Sigma is celebrating the fifth anniversary of the Sigma fp camera with an event in Burbank, California on October 25, 2024:
"This will be a full day of learning, product testing, and a celebration of one of SIGMA’s most innovative cameras."
The fp model was announced on October 19 2019. It seems strange to create an entire event just to celebrate an anniversary. "Learning" and "product testing" of a 5-year-old camera sounds very suspicious. The Sigma fp camera is due for an update, and there is a good chance it will happen on October 25. The camera currently sells for $1,899 - this is the original price, the fp never got a discount in 5 years.
Additional information on the event:
We hope you will join us to celebrate the 5-year anniversary of the world's smallest, lightest full-frame mirrorless camera, the SIGMA fp.
In addition to our in-person commemorative event at the showroom in Burbank, CA, we want to show our appreciation for all the fp fans out there with a fun sweepstakes!
We will be giving away 3x $1,000 SIGMA gift certificates, plus another 3 nicely-stocked bags of SIGMA swag, to randomly-chosen winners.
TO ENTER:
Create a testimonial video less than 60 seconds long with you and your fp camera in the video, and tell us why you love it!
Post the video on social media (don't forget to tag SIGMA America & SIGMA Cine) and enter at the link below!
That's it! Show off your fully-rigged camera, share your own images and video footage, tell us what crazy vintage lenses you've adapted, explain your CinemaDNG workflow -- whatever you want! All we ask is that you keep it clean and positive. You can earn bonus chances by browsing our website, answering some easy questions, checking us out on social media, etc. to increase your odds of winning. We'll choose 3 random Grand Prize winners and 3 random runner-up winners on October 25, and notify them via email and/or DM by 12PM EST.
In the realm of virtual communication, first impressions matter. Whether you're pitching a client, teaching a class, or building your online community, your video quality speaks volumes. That's why Link 2 and Link 2C come equipped with the best imaging technology in their class.
At the heart of these webcams lies a powerful 1/2" sensor, which is larger than those found in typical webcams. A larger sensor means they capture more light and more detail, with strong low light capabilities, enabling their use even in poorly lit spaces. This is coupled with advanced HDR (High Dynamic Range) technology to really drive that dynamic range and get greater balance between highlights and shadows.
With support for up to 4K30fps resolution, you'll always look your best on camera. The crisp details and vibrant colors help remove those layers of separation that exist in online communication, and make it feel more like a face-to-face interaction.
Link 2 and Link 2C don't only look after your appearance. They're able to replicate a near DSLR-like depth of field, with an impressively natural bokeh effect for your surroundings. There's also True Focus, which uses faster, more accurate Phase Detection Auto Focus (PDAF) to rapidly focus and avoid blurry shots.
Two unique models.
Everyone has different needs and preferences when it comes to their webcam setup. That's why we've created two distinct models, each offering unique advantages.
Link 2: For those who need ultimate flexibility, Link 2 features a built-in 2-axis gimbal for smooth, stabilized footage and AI-powered tracking that keeps you in frame.
Link 2C: Ideal for those with a more fixed setup, Link 2C offers the same stunning 4K image quality and AI features in a compact, gimbal-free design.
Both Link 2 and Link 2C will launch with upgraded, premium accessories. A new Magnetic Mount, included in the box, makes setup a breeze. There's also the option to snap the camera onto a monitor or any magnetic surface for quick and easy positioning.
AI noise reduction and professional audio.
Distracting background noise can derail even the most polished live stream or presentation. Link 2 and Link 2C put an end to that, thanks to their state-of-the-art AI noise reduction technology. From a busy coffee shop or shared workspace to the comfort of your own home, you can count on professional-grade audio.
Powered by advanced algorithms, these webcams filter out unwanted sounds like keyboard clicks, nearby conversations, or traffic noise, ensuring your voice comes through loud and clear.
Link 2 and Link 2C come with three unique profiles to tailor to your environment, including Voice Focus, Voice Suppression, and Music Balance- ensuring whatever the situation, your message is heard.
Intuitive AI-powered control.
Link 2 and Link 2C have taken their AI capabilities up a level. Move freely, gesture effortlessly, and let the camera do the work.
With precision AI Tracking and Auto Framing, you're free to move around while the camera keeps you perfectly centered in the frame. Ideal for educators, presenters, and anyone who needs to move around their space during a video call or live stream. A newly added Group Tracking option also ensures that if you're co-hosting, neither you or your partner take up too much of the frame.
New Pause-Track Areas allow the camera to recognize areas where it shouldn't track you. This is ideal, for example, in an e-commerce live stream, to show products in different positions without the camera following you, or in a presentation setting to ensure sensitive areas or information aren't shown (available on Link 2 only).
Gesture Control has received a significant refresh, allowing for even more control without ever touching your camera. Simple hand gestures trigger actions like starting/stopping AI Tracking, zooming in or out, and activating Smart Whiteboard Mode. Intuitive, convenient, and perfect for keeping your focus on your audience.
