The previously rumored DJI Lito X1 & Lito 1 entry-level drones are now officially announced, but not in the US. In Europe, the new drones can be purchased at Foto Erhard and WEX Photo. Here are the details:

DJI Lito X1

DJI’s Lito X1 is an ultra-light drone designed to capture incredible footage without any baggage. It is equipped with a 1/1.3-inch sensor and 42GB of internal storage. This is accompanied by 4K/60p video, 100fps slow motion, 2.7K vertical shooting, 48MP stills up to 8K detail, and 10-bit D-Log M. With its omnidirectional obstacle sensing, forward LiDAR and ActiveTrack, you can fly with more confidence and keep your subjects locked in the frame. Add on a 36-minute flight time, and you have plenty of room to experiment and refine your shots.

• Ultra-light 249g folding body
• 4K/60p video footage
• 1/1.3-inch sensor
• 2.7K vertical shooting
• 48MP stills up to 8K detail
• 10-bit D-Log M

DJI Lito 1

DJI also released the Lito 1! This version differs from the Lito X1 in that it’s designed for those who want a simple yet capable aerial camera for everyday shooting. Like the X1, it can shoot 4K/60p video, 100fps slow motion, 2.7K vertical shooting, 48MP stills up to 8K detail, and features omnidirectional obstacle sensing, forward LiDAR and ActiveTrack. The Lito 1 is the perfect entry to drone photography and filmmaking.

• Ultra-light 249g folding body
• 4K/60p video footage
• 2.7K vertical shooting
• 48MP stills up to 8K detail
• Omnidirectional obstacle sensing
• Weighs just 249g

The post New DJI Lito X1 & Lito 1 entry-level drones announced, but not in the US appeared first on Photo Rumors.

Viltrox officially announced the previously reported AF 35mm f/1.2 LAB lens without a TFT/LCD screen, for Z/E mount:

• Pre-orders: B&H Photo | Amazon | Viltrox store
• Additional information
• Press release
• Here is what’s new:
  • Flagship-grade optical elements
  • Updated appearance and control tailored for photographers
  • Ultra-large aperture with super-fast, micron-accurate autofocus
  • Exceptional edge-to-edge sharpness
  • Enhanced durability for all environments
  • Ideal for both filmmaking and photography

Viltrox AF 35mm f/1.2 LAB lens without TFT/LCD screen officially announced in China

Here is the list of new Viltrox products

The post Viltrox AF 35mm f/1.2 LAB lens without a TFT/LCD screen announced (Z/E) appeared first on Photo Rumors.

Sudsville Laundry Fujifilm GFX100S w/ Fujinon GF63mm f/2.8 R WR | F10.0 | 1/20 sec | ISO 500 Photo: Scott Pilla

Scott Pilla (known as spilla in the forums) has a love of the night. His photography journey began with a peaceful walk around his university. Over the years that followed, he came to appreciate how that time of day can make a difference in one's photography.

"I started photography in undergrad at Cornell University, where I was interested in film photography. I spent years photographing landscapes and nature with a variety of gear. However, I didn't really find my own style until I got older and became a dad. I had no time during the day or to travel, and this is when night photography and I found each other."

"It was an escape, a time when I could be calm and unhurried. Gradually, it became the basis of most of my work. I also enjoy the technical challenge of capturing very high dynamic range night scenes, and editing them so they feel natural and tactile."

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

Laundromat in Edgemere Fujifilm GFX100S w/ Fujinon GF45mm f/2.8 R WR | F7.1 | 1/15 sec | ISO 500 Photo: Scott Pilla

Meet Scott Pilla (spilla)

Home base: Baltimore, USA

Favorite camera and lens: Scott Pilla’s go-to setup includes the Fujifilm GFX100S camera, praised for its incredible detail and dynamic range, especially in low light. He pairs it with the Fujifilm GF45/2.8 lens, which delivers sharp, natural rendering and resists flare, making it ideal for his night photography and atmospheric shots.

What's in Scott's bag

• Primary cameras: Fujifilm GFX100S
• Lenses:
  • Fujifilm GF30/3.5
  • Fujifilm GF45/2.8
  • Fujifilm GF63/2.8
  • Laowa 20/4 Shift
• Support gear: Scott uses an FLM CP30-L4 tripod with a RRS BH-55 head for most shots, though he often shoots handheld, even in low-light conditions. He’s also equipped with a range of accessories for fine-tuning composition and stability.
• Camera bags: He finds the Think Tank Mindshift Photocross backpack especially useful for its comfort and side-access design, which makes it easy to grab gear quickly when shooting in dynamic conditions.

Scott's camera bag Photo: Scott Pilla

If you had to pick one favorite item from your gear, what is it and why?

"I love my Fuji GF45/2.8 lens. It renders beautifully and cleanly and is good at resisting flares, making it the perfect night lens."

"I also always carry a tripod (FLM CP30-L4, RRS BH-55 head), but often shoot hand-held. Since I'm often out in the weather, a few microfiber cloths are a must to keep the lens dry. That, and a good pair of gloves. I use the Think Tank Mindshift Photocross backpack. It's comfortable, and I like the side access; it's helpful when you need to get the gear quickly."

The Nautilus diner in Timonium, MD, USA Fujifilm GFX100S w/ Fujinon GF45mm f/2.8 R WR | F3.2 | 1/6 sec | ISO 500 Photo: Scott Pilla

What interesting environments and scenes do you shoot in?

