Samsung has officially announced its highly anticipated and long-teased Galaxy S25 Edge phone. The new device borrows plenty of features from its other phones in the S lineup, packing them into a remarkably thin body. Samsung says it combines "precise design intentions with powerful performance."

The main selling point of the S25 Edge is, naturally, its slim design. The phone is just 5.8mm (0.23") thick and weighs 163g (5.7oz). For comparison, the Galaxy S25 is 7.2mm thick, while the S25 Ultra comes in at 8.2mm. The Ultra also weighs more, at 218g (7.7oz). Some compromises are made to cut down on the bulk, though.

The most notable compromise for photography enthusiasts is the lack of a telephoto camera. Instead, the Galaxy S25 Edge features just two cameras on the back, plus the standard selfie camera. The main camera shares specs with the Galaxy S25 Ultra, featuring the 200MP Type 1/1.3 (9.8 x 7.3mm) sensor and F1.7 aperture. To compensate for the missing telephoto camera, the main camera offers 2x and 10x crop modes, though the latter will use AI upscaling, while the former is sampling from a native region on the sensor. The phone also features a 12MP F2.2 ultra-wide camera that supports macro photography.

Images: Samsung

The other major sacrifice is battery life. It features the smallest battery of the S line, though that's not surprising given the slim design. Samsung didn't specify a promised battery life in its press release, implying it's at least nothing to write home about. If battery life is important to you, you're better off choosing a thicker phone than the S25 Edge.

Performance promises to be strong, though, as The S25 Edge boasts the same customized Snapdragon 8 Elite for Galaxy chipset as the S25 Ultra. It also features the new Corning Gorilla Glass Ceramic 2, introduced at the same time as the phone. Samsung says it offers both vibrancy and strength, protecting the display on this ultra-thin phone without reducing the display quality.

The Samsung Galaxy S25 Edge is available for pre-order starting today from Amazon, Best Buy, Samsung and through phone carriers. General availability will begin on May 30. Pricing starts at $1100 for the 256GB storage option and $1220 for the 512GB option.

The previously rumored DJI Mavic 4 Pro drone is now officially announced, and it is available for purchase in the US:

• Pre-orders: B&H Photo | WEX Photo | Foto Erhardt
• The new drone is not yet listed on the official DJI site for the US
• Additional information:

Тhе DЈІ Маvіс 4 Рrо dеlіvеrѕ аdvаnсеd аеrіаl іmаgіng wіth іtѕ trірlе-саmеrа ѕуѕtеm fеаturіng а 100МР Наѕѕеlblаd рrіmаrу саmеrа fоr uр tо 6К НDR vіdео аt 60fрѕ. Іtѕ іnnоvаtіvе Іnfіnіtу Gіmbаl рrоvіdеѕ 360° rоtаtіоn fоr dуnаmіс ѕhоtѕ, whіlе 0.1-Luх оmnіdіrесtіоnаl ѕеnѕоrѕ еnѕurе рrесіѕе nаvіgаtіоn іn lоw-lіght. Wіth а 51-mіnutе flіght tіmе аnd 30km vіdео trаnѕmіѕѕіоn rаngе, іt'ѕ dеѕіgnеd fоr hіghlу dеtаіlеd, рrоfеѕѕіоnаl rеѕultѕ.

DЈІ Маvіс 4 Рrо Кеу Fеаturеѕ:

• Nехt-gеn flаgѕhір drоnе wіth а trірlе-саmеrа іmаgіng ѕуѕtеm
• Nеw 100МР ѕеnѕоr 4/3 СМОЅ Наѕѕеlblаd mаіn саmеrа
• Аddіtіоnаl 1/13” & 1/1.5” lаrgе СМОЅ duаl tеlе саmеrаѕ
• Аll thrее саmеrаѕ ѕuрроrt 6К/60fрѕ НDR vіdео сарturе
• Ніgh-rеѕоlutіоn 4К/120fрѕ оr 4К/100fрѕ ѕlоw mоtіоn vіdео
• 10-bіt D-Lоg, D0Lоg М, аnd НLG fоr еnhаnсеd соlоur dерth
• Іnfіnіtу gіmbаl wіth 360-dеgrее rоtаtіоn fоr dуnаmіс аnglеѕ
• АсtіvеТrасk 360 fоr rеlіаblе ѕubјесt trасkіng еvеn іn lоw lіght
• 0.1-Luх Nіghtѕсаре Оmnіdіrесtіоnаl Оbѕtасlе Ѕеnѕіng
• Fоrwаrd-fасіng LіDАR fоr ѕаfе Nіghttіmе RТН іn lоw lіght
• Nоn-GРЅ RТН еnѕurеѕ ѕаfе flіghtѕ hоmе wіthоut ѕаtеllіtе ѕіgnаl
• DЈІ О4+ еnаblеѕ 10-bіt НDR vіdео trаnѕmіѕѕіоn uр tо 30km
• Соmраtіblе wіth QuісkТrаnѕfеr vіа thе DЈІ Flу Арр

The post DJI Mavic 4 Pro drone officially announced (available for purchase in the US) appeared first on Photo Rumors.

The previously reported Panasonic Lumix S1II/S1IIE cameras and Lumix S 24-60mm f/2.8 lens for L-mount are now officially announced:

• Pre-orders: B&H Photo | WEX Photo | Foto Erhardt
• Press releases
• Previous coverage with detailed specs
• Panasonic also announced new firmware updates for the S1RII, several S lenses (S-X50, S-R24105, S-R2060), LUMIX Flow, and LUMIX Lab
• Additional information:

Lumix S 24-60mm f2.8 Lens

• Flexible focal range
• Compact and portable
• A constant f2.8 aperture
• Hybrid zoom and crop feature
• Designed for L-mount cameras
• Built for all types of creators

Panasonic Lumix S1 II

• 24MP Partially stacked sensor
• Smooth 4K 120p slow-motion footage
• Up to 70fps with electronic shutter
• 6K 30p Open Gate video
• 6K 60p 2:4:1 video
• 8-stops, cropless IBIS

Panasonic Lumix S1 IIE

• 24MP imaging sensor
• 14+ stops of dynamic range
• Up to 30fps with electronic shutter
• 6K 30p Open Gate video
• 6K 60p 2:4:1 video
• 32-bit float audio recording

The post Panasonic Lumix S1II/S1IIE cameras and Lumix S 24-60mm f/2.8 lens officially announced appeared first on Photo Rumors.

Image: DJI

DJI's announcement of the Mavic 4 Pro came with a sting in the tail for Americans: the drone won't be sold in the US. However, a spokesperson tells DPReview that the company "has obtained all necessary approvals and clearances, including FCC certification, for sale in the United States," and that there's "currently no ban restricting the import or sale of DJI products" in the country.