Versatile tools for any scenario.
The new generation of Link brings a host of new and updated features for effortless engagements online, with added modes, better control remotely, and professional-grade filters.
Smart Whiteboard Mode*: Auto-detects the whiteboard that you're presenting from, keeping it squared off and in focus. Online presentations have never been easier. Alternatively, there's the existing Whiteboard Mode, which uses small recognition markers to designate the presentation space.
*Requires the use of the Link Controller desktop software.
Full 4K Portrait Mode: Capture uncropped 4K vertical video, perfect for social media. Simply attach to a tripod (sold separately) for high resolution streaming.
Remote Smartphone Control: Adjust settings, switch modes, and control the gimbal (Link 2) right from your phone.
Background Replacement: Need to hide a messy room or jump into a professional setting quickly? Link 2 and Link 2C offer seamless background switching.
DeskView Mode: Perfect overhead view for presentations and demos.
One Click Makeup: A makeup filter that actually looks natural! Perfect when you're running late and want to add a last-minute touch up.
Privacy Mode: Easily protect your privacy with configurable states where the webcam will face downward and mute itself.
All this in a set of webcams that are compatible with all major video conferencing and streaming platforms, including Zoom, Microsoft Teams, Twitch, and more.
New full-format sensor, again from Sony, 3 different sensors are installed in the prototypes, for the series I’m guessing the 61M BSI CMOS million pixel sensor
Very fast fps
4K (and higher) video
USB C 3.2 connection
Joystick
Touchscreen (thankfully can be switched off)
New smart functions (including those that the K3 III doesn’t have yet)
Bluetooth / WiFi
New control software for the cell phone (with live view)
GPS built-in
Astrotracer built-in
Key illumination
Very solid workmanship, very good feel
Of course, the optical viewfinder (but significant improvements in the information display)
Production is scheduled to start in Vietnam in October
LCD display with a slightly higher resolution than the K1 III
The battery remains the same as in the K1 II, 645Z and other Pentax
Compact and User-Friendly
Weighing just 78g and small enough to fit in the palm of your hand, the iM30 is easy to carry, ensuring that portability never compromises performance.
Superior Lighting Performance
With a guide number of 15 (ISO 100, meters), the iM30 delivers bright and natural fill light, significantly improving the quality of shots in various environments.
Seven Power Levels
The iM30 offers seven adjustable power levels (1/64 to 1/1), providing flexibility to adapt to different lighting conditions, making it suitable for diverse shooting scenarios.
Efficient Power Management
Powered by two AAA batteries, the iM30 delivers up to 230 flashes on a single charge, ensuring reliability and consistent performance throughout shoots.
Quick and Simple Operation
With a single-contact hot shoe design, the iM30 is easy to attach and use with a wide range of cameras, offering a plug-and-play experience without the need for complex setup.
Steve Gantlett is on a mission: to find whoever misplaced an SD card full of bird pictures in Norfolk county, England. According to his post on X, formerly Twitter, the card has around 3,700 bird pictures taken in Iceland.
Gantlett posted his original in-search-of on Monday but followed up on Tuesday, saying that the person hasn't been found yet. If it belongs to you, or you know someone who went to Iceland in May and then was in the UK, it may be worth reaching out to Gantlett; he's @cleybirds on X.
If you don't have an account on that site, feel free to leave a comment here and we'll see what we can do. We'll be sure to update this story if the rightful owner is found.
According to the outlet, over 15,000 images were submitted for consideration. The finalists and honorable mentions for each category are on the Oceanographic website. The images selected will be shown in a gallery at the Australian National Maritime Museum beginning on November 28th, 2024.
The Ocean winner: Rafael Fernandez Caballero
Image: Rafael Fernández Caballero
Winner of the Ocean Photographer of the Year 2024 award, Rafael Fernández Caballero, told Oceanographic that he shot the image during the Mexican sardine run in late 2023. He said "For years, I’ve visited the Mexican sardine run, always hoping to witness a whale feeding on a baitball," adding that "it’s not just about the image itself, but about the shared experience and the thrill of being in the right place at the right time."
The winning image depicts a Bryde’s whale opening its mouth to eat a school of fish.
Location: Baja California Sur, Mexico
Wildlife winner: Manuel Castellanos Raboso
Image: Manuel Castellanos Raboso
Artist statement: A triumphant mahi-mahi or common dolphinfish proudly displays its catch amidst a feeding frenzy.
Location: Baja California Sur, Mexico
Fine Art winner: Henley Spiers
Image: Henley Spiers
Artist statement: Born during the great mobula aggregations of spring, juvenile Munk's devil rays remain in the Sea of Cortez long after their parents have left, using the shallow bays of Espiritu Santo Island as a nursery.
Location: Baja California Sur, Mexico
Adventure winner: Tobias Friedrich
Image: Tobias Friedrich
Artist statement: A scuba diver looks tiny swimming in front of a shipwreck.
