Apple kicked off its Worldwide Developers Conference (WWDC) today. During the keynote to mark the event's start, the company revealed that it is completely redesigning the iPhone’s camera app in the next version of its mobile operating system, iOS 26*. The company says the design will be “more intuitive” and “elevate the two capture modes you use most: photo and video.”
The iPhone’s camera app has looked largely the same since the last big iOS redesign, 2013’s iOS 7. However, the company has added dozens of new features and modes since then, making the app feel cluttered to some users. For example, if you want to take a panorama, you have to swipe through the portrait and spatial photo modes first.
Different modes will be broken into subcategories for both photo and video, making it easier to find what you want.
Image: Apple
By default, the new interface will present you with the modes for shooting standard photos and videos. You can access other modes, like “cinematic” video or portrait photos by swiping on the switcher, but they won't show by default, making it harder to tap them accidentally.
The app follows Apple's “Liquid Glass” design language, which will be applied to the rest of iOS 26. This means that settings and controls will be displayed as semi-transparent windows over the photo preview; the current version of the app has a few settings panes, which appear on black bars beside the preview.
Apple is bringing tabs to its Photos app.
Image: Apple
Apple says the camera app is getting a feature called "lens cleaning hint" as well, though it hasn't said anything else about the feature.
The Photos app, which was subject to a relatively controversial redesign last year, is also getting a fresh coat of “Liquid Glass” paint. Beyond the purely aesthetic changes, your photo library and collections of albums and photo types will now live in different tabs, which should make them easier to differentiate; in the iOS 18 version, they were presented together on one scrolling screen.
Finally, Apple is also updating its AirPod wireless earbuds by adding camera remote functionality. Users will be able to press and hold the AirPods stem to take a photo or start recording a video. A press-and-hold will end the recording. Apple says this function will work with its native camera app, as well as "compatible third-party camera apps on iPhone or iPad."
Apple says iOS 26 will be available "this fall," and it'll run on iPhone 11 and later; Apple is dropping support for the iPhone XS and XR, which can run iOS 18.
* The current release is known as iOS 18, but Apple has changed its naming scheme; it will now follow a model year format similar to cars. Eg., iOS 26 will release in late 2025.
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Composite image: Richard Butler
Canon's PowerShot V1 is a vlogging-focused compact camera with an ambitious 18-50mm equivalent lens. As part of our upcoming review, we've shot our studio test scene, to see how it performs.
The shots in the comparison tool were all shot at 50mm equiv and F5.6, as this is the closest the camera can get to our standard 85mm equivalent focal length and consequent working distance that we try to use as broadly as possible.
We shot some images at the camera's wide-open F4.5 setting and found the corners were significantly less sharp than they are by F5.6, so used our standard exposure values throughout.
Image Comparison
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As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.
This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.
Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it is.
Wide-angle performance:
Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.
As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.
However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.
It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes of the corners get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.
And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.
Visitors soar through the air on a ride at the Washington State Fair. I captured this photo while shooting a sample gallery for the Ricoh GR IIIx, which – unsurprisingly – proved to be an excellent camera for candid photography. To me, this photo embodies both the essence of summer and the magic of a cherished American summer tradition: state fairs.
Photo: Dale Baskin
Our June Editors' photo challenge is now open for submissions. Our theme this month is "Chasing Summer."
With summer just around the corner, we want to see photos that evoke the spirit of summer fun and adventure. Whether it's jumping into cold water on a hot day, melting ice cream, or epic road trips, we want to see what "Chasing Summer" looks like through your lens. Our favorites will be featured on the DPReview homepage later this month.
This challenge is open to photos taken at any time.
Photos can be submitted between Sunday, June 8, and Saturday, June 14 (GMT).
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We want to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
Winners of the Photo Competition for United Nations World Oceans Day
June 8th is United Nations World Oceans Day, and to celebrate, the winners of the 12th annual photo competition associated with the day were announced. This year's theme for UN World Oceans Day was "Wonder: Sustaining What Sustains Us," which also served as a newly added category for the contest. It joined the recurring Big and Small Underwater Faces, Underwater Seascapes and Above-Water Seascapes categories.
A panel consisting of renowned photographers Ipah Uid Lynn, William Tan, Vanessa Mignon, Marcello Di Francesco and Ellen Cuylaerts selected the winners from thousands of global entries from amateur and professional photographers. The judges selected first, second, and third place winners for all categories, along with an honorable mention for three of the categories.
Caption: This photo, taken in Mo'orea, French Polynesia in 2024, captures the eye of a humpback whale named Sweet Girl, just days before her tragic death. Four days after I captured this intimate moment, she was struck and killed by a fast-moving ship. Her death serves as a heartbreaking reminder of the 20,000 whales lost to ship strikes every year. We are using her story to advocate for stronger protections, petitioning for stricter speed laws around Tahiti and Mo'orea during whale season. I hope Sweet Girl’s legacy will spark real change to protect these incredible animals and prevent further senseless loss.
Caption: A juvenile pinnate batfish (Platax pinnatus) captured with a slow shutter speed, a snooted light, and deliberate camera panning to create a sense of motion and drama. Juvenile pinnate batfish are known for their striking black bodies outlined in vibrant orange—a coloration they lose within just a few months as they mature. I encountered this restless subject in the tropical waters of Indonesia’s Lembeh Strait. Capturing this image took patience and persistence over two dives, as these active young fish constantly dart for cover in crevices, making the shot particularly challenging.
Caption: Shot in Cuba’s Jardines de la Reina—a protected shark sanctuary—this image captures a Caribbean reef shark weaving through a group of silky sharks near the surface. Using a slow shutter and strobes as the shark pivoted sharply, the motion blurred into a wave-like arc across its head, lit by the golden hues of sunset. The abundance and behavior of sharks here is a living symbol of what protected oceans can look like.