If the drone is certified and there's no ban, why isn't the drone launching in the US? The company didn't have a direct answer, but told us that "many factors went into this decision. Like many global companies, we have had to adjust our market strategy as local conditions and the industry environment have evolved."

"Many factors went into this decision"

While it didn't specify what "local conditions" meant, it seems likely the uncertain situation surrounding the US tariffs on Chinese goods played a role. In April, President Trump announced a 34% tariff on imports from the country. That rate ballooned to 145% after a back-and-forth between the two countries, where each responded with additional tariffs on each others' goods.

In May, the US and China struck a deal that suspended most of the tariffs for 90 days, though it still left a 30% tax on Chinese imports to the US in the interim. It's unclear what will happen after the pause.

Other companies have responded to the tariffs – which aren't just limited to Chinese goods – in various ways. Chinese astronomy camera company QHYCCD announced it would no longer ship cameras to the US, and Sigma and Canon have announced that they'll have to raise prices. Tamron has said they've affected its production plans, and Fujifilm has blamed tariffs for availability issues.

DJI has also already had to deal with questions around tariffs. When PetaPixel asked why its Osmo Pocket 3 vlogging camera appeared to be out of stock, the company said: "Due to local market conditions and industry environment, including trade-related policies, we may experience extended delays in restocking, and have had to adjust our pricing strategy."

As for the Mavic 4 Pro, the company won't say that it's entirely ruled out bringing it to the US. "The United States is an important market, and we are committed to making our products available to our US-based customers," it told DPReview. "While we currently do not have an estimated timeline, we are closely monitoring the situation and actively exploring every possible solution." It also says it will "continue to introduce new products to the market."

Additional reporting by Kara Murphy

The Panasonic Lumix DC-S1II is the company's second-generation, high-end 24MP full-frame mirrorless camera, now based around a partially stacked CMOS sensor, and the same body introduced as the S1RII.

Key specifications

• 24MP partially-stacked BSI CMOS sensor
• Up to 70fps shooting, including Raw
• 1.5 seconds pre-burst capture
• 96MP multi-shot mode with in-cam combination and motion correction
• 10-bit HLG HEIF still images
• In-body stabilization rated at up to 8.0EV of correction
• Open-gate 6K video up to 30p
• Full-width 5.9K or 4K up to 60p
• 4K/120p video with slight crop
• 6K Raw output over HDMI
• Built-in fan for extended recording
• External SSD output for video
• V-Log with 15-stops in DR Boost mode
• Arri C-Log3 paid upgrade option
• 4 channel and 32-bit float audio with XLR2 adapter
• Bluetooth timecode sync

The Panasonic S1II will be available from June 2025 at a recommended price of $3199. As with the launch of the original S1, this is a around $600 more than the list price of its nearest competitors from Nikon or Canon.

Index:

• What's new
• How it compares
• Body and handling
• Video capabilities
• Sample gallery
• Specifications
• Press release

What's new

Partially-stacked CMOS sensor

The S1II becomes the second camera we've encountered to promise a 'partially stacked' CMOS sensor. This is a conventional BSI sensor with more complex readout circuitry applied as an additional layer around the edges of the sensor. This allows faster readout than with a BSI chip with single-layer readout circuitry, but without the significantly higher manufacturing complexity and cost of a fully Stacked CMOS design.

Panasonic says the 24MP sensor it's using is 3.5x quicker to read out than the BSI chip used elsewhere in its range. It's unlikely to be a coincidence that this is the same figure Nikon gave the the improvement it saw between the Z6 II and Z6III.

The sensor allows the S1II to shoot stills at up to 70fps (10fps with mechanical shutter). Panasonic highlights that this capability, combined with pre-shot capture, is designed to help capture key moments, not to make it an out-and-out sports camera. We found it could shoot for around 3 seconds at full speed which, despite those reservations, is likely to be more than enough for a wide range of photography.

ISO and dual gain

The sensor's base ISO is 100, when using the camera's Standard Photo Style. Other response modes have higher base ISO ratings to encourage the use of lower exposures to capture additional highlight information. The sensor is a dual conversion gain design on which Panasonic lets you manually select which gain mode the camera is using.

HLG HEIF

The S1II gains the ability to shoot 10-bit HEIF files using the HLG high-dynamic range tone curve. You can shoot with the standard color response, a mono mode or with a custom LUT applied. This allows you to shoot true HDR photos in-camera and do so while still capturing a Raw file alongside.

You can convert the HEIF to an SDR JPEG or, alternatively, you can re-process the Raw in-camera and output an adjusted version as a HEIF. This only works for Raws taken with the camera in HEIF mode, though: Raws shot alongside JPEGs can only be re-processed as SDR HEIFs or JPEGs.

This brings us another step closer to cameras being able to exploit the increasing prevalence of HDR displays. The HEIF format still isn't widely, reliably supported, and HLG files don't always live up to the promise of working equally well on SDR and HDR displays, but with Panasonic, Sony and Nikon all offering HLG HEIFs as an HDR option, it looks like the industry is approaching the adoption of a common standard.

Urban sports AF

The S1II gains a new subject recognition mode, Urban Sports recognition. This is designed for the likes of breakdancing or skateboarding, essentially: situations in which humans are making shapes that the basic human recognition mode isn't necessarily trained to recognize.

Settings backup and transfer

The S1II gains the ability to back-up its settings to an SD card. These can then be used to reset the camera to your preferred settings or to quick-configure other cameras. Panasonic says this capability will be extended to other models, with mutually-supported settings carrying over from one model to another.

Video capabilities

It shouldn't come as a surprise to find the S1II's video feature set is extensive, building on the large array of options provided by the S1RII but underpinned by a much faster-reading sensor.

We detail the options as fully as possible, later in this article, but the headlines features are:

• Open gate recording
  The S1II can record 6K footage from its entire 6000 x 4000 sensor at up to 30p or 5.1K footage derived from the same region at up to 60p
• 4K up to 120p
  4K video can be captured in DCI or UHD 4K at up to 60p from the full width of the sensor or in 5.9/5.8K resolution from the same regions. Alternatively, with a small crop, the camera can capture 4K/120p
• Cinemascope 120p
  Another option is to shoot a very wide 'Cinemascope' style 2.4:1 region of the sensor in 4K resolution at up to 120p
• Anamorphic shooting
  Videographers using anamorphic lenses can capture 4.8K video from a 4:3 region the full height of the sensor at up to 60p
• ProRes RAW capture
  The S1II can also capture 1.89:1 ProRes RAW video from either the full sensor width at up to 30p or from a native DCI 4K region at up to 60p

Beyond this, the S1II offers highlight warnings set at two different thresholds (dual zebras), false color, the ability to specify exposure in terms of shutter angle (especially valuable on a camera that can so easily switch between frame rates), and the ability to preview corrected Log footage and record proxies.