Location: The Bahamas
Conservation (Impact) winner: Frederik Brogaard
Image: Frederik Brogaard
Artist statement: The second biggest whale, the fin whale, lies waiting for its turn to be butchered at a whaling plant in Iceland before getting sent to Japan.
Location: Iceland
Conservation (Hope) winner: Shane Gross
Image: Shane Gross
Artist statement: A green sea turtle is released by a researcher after being caught while trying to catch sharks.
Location: Seychelles
Human Connection: People & Planet Ocean winner: Zhang Xiang
Image: Zhang Xiang
Artist statement: A traditional Chinese fisher makes their way across the beach as the sunset’s golden haze is reflected in the sand and water.
Location: Fujian, China
Young Photographer of the Year winner: Jacob Guy
Image: Jacob Guy
Artist statement: The algae octopus is an elusive creature.
Location: North Sulawesi, Indonesia
Ocean Portfolio winner: Shane Gross
Image: Shane Gross
Artist statement: Baby plainfin midshipman fish, still attached to their yolk sacs.
Location: British Columbia, Canada
Female Fifty Fathoms Award winner: Ipah Uid Lynn
Image: Ipah Uid Lynn
Artist statement: A whale shark surrounded by a swirling school of fish.
Apple Intelligence can do many things, but the company limits how you can use it to edit photos for now.
Image: Apple
Apple has said that the pictures its devices take are meant to depict "something that really, actually happened," a view that starkly contrasts how many of its competitors are approaching photography in the age of generative AI. The quote comes courtesy of The Verge, which asked Apple's vice president of camera software engineering about what the company was trying to achieve with the pictures its phones take.
Here's his full response, which was published in The Verge's iPhone 16 Pro review:
Here’s our view of what a photograph is. The way we like to think of it is that it’s a personal celebration of something that really, actually happened.
Whether that’s a simple thing like a fancy cup of coffee that’s got some cool design on it, all the way through to my kid’s first steps, or my parents’ last breath, it’s something that really happened. It’s something that is a marker in my life, and it’s something that deserves to be celebrated.
And that is why when we think about evolving in the camera, we also rooted it very heavily in tradition. Photography is not a new thing. It’s been around for 198 years. People seem to like it. There’s a lot to learn from that. There’s a lot to rely on from that.
Think about stylization, the first example of stylization that we can find is Roger Fenton in 1854 – that’s 170 years ago. It’s a durable, long-term, lasting thing. We stand proudly on the shoulders of photographic history.
Let's compare that to what Google has said. Isaac Reynolds, a product manager for the Pixel Camera, told Wired that the company is "not just inserting [itself] into this narrow slot built for cameras" during a discussion about its phones' myriad AI-powered features. "You could have a true and perfect representation of a moment that felt completely fake and completely wrong. What some of these edits do is help you create the moment that is the way you remember it, that's authentic to your memory and to the greater context, but maybe isn't authentic to a particular millisecond."
"These edits... help you create the moment that is the way you remember"
Google's phones give you several tools to "help you create the moment that is the way you remember it." The Pixel 9 series is able to use AI to 'expand' a photo, generating imagery beyond the borders of what your phone's camera captured. It can look at a series of group photos and create a composite where everyone is smiling and has their eyes open. It can add the photographer to a group picture. And perhaps most strikingly, it can help you 'reimagine' a photo by adding in AI-generated imagery.
Samsung, Apple's main competitor, has a set of features similar to Google's. The company's Head of Customer Experience told TechRadar that it's trying to serve two different needs: the need to capture a moment as it happened and the need to create something new. Talking about the company's generative AI-powered editing, he said: "When people go on Instagram, they add a bunch of funky black and white stuff – they create a new reality. Their intention isn’t to recreate reality, it’s to make something new."
His explanation of how Samsung meets that first need wasn't free of AI mentions either: "One intention is wanting to capture the moment – wanting to take a picture that’s as accurate and complete as possible. To do that, we use a lot of AI filtering, modification and optimization to erase shadows, reflections and so on. But we are true to the user's intention, which was to capture that moment."
He also addressed the controversy of Samsung phones potentially adding detail to people's pictures of the moon, clarifying what the company considers to be true to the user's intention: "There is no such thing as a real picture. As soon as you have sensors to capture something, you reproduce [what you’re seeing], and it doesn’t mean anything. There is no real picture. [...] You can try to define a real picture by saying, ‘I took that picture’, but if you used AI to optimize the zoom, the autofocus, the scene – is it real? Or is it all filters? There is no real picture, full stop."
We encourage you to read both Wired and TechRadar's interviews in full, but by now, it should be obvious that Apple is thinking about photos very differently than Samsung and Google. Or, at the very least, it wants to give the impression that it is.