"I mostly photograph the area in and around Baltimore, MD. I maintain a list of potential subjects and hit them up when the conditions are right. I also have a series of photographs from central Pennsylvania, near where my wife grew up. We often travel there to visit my wife's parents, and I am exploring that area as well. For example, I have a series from Fantasy Island, the abandoned strip club in Duncannon, PA."

"I find inspiration in mundane things, slices of life that are transformed into something unexpected. I am often out shooting in the weather – fog, snow, rain. My family knows that if it's a foggy night, I'll be home late for breakfast (but I'll bring donuts from Fenwick Bakery). I'm always looking for interesting interactions between natural atmosphere and artificial light."

National Auto Fujifilm GFX100S w/ Fujinon GF45mm f/2.8 R WR | F8.0 | 1/10 sec | ISO 500 Photo: Scott Pilla

What's a great night scene that seems almost too simple but jumps out once it's captured on camera?

"I took a photograph of National Auto at the start of a snowstorm. The structure's color caught my eye, and then I was drawn in by the details – the empty chairs in the window, the neon sign partway through construction, the cone and chain buried in the snow. This was a business transitioning from one thing to another, getting covered up by the natural world. I went for a straight-on composition, simplifying the scene. I took the shot handheld at 1/10s to capture the falling snow through the street lights like little pen flourishes, adding texture."

For eager photographers to capture it all, what would you suggest?

"In editing, I intentionally chose not to perfectly correct the perspective, leaving the building just a little wonky, which, to me, was part of its charm. I do my main editing in Lightroom, then apply film simulations using Dehancer to emulate some of the color and feel of film photography."

World Ends Today Fujifilm GFX100S w/ Fujinon GF45mm f/2.8 R WR | F5.0 | 1/13 sec | ISO 500 Photo: Scott Pilla

Scott really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. You can also find Scott's work on his photography website. Thanks, Scott, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Photo: Viltrox

Viltrox has announced a new version of its AF 35mm F1.2 Lab lens for Sony E-mount. The AF 35mm F1.2 Lab N FE remains the same as the first-generation model, with the exception of one omission: the display.

The first iteration of the 35mm Lab lens, featured a somewhat chunky rectangular display on the top of the lens. Viltrox has used this type of display on a handful of lenses, which stick out slightly and break up the smooth lines of the lens. Ditching the display results in a cleaner, more streamlined design.

Image: viltrox

Nikon made a similar move with two of its lenses. The Nikon 24-70mm F2.8 and 70-200mm F2.8 both featured a display on the first generation, but Nikon ditched it in the second-gen versions. Nikon also made those models substantially lighter, but that isn't the case with the VIltrox lens. Viltrox shaved off roughly 10 grams (0.3 oz) by removing the screen, but that's it.

Beyond lacking a display, the lens remains exactly the same as the first version. It offers an aperture ring that can be clicked and de-clicked, AF/MF switch, and two customizable buttons. Optically, it is the same lens as the one we tested out earlier this year. If you want to get an idea of how it performs, or just want to see some cool pictures form Japan, check out this article.

The screenless AF 35mm F1.2 Lab N FE will be available alongside the original, so you can choose if you want the screen or not. It keeps the same $999 price as well, and it is available for purchase now.

Photo: Jared Sanders

Photographing rocket launches presents distinct challenges; you get one shot at a seconds-long window, the environment is extreme and the flexibility for creativity is limited. Photographer Jared Sanders has made this his specialty, and for Artemis II, the first crewed Moon mission since Apollo 17 in 1972, the pressure was unlike anything he had experienced before.

Despite that pressure, Sanders came home with some striking images and videos of the launch, including an unplanned moment of a newly engaged couple celebrating in front of his lens. To learn about what it takes to create images worthy of the moment, we sat down with Sanders to talk about his background, gear, logistics and more.

From visual effects to the launch pad

Sanders didn't start his career photographing rockets or even using a camera at all. Instead, he went to school for visual effects in 2008 and went straight to California after graduating to work for VFX studios, where he was far from any camera work or filming. That changed when he started working for a rare end-to-end studio – one that pitched, produced and delivered its own projects – and became a visual effects supervisor.

For the first time, he was on set alongside directors and camera operators. "There was no pressure on me to be part of the production in that capacity, but I was still able to absorb all of that knowledge," he said. "Instantly, I was hooked."

"It turned out all the knowledge that I had learned over the years actually was useful"

In 2017, Sanders wanted something different and co-founded a creative marketing agency with a friend. With just two employees and clients to serve, there was no budget to hire a photographer, so Sanders handled the visuals himself. "It turned out all the knowledge that I had learned over the years actually was useful," he told me. "The skill set that I had from working in the studio of how to light things and properly pitch, how to write and direct a project, all that started coming together."

During the pandemic, a second child, a parting of ways with his business partner and a desire to get out of Los Angeles sent him back to the Florida Space Coast, where he had grown up. Starting from scratch, he looked around for what he could capture consistently without traveling far. "I grew up here, I knew about rocket launches, and during this whole time, it had started ramping up with SpaceX, especially," he said. "I was like, I really want to start shooting rocket launches."