Honorable Mention, Wonder: Sustaining What Sustains Us
Caption: Humpback whales in their thousands migrate along the Ningaloo Reef in Western Australia every year on the way to and from their calving grounds. In four seasons of swimming with them on the reef here, this is the only encounter I’ve had like this one. This pair of huge adult whales repeatedly spy hopped alongside us, seeking to interact with and investigate us, leaving me completely breathless. The female in the foreground was much more confident than the male behind and would constantly make close approaches, whilst the male hung back a little, still interested but shy. After more than 10 years working with wildlife in the water, this was one of the best experiences of my life.
Caption: This photo of a Japanese warbonnet (Chirolophis japonicus) was captured in the Sea of Japan, about 50 miles (80 kilometers) southwest of Vladivostok, Russia. I found the ornate fish at a depth of about 30 meters (100 feet), under the stern of a shipwreck. This species does not appear to be afraid of divers—on the contrary, it seems to enjoy the attention—and it even tried to sit on the dome port of my camera.
Caption: On one of my many blackwater dives in Anilao, in the Philippines, my guide and I spotted something moving erratically at a depth of around 20 meters (65 feet), about 10 to 15 centimeters in size. We quickly realized that it was a rare blanket octopus (Tremoctopus sp.). As we approached, it opened up its beautiful blanket, revealing its multicolored mantle. I managed to take a few shots before it went on its way. I felt truly privileged to have captured this fascinating deep-sea cephalopod. Among its many unique characteristics, this species exhibits some of the most extreme sexual size-dimorphism in nature, with females weighing up to 40,000 times more than males.
Caption: Trips to the Antarctic Peninsula always yield amazing encounters with leopard seals (Hydrurga leptonyx). Boldly approaching me and baring his teeth, this individual was keen to point out that this part of Antarctica was his territory. This picture was shot at dusk, resulting in the rather moody atmosphere.
Caption: This year, I had the incredible opportunity to visit a jellyfish lake during a liveaboard trip around southern Raja Ampat, Indonesia. Being surrounded by millions of jellyfish, which have evolved to lose their stinging ability due to the absence of predators, was one of the most breathtaking experiences I’ve ever had.
Caption: This shot captures a school of rays resting at a cleaning station in Mauritius, where strong currents once attracted them regularly. Some rays grew accustomed to divers, allowing close encounters like this. Sadly, after the severe bleaching that the reefs here suffered last year, such gatherings have become rare, and I fear I may not witness this again at the same spot.
Caption: “La Rapadura” is a natural hidden treasure on the northern coast of Tenerife, in the Spanish territory of the Canary Islands. Only discovered in 1996, it is one of the most astonishing underwater landscapes in the world, consistently ranking among the planet’s best dive sites. These towering columns of basalt are the result of volcanic processes that occurred between 500,000 and a million years ago. The formation was created when a basaltic lava flow reached the ocean, where, upon cooling and solidifying, it contracted, creating natural structures often compared to the pipes of church organs. Located in a region where marine life has been impacted by once common illegal fishing practices, this stunning natural monument has both geological and ecological value, and scientists and underwater photographers are advocating for its protection. (Model: Yolanda Garcia)
Caption: With only orcas as their natural predators, leopard seals are Antarctica’s most versatile hunters, preying on everything from fish and cephalopods to penguins and other seals. Gentoo penguins are a favored menu item, and leopard seals can be observed patrolling the waters around their colonies. For this shot, I used a split image to capture both worlds: the gentoo penguin colony in the background with the leopard seal on the hunt in the foreground.
Caption: A serene lake cradled by arid dunes, where a gentle stream breathes life into the heart of Mother Earth’s creation: Captured from an airplane, this image reveals the powerful contrasts and hidden beauty where land and ocean meet, reminding us that the ocean is the source of all life and that everything in nature is deeply connected. The location is a remote stretch of coastline near Shark Bay, Western Australia.
Caption: Northern gannets (Morus bassanus) soar above the dramatic cliffs of Scotland’s Hermaness National Nature Reserve, their sleek white bodies and black-tipped wings slicing through the Shetland winds. These seabirds, the largest in the North Atlantic, are renowned for their striking plunge-dives, reaching speeds up to 100 kph (60 mph) as they hunt for fish beneath the waves. The cliffs of Hermaness provide ideal nesting sites, with updrafts aiding their take-offs and landings. Each spring, thousands return to this rugged coastline, forming one of the UK’s most significant gannet colonies. It was a major challenge to take photos at the edge of these cliffs at almost 200 meters (650 feet) with the winds up to 30 kph (20 mph).
Caption: Paradise Harbour is one of the most beautiful places on the Antarctic Peninsula. When I visited, the sea was extremely calm, and I was lucky enough to witness a wonderfully clear reflection of the Suárez Glacier (aka Petzval Glacier) in the water. The only problem was the waves created by our speedboat, and the only way to capture the perfect reflection was to lie on the bottom of the boat while it moved towards the glacier.
Caption: A South Atlantic swell breaks on the Dungeons Reef off the Cape Peninsula, South Africa, shot while photographing a big-wave surf session in October 2017. It’s the crescendoing sounds of these breaking swells that always amazes me.
Diagram showing the structure of Eyeo's color-splitting waveguide technology. The image is focused at the front of the structure, with the waveguides channeling the light down to a conventional CMOS sensor underneath. The geometry and position of the upper, tapered waveguides defines the wavelength at which light is split into parallel beams in the lower, rectangular guide.
Image: Eyeo
A Belgo-Dutch startup is developing an alternative to color filters that would let sensors capture all the light shone on them. This has the potential to push past one of the limitations of existing sensors with Bayer color filters, giving up to a stop of improvement in tonal quality and noise, and potentially allowing higher resolution capture.
Its technology uses nano-scale waveguides to split the incoming light depending on its color, meaning the sensor receives all the light projected on it, rather than having to use filters that absorb some of the incoming light.
Eyeo, a spin-off from Imec (a Belgian research organization) has just received €15M in seed funding to develop the technology.
Its system doesn't block or absorb any light, instead redirecting it into neighboring pixels, based on its color.