Cinelike A2

Like the S1RII, the S1II gains the new Cinelike A2 color profile. It's essentially a midway between the low-contrast Cinelike D2 profile and the punchier, ready-to-use Cinelike V2 one. The color response is designed to be a little more like that of a major cinema camera maker.

On a similar note, Panasonic says that the ability to natively shoot Arri's Log C3 profile will be offered as an extra cost firmware upgrade to the S1II. They say this uses Arri's Log response natively, not shooting V-Log and —trying to map across to an approximation of C3.

DR Boost

The S1II has a Dynamic Range Boost mode when shooting video, allowing it to capture up to 15 stops of dynamic range. We were not given details on how it's being delivered.

All we were able to establish is that it's not comparable to the GH7's DR Boost function that combines parallel readout paths, shot simultaneously (but with no option to turn the function off). Nor is it the same as the DR Expansion function on the S1RII, which changes the readout bit-depth to gain DR at the expense of more rolling shutter.

There is a significant rolling shutter impact for DR Boost on the S1II, and the available video modes top out at 30p (24p for the full-height 6K, 5.1K and 4.8K modes). Base ISO in V-Log mode increases by 2/3EV to ISO 1000, when engaged.

Panasonic promises a DR increase from "14+ stops" to "15 stops" of dynamic range if you engage DR Boost mode, but its lower speed not only makes many of the camera's video modes impossible, it also means you should only use it in situations with very little motion in the scene.

32-bit Float capability

As with other recent Panasonic cameras, the S1II is compatible with the optional DMW-XLR2 adapter, making it one of the only cameras able to capture 32-bit Float audio. This uses two different gain levels and clever data encoding to allow very quiet and very loud signals to be captured simultaeously, meaning you don't have to worry about audio levels.

AI-AWB

As well as the ability to re-process Raws as HEIFs (so long as you were shooting HEIF at the point of capture), the S1II gains a new, "AI Auto White Balance" option if you re-process a Raw file in the camera.

The mode is too processor-intensive to use as you shoot but will try to analyse the scene to give the best white balance. Panasonic also says additional processing should allow it to cope better with shots taken under mixed lighting.

How it compares

The S1II comes in at something of a premium, compared with its apparent peers. Its $3200 price tag makes it a fair bit more expensive than the likes of Nikon's Z6III, with which it very probably shares a sensor, or the Sony a7IV and Canon EOS R6 II with which the Nikon competes.

There aren't currently many other cameras that sit between the mass-market $2500 models and the high-end, high-res options, for nearer $4000. This essentially means one of its only direct competitors is its own sibling, the S1RII, whose list price is just $100 more, giving a high speed or high-res choice of second-gen S1 cameras.

Here we're going to show it against the Nikon, the Canon and its less-expensive sister model, the S1IIE (the 'E' stands for "essentials," Panasonic tells us).

The Panasonic S1II is competitive on paper with all its immediate peers, even pulling ahead in terms of continuous shooting rate and its vast array of video modes. Its peers are starting to compete with the range of video support tools provided but the Panasonic still outshines them with specialist options such as full support for anamorphic shooting. The Panasonics are also the only cameras in this class to let you shoot multi-shot high-res images and have them automatically combined in camera (Raw and JPEG).

Only its price counts against it, with it commanding a significant premium compared with its immediate peers.

Body and handling

The S1II's body is essentially identical to that of the S1RII: similar in size to the more basic S5 models but with a better grip design and a carefully-struck balance between being compact and giving an excellent level of direct control.

The camera is appreciably smaller and lighter than the original S1 model but still feels solidly built. It maintains an extensively environmentally-sealed design with gaskets at all the joins. It feels comfortable in the hand with a pleasant density to it.

The mic socket sits high up on the left hand side of the camera, comfortably clear of the rear monitor, which pulls out on a tilting cradle, as well as then flipping out and rotating, which lets you keep it clear of the headphone socket, further down its flank. A USB C socket with 10 Gbps transfer speeds sits below this, allowing charging, tethered shooting and video recording to SSD. A full-sized HDMI socket completes the left-side ports.

On the right-hand side of the camera is a 2.5mm remote socket. There's no flash sync socket on the S1II but anyone looking to sync timecode from the camera will find the S1 compatible with Atomos' Bluetooth timecode sync system.

Like the S1RII, and distinct from the S5 models, the S1II has one CFexpress Type B slot and one UHS-II SD card slot. It can also output video over its USB socket to an external SSD.

It has both the viewfinder and the adjacent cooling fans of the S1RII, meaning it has a 5.76M dot display (1600 x 1200 pixels). It has 0.78x magnification, making it pretty large. An eyepoint of 21mm means it can be a little difficult to see the extreme corners, if you wear glasses.

Battery

The S1II takes the same 15.8Wh DMW-BLK22 battery as most of the rest of Panasonic's range. This powers it to a CIPA rating of 360 shots per charge via the rear LCD or 320 shots using the viewfinder. Both figures are measured using an SD card, with both declining by 10 shots per charge if you use a CFexpress card. As always, these numbers are likely to significantly under-represent how many shots you're likely to achieve, but they provide a reasonably like-for-like comparison and these are reasonable numbers for this class of camera.

The S1II is compatible with the DMW-BG2, introduced alongside the S1RII. This adds a second battery and has a sensor on the battery door that switches the camera over to the internal battery when its open, allowing you to hot-swap batteries.

Video capabilities

As you'd expect from Panasonic, especially one with a relatively quick sensor, the S1II has an extensive array of video features. In addition to its many, many recording modes, the camera has a considerable array of supporting features to help you get the best results.

The S1II lets you control exposure in terms of shutter angle (handy for quick changes when using different frame rates), waveforms, false color and dual zebras for setting exposure, a vectorscope display for matching color, the ability to show a corrected view for Log or HLG shooting.

There's a tally lamp to make it clear when the camera is recording, the ability to record low-res proxy versions alongside your primary footage, a choice if mic gain levels. The list is near endless. On which note: the ability to add video modes to a custom list by pressing the 'Q' button, letting you quickly access just the modes you want to use is hugely valuable on a camera with this many video modes.

Open gate and Anamorphic modes

Users wanting to crop after the fact or add digital stabilization during their edit are likely to appreciate the S1II's open gate recording mode, which captures the full area of the sensor.