Getting access, getting it wrong

Getting to the press site involves some logistics, including buses and a security check of gear. Photo: Jared Sanders

With that goal in mind, Sanders reached out to local photographers to ask about getting access to NASA and how they take their shots. Those photographers pointed him toward Space Explored, a space-focused publication in the 9to5Mac network that was looking for photographers and videographers. He pitched himself, got the green light, and went through NASA's formal media credentialing process.

Access is one thing, but the harder part is getting the shots. His earliest attempts were off-site long-exposure shots from the beach, trying to capture the rocket's arc across a four-minute exposure. Keeping the camera perfectly still for that long, firing at the right moment and waiting while the screen blacks out during exposure and processing made for a steep introduction. "The rocket's gone, and you're like, did I get it?" he said. Frequently, the answer was no.

Photographing launches at night is especially difficult due to the extreme contrast, as shown in this image of the Artemis I launch. Photo: Jared Sanders

Sanders told me that rocket photography has a few big challenges: the short duration of the event and the intensity of the plume. "Even as an experienced photographer, the thing that is really tricky with rockets that I have I've never experienced with anything else... is the speed because you only get one shot at it per attempt," he said. "You get this 30-second arc, and then it's sort of out of sight."

"It's so bright. At nighttime, especially, you're literally exposing for night and the sun at the same time."

The engine plume also complicates things. "It's so bright. At nighttime, especially, you're literally exposing for night and the sun at the same time. So you have to pick and choose your battle," he explained. "Obviously, camera technology has gotten a lot better. So you can sort of fix some of that with modern technology. But at the same time, you're going to lose something in that battle. You're going to lose either your highlights or you're going to lose your shadows. It's just what are you gonna pick?"

For photographers shooting from public sites rather than the press site, location is most of the creative work. From the press lawn, though, everyone is pointing in roughly the same direction across the same arc, three and a half miles from the pad. "It's so hard to make your stuff look different from any other photographer out there," he said. "You either get lucky and pick a spot no one else has, or you figure out a way to treat your footage and photos so they look just a little bit different."

Sanders also photographed the astronauts walking out to the rocket, using his Super 8 camera. Photos: Jared Sanders

Most photographers at the press sites are there capturing typical news shots, which means very minimal color correction and editing. It's what press wires need, but he had the flexibility to try something else. "I edit my rocket photos the way I would edit my normal photography," he said. "The coloring just looks a little bit different. It may lean a little more toward the normal color palette I'd use for my landscape photos or whatever other photos I'd be taking in that series."

Sanders has also brought film to launches to create something different. For Artemis II, he said he was the only person at the press site recording video with Super 8 film. He put a roll of Kodak 500T through the camera, which he recently sent off and is waiting to see if it worked out. "Those are the kind of things that I try to do differently, to set myself a little bit apart from the other photographers."

Remote cameras and technical details

Sanders didn't have remote cameras for Artemis II, but he did have remote setups for the first Artemis launch. Photos: Jared Sanders

Remote cameras come with their own logistical challenges. NASA buses credentialed photographers out to preset zones about a half mile from the pad, where cameras are left unattended until after the launch. Sanders explained that focus is locked manually, and most photographers use sound-activated triggers (Sanders and many others use Miops), which fire the camera the moment the rocket's acoustics reach them.

For a mission like Artemis, installing remote cameras means journeying to the Cape multiple days before launch. "You have to go through a whole security check with your camera gear," he told me. "Then you get on the bus. So it's like a whole day event to get out there and set the cameras up." If the mission gets scrubbed, you'll have to go back out to pick up your gear and set it up all over again at a different date.

"You're still within a half mile of the rocket. I've seen a lot of pitted lenses from like fuel or just debris."

Protecting the camera is also critical. Sanders said you have to bag the camera or have it in a box so that it doesn't get rained on, and he also uses hand warmers to keep the intense Florida humidity out. There's also a physical risk to the gear from the launch itself. "You're definitely putting your gear at risk," Sanders said. "You're still within a half mile of the rocket. I've seen a lot of pitted lenses from like fuel or just debris."

Sanders knew he would lose highlight detail on the plume, but was more concerned with balancing the exposure of the clouds and rocket. Photo: Jared Sanders

In terms of camera settings, Sanders explained that some photographers use aperture priority and let the camera adapt to rapidly changing light. He, however, shoots full manual, preferring greater control and a more consistent sequence of exposures that he can cut together almost like a time-lapse. Choosing the exact settings comes down to the priorities of each shot. For the remote cameras, "that's where you're like, 'Okay, I really want to see detail in the engines and the flames,'" Sanders explained.

The shots from the press sites, which are farther from the launch, serve different purposes. "When you're far away, to me it's more about the story you're telling with the scenery and where you are," he said. That might mean letting the brightest parts of the engines and plume lose detail. "Even from my still shots, I think that the exhaust and the engines were a little bit blown out... The clouds were really nice that day, and I wanted to make sure you could see the clouds and the rocket contrast against the sky."

The setup for Artemis II

Sanders went into the Artemis II launch with a specific plan and an extensive kit in tow to execute. He arrived at the press site with six cameras: a Red Komodo X for a landscape-oriented video, a Nikon ZR for a portrait-oriented video, a Fujifilm GFX 100 II with a 500mm lens for stills, a 360° camera and Insta360 Ace Pro 2 for behind-the-scenes footage and the Super 8 setup on a tripod (which differed slightly from his plan laid out in the video above).

