth reading a variety of reviews before spending your money on a product, especially if you’re going a bit off the beaten path.

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

This week, Time published its list of the Best Inventions of 2026, and three cameras were among the 300 honorees: the Nikon ZR, the GoPro Mission 1 Pro ILS and the Fujifilm Instax Mini Evo Cinema. According to Time, it gathers nominations from its editors and correspondents as well as through an online application process – meaning companies can nominate their own products – then evaluates each nominee based on “originality, efficacy, ambition, and impact.” But its write-ups on each product are very brief.

We’ve covered all three of these cameras since they were announced, so here’s what our experience with them adds to the picture – including where we might disagree with Time’s editors.

Nikon ZR

Nikon

The Nikon ZR is Nikon’s inaugural take on a video-first body, and the company’s first camera to carry both Nikon and Red branding. Under the hood, it’s essentially a Z6III without the viewfinder or mechanical shutter, but with a boxy body that sports a 4″, 1000-nit screen, internal 32-bit float audio and Red’s R3D (NE) Raw codec at up to 6K/60p. And at $2,199, its launch price landed $500 below the Z6III’s.

Time pitches the ZR (or, as it calls it, the “Nikon RED ZR”) as a tool for emerging cinematographers, but our take is slightly different. Despite the Red branding, the ZR has more in common with creator-focused cameras like the Sony ZV-E1 and Panasonic S9 than with cinema cameras like the Sony FX3. That’s not a criticism: our review found it to be one of the best vlogging cameras we’ve tested, earning it a Gold award. That said, we’d steer photographers away from it entirely, no matter how much they fall in love with the camera’s looks.

GoPro Mission 1 Pro ILS

GoPro

The Mission 1 Pro ILS is GoPro’s first interchangeable-lens camera. It’s essentially a Mission 1 Pro, with the same 50MP Type 1 sensor and 8K/60p capture, but with a Micro Four Thirds mount where the fixed wide-angle lens would be. And at $700, it’s an inexpensive entry point to 8K open gate and 4K/240p slow-motion video.

Time’s article cites a GoPro product manager who imagines the same camera “careening down a mountain” and capturing valley flowers après-ski, but our experience with the camera points to a more specialized audience. The lens mount has no electronic contacts, meaning there’s no autofocus, and it can’t drive the focus-by-wire or electronic apertures found in most Micro Four Thirds lenses. Pulling focus by hand on a 2.59″ screen is no easy feat – especially while careening down a mountain.

As we noted in our earlier coverage, this is a cinema tool built for rigs and crews, not a take-everywhere pocket camera, and GoPro’s recent beta firmware, which adds anamorphic support, reinforces that.

Fujifilm Instax Mini Evo Cinema

Fujifilm

The Instax Mini Evo Cinema is Fujifilm’s first Instax camera to shoot video. With a design reminiscent of Fujifilm’s 1960s Fujica Single-8 cine camera, it captures stills and 15-second clips, prints on Instax Mini film, and can print a frame from a video clip with a QR code that plays the video back on a phone. The camera’s “Gen Dial” applies effects inspired by ten different eras, ranging from the grainy 1930s to the modern look of the 2020s.

Time says the camera offers “oodles of analog charm in a digital friendly package.” On paper, though, it’s a tougher sell, which is why we called it divisive when it launched. It’s built around a tiny 5MP Type 1/5 sensor – smaller than those in even budget smartphones. Most of its video modes top out at 800×600 pixels, and the video “memory” in each print isn’t permanent; Fujifilm only stores clips for 24 months, so you’ll want to download them. And then there’s the price: at $410 before you even buy film, it feels like an indulgence.

When our team went hands-on with the camera, the takeaway was that it’s a fun device, built around nostalgic looks, and that one of its core appeals was transforming digital clips into keepsakes using QR-coded prints. It’s a camera you buy for the experience, not the image quality.

All three are innovative takes on what a camera can be, and it’s nice to see companies experimenting with different camera formats. However, if one of these catches your eye, just make sure it’s built for the way you actually shoot.

Nikon

Nikon RED Z Cinema | ZR Cinema Camera | 32-Bit Float Audio RED Color Science 6K Full-Frame Camera Body with 4" DCI-P3 Monitor

• $2196.95 at Amazon
• at B&H Photo

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.

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

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.

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

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

• Shop Now at Yeti