Composite image of Nikon Zf product rendering and Nikon Grain Effect sample photo.

Nikon has just released firmware v3.0 for its Zf classically styled full-frame mirrorless camera, adding a grain effect option and other updates, including a JPEG-only 'C15' 15fps burst mode and UVA/UAC tethered webcam mode.

The latest firmware brings the grain effect we got a chance to preview, earlier this month, as one of what the company says are more than twenty upgrades and enhancements. Nikon has not shared details of all these changes, but it does say they include additional on-screen frame guide options, an option to apply focus peaking only when live view is magnified and an option to manual focus the lens wide open, regardless of capture aperture.

Click here to see our Nikon Zf Grain Effect samples

In addition, Nikon says it's added an option to its EVF/LCD auto switching system so that the rear screen doesn't black out if something gets too near the eye sensor when the screen is folded out from the body.

The grain effect option is the biggest update, though, bringing the choice of six intensities of grain and three sizes. Nikon says the pattern constantly changes so that each image looks distinct and video has a convincing randomness to the grain's appearance.

The firmware can be installed via Nikon's SnapBridge software and there's now an option to have it automatically install updates via the Nikon Imaging Cloud service. You can set a time of day at which the camera checks for updates and, if turned off and connected to a power source, it will download and install the firmware.

Nikon Zf firmware v3.0 is available (free) immediately.

B&H Photo is currently listing a new, not yet announced AstrHori 9mm f/2.8 APS-C lens for E/X/Z/RF/MFT mount:

Check the official website for any updates.

Announced: new AstrHori AF 85mm f/1.8 Mark II full-frame lens for E/L/Z

Via CanonAddict

The post New AstrHori 9mm f/2.8 lens already listed for sale at B&H Photo (E/X/Z/RF/MFT mount) appeared first on Photo Rumors.

Canon is already teasing the announcement of the long-rumored Canon EOS R6 Mark III for November 6th at 1:00 am EDT (see the latest R6 Mark III rumored specifications):

The latest Canon rumors

Canon RF 45mm f/1.2 STM Details

The post The first Canon EOS R6 Mark III teaser is already out (November 6th announcement) appeared first on Photo Rumors.

The Sigma 135mm f/1.4 DG Art lens for Sony E and Leica L mount is now in stock at:

• US: B&H Photo
• UK: WEX Photo
• DE: Foto Erhardt

The post The Sigma 135mm f/1.4 DG Art lens is now in stock (E+L mount) appeared first on Photo Rumors.

Google's newest Pixel 10 smartphone (right) gained a dedicated telephoto camera module, similar to Google's Pixel Pro models. Image: Google

When Google announced its new Pixel 10 smartphone with a new telephoto camera, giving it a triple-camera array similar to the Pixel 10 Pro, it positioned it as an upgrade over the dual-camera systems of its predecessors. However, as we reported at launch, Google made some cost compromises to squeeze that third camera into the phone: the main and ultrawide cameras were downgraded compared to previous Pixel models.

In a world where new phones generally arrive with better cameras than their predecessors, this raises a key question for owners of models like the Pixel 7, 8 or 9: is upgrading to the Pixel 10 for its telephoto camera worth the compromise?

To find out, we conducted side-by-side photo comparisons of the Pixel 9 and Pixel 10 across various lighting conditions.

Pixel camera hardware

Comparing the camera specs of the last four Pixel models reveals a significant shift by Google with the Pixel 10. Moving left to right in the table below, we've marked any camera modules that notably improved upon earlier generations in green. Camera models downgraded relative to previous generations are marked in red.

Editor's note: To make comparisons more straightforward, all focal lengths in this article are listed as full-frame equivalents.

Main camera: The Pixel 7, 8 and 9 used a Type 1/1.31 (72mm²) sensor like the ones used on Google's Pixel Pro models and similar to those on recent iPhone Pro models. In contrast, the Pixel 10 uses a Type 1/2 (31mm²) sensor, which has less than half the surface area of the earlier models. A smaller sensor captures less light, creating a disadvantage in low-light conditions that even advanced image processing can't overcome.

Ultrawide camera: The Pixel 10's ultrawide camera is also smaller than its recent predecessors, and 30% smaller than the ultrawide sensor in the Pixel 9. It's also a 13MP sensor, similar to the Pixel 7 and 8's 12MP sensor, but falls behind the Pixel 9's 48MP Quad Bayer sensor that facilitates additional computational processing to improve image quality.