Sanders also packed two lenses for his video cameras: a 1995 parfocal broadcast lens and a Tamron 35-150mm F2-2.8 Di III VXD. He put the Tamron on his Komodo and planned to use the broadcast lens on the ZR. However, when he arrived on site, he discovered that Nikon had a tent with gear available for anyone to borrow for the launch.

He walked over just to check it out, without any intention of borrowing anything, since he already had so much gear with him. But the Nikon representative mentioned he had the 600mm F4 with him. "It's like a $16,000 lens, and I was like, well, I gotta use it because I'm not gonna buy this lens ever, and I'm not going to rent it. So, I'm going to use it," he said.

When the unplanned makes the shot

View this post on Instagram

A post shared by Jared Sanders (@hyprlyte)

That 600mm ended up being the key to getting a clip that stood out from the rest, which you can see above (it was also what got my attention and sparked this interview). He knew he had a wide view covered with the Komodo, so he wanted something different from the ZR with the 600mm lens. "I have this prime lens. It's going to have tons of compression. I can at least get some people in the foreground," he explained. "It would be cool to see some scale of the rocket. And that was my main intention." So he set up the camera at a distance from one of the angles that people usually shoot from and chose a low-angle shot looking up.

The rest of the shot was pure serendipity. "I pointed it up, and these people walked in front, and I had no idea anybody was going to be there just yet. But when these people walk in front, they start hugging, and the rocket's right in between them," Sanders recounted. "I'm like, 'Oh, oh my gosh.' If they're there hugging when this thing goes off, that's going to be pretty cool."

Sanders has shot enough previous launches to know that people always react to the wall of sound, and said that the first Artemis launch was especially crazy. So he had high hopes for a cool reaction if they stayed in front of his camera, but it was still a wait-and-see situation. "The press site's really big, so I'm probably like a football field away from the camera where I'm actually shooting," he told me. "I run over at like six minutes to go, and I hit record, hoping I have a full battery. And I was recording at 6K Raw, so I was like 'oh my gosh, I hope it doesn't run out of memory.'"

Three behind-the-scenes images from the launch. You can see a behind-the-scenes video here. Photos: Jared Sanders

He went back to his main spot and captured the launch with the other cameras, taking only a brief moment to look through the viewfinder to revel in the view without taking photos. When he went back to the ZR and reviewed the footage, he saw that the couple who had been hugging before the launch were jumping and cheering during the launch right in front of his camera.

"It ended up being a story within a story."

While everyone else rushed to get their clips and photos up as soon as possible, Sanders opted to go home, spend time with his family and then color grade, finally getting the video up around midnight. He assumed he missed the magical window, but the video blew up on Instagram. At some point, the woman in the video was tagged. She reached out and told him that she and her fiancé are both in the space program, and that they had just gotten engaged at the Artemis II rollout. She even asked if she could use the footage in their wedding video (to which he said yes). "It ended up being a story within a story," he said.

There's also more of that clip that he hasn't released yet: after the rocket clears the frame, the two of them standing still, hands together, staring up at the dissipating plume. "They're like two kids seeing Disney for the first time," he said. He plans to put a reel together around it eventually. For now, it's sitting on a hard drive; it's the kind of footage, he said, that makes you want to back it up in fifteen places.

You can see more of Sanders's work at his website, on his YouTube channel or on his Instagram account.

DxO released Nik Collection 9. This announcement marks a major milestone for DxO, introducing a significant update in Nik Collection’s history, with powerful AI-enhanced tools, a completely reimagined approach to color grading, and a new generation of creative effects designed to expand artistic possibilities while streamlining the editing workflow.

You can get 15% off DxO products with code RUMORS (for new customers only).

Here is a recap of all the major new features and workflow improvements introduced in DxO’s Nik Collection 9:

AI-Powered Masking Tools

The most significant upgrade in this version is the introduction of advanced, on-device AI masking, which drastically reduces the time spent on complex local selections.

• Depth Masks (AI): Available in Color Efex and Silver Efex, this tool analyzes the 2D image to generate a detailed depth map. You can make selective adjustments based entirely on distance from the camera (e.g., editing only the background or foreground), even if the image file has no embedded depth data.
• Object Selection Masks: You can now instantly isolate specific subjects within a frame by simply hovering your mouse over them or drawing a rough bounding box. Both mask types include feathering and diffusion sliders to ensure natural transitions.

Streamlined Color Grading

• Unified Color Wheel: Nik Color Efex features an overhauled Color Grading tool. Instead of juggling separate panels, you can now plot and control shadows, midtones, and highlights on a single, unified color wheel.
• Synchronized Adjustments: You can lock the shadow, midtone, and highlight points together. This allows you to rotate or shift all three simultaneously, preserving the exact relative relationship between their hues and saturations across the image.

Three New Creative Filters

DxO added three new filters to expand the suite’s analog and atmospheric effects:

• Halation (Color Efex): Recreates the cinematic glow or optical bloom typical of vintage analog film, where bright highlights bleed softly into surrounding darker areas (often creating a subtle reddish halo).
• Chromatic Shift (Analog Efex): Simulates the subtle ink misalignments found in traditional offset printing. It displaces color layers (using palettes like red/cyan or yellow/blue) to create authentic vintage imperfections or bold, graphic pop-art effects.
• Glass Effect (Analog Efex): Offers over 50 customizable texture overlays that simulate the distortion of viewing your photograph through various patterned or textured glass surfaces.