Arguably, the iPhone's photos aren't exactly "authentic to a particular millisecond" either; its imaging pipeline stitches together several shots to create images with detail, tones, dynamic range and noise levels that its relatively small sensor wouldn't be able to capture otherwise. That's even true when you're shooting in its supposed 'Raw' mode.
However, even this advanced level of processing isn't the same as letting you move people around in your photos or add a photorealistic herd of cows to them with the tap of a button. And while Apple's planned 'Image Playground' feature will let you use AI to generate images of your friends and family whole-cloth, it will only do so in a cartoonish or illustrated style, at least for now.
That's not to say that Apple has completely opted out of AI photo editing. The company is currently working on launching a feature called 'Clean Up,' which uses Apple Intelligence to remove a subject from a picture, be it a photobombing bird or someone in the background who distracts from whatever or whoever you were trying to take a picture of. The feature is remarkably similar to Google's Magic Eraser, which the company has included on its phones for years.
Before: An unedited photo taken with an iPhone 15 Pro.
Photo: Mitchell Clark
To make matters even more uncomfortable, the AI-edited photos do have a metadata watermark, but YouTuber Evan Zhou has already demonstrated that it can be easily removed by editing the EXIF. It is worth noting that the feature is currently in beta, so that may not be the case by the time it's publicly released, though at time of writing that's theoretically only a month away.
After: people in the background were erased using a beta version of Apple's AI 'Clean Up' feature. Is this still a moment that really, actually happened?
The existence of Clean Up is already a little hard to square with the phrasing of 'something that really, actually happened.' Perhaps that's why the company specified that its photos are meant to be a 'personal celebration' of those moments (emphasis ours). But where this quote may really come back to bite Apple is if it adds more extensive generative AI features into its photo editing experience. If the company keeps this stance, it has to decide what amount of editing will make it so a picture no longer represents something that actually happened.
Speaking of tough decisions, Apple will also have to weigh that stance against its ability to compete with other phones. If, in a few years' time, every Android phone comes with a suite of AI tools that let people turn their 'photos' into whatever they want, Apple will have to add similar features if it doesn't want to seem woefully out of step with the times – just like it did with Clean Up...
... won't it? Looking at how much attention tech companies are paying to AI features, you'd think that consumers are beating down their doors, demanding the ability to ask a personal AI to whip up a custom emoji or reduce what used to be minutes or hours of Photoshop work into a task that takes seconds. It seems inevitable that people will start to use and value this tech now that it's built into almost every phone.
It's not clear yet if generative AI-powered editing is a clear win for the companies feverishly adding it to their products
And yet generative AI features – especially ones related to creative pursuits like writing, drawing and photography – are currently contentious in a way that technology usually isn't outside of early 1800s England. The comments sections of articles covering the tech are filled with boosters, but there are just as many, if not more, detractors who view companies' work on generative AI as genuinely harmful. Researchers at Washington State University recently published a report showing that adding the term 'artificial intelligence' to a product or service's description made people less likely to say they'd buy it.
In other words, it's not clear yet if generative AI-powered editing is a clear win for the companies feverishly adding it to their products. And while that list certainly includes Apple, which said its new iPhones were 'built from the ground up' for its AI features, the company has, for now, planted a flag on how it views the tech's role in photography. It remains to be seen whether that flag is planted in granite or sand.
7Artisans announced a new and improved 60mm f/2.8 full-frame 2x ultra-macro lens for E/RF/Z mount (see coverage of previous version). The new lens is priced at $335, additional configure l:
Hot air balloons inflate during the blue hour at the 'Balloons over Bend' balloon festival in central Oregon.
Canon EOS R3 + EF 24-70mm F2.8 L II | 24mm | ISO 25,600 | 1/100 | F2.8 Photo: Dale Baskin
It's time to prepare for another DPReview Editors' Choice photo challenge. This time, we're celebrating the 'blue hour,' a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos.
For this challenge, shoot and submit one or more blue hour photos. They don't need to be taken someplace exotic, but creativity is encouraged. You can enter up to three photos in this challenge.
How it works
DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and share your work on the DPReview homepage.
Submissions will open on September 29, and you have until Saturday, October 5 (GMT), to submit entries. User voting will begin after that and will help inform DPReview Editors' picks, but will not select them. They are one factor in our evaluation of submissions.
Post-processing is allowed, but this is a photo contest, not a post-processing contest. Please, no composite, altered or fabricated images.
Capture date rules:
Images must be shot after the announcement date of the challenge.
Additional rules:
Photos must be at least 2400 pixels long on one edge.
Include a title for your photo.
Include a caption that tells us the story behind the photo, including when and where it was taken.
Share what gear was used and your camera settings. If you used an interchangeable lens camera, please tell us what lens was used.
Tell us about any edits you made in post-processing beyond basic things like white balance, exposure adjustments, etc.
Please ensure your account's contact information is current; we may contact you if your photo is selected as an Editor's Pick. User voting will inform DPReview Editor's Picks, but will not select them. They are one factor in our evaluation of submissions.