Telephoto camera: The Pixel 10 is the only model in this group with a dedicated 5x telephoto camera module. But don't get confused; it's not the same telephoto camera module found on the Pixel Pro models, which use a larger sensor.

However, it's worth noting that modern smartphones are based on computational photography: a larger sensor (if it's combined with a bright lens) should yield better results, but a smaller sensor might be able to keep up if newer algorithms can combine more images. All things being equal, a larger sensor should be better, but since the computational component of smartphone cameras is somewhat opaque, all things may not be equal. So, we'll need to look at photographic tests to see how the cameras compare.

Photographic tests

We took matched photos using the Pixel 9 and Pixel 10 across a variety of lighting conditions to find out how the Pixel 10's new triple-camera array stacks up to its predecessor's dual-camera configuration. A sample gallery with all of these side-by-side photos, and more, is included at the end of the article.

Daylight: main camera

In bright light, the main cameras on both phones deliver broadly similar results, at least when viewed on a small screen. At 100% view, however, it's clear the Pixel 9 retains more detail than the Pixel 10. Whether that's a function of the smaller sensor, the lens, or a combination of the two is hard to tell, though in some photos the Pixel 10's lens exhibited slightly more chromatic aberration than the Pixel 9.

Winner: Pixel 9

A close-up view from the main cameras on the Pixel 9 (left) and Pixel 10 (right). The Pixel 9 manages to capture more detail. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: ultrawide camera

The difference between the ultrawide cameras is more dramatic. Even in bright sunlight, the Pixel 9's ultrawide camera is sharper and retains noticeably more detail than the Pixel 10. The differences can become even more apparent when you get close to the corners.

Winner: Pixel 9

A close-up view from the ultrawide cameras on the Pixel 9 (left) and 10 (right). The Pixel 9 retains noticeably more detail even in bright sunlight. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: telephoto camera

Things get interesting when we look at the Pixel 10's headline feature: the new 5x telephoto camera module, a feature absent on the Pixel 9. Instead, the Pixel 9 simulates a 5x camera using a crop of the main camera's sensor. Google markets this as "optical quality zoom," but take that claim with a serious grain of salt.

(Note that while Google describes both models' telephoto settings as "5x," the 110mm equivalent camera on the Pixel 10 is actually 4.6x longer than the main camera, which explains the wider field of view in the comparison shots below.)

A close-up view from the 5x "zoom" on the Pixel 9 (left) and the 5x telephoto camera on the Pixel 10 (right). Look closely at the text on the signs, and you can see that AI upscaling techniques used on the Pixel 9's 5x mode don't quite live up to Google's claims of "optical quality" zoom. Click to view the full-sized images: Pixel 9, Pixel 10

As we've explained previously, cropping is not "optical quality zoom," and while the linked article is about iPhones, Google employs the same basic approach, using AI and computational techniques to maintain image resolution.

A look at the close-up images above quickly reveals the limits of this approach, particularly on the text of the signs in the window. In the Pixel 9 image, much of the text morphs into quasi-hieroglyphics. In contrast, the Pixel 10's dedicated 5x telephoto camera retains perfectly legible text. You'll see similar effects on other subjects, but it's particularly noticeable whenever there's text in a scene.

Winner: Pixel 10

High dynamic range

Both models handle HDR (high dynamic range) scenes well, allowing photos to appear more realistic when viewed on HDR displays, such as those found on smartphones. The Pixel 9 retains a bit more detail, but the most noticeable difference is in the processing, where the Pixel 10 tends to lift shadows a bit more aggressively.

On a smartphone screen, HDR images from both models look good. Note that the versions you see here have been flattened to fit an SDR display, so while they do look a little different, it's not the best way to compare photos intended to be viewed using an HDR screen. To really see this difference, you'll need to download the original, full-sized images to a device with an HDR display to compare them.

Winner: Pixel 9 (by a hair)

HDR images from the Pixel 9 (left) and 10 (right) differ in processing, with photos from the Pixel 10 generally having a flatter, more HDR "look" to them. Click to view the full-sized images: Pixel 9, Pixel 10

Night Sight: main camera

Google's Night Sight feature is designed to help smartphone photographers get better results in low light. The Pixel 9's sensor, which has more than twice as much surface area as the Pixel 10's, can make a big difference, and Night Sight photos from the Pixel 9 consistently outperform those from the Pixel 10.