The technology uses a waveguide that channels the incoming light to a very fine point – the geometry of which is on the scale of the wavelength of light – splitting the light by wavelength. From here it's channelled separately down through a second, rectangular waveguide into a pair of photodiodes below.
The company has shown it can adjust how the colors are split by adjusting the precise geometry and positioning of the waveguides. It has developed pairs of waveguides that split light at the same wavelengths that the human eye does, with one separating red light from cyan (green and blue), and the other separating blue light from yellow (green and red).
Diagram showing the sensitivity of the cones of the human eye to different wavelengths (top) and the output spectra of the two waveguide designs, showing one tuned to give a 480nm crossover (left) and a second with crossover at 580nm (right).
Image: Eyeo
This means you still need four photodiodes to capture full color, but you can measure the light intensity, irrespective of color, with only two; giving a significant resolution boost and with minimal light loss.
Its work suggests these pairs of waveguide stacks, combined with conventional CMOS sensors, should be able to deliver color accuracy comparable with modern cameras, with scope to further improve the performance to at least match the very best examples.
In addition to avoiding light loss to color filters, the design should be able to work with smaller pixels than previous attempts to split colors by diffraction, allowing the used of smaller pixels to give higher resolutions.
The company's focus is, understandably, on the large and potentially lucrative smartphone market. Because its technology doesn't waste as much light and can work with smaller pixels, it allows the creation of smaller sensors that deliver quality comparable with existing Bayer ones, or higher resolution sensors that outperform Bayer sensors of the same size.
However, even in the comparatively huge sensors used in most standalone cameras, avoiding light loss to a color filter array would allow a ∼1EV improvement in tonal quality and noise performance. Current sensors have very high quantum efficiency (generating a signal from a very high percentage of the light that hits them) and very low levels of read noise, meaning there's a limit to how much further you can improve the performance of the CMOS itself. However, the silicon part of the sensor is held back by the need to filter-out around one stop of the 'wrong' colored light before it hits each photodiode.
The 'Vora' values, measuring color filtering accuracy for a large set of cameras, calculated both for the CIE standard observer and a range of other ages and races. Eyeo's technology using off-the-shelf CMOS sensors and a custom-made thin-film perovskite detector are shown on the right.
Image: Eyeo
Although the technology is still at the relatively early development stage, the company tells us its technology is compatible with existing CMOS sensor manufacturing and that the fabrication tech for its waveguides that's already in use at scale.
It says it has worked to ensure the pixels at the edge of the frame maintain high acceptance angles for incoming light, without the use of microlenses, and has patented a methodology for optimizing the design to match typical numerical apertures used in the latest cameras and smartphones.
The original idea dates to 2018, with patents and prototypes following over the next few years. The Eindhoven-headquartered company was established in 2024 and it says it hopes to engage with potential customers in the next year or so, with evaluation kits available next year.
However, when asked, the company didn't give a timescale of when it thought the technology could be ready to appear in a consumer product.
TTartisan announced a new M01 on-camera film canister flash and J01 wireless flash trigger priced at $29+$10 ($39 for both). Orders are now open at Amazon and TTartisan's website.
The new flash works with most DSLRs, mirrorless cameras, and compact cameras:
Laowa is well known for its unique lenses, offering photographers tools that allow them to stretch their creativity. Now, the company has added another lens to its lineup, announcing the 8-15mm F2.8 full-frame fisheye zoom lens. The lens is manual focus only, but it offers a fast and constant F2.8 aperture for a wide range of full-frame cameras.
The Laowa 8-15mm F2.8 FF Zoom Fisheye has what the company calls a "dual fisheye effect." At the wide end, the lens delivers a 180° angle of view, resulting in a circular image with black edges. However, when zoomed in to 15mm, the lens provides a diagonal fisheye image, which fills the entire rectangular frame without black corners.
Sample gallery
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Photos: Laowa
Laowa built the lens with 13 elements in 9 groups and a nine-blade aperture diaphragm. The company promises edge-to-edge clarity. The fast aperture is ideal for low-light conditions, and Laowa also promises beautiful bokeh for greater creative control. It can focus as close as 16cm (6.3"), enabling dramatically exaggerated subjects when up close. It is manual focus only, though.
Image: Laowa
It's a relatively compact lens, with the RF mount version measuring 94.5mm (3.7") long. It weighs approximately 650g (1.43lbs). It's available in E, Z, L and RF mount versions.
The Laowa 8-15mm F2.8 FF Zoom Fisheye is available for purchase as of today for $699. Pricing may vary in other countries.
Fish Out Your Creativity - Laowa announces the 8-15mm f/2.8 FF Zoom Fisheye Lens
Anhui China, June 6, 2025 – Introducing the Laowa 8-15mm f/2.8 FF Zoom Fisheye, a one-of-a-kind addition to Laowa’s innovative lens lineup. Designed for photographers and content creators seeking bold, creative perspectives, this lens delivers a dual fisheye effect with a versatile zoom range and an ultra-fast constant f/2.8 aperture. Compatible with full-frame cameras, this lens offers unparalleled flexibility for capturing expansive landscapes, compact cities, action sports, and 360° panoramas.
Dual Fisheye Effect
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens delivers a versatile dual fisheye effect, seamlessly transitioning between two distinct visual styles on full-frame cameras. At the 8mm end, the lens produces a circular fisheye effect, capturing a 180° field of view. At the 15mm end, it transitions to a full-frame rectangular fisheye effect, filling the entire sensor with the characteristic fisheye distortion. The zoom capability allows creators to switch between these effects without changing lenses, enhancing flexibility for photography and videography applications.
Max. 180° circular fisheye
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens offers an extra-wide view, delivering a sweeping 180° angle of view at its 8mm focal length on full-frame cameras. This expansive perspective captures vast scenes in a single frame, producing a dramatic circular fisheye effect with pronounced curvature, ideal for creative effects, astrophotography, and 360° panoramas.