When you use DPReview links to buy products, the site may earn a commission.
Nikon's 1 J1 (left) and V1 (right), were an attempt at selling interchangeable lens cameras to people that would never consider a DSLR, and were packed with technologies that would become widely adopted in later years.
Photo: Richard Butler
If I were to ask you which was the first brand to bring on-sensor phase detection to a mirrorless camera, would you remember that it was Nikon? How about the first cameras to feature dual conversion gain sensors? Yup, again it was Nikon. In fact both these breakthroughs, which have become near essential technologies in modern mirrorless cameras first debuted in the same models: the Nikon 1 V1 and 1 J1.
In fact these cameras also marked the first appearance of the Type 1 (13.2 x 8.8mm) sensors, so were significant in a number of ways.
To me the Nikon 1 highlights that it wasn't clear, early on, who Mirrorless was going to be for, and what it was meant to achieve. Nikon was the sixth brand to enter the mirrorless market, at a time when Olympus and Panasonic were using Four Thirds sized sensors and Samsung and Sony were offering APS-C cameras. It wasn't obvious what role these cameras were going to play: primary cameras for photographers, secondary cameras to work alongside a DSLR system or primary cameras for people who weren't ever going to buy a DSLR.
With the small retractable kit lens (another innovation that's become commonplace), the Nikon 1s could let you take better images than contemporary compact cameras, but in an easier-to-bring-with-you package than a DSLR.
Nikon 1 V1 with Nikkor 1 10-30mm F3.5-5.6 @ 12.7 mm | 1/500 sec | F5.6 | ISO 100 Photo: Lars Rehm
Nikon said it was targeting that third group, presumably in an attempt not to undermine its own DSLR sales. But even then, the V1 and J1 didn't give coherent messages about whether they were supposed to be point-and-shoots or cameras you were expected to take some control over. And the prices: $649 for the J1 and $849 for the V1 each bundled with a 10-30mm zoom were higher than the asking price of the Panasonic GF3, which launched for $599 with a lens.
There was much about them that was impressive: their fast-readout sensors gave a taste for where autofocus on Mirrorless cameras was going. Their continuous AF, in particular, was significantly ahead of the pack, as was their ability to shoot Raws at up to 60fps.
However, their interfaces were frustratingly simplistic, with limited customization if you wanted to take control, yet their auto exposure and ISO systems often selected shutter speeds that would almost guarantee subject motion blur, undermining their appeal to beginners.
That wasn't the only drawback. The rather unambitious F3.5-5.6 and F3.8-5.6 zooms rather blunted the image quality potential of sensors that were impressively fast but pretty noisy, even for their size (dual conversion gain was a necessity, rather than a nicety for their Aptina sensors).
It's fair to say Nikon was bullish about the performance of the 1 Series
Presentation slide: Nikon UK
Nikon did eventually introduce two more photographer-focused lenses: an 18.5mm F1.8 (50mm F4.9 equiv) arrived a year later for around $200, with a ∼$900 32mm F1.2 (87m F3.3 equiv) hitting the shelves another eight months hence. But that's a lot of money just to get access to the camera's full photographic abilities.
The alternative was an FT-1 adapter that let you mount F-mount lenses on the 1 series cameras. But anyone who's questioned how many of Nikon's lenses make sense with the 1.5x crop of APS-C will not have found the situation any better with the 2.72x crop imposed by what Nikon called its 'CX' format.
The Nikon 1 cameras prompted one of DPReview's first forays onto YouTube, apparently before we'd worked out how to set up microphones or choose appropriate outfits for appearing on camera.
Nikon stuck with the 1 series for another few years: the last Nikkor 1 lenses were launched in March 2014, with the Sony-sensored Nikon 1 J5 bringing down the curtain on the whole affair a year later. With the benefit of hindsight, a small-sensor Mirrorless system looks like a difficult sell, but you can't blame Nikon for trying to appeal to an audience that didn't want the bulk and inconvenience of a DSLR.
Nikon wasn't alone in creating a small-sensor mirrorless system it later abandonned.
Photo: Andy Westlake
Nikon didn't give up on Type 1 as a format, developing a trio of photographers' compacts in 2016 that were promoted and then withdrawn at the eleventh hour. But who knows, maybe these false-starts meant Nikon was able to get up-and-running that bit quicker, when it finally decided the mirrorless was the future for its core audience.
28 Years Later, a sequel to the 2002 zombie movie 28 Days Later, was reportedly shot using an iPhone 15 Pro Max. Wired did some investigating after seeing an on-set image shot by a paparazzo, and says that "the use of Apple smartphones as the principal camera system on 28 Years Later was subsequently confirmed to Wired by several people connected with the movie." This news comes shortly after Apple spent a considerable amount of time touting the iPhone's capabilities as a video camera during its iPhone 16 Pro announcement event.