The photo I chose to illustrate this point pushes both cameras to their limits. Upon closer inspection, both images look like watercolor paintings, but the Pixel 9 exhibits less noise and retains more information in the shadows rather than crushing them to black, and the Pixel 10 essentially obliterates all but the most prominent stars. Both cameras can deliver better Night Sight photos in less challenging situations, but the relative performance remains the same.

Winner: Pixel 9

A close-up of Night Sight photos from the main cameras on the Pixel 9 (left) and 10 (right). Neither camera exhibits stellar results in this challenging scene, but the Pixel 9 exhibits less noise and holds onto information in the shadows rather than crushing them to black. Click to view the full-sized images: Pixel 9, Pixel 10

Night sight: ultrawide camera

Night Sight, using the ultrawide cameras with their much smaller sensors, pushes the limits of computational photography even further. The Pixel 10 is particularly challenged because it has a smaller sensor and a slower aperture, giving it about 40% of the light-gathering ability of its predecessor. That difference is clearly visible in Night Sight photos, with the Pixel 9 easily outperforming the Pixel 10 in almost all scenarios.

Note that the Pixel 7 and 8 ultrawide sensors are closer in size to the Pixel 10 (though still about 20% larger), so the difference in performance won't be quite as dramatic.

Winner: Pixel 9

A crop of Night Sight photos from the ultrawide cameras on the Pixel 9 (left) and 10 (right). Both cameras struggle here, but the Pixel 9's 50% larger, Quad Bayer sensor handily outperforms the Pixel 10. Click to view the full-sized images: Pixel 9, Pixel 10

Low light portrait

People photos and portraits represent one of the most common uses for any smartphone camera. We love to take photos of each other, and it frequently happens indoors and in low light.

The Pixel 9's larger sensor wins out here, producing more natural, less pixelated-looking textures and skin. Whether that's important depends on how you plan to use the pictures. If you're sharing photos with people who will primarily look at them on smartphones, it might not. If you want to make a print, it will.

Winner: Pixel 9

A close-up of a low-light photo taken in portrait mode on the Pixel 9 (left) and 10 (right). The Pixel 9's larger sensor allows it to retain more natural-looking details. Click to view the full-sized images: Pixel 9, Pixel 10

Conclusion

While the Pixel 9 came out on top in all but one of the head-to-head comparisons, the choice between the newest Pixel and its recent predecessors is nuanced, and the best option depends on your priorities.

The Pixel 10's dedicated telephoto lens makes the camera more versatile for social media use, and could be a key factor for anyone who uses the telephoto feature a lot, handily outperforming the virtual 5x camera on earlier models. If flexibility outweighs absolute image quality, it could be a good option.

But physics matters, and you're more concerned about absolute image quality, the larger sensors and faster ultrawide lens on the Pixel 9 give it a clear edge. The Pixel 7 and 8 retain that advantage on the main camera, but the difference in ultrawide modules is less pronounced.

What's clear is that Google made a strategic decision to further differentiate the base model Pixel from the Pixel Pro models. Rather than giving Pixel owners the same cameras as the Pixel Pro, but fewer of them, it's setting up the Pixel Pro as the go-to choice for serious photographers while giving Pixel owners a more versatile solution, but at some cost to image quality.

The latest Canon Q3 financial report confirms that Trump’s tariffs continue to be an issue for companies:

• Profit down due to tariffs in Q3, but thanks to an increase in net sales and effects from last year’s sales structure review, sales and profits up YTD
• In our markets, additional U.S. tariffs and geopolitical risks led to trend of postponed investment greater than in Q2

Additional information on the Canon Imaging division:

Financial Results

For the Imaging Group, we posted strong sales growth of entry-level interchangeable-lens cameras such as the EOS R50 and EOS R100, particularly in China and Asia. Sales of compact cameras also expanded thanks to a substantial increase in supply through increased production in response to strong demand. As a result, overall camera net sales increased 5%. For network cameras, we posted a net sales increase of 8% as sales remained solid. As a result, Imaging Group net sales increased by 5.9%.