As has become standard for Panasonic, the S1II can alternatively capture a full-height 4:3 region of the sensor for use with anamorphic lenses. It comes with the option to show a desqueezed preview when working with anamorphic lenses and, in a feature unique to Panasonic, lets you set the stabilization system to correct shake with anamorphic lenses.

Widescreen modes

The S1II's partially stacked sensor reads out faster than any in a previous S-series cameras, allowing it to offer full-width 60p capture or 4K/120 with a moderate crop.

There are also a host of 5.xK modes that capture most of the sensor width natively, rather than downsampling to 4K. The S1II, like its 'E' sister model, adds a very widescreen 2.41:1 mode, mimicking the CinemaScope movie aspect ratio of the 1960s. Conveniently, this is also uses about the maximum height of the sensor that can be read fast enough for 120p output, without having to crop horizontally.

Internal Raw

The S1II can capture ProRes RAW footage, either in the standard or HQ levels of compression. These are taken either from a 5760 x 3040 region of the sensor or a native 4096 x 2160 pixel region. In both instances, footage can be recorded either to the camera's CFexpress slot or to an external SSD.

Video modes

Despite this table covering 166 different modes – without even deliving into different compression levels or MP4 options – it's not quite complete, as there are instances of Pixel/Pixel and APS-C modes that have identical options and virtually identical crops existing alongside one another. For reasons of sanity, we've not tried to measure them all.

For similar reasons, we'd strongly suggest the use of the camera's 'My List' feature, that lets you quickly create a list of the modes you plan to use, preventing accidental use of a mode with the wrong frame rate, chroma subsampling method or crop factor and avoiding you needing to scroll through the whole list.

Raw over HDMI

Alternatively, if you have an Atomos or Blackmagic external recorder, the S1II can output a Raw stream over its HDMI port, which can be encoded into ProRes RAW or Blackmagic Raw.

Sample gallery

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.

Product Photos: Mitchell Clark

The Panasonic Lumix S1IIE is a 24MP full-frame camera aimed at stills and video shooters. It uses the same BSI sensor found in the Panasonic S5II and S5IIX but paired with the body of the S1II and S1RII, giving it some additional capabilities and features not found in the S5-series.

Key Features

• 24MP BSI CMOS sensor
• Up to 30fps e-shutter shooting with C-AF and Raw
• 1.5 seconds pre-burst capture
• 10-bit HEIF recording
• 6K 4:2:0 open-gate recording up to 30p
• Internal Raw recording
• 32-bit float recording via optional XLR 2 adapter
• 2.1M dot flip-out and tilting display
• 5.76M dot viewfinder

The S1IIE will be available starting in late June for a recommended price of $2499.

Index:

• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Specifications

What's New

As a blend of existing cameras, the S1IIE doesn't have anything entirely its own. However, some of the features are brand-new on the S1II, announced the same day as the S1IIE, so it's worth looking at what it inherited from that camera and the S1RII and what it keeps the same as the S5II/X.

HLG HEIF

Like the S1II, the S1IIE can record stills to a 10-bit HEIF file using the HLG high-dynamic range tone curve, which can also be paired with mono and LUT color modes. This lets you get HDR images straight-out-of-camera without the need to process Raws, though HEIFs aren't nearly as widely supported as JPEGs.

You can do an in-camera HEIF to SDR JPEG conversion, though there is a strange limitation when outputting HDR HEIFs. If you originally shot the image as HEIF+Raw, you can reprocess the Raw and output an HDR HEIF, adjusting settings such as white balance. However, if you shot the image as JPG+Raw, you can only reprocess the Raw into an SDR HEIF. Of course, you can always bring that Raw into desktop editing software to output it however you like, but it is strange that the in-camera processor can only output HDR HEIFs in certain circumstances.

AI white balancing

Speaking of the in-camera Raw processing, the S1IIE has the same "AI Auto White Balance" feature as the S1II. It's only available in post-processing, but Panasonic says it should be better at producing pleasing colors in difficult lighting situations.

New Body

The S1IIE has the same body as the S1RII and S1II, which makes it just a tad bigger than the S5II. That means it has the same control layout, complete with a dial for switching between stills, video and slow and quick modes, the lock switch and extra custom modes. It also has the large, high-resolution viewfinder and the tilting/fully-articulating display.

Updated autofocus

The S5II brought phase-detect autofocus to Panasonic's full-frame lineup, and the system the S1IIE inherits from the S1RII is a refinement of that. It has the enhanced human subject recognition, complete with support for "urban sports" like breakdancing or skateboarding, where people will be moving their bodies into positions that the previous system may not have recognized.

Compared to the S5II, there's a key difference in the autofocus user interface: the S1IIE, like the S1RII, doesn't fall back to its generic tracking if it's in subject detection mode but doesn't recognize a subject in the scene.

New movie capabilities

Despite using the same sensor, the S1IIE has 30 more recording modes than the S5IIX. Some of those are the "Cinemascope" modes, which offer a 2.4:1 aspect ratio, as well as the ability to shoot in 60/50/48p in full-width 6K and 4K. Like the S5IIX, it's essentially achieving the faster frame rates by dropping down to an APS-C region of its sensor, just a super-wide one.

The S1IIE also includes the "Cinelike A2" color profile, the ability to record ProRes Raw internally to a CFexpress Type B card, proxy recording to a second card and 32-bit float audio recording via an add-on XLR 2 adapter. You can also use it with Bluetooth timecode synchronization devices and Panasonic's Lumix Flow app, which aims to streamline the process of writing a script, creating storyboards and shotlists and sorting captured footage.

It has the S1II's upgraded stabilization system as well, which the company says is "60% more efficient" than the S5II's. That includes the "cropless" electronic image stabilization mode that's compatible with the company's S-series lenses, though not other L-mount options from Sigma or Leica.

And even more...

As is becoming tradition, Panasonic has promised even more features coming via a future firmware update. Those include:

• A paid upgrade for Arri LogC3
• Multiple frame markers, like the S9 and S5II
• Bluetooth connectivity to DJI gimbals

How it compares

The S1IIE is playing in a relatively crowded field; every manufacturer is pitching their mid-level full-frame cameras as a great hybrid option for stills and videos. We're comparing the S1IIE to Nikon and Canon's similarly-positioned Z6III and EOS R6 II. We've also compared it to the S5IIX, which Panasonic has said will remain in its lineup for now, as the S1IIE is essentially an upgraded version of that camera.

The Z6III and EOS R6 II are both strong competitors, and we've found their autofocus systems to be quite capable of shooting moving subjects and action, which wasn't always the case for Panasonic's system when we tested it in other cameras. With such feature-packed cameras, though, the differences are going to come down to the details like the fact that the Canon can't do internal Raw video, the Z6III's highest burst rates being limited to JPEG-only, or that the S1IIE doesn't have an automatic subject detection mode like the Z6III and EOS R6 II do.