Looking at the on-set image posted by Just Jared, you'd be forgiven for not immediately spotting the phone. Like with many 'Shot on iPhone' productions, it's buried beneath tons of gear, including what appears to be an external lens, monitor, matte box, and more.
The rig on the right of the image reportedly contains an iPhone.
Image: Just Jared
The movie's director, Danny Boyle, and cinematographer, Anthony Dod Mantle, are no strangers to using cutting-edge and sometimes unusual cameras to make their movies. In 2009, Dod Mantle's work on Slumdog Millionaire – also directed by Boyle – earned him the first Oscar for Best Cinematography awarded to a movie shot mainly using digital cameras instead of film. The pair also worked together on 127 Hours, a movie partially shot on Canon DSLRs.
Perhaps the most relevant precedent is 28 Days Later itself. Boyle and Dod Mantle shot much of it using the Canon XL1, a CCD camcorder that recorded to DV tapes. In the 2012 documentary Side By Side, Boyle talks about how using several of the relatively inexpensive cameras helped them shoot the iconic scene where Cillian Murphy walks through an empty and trashed London despite the production not having enough money to shut down the city.
Image quality-wise, the iPhone 15 Pro – which can shoot Log footage at 60fps in ProRes – is vastly superior to the XL1. Talking about shooting 28 Days Later in Side By Side, Boyle reminisced, saying, "if you were in a wide shot with a small figure in it, they were just two or three pixels. I mean there was nothing there, there was just the color."
Still, shooting 28 Years Later with iPhones is an interesting choice. The original movie had an estimated budget of around $8 million – that wasn't a lot of money to shoot a film with in 2002, so it's easy to see why they didn't want to spend a ton on camera gear. 28Years, meanwhile, has a reported budget of around $75 million.
While that's relatively modest by today's standards, entry-level cinema cameras have gotten so inexpensive that the crew almost certainly could've afforded them if they'd wanted to use them. For reference, the 2023 sci-fi film The Creator had an estimated budget of around $80 million and was famously shot using a Sony FX3. Alex Garland, the writer of 28 Days Later and 28 Years Later, also recently shot a $50 million movie that made use of the DJI 4D-6K.
We likely won't know why this decision was made until the crew publicly acknowledges the iPhone's role in filming, but when they do, they'll likely talk about it extensively. The decision to shoot on smartphones has historically been a big focus in the PR cycle leading up to the release of films shot on them, such as 2015's Tangerine or 2018's Unsane.
According to Wired, the iPhone wasn't the only camera used to shoot 28 Years Later: unspecified action cameras were also used to film scenes involving farm animals. The outlet says Apple was informed the production would be using iPhones and that the company "provided technical assistance to the moviemakers."
Things have been a bit calmer around the DPReview offices this week, but we've still found a range of new accessories that have hit the market. Before we get to those, though, let's check out the deal of the week:
Old but Gold
If you were hoping that the arrival of the Canon EOS R5 Mark II would make it easier to get the original EOS R5, you're in luck. The camera, which received a Gold award when we reviewed it in 2020, is currently $500 off the list price. You won't be getting the latest and greatest features the Mark II has, such as a stacked sensor for faster shooting, 8K/60 video, or Eye Control AF, but you'll also be saving $1,400.
Another Gold winner from Canon, the EOS R6 Mark II, is also $500 off its MSRP. It's an all-around solid enthusiast-tier full frame camera, and a great deal at $2,000 body-only.
The Envoy Ultra is for people who need to move a lot of data in a little time.
Image: OWC
OWC has announced the Envoy Ultra, which it says is the 'first and fastest Thunderbolt 5' external SSD. According to the company, the drive, which comes in 2TB and 4TB versions, can operate at a blistering 6000MB per second.
Of course, finding a computer that can take advantage of that speed may be difficult – you could count the laptops equipped with Thunderbolt 5 on one hand – but if you plug it into a Thunderbolt 4 computer, you can be sure you're maxing out the port.
The one quirk is that the drive uses a built-in cable rather than a detachable one. On one hand, that means you won't have the frustrating experience of showing up with your SSD but realizing you left the cable to connect it at home. But on the other, it is a bit of a weak point on a drive advertised as 'waterproof, dustproof, and crushproof.' If the cable breaks, you won't be able to simply replace it.
The Envoy Ultra is available for pre-order on OWC's website, and the company says it'll ship in 'late October.' The 2TB model is $399.99, and the 4TB one is $599.99.
On-the-go power
Put your batteries in this battery.
Image: llano
This week, FStopperswrote about an accessory that's not exactly new but could be useful: a battery bank with two slots for Canon LP-E6NH batteries.
The company that makes the gadget, llano, says it can recharge two batteries in two hours. It also includes two USB-C ports that can either be used to charge the bank itself or to charge other devices, such as your phone.
At $109, it's certainly not the cheapest battery bank out there, and it is worth noting that many cameras these days can directly charge from a regular battery bank via USB-C. There are also third-party LP-E6NH batteries from brands like K&F Concept that have USB-C ports built into them, so you don't need a special charger to recharge them.