Diagonal fisheye
As the lens zooms to 15mm, the angle of view narrows slightly, filling the full-frame sensor with a diagonal fisheye image that retains a wide, distorted perspective. Ideal for immersive landscapes, astrophotography,
Constant Fast Aperture
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens boasts a constant T2.9 aperture throughout its zoom range, ensuring consistent exposure and depth of field control. This fast aperture excels in low-light situations, delivering outstanding performance for nighttime shoots or dimly lit environments, while also providing beautiful bokeh for creative flexibility in crafting immersive fisheye visuals.
Close Focusing Distance
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens features a minimum focusing distance of 16cm (6.3”), enabling photographers and videographers to capture subjects at close range with striking visual impact. This close focusing capability enhances the lens’s fisheye distortion, delivering an exaggerated point of view (POV). Additionally, the close focus mimics a bugeye effect, creating a playful, almost cartoonish distortion where subjects appear disproportionately large, adding a unique and bold aesthetic to images and videos.
Full Frame Coverage
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens offers full-frame coverage, unlocking the full potential of high-resolution cameras. It delivers a true 180° circular fisheye effect at 8mm and a rectangular fisheye at 15mm, ensuring edge-to-edge clarity and maximum angle of view without cropping.
Ultra Compact
Dimensions
94.5MM X Ø76.4MM (CANON RF
MOUNT)
Weights
~650G (1.43 LBS, EXCLUDING CAPS)
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens is remarkably compact. This portable design makes it one of the smallest and lightest full-frame fisheye zoom lenses with a constant f/2.8 aperture, ideal for travel, adventure, and handheld shooting. Perfect for landscape photographers, vloggers, and drone-based creators, this lens delivers bold fisheye visuals without the bulk, enhancing mobility and convenience for on-the-go content creation.
Pricing & Availability
LAOWA 8-15mm f/2.8 FF Zoom Fisheye is available to purchase via Venus Optics official website (Home - LAOWA Camera Lenses) and authorized resellers from the 6th June, 2025.
The US price for LAOWA 8-15mm f/2.8 FF Zoom Fisheye is $699. Pricing varies in different countries.
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens is remarkably compact. This portable design makes it one of the smallest and lightest full-frame fisheye zoom lenses with a constant f/2.8 aperture, ideal for travel, adventure, and handheld shooting. Perfect for landscape photographers, vloggers, and drone-based creators, this lens delivers bold fisheye visuals without the bulk, enhancing mobility and convenience for on-the-go content creation.
Dual Fisheye Effect
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens delivers a versatile dual fisheye effect, seamlessly transitioning between two distinct visual styles on full-frame cameras. At the 8mm end, the lens produces a circular fisheye effect, capturing a 180° field of view. At the 15mm end, it transitions to a full-frame rectangular fisheye effect, filling the entire sensor with the characteristic fisheye distortion. The zoom capability allows creators to switch between these effects without changing lenses, enhancing flexibility for photography and videography applications.
Max. 180° circular fisheye
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens offers an extra-wide view, delivering a sweeping 180° angle of view at its 8mm focal length on full-frame cameras. This expansive perspective captures vast scenes in a single frame, producing a dramatic circular fisheye effect with pronounced curvature, ideal for creative effects, astrophotography, and 360° panoramas.
Diagonal fisheye
As the lens zooms to 15mm, the angle of view narrows slightly, filling the full-frame sensor with a diagonal fisheye image that retains a wide, distorted perspective. Ideal for immersive landscapes, astrophotography,
Constant Fast Aperture
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens boasts a constant T2.9 aperture throughout its zoom range, ensuring consistent exposure and depth of field control. This fast aperture excels in low-light situations, delivering outstanding performance for nighttime shoots or dimly lit environments, while also providing beautiful bokeh for creative flexibility in crafting immersive fisheye visuals.
Close Focusing Distance
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens features a minimum focusing distance of 16cm (6.3”), enabling photographers and videographers to capture subjects at close range with striking visual impact. This close focusing capability enhances the lens’s fisheye distortion, delivering an exaggerated point of view (POV). Additionally, the close focus mimics a bugeye effect, creating a playful, almost cartoonish distortion where subjects appear disproportionately large, adding a unique and bold aesthetic to images and videos.
Full Frame Coverage
The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens offers full-frame coverage, unlocking the full potential of high-resolution cameras. It delivers a true 180° circular fisheye effect at 8mm and a rectangular fisheye at 15mm, ensuring edge-to-edge clarity and maximum angle of view without cropping.
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The X-M5 seems to have turned into a hot-ticket item.
Despite being released in late 2024, the Fujifilm X-M5 isn't the easiest camera to get your hands on, especially in the US – a situation not helped by tariffs. That raises the question: is it worth putting in an order to try and get one, or are there more readily available cameras that will scratch the same itch?
As with the X100VI, the answer will depend on why you're considering an X-M5 in the first place (though, thankfully, it's not essentially unique like Fujifilm's fixed-lens offering). If you want one primarily for shooting video, the best alternative will be different than if you're looking for a small, sub-$1000 mirrorless to mainly shoot stills with.
I want an X-M5 just for stills
While the X-M5 is shaped like a lot of vlogging cameras – it has a boxy body with no EVF, and a rather insubstantial grip – it's generally nicer to shoot with than most vlogging-focused cameras thanks to its two top-plate dials. It also has a mechanical shutter, essential if you want to shoot flash.
The Nikon Z30 shares the same list of benefits and has a very similar form factor, and while its autofocus system will probably be about as reliable as the X-M5's, it's not Nikon's latest and greatest: it has fewer subject recognition modes, which can make it easier to set your focus point, depending on what you're shooting. While the Z mount has a more limited selection of lenses than X mount, Nikon has started allowing third-party companies to make some autofocusing primes for its system. If you want a zoom lens, though, you're still stuck with Nikon's lackluster offerings.
The Z50II has different styling, but is aimed at a similar audience.