Financial Projection

For the Imaging Group, starting with cameras, we aim to increase net sales by 9% for the full year. In the fourth quarter, in addition to entry-level interchangeable-lens digital cameras and compact digital cameras, where demand is strong, we will work to expand sales of full-frame interchangeable-lens digital cameras during the year-end selling season. As for network cameras, we aim to increase net sales by 17% for the full year, supported by continued steady market growth in each region. As a result, we expect Imaging Group sales to grow at a double-digit rate as it aims for 1 trillion yen in sales.

Cameras

As for the interchangeable-lens digital camera market in 2025, through the aggressive sales promotion of each company to stimulate demand, particularly in the unit sales of entry-level models, we expect the market to grow 6% to 6.8 million units compared to last year.

In the third quarter, we posted steady growth in camera sales, particularly in China and Asia. As a result, camera net sales increased by 4.6%, further exceeding the high level of sales in the same period last year, which was boosted by the launch of the EOS R5 Mark II, a full-frame mirrorless camera.

Amid growing demand for entry-level mirrorless cameras, we posted strong sales growth as new camera users, including young people looking to step up from smartphones, chose our EOS R50 and EOS R100. Sales of our new EOS R50 V and PowerShot V1, which were launched in the second quarter of this year, also increased due to favorable reviews from users who shoot videos for SNS and Vlogs. As for compact digital cameras, for which demand is increasing, we expanded sales through a substantial increase in product supply by expanding production.

In the fourth quarter, for the year-end selling season, during which demand for cameras is at its highest, we will increase sales of entry-level interchangeable-lens digital cameras through promotional activities and expand sales of full-frame models and interchangeable lenses.. As for compact digital cameras, for which demand is growing, particularly among young people,
by further increasing production, we plan to double our unit sales from the third quarter and increase our net sales of cameras by 8.4% for the full year. (Source)

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Image: Apple

Adobe's Project Indigo, a powerful camera app for iPhone, is finally available for the iPhone 17. Despite Apple releasing the iPhone 17 over a month ago, Project Indigo wasn't previously compatible with the new phone, reportedly due to the front-facing camera.

A post on Adobe's forum on October 16, as reported by The Verge, shared that the company had issues when developing support for the new iPhone 17 series of phones. "We have run into some issues, especially with the front camera," the post from product manager Boris Ajdin said. "Some of them we flagged to Apple, who have made a fix and will ship it with iOS 26.1. Sadly, that means we need to consider disabling the front camera in Indigo until that version of iOS is shipped."

A screenshot of the App Store update on the Project Indigo page.

For context, the iPhone 17's front camera uses a square multi-aspect ratio sensor, which isn't typical for smartphone cameras. The square sensor allows users to capture landscape or portrait photos and videos without rotating the phone. However, it also apparently complicates things for camera app developers, at least in the case of Adobe's app.

It appears that Adobe has now solved some of those issues. Over the weekend, Adobe's Chris Welch shared on Threads that Project Indigo is now ready for the iPhone 17. Welch shared a screenshot of the App Store listing, which says it required lots of "grinding, sanding, welding and polishing."

While the app is functional on iPhone 17s now, the selfie camera is currently disabled. The App Store description for Project Indigo says that front camera support for 17-series devices will be added in the next version of the app, which will come after Apple publicly releases iOS 26.1.

In addition to the new a7V camera, Sony is also rumored to announce three new lenses in the upcoming months:

• Sony 100-400mm f/4 GM II (replacement for the current Sony FE 100-400mm f/4.5-5.6 GM OSS)
• Sony 100-400mm G (variable aperture, very lightweight)
• A new f/2 aperture ultra-wide-angle zoom (hint: a third-party manufacturer has a lens with the same focal length, but only with an f/2.8 aperture – Sony 16-28mm f//2 GM maybe?)

Regarding the camera bodies, Sony is reportedly going to release “bad” camera modes in the next two to three years:

New Sony price drops before the a7V announcement: a7RV now $900 off, a7IV now $700 off

Via camerainsider

The post Sony is rumored to announce three new lenses, boring cameras expected in the next 2-3 years appeared first on Photo Rumors.