18 New Blending Modes

• Advanced Layer Control: Familiar to Photoshop users, 18 distinct blending modes are now integrated directly into almost all filters in Color Efex and Analog Efex. This gives you massive flexibility in controlling exactly how stacked filters and effects interact with the underlying image.

Workflow and UI Enhancements

Several quality-of-life improvements were introduced to speed up the editing process:

• Hover Previews: You can instantly see a real-time preview of presets or past edits on your main image just by hovering over their thumbnails, completely eliminating the need to click and clutter your edit history.
• Customizable Mask Overlays: Mask overlays are no longer restricted to red. You can change the overlay color to ensure high contrast and clear visibility against similarly toned areas in your photograph.
• Copy & Paste Local Adjustments: You can now copy and paste masks and local adjustments between different filters using standard keyboard shortcuts, preventing you from having to rebuild complex masks from scratch.
• Trending Presets: A new category featuring around 24 built-in presets designed specifically to showcase the new tools in version 9.
• Preview Quality Mode: A new toggle allows you to adjust the preview rendering quality so you can manipulate sliders without the image temporarily blurring.

DxO Labs released 833 new DxO camera and lens modules for the latest gear from Canon, Fujifilm, Nikon, Sigma, and more

The post Nik Collection 9 released (coupon code included) appeared first on Photo Rumors.

Minamata (2020) movie trailer cover Image: Samuel Goldwyn Films

Featured films are not necessarily the first thing you consider when selecting a topic for a photography discussion, but we did just that last week when asking our community about their favorite photography-related shows and movies. We were blown away (a bad pun intended, related to the suggested movie, Blowup) by the wide range of results.

Our Reviews Editor, Mitchel Clark, got the jump on the community by suggesting the documentary Side By Side (2012):

"Oh boy, a chance to promote one of my favorite documentaries, 2012's Side By Side. Keanu Reeves talks to a bunch of filmmakers about how the movie industry is transitioning from film to digital, and goes into the pros and cons of each. Obviously, 14 years later, there's been a lot of progress made, especially on the digital side, but I still think it's a fascinating watch." - Mitchell

Check out the top suggestions below, and then let us know in the comments what your favorite photography-related show or movie is!

Movies

Lee (2023) film poster Image: Brouhaha Entertainment and Juggle Films

Morris Trichon: "My favorite Photography movie is Blowup, released in 1966. Blowup had a significant effect on me, and so I wanted to minor in photography. I was majoring in Aerospace Engineering. My advisor would not sign off, telling me I would spend too much time in the darkroom and probably flunk out of engineering and become a starving photographer. In the end, I completed my engineering degree, but have been involved in photography my entire life. Thank you, Blowup."

Swerky: "Alfred Hitchcock’s Rear Window with James Stewart in his chair and his Exakta VX 35mm SLR."

AbrasiveReducer: "Pecker. The problem is, most movies about photography show the impossible, like prints developing instantly under bright red safelights (bleach & redevelop) or handheld cameras doing surveillance from a quarter mile away, which is then enlarged to show a person's name tag. Even Sony can't do that."

Progman: "The 2024 film Civil War was chilling when it first came out, and even more so when rewatched more recently, given the current political climate. Seeing war photographers putting themselves in harm’s way, and experiencing the accumulated trauma they experience, is moving."

Shows and Documentaries

Ansel Adams (2002) documentary poster Image: Steeplechase Films and Sierra Club Productions

Tunnan: "War Photographer is an Oscar-nominated documentary following James Nachtwey shooting on location and in the darkroom. It is a fascinating film showing his approach to his life and work. I saw it in the cinema 25 years ago when I was just starting out as a press photographer, and although my career has never taken me to war, the film was a great inspiration. While researching this reply, I noticed it has been uploaded to YouTube, so I would give it a watch."

Don Sata: "Sebastiao Salgado's The Salt of the Earth. A beautiful retrospective documentary on the greatest photographer ever."

Lensmate: "Music Through the Lens is an eye-opening, six-part, thrill ride through the amazing world of music photography."

Kodachrome (2017) movie poster Image: 21 Laps Entertainment

There were many other great show and movie recommendations shared in the forums. You'll have no shortage of nostalgic photography-related content to watch.

Keep ready for the next Question of the week to participate in this series. New questions are posted here on the homepage and in the forums every other week. We can't wait to read and share your stories!

Share your favorite photography-related shows and movies!

This month, DxO Labs released 833 new DxO camera and lens modules for the latest gear from Canon, Fujifilm, Nikon, Sigma, and more. DxO now offers 112,308 camera and lens combinations.

You can get 15% off DxO products with code RUMORS (for new customers only).