If you're not married to the easier-to-pocket boxy shape, you'll have even more options, such as the Nikon Z50II and Canon EOS R10. Both cameras include viewfinders, which makes them easier to use in direct sunlight at the cost of some bulk. The Z50II has a newer autofocus system than the Z30, as well as a color profile system that can at least get you closer to the aesthetic choices you can make with Fujifilm's famous film simulations. The EOS R10, meanwhile, has a healthy selection of zoom lenses, including some quite fast options from Sigma and Tamron.
I want an X-M5 for video
The X-M5 is aimed at content creators and has a fairly robust suite of vlogging features, dedicated microphone and headphone jacks, and the ability to shoot 6.2K open-gate and 4K60p video, though the latter comes with a 1.29x crop.
If you're mostly interested in video, the Sony ZV-E10 II is a worthy alternative. It can't shoot open-gate, so you won't have as much flexibility in post, but it makes up for it with much more reliable autofocus and tracking and a faster sensor with less rolling shutter distortion and less of a crop in 4K 60p. It's also capable of producing nice photos, though the experience of taking them won't be as engaging, thanks to its lack of a second top-plate command dial.
While the Z30 is also pitched as being good for video, it falls short of the X-M5 in a number of ways: it doesn't have a headphone jack, can't shoot 4K 60p and can't shoot 10-bit video, which provides you more room to color-grade in post.
The Canon PowerShot V1 is another option, though it's quite different from the other cameras on this list. It's explicitly aimed at video creators but has a built-in 16-50mm equiv. F2.8-4.5 lens rather than a mount and uses a smaller Type 1.4 (226mm²) sensor instead of an APS-C (~367mm²) one. That means you lose out a lot on flexibility and a bit on image quality, but given how many people only ever use their camera's kit lens, that may not be a huge con for you. It has a fan for extended recording time, a built-in ND filter and quite reliable autofocus, making it a useful video tool if you're willing to put up with its limitations.
I was hoping to shoot a little of both
Part of what makes the X-M5 so interesting is that it packs a lot of photo and video capabilities into a small, stylish body. It's that last part where most of its peers don't quite measure up; if you want something with this form factor that has classic styling and is equally capable for photos and videos, you may well need to wait for the X-M5.
If you're willing to get something a bit bigger with less emphasis on aesthetics, though, the story is the same as the stills. The EOS R10 and Z50II are both quite capable hybrids and have more reliable autofocus, though their 4K60p modes come with a slightly higher crop than the X-M5's (1.56x and 1.5x, respectively).
Ultimately, there's no direct substitute that does everything the X-M5 does, especially if you're attracted to the wide range of lenses available for X-mount. But depending on your priorities, there are at least some reasonable alternatives, unlike with the X100VI.
Fujifilm is moving the production of some of its most popular cameras to Japan, potentially due to the steep US tariffs on Chinese products. The Fujifilm X-T5, X-T50, X-M5 and X100VI all appear to be impacted. The latter two have had availability issues since their respective releases.
Fujifilm did not formally announce the move, but new listings with unique product names and SKU numbers have appeared on Fujifilm's online US store, as Digital Camera World and PetaPixel reported. Listings for the X-M5, X-T5, X100VI and X-T50 cameras now have "-JP" in the product name, suggesting that those are produced in Japan.
The existing X-M5 and X-T5 SKUs both show discontinued notices when you search for them at B&H.
Screenshots: Abby Ferguson
There are also new listings up for the X-M5, X-T5, X100VI and X-T50 at US retailer B&H, along with discontinued product notices. When you search for the X-M5, for example, a note will appear that it has been discontinued, asking, "May we suggest FUJIFILM X-M5 as a possible replacement?" Clicking on that second name takes you to a product page for an X-M5 with "Japan" at the end of the name, and a "J" at the end of the SKU. The SKUs for the other camera have "JP" at the end. Fujifilm's UK website doesn't have any models with JP in the name. It appears, then, that production could continue in China for cameras headed to other countries.
Fujifilm had previously paused pre-orders of the X-M5 and X100VI because of the tariff situation, though it restarted US shipments earlier this month. However, that doesn't mean they are actually available for purchase right now. Production issues still seem to plague the X-M5 and X100VI, as the JP models are also listed as out of stock on Fujifilm's US site at the time of writing. All four of the cameras are listed as back-ordered at B&H, but the X-T5-JP and X-T50-JP are both in stock at Fujifilm's site.
The "new" models appear to be identical to the previous product pages, with the exception of the names. That includes the same prices. That could mean Fujifilm opted to adjust production instead of raising prices to adapt to the US tariffs. The tariffs also impact Japan, but the 10% rate for Japanese products is much lower than China's current (though unstable) 30% rate. If the prices do, in fact, stay consistent, that could be welcome news, given that Nikon, Canon, Sigma and Leica have announced increased prices because of the tariffs.
We reached out to Fujifilm for comment but did not receive a response at the time of publication. We will update this story if we receive a response.
Fujifilm has released a short teaser video ahead of a June 12th announcement, hinting at a new rangefinder-style camera in its lineup. The announcement will come at the company's X Summit in Shanghai.
The video starts with an X100 and X-Pro placed on a black background, followed by a camera that is significantly obscured in darkness. The text mentions a rangefinder-style series that is "essential when telling the story of our X Series history." It potentially suggests that the X-Pro series is still part of the lineup, even though the last X-Pro – the X-Pro3 – was released in 2019.
The DPReview team had a chance to interview Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group at CP+ earlier this year, asking him specifically about the X-E and X-Pro series. His comments at the time confirm that the X-Pro series isn't gone: "Our plan hasn't changed, we still plan to launch a successor to X-Pro3, but we don’t have a date, yet. And X-E of course, too. We haven’t abandoned the line either."
When asked if the X-E series would return to its enthusiast-focused roots, Igarashi explained, "There’s nothing that’s perfect, which is totally unchangeable: it’s something we consider every time we come up with the next version." Jun Watanabe, Fujifilm's Product Planning Manager, commented on the types of users they are building the next X-E for, explaining that "They love the rangefinder style." He also said, "They love daily life photography [and using X-E] as a snap camera. They love the style and the design."