Those who focus on video have to deal with even more nuance. Nikon's use of a 'partially stacked' sensor lets it shoot at quite high framerates, though sometimes only in Raw. While the S1IIE doesn't have the same level of speed, Panasonic has loaded it with resolution and aspect ratio options and an army of assistance features. Those are things like waveforms, vectorscopes and false color monitoring to help you nail exposure, a desqueezed preview if you're shooting with anamorphic lenses and its real-time LUT system that lets you use industry-standard color profiles to grade your footage straight out of camera.

Body and handling

The S1IIE's buttons and dials are well-placed, making it easy to almost completely control the camera using one hand.

The S1IIE's body will be familiar to anyone who's used an S5II/X, and even more so to those who've used an S1RII. It's a tiny bit larger and heavier than the S5-series and has a larger grip, but otherwise feels quite similar in the hand. The control layout is largely similar, with the same autofocus layout and dial setup that should make it easy to avoid the menu system during a shoot.

Compared to the S5II, the S1IIE gains a lock switch, which can be customized to lock different buttons depending on whether you're shooting stills or video, a mode dial for stills, video and slow and quick mode and a slightly deeper grip. There's also now a record button on the left front corner of the camera, which we've found is extremely easy to accidentally press, though you can set it to do nothing in stills mode.

The camera's ports now get their own individual doors, which makes for less flapping around if you only have a few things plugged in.

Rear Display

The S1IIE inherits the combination tilting / articulating screen from the S1RII, giving you the versatility of a fully articulating screen that can be viewed from the front without sacrificing the ability to position it for waist-level or above-the-head shooting with a single motion. It also provides plenty of clearance, even with a microphone and headphones plugged into the camera.

Battery

The S1IIE uses the same 15.8Wh DMW-BLK22 battery as the S5II and the rest of the S1II family. It's CIPA-rated to provide 380 shots when using the LCD. You'll likely be able to shoot many more photos than that on a single charge, but the rating provides a consistent point of comparison between cameras. It's not the best in class, but it should get you through a weekend of light-to-moderate shooting.

You can charge it via USB-C, and it's compatible with the DMW-BG2 battery grip launched with the S1RII, which should roughly double its battery life.

The company says it can record an approximately 100-minute continuous 4K 60p clip on a charge, and about half that if you're repeatedly starting and stopping recording.

Initial Impressions

Let's get this out of the way: there's a lot to like about the S1IIE. It'd be shocking if there wasn't, given that it's essentially a blend of the S1RII and S5IIX, both of which are more than solid in their own right. While we haven't put it through our thorough testing process yet, it's pretty much a given that it'll provide great image quality, sturdy ergonomics and more video features than most people would use in a lifetime.

While the formula isn't new, the S1IIE is in a bit of a complicated position. On one hand, it's a version of the S1II that costs substantially less and comes with a lot of the same features but has a slower sensor that limits burst rates and 4K-and-above framerates. But you could also look at it as a slightly fancier S5IIX; its capabilities are quite similar, but its upgraded processor, refined design and higher price tag will give you a more premium experience.

You now have to consider five cameras if you want a 24MP hybrid camera from Panasonic

For certain users, that'll be worth it. Depending on what you need from a camera, the S1IIE's support for Capture One tethering could be a deciding factor on its own. But if you don't have a slam-dunk reason to buy it, you now have to consider five different cameras (the S5II, S5IIX, S1II, S1IIE and S9) if you're looking to get a 24MP hybrid camera from Panasonic.

Even as a reviewer, it can be hard to keep the differences straight in my head, and I feel like I'd need to have a 15-minute conversation with someone before I'd feel confident that I knew which model(s?) they should consider. And that's before you even consider the competition: the S1IIE is up against cameras with just plain faster sensors, which allow for higher framerates and better rolling shutter performance.

Panasonic still includes plenty of features that make its cameras stand out, like shutter angle, timecode sync, in-camera multi-shot and support for anamorphic lenses. However, some of those will only appeal to people with quite specific needs, and the base video capabilities that used to be Panasonic's competitive advantage are now relatively common. We'll have to fully test the S1IIE to see if it does enough to stand out among the rest.

Sample Gallery

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.

Image: Panasonic

Panasonic is keeping busy today, announcing two new full-frame Lumix cameras – the S1II and S1IIE – while also revealing a new lens. The Lumix S 24-60mm F2.8 expands the company's lens offerings with a fast standard zoom, offering a versatile focal length in a relatively compact and affordable package.

The Lumix S 24-60mm F2.8 lens sits between Panasonic's existing standard zooms. Unlike the Lumix S 20-60mm F3.5-5.6, the new lens offers a bright F2.8 maximum aperture throughout the entire zoom range. Weighing 544g (1.2lbs), it provides some weight savings compared to the Lumix S Pro 24-70mm F2.8's 935g (2.1lbs), albeit with slightly less range.

Image: Panasonic

Panasonic's latest Lumix lens features 14 elements in 12 groups, which include three aspherical, one UED and two ED elements. It's compatible with 77mm filters. Regarding autofocus, it uses its dual-phase linear motor, introduced with its 100mm F2.8 macro lens. This, combined with an optical encoder to report the focus group's position, promises fast and precise autofocus performance. It can focus as close as 19cm (7.5"), provided you stick to 24-30mm.

The lens offers several customization options, including an assignable control ring, a first in S-series lenses. That ring also controls manual focus, though, so you'll have to choose between that and other functions. If you leave the control ring for focusing, you can set which direction you rotate it for manual focus. It also features a programmable Fn button.

Image: Panasonic

There are also some video-specific features as well. Panasonic says that the lens's design effectively suppresses focus breathing. Additionally, its micro-step aperture control allows for smooth and gradual F-stop transitions, providing more fine-tuned control during recording.

The Lumix S 24-60mm F2.8 will be available for purchase in late June for an expected retail price of $899.

Panasonic Lumix S 24-60mm F2.8 sample gallery

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 24-60mm F2.8 specifications

Image: Panasonic

In case two cameras and a lens weren't enough for Panasonic fans, the company has also announced new firmware and software updates. The star of the show is the firmware update for the Panasonic Lumix S1RII, which will unlock quite a few new (and already promised) features. Unfortunately, though, that update isn't available quite yet. A more immediate release is updated firmware for its S series lenses and new Lumix Flow and Lumix Lab app versions.