Here is what else is new:

Today only: get an additional 5% off on OM System gear in Europe on top of the current discounts

PPP Cameras released a new Leica M10/M10-P V2 screen cover with an integrated thumb grip

Leica M11-P Safari and Q3 43 cameras added to the CCD Sensor Corrosion Upgrade Program

2025 Tamarkin Photographica Auction: online bidding is now open

Canon RF 45mm f/1.2 STM Details

The post Wjat else is new? appeared first on Photo Rumors.

Peak Design introduced new Form camera straps (fixed-length, full-grain or woven nylon rope straps available in multiple sizes and three different colors). The new collection is available for sale at B&H Photo. Here are the details:

Form Rope Straps (MSRP: $49.95)

• Made from a custom braided nylon and polyester rope that provides strength, padding, and stretch, terminated in glass-reinforced nylon Anchor housings.

Form Leather Straps (MSRP: $79.95)

• Crafted from premium ECCO full-grain leather with machined aluminum hardware and a custom sealed finish on the bottom of the strap to provide an optimal balance of glide and grip.

Sizing

• Cuff: 8.6″
• Neck: 30.9″
• Short: 40.75″
• Standard: 46.65″
• Long: 52.55″

Field Plate (MSRP: $39.95)

• Reimagines the traditional camera plate with a pop-up thumb screw that lets photographers apply real torque-no coins or tools required. Fully compatible with Peak Design tripods, Capture clips, straps, and most Arcatype heads.

Additional information:

Peak Design Unveils All-New Minimalist Camera Straps and Custom, Tool-Less Field Plate

Available in woven nylon rope or full-grain leather, Form straps feature Peak Design’s most refined connection system to date

San Francisco, CA – Peak Design, the global leader in camera carry solutions and accessories, announces the launch of an all-new family of minimalist, fixed-length camera straps: Form Rope straps and Form Leather straps. Available in multiple lengths and colors, the Form Strap line is joined by the Field Plate, a next-generation tool-free, thumb-drive camera plate engineered for fast and secure attachment to ¼” -20 threaded camera bodies. Field Plate is fully compatible with Peak Design tripods, Capture clips, straps, and most third-party Arca-type heads.

The new Form straps bring Peak Design’s renowned Anchor Link quick-connection system to its cleanest and most elegant design yet. Ultra low-profile hardware is integrated directly into the strap ends with no visible stitching, O-rings, or bulky connectors. The result is a minimal aesthetic with a faster, flatter connection that can hold up to 200lbs. and blends seamlessly into most any camera setup.

Form Rope straps are made from a custom braided nylon and polyester rope that balances strength, padding, and stretch, and are finished with glass-reinforced nylon Anchor housings for lasting durability. Form Leather straps are crafted from premium ECCO full-grain leather with machined aluminum hardware and a custom sealed finish along the strap’s underside to deliver a smooth glide with just the right amount of grip. Both leather and rope versions are offered in fixed-length neck and cross-body configurations, available in small, medium, and large sizes. Form Leather straps come in Black, Amber, and Tan, while rope straps are offered in black, Ocean (blue), and Kelp (green). Complementing the lineup, Peak Design is also introducing Cuff Leather and Cuff Rope wrist straps, which feature a one-size, quick-cinching design in matching materials and colorways.

Peak Design’s new Field Plate pushes traditional camera plate design into new territory. Instead of relying on coins, keys, or fold-out rings, the Field Plate features a pop-up thumb drive screw that lets photographers apply real torque with their hands alone. A simple press deploys the mechanism; twist to tighten or loosen; press again to stow. The intuitive design delivers a premium feel while maintaining Peak Design’s signature slim stack height and full compatibility with Peak Design camera accessories and most third-party Arca heads.

“For more than a decade, photographers around the world have trusted our quick-connecting camera straps, and it’s incredible to spot our little red Anchor Links almost everywhere cameras are carried, ” said Peak Design CEO and Founder Peter Dering. “The new Form straps are our distillation of that heritage into something streamlined, premium, and classic. And while we were at it, we took a fresh look at the humble tripod plate, resulting in the new Field Plate, which makes mounting your camera as simple as using your thumb.”

The Form Leather Strap is available in Long, Short, and Standard configurations (MSRP $79.95) and as a Neck Strap (MSRP $69.95). The Form Rope Strap is priced at $49.95 (Long, Short, Standard) and $44.95 (Neck). Cuff Leather Wrist straps are priced at $59.95, Cuff Rope Wrist straps at $39.95, and the Field Plate at $39.95.