Based on the comments at CP+ and the limited amount of detail contained in the teaser video, it seems feasible that we could be seeing the next X-E or X-Pro. However, we'll have to wait until June 12th for the reveal.
Another photo news from Russia: the previously reported Zenitar 50mm f/1 lens for Leica M-mount was officially announced at an event in Moscow. Several other lenses were also on display:
Zenithar 2.8/16
Zenithar 1.2/50
Zenithar 1.4/75 Helios Edition
Selena 1.9/58
Selena 2.2/85
Helios 40-2 1.5/85
Additional informtion on the new lens, including the full press release and some sample photos, can be found here:
A few months ago, Shvabe announced the first Russian anamorphic cinema lenses. The Lytkarino Optical Glass Plant is developing cinema lenses with 40, 60, 80, and 100mm focal lengths. The lenses are equipped with PL-mount and a 2x compression ratio. The weight of the 100mm lens is 3 kg.
Additional informtion:
Shvabe developed the first Russian anamorphic cinema lenses
The Shvabe holding of the Rostec State Corporation is presenting a line of Russian anamorphic cinema lenses for the first time at the Innoprom-2024 International Industrial Exhibition. Such lenses, using a complex system of cylindrical lenses, allow shooting a unique ultra-wide frame. Unlike the image obtained using wide-angle lenses, the anamorphic image is not distorted at the edges of the frame and is not darkened at the corners.
Anamorphic lenses began to be used for filming in the last century. This solution allowed directors to fit a wider image into a standard frame of 35 mm film, which a regular lens could not do. The optics "compressed" a larger viewing angle horizontally into a standard area. As a result, due to the lens system, a frame with a close to square aspect ratio produced an image compressed in width. In cinemas, it was again stretched horizontally to fit a wide screen format using a reverse lens.
Today, despite the spread of wide-angle optics, anamorphic lenses are actively used by large film studios due to their high image quality and unique cinematic effects.
The line of the first Russian anamorphic cinema lenses with focal lengths of 40, 60, 80 and 100 mm was developed by the Lytkarinsky Optical Glass Plant (LZOS) of the Shvabe holding. The devices are equipped with high-quality optics and are distinguished by high light intensity, allowing work in low light. The anamorphic coefficient in the lenses is 2.0, that is, the ratio of the vertical and horizontal images is 1 to 2. The devices can be used with digital cameras with a PL bayonet, and adapters are used for other types of fastening. The lenses have an ergonomic design.
"LZOS cinema lenses have no Russian analogues, and they differ from foreign ones in their unique picture. The developments allow for the creation of extended horizontal frames, while maintaining high image quality. Cinematic effects are created using lenses suitable for both video and photography. At the same time, our products will be cheaper than foreign products," said Lev Borisov, Deputy General Director of Shvabe.
The lens with a focal length of 100 mm was tested by Russian cameramen, who noted the good cinematic quality of the new product. The device creates a shallow depth of field, background blur, bokeh and other effects. They can be seen in all films from major film studios.
"Wide-angle optics today are not able to replace anamorphic, because the former does not give such a visual result - the visual effects are "poorer". Despite the high cost of anamorphic lenses, we continue to use them, because the resulting footage is of high quality, volume and effects that cannot be achieved with a wide-angle lens and graphic editors," says creative producer Evgeny Subochev, who organized the filming of the mini-series "Land of Great Opportunities", the film "Ural Derby" and other projects.
LZOS is a leading Russian manufacturer of optical materials and the only plant in the country that produces large-sized ground- and space-based mirrors. Over the years, the plant has manufactured mirrors up to six meters in diameter. Today, these products are successfully used on the most powerful telescopes around the world.
Also in the line of the Lytkarino Optical Glass Plant there are Rubinar lenses, which are suitable for both standard photography and stargazing.
Hiking with a camera can be incredibly rewarding. It can open up new opportunities for photographs and refresh creativity. However, it also presents some challenges. Finding a way to keep your gear safe while carrying it comfortably can be tricky, especially on more rugged hikes. Add in larger cameras or lenses, and things get even more difficult. While finding the ideal solution for each individual takes trial and error, below are some tips as you get started.
Quality camera bag
Shimoda is one company that makes rugged, adventure-specific camera backpacks.
First and foremost, a quality camera bag is a must to keep your gear safe while allowing you to bring other essential hiking items. When looking for a backpack or bag for hiking with your camera, choose one made of durable, weather-resistant (or, even better, waterproof) materials. If your bag is only weather-resistant, make sure you have a rain cover or pack liner to keep your gear dry.
Plenty of padding and structure are also essential to protect your camera. The padding also keeps your camera safe while you have other gear packed, since you'll generally need more than just your camera during hikes.
Finally, a proper fit is critical. An ill-fitting bag could lead to chafing or back issues, making your hike uncomfortable or even dangerous. Whenever possible, try on a bag when loaded with some weight before setting out on a long hike to identify if there are any fit issues. Even better, look for a bag with adjustable torso lengths so you can dial in the fit.
Camera strap or clip
Though not specifically designed for hiking, this Magpul MS4 strap at least puts the camera in a more comfortable position than straps that are worn around the neck.
While a camera bag is necessary, you'll likely want your camera out for most of your hike. After all, if it's tucked away, you're less likely to actually use it, or you may miss a chance to photograph something fleeting. Quick access is ideal, but your camera also needs to be secure and comfortable to carry.
There are a few options for keeping your camera accessible. First, you could opt for a camera strap, though we'd recommend a hiking-specific strap. A traditional strap can put a lot of strain on your neck and back. It could cause chafing as well, especially on long hikes. A hiking-specific strap, like those from Cotton Carrier or BlackRapid, could be more comfortable than a traditional strap, thanks to extra padding. However, if you're wearing a backpack, make sure the strap works with that.