Panasonic LumiX S1RII firmware updates

Image: Panasonic

When Panasonic launched the Lumix S1RII, it promised a firmware update that would make it possible to capture 7.1K and 8.1K open gate video footage. That remains the plan, though Panasonic still isn't providing a date for the release, simply saying it's planned for 2025.

Regardless of when it comes, Panasonic will have additional updates for the S1RII firmware beyond 8.1K open gate. You'll be able to purchase an upgrade key to add support for Arri LogC, enabling users to match colors to Arri cinema cameras. It will also support capturing stills as 4:2:0 10-bit HEIFs, which should display with higher dynamic range than traditional JPEGs.

The upcoming firmware for the S1RII adds an "Urban Sports" recognition feature to its human detection capabilities, which is already available on the two newly released Lumix cameras, the S1II and S1IIE. Panasonic says it will allow for better autofocus when capturing activities like breakdancing, skateboarding and parkour. More customization options will be added, too, including the ability to use a lens's focus ring as a control ring. and the option to choose the rotation direction for manual focus when using that ring for focusing purposes. Users will also be able to use up to three different aspect ratio guides, a feature that was launched with the Panasonic S9 but has since become available for other cameras in the company's lineup.

Some workflow improvements are coming, too. That includes the ability to directly transfer stills and videos from a CFexpress Type B or SD memory card to an external SSD, and for the camera to record proxy files to the internal memory card while simultaneously outputting Raw video data over HDMI. It also gains compatibility with Atomos' UltraSync Blue Bluetooth timecode synchronization devices and Bluetooth compatibility with DJI gimbals.

Additional updates

Image: Panasonic

Firmware updates are also coming to three S series lenses: The Lumix S 20-60mm F3.5-5.6, Lumix S 24-105mm F4 Macro OIS and Lumix S Pro 50mm F1.4. Firmware version 2.0 for all three lenses will enable more customization. The focus ring can now be used as a control ring, allowing users to assign functions like aperture control and exposure compensation instead of manual focus capabilities. Should users want to keep it for focus purposes, they will be able to choose the direction of rotation when using manual focus.

Finally, Panasonic has also updated the Lumix Flow and Lumix Lab apps. Lumix Flow Version 1.1 adds compatibility for the newly released S1II and S1IIE cameras and a monitor mirroring function that lets you share the live view to another device. Lumix Lab Version 1.5 also adds compatibility with the two new cameras. It also now supports editing for HEIF images taken with Lumix cameras, unlocking easier editing of HDR images.

The lens and app updates are available on May 14 at 1:00 am UTC.

Image: DJI

DJI has announced the Mavic 4 Pro, the latest addition to its prosumer camera drone lineup. The successor to the Mavic 3 Pro introduces a new 100MP main camera with a redesigned spherical "Infinity Gimbal" that allows for full 360º rotation and 70º upward tilt. It also promises a longer battery life and an improved transmission system with a new pro-grade remote.

Image: DJI

The Mavic 4 Pro keeps the tri-camera system introduced with the Mavic 3 Pro. The main camera's 28mm (equiv.) focal length offers a slightly narrower perspective than its predecessor's 24mm (equiv.). It features a newly developed 100MP Type 4/3 (17.4 x 13 mm) CMOS sensor with an adjustable F2.0 to F11 aperture. It supports 6K/60p video, which is up from the Mavid 3 Pro's 5.1K/50p. The main camera also supports 4K/120p slow-motion recording and up to 16 stops of dynamic range. Additionally, the camera features Hasselblad's Natural Color Solution, promising realistic-looking, accurate colors.

The second camera features a 70mm (equiv.) telephoto lens equipped with a 48MP Type 1/1.3 (10 x 7.5mm) sensor, fixed F2.8 aperture and 14 stops of dynamic range. The third camera is a 168mm (equiv.) telephoto lens with a 50MP Type 1/1.5 ( 8.3 x 6.2mm) sensor, fixed F2.8 aperture and 13 stops of dynamic range. The medium telephoto camera supports 4K/120p slow motion recording, while the second telephoto camera offers a slightly lower 100fps at 4K.

All three cameras support HDR video recording at 4K/60fps (up to 6K/60fps for the main camera) with 10-bit D-Log, D-Log M and HLG color profiles for greater control when color grading. Additionally, DJI offers free Rec.709 LUTs (Look Up Tables) for all of its drone models.

A photo captured on the Mavic 4 Pro's 168mm camera. Image: DJI

The Mavic 4 Pro promises up to 51 minutes of flight time, five minutes longer than the last model. Equipped with DJI's OcuSync O4+ transmission system, it offers a 10-bit HDR transmission range of up to 30km (18.6 miles) and overall range of 41km (25.4 miles). While you would never fly such a long distance, the likelihood of disconnection in urban areas and environments with high interference is reduced.

DJI says its ActiveTrack 360º system can track a subject even in low-light scenarios and keep it in focus even if it disappears behind obstacles like bushes. Six fisheye sensors give it omnidirectional obstacle detection at speeds up to 18m/s (roughly 40 mph). That means obstacle avoidance will be deactivated at higher speeds, such as when operating the drone in Sport mode.

Image: DJI

The Mavic 4 Pro pairs with the new DJI RC Pro 2, a remote controller equipped with a 7-inch Mini-LED display. The display can rotate, which DJI says will instantly sync with the drone's gimbal to coordinate vertical shooting. It also offers HDMI output and 128GB of internal storage. The controller provides up to four hours of battery life and native audio recording with the built-in mic or when paired with DJI Mic series microphones.

Mavic 4 Pro Fly More combos include the Parallel Charging Hub. Image: DJI

The Mavic 4 Pro's standard version includes 64GB of internal storage, while the Creator Combo will give you 512GB and supports ALL-I 4:2:2 video encoding. QuickTransfer enables fast file transfers up to 80MB/s over Wi-Fi 6, and footage can be offloaded without powering on the drone via direct USB-C connection.

The DJI Mavic 4 Pro is available for purchase as of today for £1879 (with tax) and €2099 (excluding tax) for the drone only. The DJI Mavic 4 Pro Fly More Combo with DJI RC 2 costs £2459 / €2699, while the Fly More Combo with the new DJI RC Pro 2 costs a steeper £3209 / €3539. The DJI RC Pro 2 remote on its own is priced at £879 / €999.

You may notice there aren't any US prices listed above. That's because the Mavic 4 Pro isn't coming to the US. When asked about this, and if it was related to a potential ban on DJI drones, a DJI representative said, "The Mavic 4 Pro has obtained all necessary approvals and clearances, including FCC certification, for sale in the United States." That means DJI is allowed to sell the drone here, but is choosing not to, potentially as a result of the US tariffs. That may leave the option open for the drone to eventually make its way to the US, but only time will tell.