The post Peak Design introduced a new line of Form camera straps appeared first on Photo Rumors.

Fujinon 13-33mm F3.5-6.3 OIS @ 33mm | 1/125 sec | F6.3 | ISO 160

The Fujifilm X-T30 III is a gentle refresh of the Mark II, bringing it into line with the other models in the lineup.

We shot a sample gallery in a Seattle autumn, to show how its images look. Although the camera itself is a fairly known quantity, its new, ultra-wide XC 13-33mm F3.5-6.3 OIS kit lens is a different story. We focused on this lens when putting the gallery together, to show how it performs.

Here is an updated list of the latest/upcoming/rumored Chinese lenses:

The Nikon Z-mount of the new Viltrox AF 85mm f/2 EVO lens will be announced on November 5th.

Viltrox will release the first two L-mount lenses in 2026:

• Viltrox AF 16mm f/1.8
• Viltrox AF 28mm f/4.5

New Meike AF 23mm f/1.4 lens coming soon.

Light Lens Lab will soon release a new LLL 35mm f/1.4 Aspherical “11873” lens for M-mount.

Artralab 28mm f/2.8 lens for Leica M-mount.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design.

New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.

New Yongnuo 18mm f/2.8 full-frame autofocus lens.

New Yongnuo YN 56mm f/1.4 R DA DSM lens (RF mount version).

New Lee Works 28mm/2.8 lens for Leica M mount is coming (minimum focusing distance less than 0.4m).

New Viltrox zoom lens (Viltrox AF 35-50mm f/1.4 maybe?)

ZY Optics is expected to announce a new autofocus full-frame lens in the second half of the year.

New Dulens lens coming soon.

The post Updated list of latest/upcoming/rumored Chinese lenses appeared first on Photo Rumors.

The September Editors' photo challenge

The theme for our October Editors' photo challenge was "Fall Follies."

With the last wisps of summer in the air and days getting shorter, we challenged you to show us what makes fall special. From vibrant leaves to fall harvests and annual traditions, we asked you to show us what Fall Follies looks like through your lens.

Our community of DPReview photographers didn't disappoint, capturing nature's grand finale in a blaze of color. As usual, we were overwhelmed with great pictures – many more than we can present here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you want to participate in other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Fall in upstate New York

Photographer: mxzrevman

Photographer's statement: I was very lucky with the timing. The leaves were just perfect, and the weather was perfect with the sun at a nice height above the horizon. This was at Thatcher State Park outside of Albany, New York.

Equipment: Nikon Z5 + Nikon Nikkor Z 20mm F1.8 S

Day of the Dead

Photographer: JeffryzPhoto

Photographer's statement: In Mexico, this time of year means preparations for Day of the Dead, or Día de Los Muertos: the time when departed souls can return to visit loved ones left behind. Marigolds feature prominently, their color and scent helping to guide them.

Equipment: Fujifilm X-T4 + Fujifilm XF 8-16mm F2.8 R LM WR

Hidden gem

Photographer: JC-W

Photographer's statement: The Moselle, a river between Luxembourg and Germany, is a famous wine region. In October each year, you can find these beautiful grapes on the hillsides separating both countries.

Acer

Photographer: TheDispossessed

Photographer's statement: An acer, photographed in Durham Botanic Gardens, England. Capturing these leaves involves being there at the right time on the right day to get the light just right.

Equipment: Canon EOS 80D + Canon EF 70-300mm f/4-5.6 IS USM

Foggy fall in Norway

Photographer: hach

Photographer's statement: This photo was taken from the roadside overlooking a small farm. Underneath is the Tyrifjorden lake, covered by fog. The location is at Sollihøgda (Sunny heights), just north of Oslo.

Equipment: OM System OM-1 + OM System 40-150mm F4.0 PRO

Follow the colors

Photographer: RacingManiac

Photographer's statement: Early fall colors at the Kiyomizu Dera in Kyoto. I like the treeline, and the roof of the shops all lead to the pagoda on the opposite side of the footpath

Equipment: Sony a7 IV + Sony FE 70-200mm F4 G OSS II

Fall Sunset at Graveyard Fields

Photographer: Sam Bennett

Photographer's statement: Pink echoes in the valley of Graveyard Fields in Western North Carolina as the forest slowly heals itself year over year after the ravages of Hurricane Helene.