Hiking-specific straps are designed to keep the camera from bouncing around on your body.
Even more beneficial than padding, though, is the added stability. Hiking-specific straps are designed to keep the camera from bouncing around on your body. Traditional camera straps worn around the neck or shoulder allow the camera to swing when you move, sometimes with an extremely uncomfortable amount of momentum. It could lead to a broken camera if it swings out at the wrong time and hits a rock or tree. Hiking camera straps secure the camera to your body so you can hike without holding onto it to keep it protected.
The Peak Design Capture Clip is one way to keep your camera quickly accessible, though it works best with smaller setups.
If a strap isn't your style, some companies make clips that attach your camera to your backpack. Peak Design's Capture Clip is a popular example. It connects to a backpack strap or belt and uses a quick-release-style plate to give you quick access to your camera while keeping it secure against your body. That said, depending on your body, your camera setup and your backpack, those clips can put the camera in quite an uncomfortable position. Be sure to test it before setting off on a long hike.
This camera backpack was not a good fit for my body, so it was rather a pain to hike with.
Photo: Kathryn Melheim
Final thoughts on hiking with a camera
Hiking with a camera doesn't have to be overly complicated or require loads of fancy, specialized gear. The key is finding a setup that is comfortable for you so that you want to bring your camera along while keeping you and your gear safe.
Wacom has announced its latest pen displays, offering three new models with the Cintiq 16, Cintiq 24 and Cintiq 24 Touch. Unlike the company's Intuos lineup, the Cintiq series features displays, allowing them to function as monitors and touch-sensitive devices. The latest Cintiqs offer slightly larger displays yet thinner designs, and subtle upgrades across the board.
The lineup now includes the Cintiq 24 Touch, which offers 10-finger touch capacity in addition to pen control. Previously, you had to opt for the Pro models of the Cintiq lineup if you wanted touch control. The Cintiq 16 and Cintiq 24 do not offer touch control.
The existing Cintiq lineup included a 16-inch and 22-inch offering, but the company has bumped the larger one up to 24 inches for greater screen real estate. Even the 16-inch received a slight bump in screen size as well. Despite the larger sizes, both are slimmer than the previous models. For example, at 22mm, the Cintiq 24 is almost half the thickness of the Cintiq 22.
The Cintiq 24 offers a large display.
Photo: Wacom
The resolution of both sizes is also greater than the previous models, jumping from full HD to 2560 x 1600 for the smaller device and 2560 x 1440 for the larger. Wacom improved color gamut on both, with each now covering 100% of sRGB. Cintiq also increased the maximum brightness substantially. All of these upgrades should offer a better experience for photographers looking to edit their images with the Cintiq tablets, even when working in bright locations.
Wacom released the Pro Pen 3 in 2022, but announced it again in February with its major refresh of the Intuos Pro lineup. Now, the Cintiq series benefits from the updated pen as well. All new Cintiq models are compatible with the Pro Pen 3, which offers lots of customization, responsiveness and accuracy.
The Cintiq 24 and Cintiq 24 Touch include an adjustable stand. All three models are VESA-compatible (75 x 75mm).
Image: Wacom
Additional upgrades include new anti-glare etched glass to reduce reflections, making it easier to see while editing or drawing. A USB-C port joins the existing HDMI and USB-A connections. The Cintiq 24 includes the Wacom Adjustable Stand, which allows for a range of angle adjustments, while the Cintiq 16 comes with fold-out legs. The Cintiq 16 is compatible with the stand, though it is a separate purchase.
The Wacom Cintiq 16, Cintiq 24 and Cintiq 24 Touch will be available sometime this summer, costing $700, $1300 and $1500, respectively.
Press release:
Made to Create, Built to Grow — Wacom Introduces the New Wacom Cintiq Line
Wacom unveils a new generation of Wacom Cintiq pen displays — the Cintiq 16, Cintiq 24, and Cintiq 24 touch — delivering professional-grade performance that puts professional creative tools within reach, combining Wacom’s Pro Pen 3 technology, compact design, and usability for creators ready to take the next step.
TOKYO – June 5, 2025 – Wacom today launched the new Cintiq 16, Cintiq 24, and Cintiq 24 touch pen displays, empowering creators to break boundaries with professional tools made attainable without compromise. Combining the flagship Wacom Pro Pen 3, a slimmer design, and sharp displays built for creative work, these models are built for artists and designers ready to level up their craft and dive headfirst into their boldest ideas.
“Creativity isn’t about limits—it’s about diving into the extraordinary,” said Koji Yano, Senior Vice President at Wacom. “The new Cintiq line is for creators who refuse to settle. It’s not just a tool—it’s the spark that turns ‘what if’ into ‘what’s next.’”
Natural Feel with the Wacom Pro Pen 3
Utilizing the Wacom Pro Pen 3, the new Cintiq models provide responsive, precise pen strokes thanks to enhanced sampling rate and pressure sensitivity. Artists experience fluid lines closely following movement—supporting expression with improved control.
Optional accessories let users customize grip thickness, weight balance, and button layout for comfort during long sessions. Another optional accessory is the Wacom Pro Pen 3 Wood Grip, sold separately, which stands out with its warm, textured finish—offering a more natural feel in the hand for those who prefer an organic touch during long drawing sessions.
Clear Display and Comfortable Viewing
Available in 16.0” (2560 x 1600 resolution) and 23.8” (2560 x 1440 resolution) sizes, the Cintiq line includes Pen-only and a Pen & Touch model (23.8” only). Direct bonding minimizes the gap between the pen tip and the cursor. Anti-glare etched glass reduces reflections and minimizes eye fatigue.
Streamlined Design and Quiet Performance
The flat design with a clean, modern profile supports versatile working angles. Both models are slimmer than their predecessors—the Cintiq 24, for example, is nearly half the thickness of the previous 22” model at just 21mm—making them easier to fit into a variety of workspaces. A fanless design ensures quiet operation and helps users stay focused during long creative sessions, without overheating.