Here is the full list of new profiles:

Cameras

• OM System OM-3 Astro
• Canon PowerShot G7 X Mark III 30th Anniversary

Lenses

• Canon RF 14mm F1.4 L VCM
• Canon RF 7-14mm F2.8-3.5L Fisheye STM
• Fuji XC 13-33mm F3.5-6.3 OIS
• Nikon Nikkor Z 24-105mm F4-7.1 VR
• Nikon Nikkor Z 28-135mm F4 PZ
• Sigma 12mm F1.4 DC C (Fuji X mount)
• Sigma 12mm F1.4 DC C (Sony E mount)
• Sigma 15mm F1.4 DG DN Diagonal Fisheye (L-mount)
• Sigma 16-300mm F3.5-6.7 DC OS C (L-mount)
• Sigma 17-40mm F1.8 DC A (L-mount)
• Sigma 35mm F1.2 DG II A (L-mount)
• Sony FE 100mm F2.8 Macro GM OSS with SEL TC1.4x
• Sony FE 100mm F2.8 Macro GM OSS with SEL TC2x
• Sony FE 28-70mm F3.5-5.6 OSS II
• Viltrox AF 35mm F1.7 Air X (Fuji X mount)
• Viltrox AF 40mm F2.5 FE (Sony FE)

The new DxO Modules can be found in:

• DxO PhotoLab versions 9.7, 8.15, 7.23
• DxO PureRAW versions 6.1, 5.9
• DxO FilmPack 8.5, 7.22
• DxO ViewPoint 5.12, 4.32
• DxO NikCollection 9

The post DxO Labs released 833 new DxO camera and lens modules for the latest gear from Canon, Fujifilm, Nikon, Sigma, and more appeared first on Photo Rumors.

Brightin Star will soon announce four new lenses (in the US, Brightin Star lenses are sold at B&H Photo and Amazon):

 
Brightin Star announced a new 12mm f/2.8 full-frame autofocus ultra-wide lens (Z/E).

Brightin Star 28mm f/2.8 silver pancake lens for Leica M-mount.

Brightin Star APO M 35mm f/1.7 ASPH lens for Leica M-mount (previously displayed at the CP+ show).

Brightin Star 50mm f/2 TRI-SIGHT lens for Leica M-mount (previously displayed at the CP+ show).

Brightin Star also announced new Aero UV filters.

Brightin Star announced two new lenses: APO 35mm f/1.7 ASPH (M) & 50mm f/2 TRI-SIGHT (E/Z/RF/L)

Brightin Star to announce three new lenses for Leica M-mount: APO 35mm f/1.7 ASPH, 50mm f/2 TRI-SIGHT, and 28mm f/2.8 silver pancake

The post Brightin Star to announce four new lenses appeared first on Photo Rumors.

After the announcement of the 40mm f/2 lens, Panasonic updated its Lumix S roadmap with two new lenses:

• Wide prime lens (around 18-24mm)
• Large aperture telephoto zoom (around 50-200mm)

Panasonic announced a new Lumix S 40mm f/2 lens and S9 Titan limited edition camera

What could Panasonic announce for the 25th anniversary of LUMIX?

The post Here is the latest updated Panasonic Lumix S lens roadmap appeared first on Photo Rumors.

Here is some additional information on the upcoming 7Artisans AF 135mm f/1.8 full-frame lens (previously reported here, check also the official website for updates):

• Focal Length: 135 mm (full-frame coverage)
• Maximum aperture: f/1.8
• Mounts: E/Z/L
• Focus System: Autofocus with AF/MF switch
• Minimum focusing distance: 0.68 m
• Filter thread: 82 mm
• Physical aperture ring for direct control (Nikon Z version uses a programmable control ring instead)
• Custom buttons: two customizable function buttons on the barrel)
• Expected release: second half of 2026
• Price: around ¥120,000 JPY (roughly $770)

Two new lenses from 7Artisans: AF 135mm f/1.8 and AF 40mm f/2.5

Coming soon: new 7Artisans AF 135mm f/1.8 lens (E/Z/L)

The post Additional information on the upcoming 7Artisans AF 135mm f/1.8 full frame lens (E/Z/L) appeared first on Photo Rumors.

The new GoPro Mission 1 cameras are now available for pre-order:

• B&H Photo (the accessories are still not available)
• WEX Photo
• Foto Erhard

New GoPro Mission 1 Pro camera unveiled with 50MP 1″ sensor and a model with MFT mount

The post The new GoPro Mission 1 cameras are now available for pre-order appeared first on Photo Rumors.

The previously rumored Panasonic Lumix S 40mm f/2 lens is now officially announced:

• Pre-orders: B&H Photo | Foto Erhardt | WEX Photo
• Press release

Panasonic also announced a new Lumix S9 Titan limited edition camera (not available in the US):

• Foto Erhardt | WEX Photo

Panasonic Lumix S 40mm f/2 lens main features:

• Natural 40mm View with large F2 Aperture
  • 40mm focal length provides a natural perspective similar to human field of view
  • Large F2 aperture produces soft and beautiful bokeh
  • Suitable for a wide range of shooting styles including street photo, portraits, and landscapes
• Compact, Easy-to-Carry Design
  • Compact and lightweight design measuring approx. 40.9mm in length and approx. 144g in weight
  • Sized to match the compact LUMIX S9 body for easy portability
  • Shares the same compact size and 62mm filter thread as the LUMIX S 18-40mm F4.5-6.3
• Enhanced control and reliability
  • Features a control ring and focus button for intuitive operation and enhanced creative control
  • Dust- and splash-resistant design for reliable shooting in various conditions
  • Focus breathing suppression and micro-step aperture control support smooth video recording

What could Panasonic announce for the 25th anniversary of LUMIX?

Panasonic registered two new cameras overseas

The post Panasonic announced a new Lumix S 40mm f/2 lens and S9 Titan limited edition camera appeared first on Photo Rumors.