However, if you're not looking to buy more batteries and your camera can't charge via USB-C, this could be a good way to keep your camera going while away from a plug. The brand also makes power banks for Canon LP-E17 batteries, Fujifilm NP-W126S and NP-W235 batteries, and Sony NP-FZ100 batteries. One thing to note if you're shopping around on llano's Amazon site is that it also makes regular battery chargers that don't have power banks built-in and thus need to be plugged into the wall to charge your batteries.
ProMaster has updated its lineup of Jasper camera bags, adding a new size of satchel and a rolltop pack. The company says it's redesigned the main compartment, adding sewn-on accessory pouches to the removable insert. The bags also include straps fitted with quick-release buckles to hold a tripod. The bags all have a water-resistant treatment and include a rain cover.
The lineup now includes a $99 'small' 4L satchel, a $119 'medium' 6.8L satchel, and a $139 'large' 10L satchel, which ProMaster says can carry a 16” Macbook Pro along with a camera, lens, and other accessories.
Image: ProMaster
The new rolltop pack costs $159 and has 7.5L of space in its main compartment, with up to 9 additional liters in the rolltop section. Like many camera-focused backpacks, your actual camera gear is stored and accessed on the side of the pack that's facing your back, which adds an extra layer of security.
ACD Systems has announced a new version of its photo editing and organization software, ACDSee Photo Studio Ultimate 2025. As with many products this year, the main selling point is AI – the software now includes an AI-powered upscaling and noise reduction tool, which can be GPU accelerated alongside the rest of Photo Studio's AI features.
The company also says it's improved its AI selection mask and sky replacement tools. Outside of AI, the company has also added tabs to Photo Studio's management mode, the ability to easily copy a file's path, and an activity manager.
A lifetime license for the software, which is set to be released later this month, currently costs $149.99 from the company's website.
Keep an eye out
This week, Petapixel covered a company that's making an electronic variable diffusion filter. While this type of tech has been around for ND filters for a while, this is reportedly the first time it's being used to give footage a dream-like glow rather than to darken it.
The tech is made by LC-Tec, and likely won't be commercially available until next year. When it does hit shelves, though, it could be a way to get a very cool effect when shooting videos.
Shooting for the New York Times
Finally, let's round out this roundup with an educational opportunity – because what is improving your camera setup if you're not also improving your photography skills? This week's piece of photography content comes from YouTuber Justin Mott, who recently released a video detailing how he approached a portrait assignment from the New York Times (via Fstoppers). The video mainly focuses on process, going into detail on planning the shoot, working with the subjects and organizing the photos for delivery afterwards.
For those who are more into cinematography, YouTuber Luc Forsyth recently made a video going over how he packed and prepped his gear before heading out to work as a director of photography on a relatively high-budget shoot. It also has a fair number of tips that could be useful for working photographers as well.
HASSELBLAD UNVEILS THE X2D 100C EARTH EXPLORER LIMITED EDITION, AN EXCLUSIVE KIT FOR ADVENTUROUS PHOTOGRAPHERS
The Limited Edition Includes a Hasselblad X2D 100C Camera Body, XCD 55V Lens and Accessories
The Hasselblad X2D 100C Earth Explorer Limited Edition is a unique kit designed for photographers who explore and capture the beauty of Earth's natural landscapes. Limited to 1,000 units worldwide, this exclusive edition combines the exceptional features of the Hasselblad X2D 100C with a Tundra Brown exterior, a color inspired by the Nordic landscapes.
Tundra Brown, a hue native to Hasselblad's homeland, stands out among the captivating spectrum of colours found in the natural world. Daring adventurers search out unique colours like this, venturing into extreme environments with courage and determination, capturing the extraordinary with unwavering dedication. Utilizing the Hasselblad Natural Colour Solution (HNCS), they accurately depict the shades of the Nordic tundra and other landscapes, inviting a broader audience to admire nature’s allure and distinct hues.
EMBARK AND DISCOVER WITH THE EXPLORER KIT
Designed to honour the spirit of exploration and inspire the creative journey, the kit includes the Hasselblad X2D 100C Earth Explorer Limited Edition camera body, an XCD 2,5/55V lens, a limited-edition camera strap, UV filter, X System battery charging hub, and two X System batteries. These accessories provide users everything they need to embark on their next great adventure right away.
NATURE'S PALETTE - TUNDRA BROWN
Inspired by the resilient ecosystem of the Nordic tundra, where life thrives in harsh conditions, the Tundra Brown colour embodies the spirit of perseverance that Hasselblad aims to convey with the Earth Explorer Limited Edition. The colour melds the grey-green of the arctic vegetation with the deep brown of the soil, reinforcing the minimalist elegance of the camera's metal body.