The 2025 China P&E 2025 show (Photographic Equipment and Electrical Imaging Machinery) will start on May 16 at the Beijing Exhibition Center. Here are some of the new lenses that will be announced/displayed at the show - stay tuned for the detailed coverage.

7Artisans 10mm f/3.5 ultra-wide lens:

7Artisans AF 85mm f/1.8 lens for L-mount (already announced):

Venus Optics Laowa FF 15mm f/4.5 wide-angle 1:2 macro lens and other AF lenses:

Meike 24mm f/1.4 AF lens:

ZY Optics AF 35mm f/1.4 lens for Nikon Z-mount:

Songraw 85mm f/1.2 lens:

The post Here are some of the new lenses that will be on announced/displayed at the 2025 China P&E 2025 show in Beijing appeared first on Photo Rumors.

Image: General_4530 / Moment via Getty Images

Over the weekend, the United States and China agreed to a 90-day suspension of most tariffs imposed since April. This latest development could offer short-term relief in an ongoing trade dispute that has disrupted global shipping and raised prices for US consumers. Previously, the US had paused its tariffs for other countries, though it had excluded China from that pause.

In a joint statement released this morning, both governments said the pause would allow time for continued negotiations. US Treasury Secretary Scott Bessent confirmed the "90-day pause" agreement following talks with officials in Geneva, stating that "reciprocal" tariffs would be reduced by 115% on both sides. US tariffs on Chinese goods will drop to about 30%, while China will reduce its levies to 10% on American imports.

The previously proposed tariffs from early April involved US tariffs of up to 145% on Chinese imports and Chinese tariffs of 125% on US goods, which slowed trade significantly. Major ports reported sharp drops in traffic, and the international shipping and logistics firm DHL Express suspended shipments to the US with a declared value of over $800.

Sigma America, Canon and others have already announced their plans for increased prices as a result of the US-China tariff war. Tamron also announced that it was shifting where its lenses are manufactured based on the tariffs. What this pause means for those companies is unclear. Given that it's a temporary solution, it's unlikely we'll see any walkback on plans to increase prices.

Officials on both sides characterized the Geneva talks as productive. "It's important to understand how quickly we were able to come to an agreement," said Jamieson Greer, a senior US trade representative. For now, with tariffs temporarily eased and talks ongoing, all manufacturers and importers can do is watch and wait. Hopefully, the pause becomes a path toward resolution rather than a delay before the next disruption.

Topaz Labs released Photo AI version 4, and for a limited time, they are offering a $30 off promo discount. See what's in the new version here:

Topaz Labs Photo AI version 4 released with a $30 promo discount

Via NikonRumors

The post Topaz Labs Photo AI version 4 released with a $30 promo discount appeared first on Photo Rumors.

Sony has two already registered but not yet announced cameras:

• WW934774
• WW697160

Here is the full list of Sony camera models:

The post Sony has two already registered but not yet announced cameras appeared first on Photo Rumors.

The full 18 pages of Panasonic Lumix S1II/S1IIE camera specification leaked online:

Panasonic LUMIX S1E II (DC-S1M2ES):

• 14+ stops of dynamic range V-LOG
• 24M sensor
• Full frame 6K30p OG, 6K60p 2.4:1, 4K30p 16:9/17:9, 4K60p 2.4:1
• APS-C 3.3K 50p 4:3, 4K60p 16:9/17:9
• S&Q 4K 2.4:1 60fps, FHD 180fps
• 120Hz 5.76 million dot EVF
• 779 points Phase AF
• Dual Native ISO 100/640 5-
• Axis image stabilization 8 stops at center, 7 stops at periphery
• 1/8000s mechanical shutter
• 30fps continuous shooting with electronic shutter, 10fps mechanical shutter

Panasonic LUMIX S1 II (DC-S1M2):

• 15-stop dynamic range V-LOG (Dynamic Range Enhancement mode on)
• 14+ stops of dynamic range V-LOG (Dynamic Range Enhancement mode off)
• 24M new sensor
• Full frame 6K30p OG, 5.9K60p 17:9, 5.1K60p 3:2, 4.8K60p 4:3, 4K120p 16:9/17:9, FHD240p
• APS-C 3.3K 120p 4:3, 4K120p 16:9/17:9, FHD240p
• S&Q 6K 60fps, 4K 17:9 75fps, 4K 2.4:1 120fps, FHD 240fpsFF
• 120Hz 5.76 million dot EVF
• 779-point phase focus
• Dual native ISO100/800
• Five-axis image stabilization with 8 stops in the center and 7 stops in the periphery
• 1/8000s mechanical shutter
• 70fps continuous shooting with electronic shutter, 10fps mechanical shutter

See the full 18 pages of specifications here.

Panasonic to announce a new Lumix S1 camera on May 13th

The post Full 18 pages of Panasonic Lumix S1II/S1IIE camera specification leaked online appeared first on Photo Rumors.

Photo: Mongkol Chuewong / Moment via Getty Images

Travel can be stressful, and figuring out how to pack your cameras and lenses can certainly add to that stress. All that gear can take up a lot of space and add quite a bit of weight, which isn't always feasible to keep with you during a flight. So, what do you do when packing camera equipment in your carry-on isn't an option? You resort to checked luggage.

Can you put a camera in checked luggage?

The simple answer to whether or not you can put a camera in checked luggage is yes. Most countries and airlines allow cameras and lenses in checked baggage, provided they don't result in your bag exceeding the airline's size and weight limitations. The main potential restriction is lithium batteries.

Most countries' airport security rules say you can have a lithium battery in a device within your checked bag, provided the device can't power on. However, airlines (or even specific personnel) may have their own rules. It's always a good idea to check prior to catching your flight, and to keep your camera at least somewhat easily accessible in case you need to take the battery out at the last minute. If you're bringing spare batteries along, those must always be in carry-on, no matter what airline you're flying.

Should you put a camera in checked luggage?

Photo: Barney Britton

While you can put your camera in checked baggage, the bigger question is whether you should. Your bag will have quite a rough and tumble journey from getting checked in to being picked up at your destination. Luggage handlers aren't typically known for being all that careful with bags, so there is a risk of your camera and lenses getting damaged in transit. Plus, theft is another potential concern, as is your bag getting lost by the airline.

Of course, there are times when checking your camera may be unavoidable. If so, you'll want to ensure your gear is packed securely with plenty of padding and rigid structure. Don't simply toss your camera or lens at the top of your duffel bag and hope for the best. Something like a Pelican case or at least a hard suitcase would be best. An airport security-approved lock isn't a bad idea, and insurance for your gear certainly doesn't hurt, either. Also, small trackers like AirTags, Chipolos or Tiles could give you some peace of mind.