The Panasonic Lumix S 40mm F2, pictured on an S1II body Photo: Richard Butler

Panasonic has announced the Lumix S 40mm F2, a small, fast lens for L-mount that recalls its much-loved 20mm F1.7 prime for Micro Four Thirds.

The lens gives a fractionally-wider-than-normal field of view on full frame sensors and has been designed to match the dimensions of the 18-40mm F4.5-6.3 kit zoom for the S9, in its retracted, carry-around state.

Panasonic described it to us as "more of a muffin lens than a pancake."

The $400 lens features seven elements in six groups, with three of those elements being aspherics. Its relatively modest price results in a 7-blade aperture design, but despite this, sees seals deployed at all the key points around the lens to provide dust, splash and freeze resistance down to -10°C (14°F).

Likewise, while Panasonic has avoided the cost of including a lens hood (and the costs of designing one to match it), it's made sure to include a lens function button on the side of the barrel. The focus ring has the usual options to control focus throw and focus direction, or act as a control ring.

The S 40mm F2.0 weighs just 144g (5.1oz). It accepts the same 62mm filters as the 18-40mm and its front element has a fluorine coating.

The 40mm F2 will be available from Early June at a recommended price of $399, exc sales tax.

Panasonic Lumix S 40mm F2.0 sample gallery

We've been shooting with the 40mm for a while and, even paired with an S1RII, found it plays a big part in making the camera/lens combination more carryable.

While a distortion correction profile is embedded in the lens, and we've applied it to the images in the gallery, its effects are extremely subtle. The lens is not utilizing high levels of correction.

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

Panasonic Lumix S 40mm F2 specifications

Image: DxO

Software company DxO has announced the ninth iteration of Nik Collection, its suite of seven creative editing plugins. Nik Collection 9 introduces updated masking tools and new filters for photographers looking to add creative finishing touches to their images.

The most notable update is the addition of more advanced masking tools via the Local Adjustments toolbar. In Nik Collection 8, DxO added the ability to import Photoshop's AI-powered selections (such as Select Subject), but otherwise, selection tools remained rather simple and required direct user input. Now, the company has added AI-powered masking to Nik Collection apps, no Photoshop or manual selections required.

One of the newly added masking tools promises to select parts of a scene based on how far they were from the camera. Image: DxO

The updated AI masks come in two different forms. First, users can select subjects and objects, just like they can in Photoshop. There's also the new Depth Mask option, which uses AI to create a depth map, allowing users to make adjustments to specific areas based on the distance from the camera. Because it's AI-powered, it works without embedded distance data from the camera.

Both types of masking rely on local processing, so images stay on the user's computer. They can be fully adjusted and fine-tuned as needed. To aid with that, DxO added new Mask Overlays that make it easier to see where a mask is. Masks can also be copied and pasted from one filter to another, saving time from having to reselect that same area for a different adjustment.

Halation filter	Blending Modes
Glass Effect	Chromatic Shift

Nik Collection 9 also features three new filters. The Chromatic Shift option recreates the look of ink misalignment from magazine days, with full control over the direction and level of shift and the colors shifted. The Glass Effect filter makes it look like your subject is behind a sheet of textured glass, and the Halation filter aims to replicate the look of the glowing highlights characteristic of certain film stocks.

DxO is also giving users more control over how those filters interact with the image. It has added 18 different blending modes to Color Efex and Analog Efex, which will be a familiar option to Photoshop users. There's also a new Preset Hover Preview option, providing instant, real-time previews of presets without clicking back and forth between the options.

A new Color Grading menu aims to make it easier to adjust the colors in a photo. Image DxO

Lastly, there is now a color grading menu, which keeps all color controls in a single color wheel. Users can select three points for highlights, shadows and midtones, adjusting the color of each area. Additionally, a slider below the color wheel shows the color grade from shadows to highlights and allows users to shift all tones at once.

DxO's Nik Collection 9 is available for download now. It costs $180 for a new perpetual license, or $100 for those upgrading from Nik Collection 7 or 8.

Image: Apple

After months of swirling rumors, Apple CEO Tim Cook has announced that he'll be stepping down from the position later this year. He's been in the role since 2011, after being named as successor to co-founder Steve Jobs.

Replacing him will be John Ternus, who is currently senior vice president of Hardware Engineering, responsible for leading the teams that make the hardware for the iPhone, iPad, Mac and more. In his letter, Cook describes Ternus as "a brilliant engineer and thinker who has spent the past 25 years building the Apple products our users love so much, obsessed with every detail, focused on every possible way we can make something better, bolder, more beautiful, and more meaningful."

Of course, a transition this big isn't happening in a day; Cook will remain as head of the company until September 1st, 2026, and will continue on as executive chairman. (That does mean there's a chance Ternus is the one to announce the next iPhone, as those typically debut in September; a monumental task in your first few weeks as CEO.)

Apple is a massive player in the camera industry

While Apple is, at its core, a computer and phone company, it's also a massive player in the camera industry thanks to the iPhone. When Tim Cook became CEO, the company's flagship product was the iPhone 4, a phone with a single camera taking single-shot exposures that was nevertheless just beginning to have an impact on the sales of compact cameras. Since then, smartphones have largely taken over that market, now sporting much larger sensors, advanced multi-shot stacking and several camera modules to provide a selection of focal lengths.