EXCLUSIVE FEATURES AND DESIGN
Each kit features a laser-engraved "Earth Explorer" and a unique serial number from 0001 to 1000 on the side of the camera body, ensuring a one-of-a-kind identity. The unique "Earth Explorer" start-up screen heralds the start of an extraordinary creative journey whenever the camera is turned on.
The exterior of the kit's limited-edition strap is made from eco-friendly recycled plastics interlaced with traditional weaving techniques. The interior uses high-tech, soft, skin-friendly fabric for outstanding performance, lightweight comfort, and easy maintenance. It features hand-embroidered "Hasselblad" text on its exterior and a precision laser-engraved "Earth Explorer" on the interior.
The Hasselblad X2D 100C Earth Explorer Limited Edition is priced at USD $13,999 / EUR €14,999 and is available to purchase online and at selected retail stores worldwide.
CIPA (Camera & Imaging Products Association in Japan) published their latest camera production data (orange: 2024, black: 2023, blue: 2022):
July 2024 CIPA numbers by ZoetMB
(All comparisons to YTD 2023) Narrative: July 2024
Highest shipments of the calendar year so far for DSLRs, Mirrorless, Compacts and Lenses for cameras with smaller than 35mm sensors. But cumulatively, DSLR units are down 38% compared to 2023 and lenses for smaller sensors are down 3.2%.
CIPA has predicted 5.89m ILCs, 1.52m compacts and 9.57m lenses for calendar 2024. Based on 2023 shipping patterns, ILC’s could conceivably come in at 5.9-6.5m units. (That’s higher at the low end than we predicted last month). That compares to:
A list of participating CIPA companies can be found here.
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The X100 didn't hit the shelves until early 2011 but it generated interest from the moment it was announced.
Photo: Andy Westlake
As part of our twenty-fifth anniversary, we're looking back at some of the most significant cameras launched during that period. Without question, the Fujifilm FinePix X100, announced fourteen years ago today, is one of those cameras.
It wasn't the first large-sensor fixed lens compact: that honor goes to Sigma's DP1, which squeezed one of its 20.7 x 13.8 mm Foveon chips into a small, minimalist body, but it was the first to really catch the collective photography imagination.
Back in 2010, the first Mirrorless cameras were arriving, so you could buy a Panasonic GF1 with the company's 20mm F1.7 lens or an Olympus PEN, also with the Panasonic 20mm F1.7 if you had any sense. But those were the only options if you wanted a small camera with good image quality. Both were, at that point, very obviously a technology and lens system that was still developing.
Beyond these you only really had two choices: you could buy a DSLR if you wanted a Four Thirds sensor or anything larger, or an enthusiast compact based around a Type 1/1.7 chip (7.4 x 5.6mm), which was, at best, one-fifth of the size. Maybe a Type 2/3 (8.8 x 6.6mm) if you were really lucky, but that's still a two-stop difference compared with the smallest-sensor DSLR, simply because the sensor is no better than 1/4 the size. But even the smallest DSLRs weren't particularly small, especially once you put a lens on them.
With its APS-C sensor and F2 lens, the X100 had an immediate image quality benefit over any existing compact camera, and its self-contained nature meant it made more sense as a second camera for DSLR owners who didn't want to have a foot in two lens mounts by becoming a Mirrorless early adopter.
Then there were its looks. These may not play a part in the end images (though the "is that a film camera?" response from bystanders wasn't a bad way to raise the idea of taking their photo), but they made the camera look and feel a bit special. And who ever said photography is a pursuit based on cold rationality?
This is probably what people mean when they refer to 'classic styling.'
Photo: Andy Westlake
So the X100 had appeal on multiple levels: it was one of the smallest cameras to offer such high image quality, it would work alongside other systems without complicating your commitments, it looked good and took really good-looking photos.
It was also, at launch, recognizably a work in progress. Our original review had a page dedicated to bugs and odd behaviors, many of which got ironed-out over a series of firmware updates. It was slow, it was quirky and yet it caused an awful lot of photographers to fall in love with it.
I still have my original X100 and will sometimes still use it (which probably wouldn't have been the case were it not for the significant improvement in autofocus that came nearly three years after its original launch). After fourteen years it really shows its age, and my experience is somewhat spoiled by having spent a considerable amount of time shooting with its five successor models.
The X100 (Rear) has long ago been superseded but its most recent descendent, the X100 VI (Front) is still very much in demand.
Photo: Richard Butler
We've seen many attempts by other manufacturers in this space: Leica's APS-C X series pre-dated the X100 but seems to have been superseded by the full-frame Q models, while the 28mm equiv Nikon Coolpix A and X70 and XF10 from Fujifilm seem to have fallen by the wayside. Only Ricoh's move of its much-loved GR premium compacts to APS-C seems to have had anything like the longevity of the X100 series. And, while there's plenty of skepticism from people who aren't 35mm equiv fans and those put off by its recent five minutes of fame on TikTok, the X100 started a series that's still very much in demand, fourteen years later.
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