Equipment: OM System OM-3 + Olympus M.Zuiko Digital ED 12-45mm F4 Pro

Cypress trees

Photographer: Gman58

Photographer's statement: We were taking a fall road trip to visit friends in the mountains of Tennessee when I noticed these beautiful cypress trees, living in the water of the lake, at the terminus of the Ocoee River Gorge.

Equipment: Pentax KP + HD Pentax-DA 20-40mm F2.8-4 ED Limited DC WR

Joe Lay Reservoir, Grand Staircase, Utah

Photographer: MtnBikerCalif

Photographer's statement: I was fortunate enough to be in the Grand Staircase-Escalante National Monument in Utah with four friends, mountain biking the Great Western Trail. My OM-1 is too heavy and inconvenient while biking through tough terrain, but my new iPhone was great for photography and helped with navigation. I wasn't expecting the incredible fall colors of the aspens. They were the highlight of the trip. I'd never seen such expanses of golden leaves.

Equipment: iPhone 17 Pro

Autumn leaves

Photographer: SergeAP

Photographer's statement: Autumn is beautiful with its dramatic blend of vibrant, lush colors and the deep lyricism and silence of evening city parks, the already cold and damp air with the amazing taste of fallen leaves, and the warmth of melancholy memories of the past summer.

Equipment: Nikon D800

Fish and fog on the Rogue River

Photographer: Eric Hensel

Photographer's statement: I rarely arise before dawn, these days, with two exceptions: salmon fishing or a photography expedition. I managed to combine both pursuits on this particular morning, as I tried out a lens I had purchased from a local shop for twenty dollars. I couldn't believe my luck when I rested the lens on the handrail of the Depot St. Bridge in Rogue River, Oregon, just as a drift-boat was heading toward me in the fog.

Equipment: Sony a7 + Vivitar series-1 70-210mm f/3.5

Fall in Silverton

Photographer: Tough Gritz

Photographer's statement: When the Aspens bring out their fall display, they make for exceptional landscapes like this one on Highway 550 facing north from Silverton, Colorado, toward the town of Ouray, Colorado, on the Western Slopes of the Rocky Mountains.

Equipment: OM System OM-5 II + OMS 8-25 f/4 PRO

Short lens, long shot

Photographer: decentred

Photographer's statement: Shot way back when, on Kodachrome. The light was low, the ISO was 64, I was crouched down, elbows tucked in, holding my breath, dialing in some self-timer to get the mirror slap out of the way early, and shooting at maximum aperture.

Equipment: Nikon FE + Nikkor AI 35mm

Autumn view of the valley

Photographer: cbf_si

Photographer's statement: The creeping morning mists herald the arrival of winter. But first, nature delights us with an explosion of autumn colors. Photographed from Mount St. James (Sv. Jakob) in Slovenia.

Equipment: Sony Alpha a99 + Minolta AF 35-70mm F4

Happy family

Photographer: wim

Photographer's statement: I'm always amazed by the shapes of leaves. They're all different, just like people. I found these personalities and happily placed them side by side.

Equipment: Fujifilm X-T1 + Fujifilm XF 35mm F1.4 R

Autumn

Photographer: Robert_Schild

Photographer's statement: On a walk through the woods, I came across these branches climbing up trees with a display of beautiful autumn colors. It was still early autumn, and most trees were still green, but these leaves stood out.

Equipment: Pentax K-1

Fall color, Eastern Sierra

Photographer: REHS

Photographer's statement: When you hear the words "near peak," you need to make your reservations, cancel pending appointments, and activate your back-up coverage. Charge your batteries, pack the essentials, and pray for good weather. And then, get there early!!! It all fell into place this year, but the only show seemed to be in the area just west of Bishop, California. I'm so grateful that I didn't miss this event!!! Yaahoo!!!

Equipment: Nikon D850 + Nikon AF-S Nikkor 24-70mm f/2.8G ED

In the spotlight

Photographer: more cow bell

Photographer's statement: After some morning rain showers, a shaft of sunlight spotlights a fallen leaf whose journey from treetop to earth was interrupted by a tangle of branches.

Equipment: Fujifilm X-T2 + Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR

Yoshino colours

Photographer: gnohz

Photographer's statement: Many photos taken here depict a snowy night scene with street and building lights leading to the main Zao Hall building of the Kinpusen-ji Temple (at top right), so I opted for a different take to show the splendid autumn colors instead.