We'll have to wait and see if Ternus' background in hardware leads him to make different decisions than Cook, who came from the operations and logistics side of the company. And any high-level changes in the iPhone as a camera, or the Mac as an editing platform, won't be immediately obvious starting with their next versions. But over a few years, we'll start to see the impact of having a new person in charge of what is one of the world's largest camera companies.

The previously reported Viltrox 35mm f/1.8 and 55mm f/1.8 EVO APO full-frame lenses (Z/E) are now officially announed and available for order:

• B&H Photo
• Viltrox store (5% intro discount)
• Foto Erhardt
• WEX Photo (coming soon)

Full details on the new. lenses, including technical specifications, can be found here:

Full details leaked on the upcoming Viltrox AF 35mm f/1.8 & 55mm f/1.8 EVO APO full-frame lenses (Z/E):

The new Viltrox AF 35mm & 55mm f/1.8 EVO full-frame lenses now listed for pre-order (E/Z)

The upcoming Viltrox Evo lenses surpass the performance of existing APO lenses, Viltrox calls them “Hyper APO”

Here is the list of new Viltrox products

The post Now available: Viltrox 35mm f/1.8 and 55mm f/1.8 EVO APO full-frame lenses (Z/E) appeared first on Photo Rumors.

Image: Viltrox

Viltrox has announced two new full-frame lenses, a 35mm F1.8 and a 55mm F1.8. The lenses are part of its Evo lineup, which it pitches as providing essential focal lengths that are sharp edge-to-edge.

The company says the lenses have apochromatic optical designs to control the color fringing that comes from chromatic aberration. The 35mm has 13 elements in 10 groups with 2 ED elements, 3 HR lenses and 1 UA element and can focus as close as 0.34m (13.4"). The 55mm, meanwhile, is made up of 13 elements in 9 groups with a similar mix of special glass as the 35mm, minus one HR lens. It can focus as close as 0.43m (16.9"). The company says the UA element used in the lenses is the same one that's found in its flagship Lab series of lenses. Both lenses have 9-bladed apertures.

The lenses have all the controls we expect from mid-range primes. We plan to produce a sample gallery with the 55mm F1.8 soon. Photo: Mitchell Clark

Both lenses use an STM motor for autofocus. They also share a similar list of physical features: a customizable FN button, a switch to change the aperture ring from clicked to declicked, and an AF/MF switch. They also have a rubber seal on the lens mount for weather resistance, and a coating on the front lens to repel water and smudges.

The 35mm lens weighs 355g (12.5oz) for E-mount – around 20g more for Z mount – and the Sony version of the 55mm lens weighs 370g (13oz), with the same delta for Nikon. Both are relatively compact at around 76mm long and have 58mm filters.

While Viltrox has long offered both F1.8 35mm and 50mm options that were similarly lightweight and compact, it's nice to see the company build out its Evo line, especially given that it's aiming to offer quite impressive optical designs. The one somewhat disappointing aspect of the launch is mount availability: both modes will be available for Sony E and, somewhat surprisingly, given recent patent litigation, Nikon Z. It would've been nice to see it also launch for L-mount, or to at least get some hint on whether it'll be available on it in the future.

The AF 35mm F1.8 Evo (also known as the AF 35mm F1.8 II) retails for $395, and the AF 55m F1.8 Evo costs $370. They're available now.

Viltrox AF 35mm F1.8 II Evo

Viltrox AF 55mm F1.8 Evo

Viltrox 35mm F1.8 Evo specifications:

Viltrox 55mm F1.8 Evo specifications:

Image: GoPro

Last week, GoPro announced the Mission 1 series, a lineup of what the company says are "compact cinema cameras" with Type 1 sensors, the ability to shoot 4K/120 open gate and, on one of them, a Micro Four Thirds mount. But a key part of the story was missing: the price.

Thankfully, GoPro has just announced it, earlier than expected. The standard Mission 1 will retail for $599, while the Mission 1 Pro and Mission 1 Pro ILS will both sell for $699 (though, of course, it's bring your own lens with the latter). If you pay for the company's subscription service, which includes the ability to automatically upload footage from your camera to the cloud, you can get $100 off the MSRP of one of the cameras, or up to $150 off one of the accessory bundles.

If you want to get the full story on the cameras, you can read our coverage here. The prices, added to the fact that the cameras were announced at the National Association of Broadcasters (NAB) Show, and that the camera's maximum bitrate was designed to meet Netflix's requirements, suggest that the Mission 1 series is less consumer-oriented than the Hero series; the Hero 13 Black retails for around $430. They also put the Mission 1 Pro ILS in competition with some other video-focused, APS-C interchangeable lens cameras, such as the Canon EOS R50V and Nikon Z30.

The company has started accepting preorders on its site for the Mission 1 and Mission 1 Pro, which will be available starting May 28th. The version with the lens mount is still set to arrive in "Q3 2026."

Here is the list of new Viltrox lenses and adapters that will be announced at the 2026 NAB show (previously reported here, check the official website for details):

• Viltrox AF 75mm f/1.8 EVO APS-C lens
• Viltrox AF 90mm f/2.2 EVO APS-C lens (already listed on Amazon)
• Viltrox AF 28mm f/4.5 pancake full-frame for L-mount
• Viltrox AF 26mm f/2.8 EVO pancake full-frame lens
• Viltrox PL cine lens autofocus adapter for L-mount

The post Here is the list of new Viltrox products appeared first on Photo Rumors.