Adjustable Stand and Flexible Setup
The Cintiq 24 includes the Wacom Adjustable Stand, which allows smooth, quiet angle adjustments. The Cintiq 16 comes with fold-out legs and is also compatible with the optional stand, sold separately. Both models are VESA-compatible (75 x 75 mm) for use with third-party monitor arms.
All ports are neatly arranged on the back for simplified cable management. All models support USB-C connection, and the 16” model also supports a convenient single-cable setup with power delivery. HDMI and USB-A ports are available on both models as alternative options.
All models come with time-limited licenses for creative software, including Clip Studio Paint EX and MASV.
In 2005, ON1 was born with a bold but simple idea: photography software should be created for photographers — not just for designers or software professionals.
At the time, founder Craig Keudell saw an opportunity. Tools originally built as Photoshop plug-ins for graphic designers were becoming less essential as designers became more proficient with editing software. But photographers? Many were still new to digital workflows and didn’t want to spend their creative time buried in menus and layers.
“Photographers have always been focused on capturing great moments — not becoming software experts,” Craig explains. “That’s where we saw a chance to help by making tools that worked the way photographers think. We saw a huge opportunity to tailor those tools for this growing photography market.”
In those early days, ON1 (then called onOne Software) launched a suite of powerful tools like Genuine Fractals, PhotoFrame, Intellihance, and pxl SmartScale.
“Getting everything off the ground was hard. There was no cloud, no remote work. We built and maintained our own servers, databases — all of it,” Craig recalls. “We focused on one order at a time. Eventually, that turned into real momentum.”
The company’s first significant break came when Shutterbug Magazine featured Genuine Fractals on its cover. From that moment, things really took off.
But ON1 wasn’t just built on product success. It was built on values — creating a company culture that prioritized employees and customers. As Craig puts it:
“We wanted to build a people-first company — one that prioritized our team and customers, not outside investors,” Craig says. “That mindset of taking care of each other has guided us every step of the way.”
That people-first mindset still defines ON1 today.
A Major Turning Point: The Suite Era
As ON1 grew, so did its ambitions. The company moved from plug-ins into a more unified editing experience, culminating in the launch of the Perfect Photo Suite.
“We gave the entire Suite away to everyone at a Photoshop roadshow,” remembers Dan Harlacher, VP of Product. “It was a $500+ product — and we just gave it away. That was a major moment for us. It put ON1 in front of a massive audience.”
The Suite combined powerful tools like masking, portrait retouching, resizing, and effects — all inside one package. And with each release, ON1 became more than just a collection of plug-ins. It was becoming a full-featured photo editor.
Built with Photographers — Literally
In 2016, ON1 took a bold step: launching the Photo RAW Project. It wasn’t just a new product — it was an invitation.
“We told our users, ‘You now have a voice in the future of raw photo editing,’ and we meant it,” says Dan. “We opened up our roadmap and started building directly with our community.”
The result was ON1 Photo RAW — a fast, flexible, non-destructive RAW editor with layers, effects, and AI tools built in. Since its launch, ON1 has released nearly 1,000 user-submitted ideas through the project.
“That level of engagement is something most software companies won’t match,” says Patrick Smith, Senior VP and GM. “But it only works if you’re truly listening — and we are. We’ve made community feedback part of our product development DNA.”
Patrick emphasizes that it’s not just about features — it’s about solving real problems for real photographers.
“When we build, we’re not chasing trends. We’re asking: Will this make editing faster? Will it be less complicated and allow for more creativity? Will it help someone fall back in love with their photography? That’s the bar.”
Education That Empowers
As ON1’s software evolved, so did its approach to education. Dylan Kotecki, ON1’s lead educator, has taught thousands of users over the years.
“What I love most is that click moment — when something finally makes sense for someone,” he says. “You can see their confidence grow right in front of you.”
Dylan’s teaching has evolved in tandem with the software.
“It’s not just about how a tool works anymore. It’s about knowing when to use it, why it matters, and how it aligns with your vision. It’s about helping people feel like editors, not just button-pushers.”
One of his most impactful lessons? A deep dive into masking techniques — a topic many find intimidating but one that unlocks powerful creativity.
“The feedback was amazing. People realized masking isn’t just technical — it’s expressive. It’s how you fine-tune your story in a photo.”
And when asked what advice he gives new users?
“Click around. Try things. You can’t mess anything up in ON1 — everything’s non-destructive. Editing should feel like a creative playground, not a checklist.”
A Culture of Connection
For Jonny Davenport, a longtime photographer, QA engineer, and support lead at ON1, the work is deeply personal.
“Photography is my life. It’s all I really know,” he says. “And every conversation I have with users — whether they’re brand new or seasoned pros — is a good day.”
Jonny’s experience in both film and digital helps him connect with users across generations. And that connection often becomes lasting.
“I’ve met people at trade shows, on the road, over support calls — and they’ve become friends. Whether it’s catching up with Frank Salas in Texas or chatting with a fellow film shooter, it all feels like one big community.”
He’s proud of how ON1 listens to users — not just in theory, but in practice.
“We’re a small team, so when I hear feedback, I bring it directly to Dan or the devs. Everyone’s always open. It’s how we improve.”
Patrick echoes that sentiment:
“One of the most unique things about ON1 is how connected our product, support, and engineering teams are. There are no silos here. If a customer shares an insight, it doesn’t just get filed — it gets a voice in the room.”
Looking Forward: The Next Chapter
So what’s next for ON1?
“We’re always balancing what’s new with what works,” Dan says. “That means faster workflows, smarter AI, and deeper mobile-to-desktop integration. But always with the same goal: helping photographers stay in control.”
To Craig, the core hasn’t changed.
“We’re still here for the same reason we started — to make great tools for photographers. And we’re just getting started.”
Patrick sums it up:
“20 years in software is rare. 20 years with a loyal, passionate community is even rarer. It’s a huge responsibility — and a privilege — to keep building for the people who got us here.”
Connexion