Over the weekend, Panasonic Brazil posted by mistake the details of the upcoming Panasonic LUMIX S1E II camera (see also this post):

Elevate your storytelling with the new CinemaScope 4K 60p aspect ratio, delivering a cinematic view without any cropping. With the intuitive operation of the S1 series, including the LUMIX S1RII and S1II, the S1IIE enhances creative exploration with ease. Both models feature advanced AF precision and new ‘Urban Sports’ recognition, and 8.0-stop in-body stabilization for steady shooting.

Second-generation S1 series, the LUMIX S1IIE maintains the acclaimed design and ergonomic excellence of the S1II and S1RII, offering potential for creative exploration. It is equipped with a 24.2MP sensor inspired by the characteristics of the LUMIX S5II, ensuring exceptional image quality tailored to various shooting conditions. It incorporates notable features from the S1II, positioning itself as a comprehensive tool for creative projects. Notably, the LUMIX S1IIE introduces a new Cinemascope (2.4:1) video format available in various frame rates, including uncropped 60p. Panasonic anticipates that the LUMIX S1IIE will be the preferred choice for those seeking improvements in ergonomic design and refined engineering.

• Realizing high image quality in a variety of shooting conditions
• Adopts a 24.2MP sensor that inherits the performance characteristics of the LUMIX SSII
• Supports 6K 30p (3:2) open gate video recording
• V-Log allows video recording with a dynamic range of over 14 stops
• Experience blackout-free shooting with the electronic shutter mode “SH/SH PRE” for high-speed continuous shooting at up to 30 frames per second and the extended continuous shooting mode “H+” at approximately 10 frames per second using a mechanical shutter
• Cinemascope 4K60p aspect ratio
  – Delivers a cinematic view without cropping for improved storytelling
• The S1 series’ intuitive operability makes creative exploration
  easy
• Advanced AF precision and new “Urban Sports” recognition
• Equipped with 8.0-stop in-body image stabilization
• Award-winning design and ergonomics on the S1II and S1RII
• Equipped with a 24.2MP sensor inspired by the features of the LUMIX S5II
• Equipped with the outstanding features of the S1II, it is a comprehensive tool for creativity
• Introduces new Cinemascope (2.4:1) video format available in a variety of frame rates including non-cropped 60p
• Real-time recognition redefined:
  On-chip phase detection AF improves eye and face detection, and enhances AI-enabled people tracking accuracy.
• Equipped with new AF recognition for “urban sports” –
  accurately captures dynamic movements such as breakdancing, skateboarding, and parkour
• 8.0-stop in-body image stabilization (BIS)
• Newly developed No-Crop EIS video distortion correction has been improved
• By using the separately sold software update key DMW-SFU3A, ARRI LogC3 will become available for the first time on the S Series.
• Supports internal recording of 5.8K 30p / C4K 60p Apple ProRes RAW HQ / ProRes RAW to CFexpress Type B cards.

More leaks can be found here:

Questionable Panasonic Lumix S1IIE camera leaks on Reddit

The post Panasonic LUMIX S1E II camera specification leaked online appeared first on Photo Rumors.

Here are some more leaked pictures of the upcoming Fujifilm X-Half digital compact camera in black and silver found on Chinese social media:

 
Next are the rumored specifications of the Fujifilm half-frame digital camera:

• Fujifilm Half Frame Camera (Fujifilm X-Half)
• Dimensions: 105.8. 64.3mm
• 20MP 1-inch Sony Sensor now seems confirmed by the lens size
• 2x crop factor, so probably a 14-25mm lens
• f/2.4 aperture
• The lens has an aperture ring
• The only dial is for exposure compensation on top
• Hot shoe on top
• Flash on the front
• Vertical LCD
• Made in China
• The official announcement is expected on May 22nd

Fujifilm X-half frame digital compact camera teaser: “Half the size, twice the story“

New Fujifilm FF240003 camera with vertical LCD screen registered with the FCC

Mockups of the rumored Fujifilm half-frame digital compact camera with vertical screen

The post More leaked pictures of the upcoming Fujifilm X-Half digital compact camera appeared first on Photo Rumors.

There will be two different versions of the upcoming Yashica FX-D camera, I reported a while back:

Yashica FX-D 100

• Sensor: Sony IMX458 (13MP, 1/3.06")
• Lens: 3.45-10.50mm f/1.6-2.8 (equivalent to 25.4-76.3mm)
  
• Same sensor and same lens as the Yashica City 100

Yashica FX-D 300

• Sensor: Sony IMX766 (50MP, 1/1.56")
• Lens: 5.68mm f/1.8 (equivalent to 24mm)
• Crop modes: 24mm (50MP) /35mm (24MP) /50mm (12MP) / 75mm (5MP)
• O.I.S

Here are the full specifications:

Yashica FX-D camera coming soon to Kickstarter

The post Additional information on the upcoming Yashica FX-D camera models: FX-D 100 and FX-D 300 appeared first on Photo Rumors.

There is a discussion on Reddit that displays old pictures of existing S1 camera models and claims to be the upcoming S1IIE. A simple Google search will show that all those pictures are currently available on the official Panasoinic website.

There is another S1IIE specs leak on Reddit from Panasonic Brazil that is actually plausible:

You can also see the new S1II product page here:

https://latam.connect.panasonic.com/mx/es/productos/lumix/lumix-s1ii

Here are the really leaked pictures and video of the Panasonic Lumix S1II/S1IIE cameras and Lumix S 24-60mm f/2.8 lens:

Panasonic Lumix S1II/S1IIE cameras and Lumix S 24-60mm f/2.8 lens leaked online

The post Questionable Panasonic Lumix S1IIE camera leaks on Reddit appeared first on Photo Rumors.

Photo: Mitchell Clark

Our May editor's challenge is now open for submissions. The theme this month is human-powered travel, so we're looking for photos of people moving through the world under their own power, using means of transportation mundane or exotic.

Some examples: people walking, hiking, skateboarding, biking, roller-blading hand pedaling – whatever gets them places without a motor.

The challenge is open to photos taken at any time. The last day for entry will be Saturday, 17th May (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know 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. Please remember to include a caption or your submission will be deemed ineligible, and we'll ask you to resubmit it.

Visit the challenge page to read the rules and submit your photo

After you've submitted your photo to our editor's challenge, be sure to check out some other community-run challenges. You can vote for your favorites in RHES' "Simple subject" challenge and, starting Monday, Dr.Lex's "A Big Year 2025" challenge. You can also submit entries to RHES' "Look What I Have for You!" and Dr.Lex's "Fortnight 51" challenges.