Equipment: Nikon D850 + Nikon AF-S Nikkor 85mm F1.4G

Equipment: Nikon D610

Old tree

Photographer: brian505

Photographer's statement: I captured this photo in a forest back in 2015, showing a giant beech tree that, I was told, might be around a 100 years old. Its trunk was so wide that it would take about four people holding hands to circle it completely.

Equipment: Nikon D7000

The M EV1 is, perhaps, the exception that proves the rule, in the sense that by not conforming the existing pattern it helps clarify the pattern that otherwise exists. Photo: Richard Butler

The very nature of hubris is, perhaps, that you can't recognize it in the moment.

When the Leica M11 was launched, I mused that the increased versatility and precision offered by its live view system might risk making the optical viewfinder and rangefinder design look irrelevant. Having now used a camera shorn of those features, I appreciate their value more than ever.

But there was another, unexpected, prompt for self-reflection when it came to working out how to describe the M-EV1. Namely: is it a Mirrorless camera?

What is a Mirrorless camera?

It's generally been our position that rangefinder cameras aren't Mirrorless. Somewhat facetiously, I've sometimes pointed out that the rangefinder optics themselves typically contain a mirror, but, more seriously, the point is that rangefinders existed for many decades before we ever had need to describe a camera as Mirrorless. And, given the way they are primarily used is radically different (manual focus via an optical viewfinder, rather than via a liveview feed from the sensor), it seemed unnecessary to retroactively include them in the class of cameras we were trying to give a name to.

The M EV1 throws a spanner in the works, though (or perhaps removes one). In every respect it operates like a Mirrorless camera being used in manual focus mode, so surely it's Mirrorless, in both the small and big 'M' senses. And, if it is, then, by extension, all Leica Ms are.

"When I use a word, it means just what I choose it to mean" - Lewis Carroll's Humpty Dumpty

And yet, that's not really how these things work. Mirrorless is an especially awkward example, in that it's become a noun but its origin is descriptive. But most people will recognize that it doesn't apply to literally any camera without a mirror, because that would include all compacts, smartphones and most cameras ever made. At which point we could probably just say 'camera.'

Having helped propose, promote and popularize the term 'mirrorless' in the first place, we're aware of it being an imperfect choice, but it's the one that's stuck. So while I look forward to the accusations of Humpty-Dumptyism, I think it's fair to say enough people recognize what's meant by it, and hence that it's legitimate to use it to mean what we intend, rather than what the word itself seems to imply.

Why do you call it full-frame?

This isn't the only instance of what sounds like an adjective being taken up as a noun in a way that shouldn't be taken too literally. The term full-frame came about because there was a period during which early DSLR users were pairing film-era lenses on cameras with sensors smaller than "35mm" film. Full-frame was a reference to the size of sensor that mimicked the dimensions of that film, using the full imaging circle for which those lenses were designed.

Yes, the German name for the "35mm" format translates as "small image." Award yourself 10 DPR points for trivia knowledge. Then deduct 20 if you think it's a useful contribution to a discussion about digital photography. Photo: Carey Rose

We only adopted the term because it avoids using milimeters to refer both to focal length and as a descriptor of a format, often in the same sentence. Somewhat ironically, the term "35mm" sensor itself also sounds adjectival, but in reality no part of a "35mm" sensor measures 35mm.

Again, there's little sense arguing over what the words might appear to mean: the majority of people using the term and hearing the term agree what it means. And that's the way language works. It doesn't matter if logically all systems are full-frame, because that's almost certainly not the meaning that's someone's attempting to convey, and it's not the meaning most people would take from it.

What constitutes medium format?

Apparently, there's still room to argue, even when the terminology doesn't appear to describe something specific. For example, the use of 'medium format' to describe formats larger than 35mm.

It's a definition that was already in widespread use, but that some photographers seem determined now to retroactively restrict it solely to formats used in the film era. This ignores the facts that the economies of scaling semiconductors are radically different (and are unlikely to ever make film-mimicking medium and large formats affordable), and that digital significantly outperforms film, so you don't need the same expanses of sensor to achieve excellent tonal quality and resolution.

Full-frame only directly mimics a film format because there were so many people with significant numbers of then-modern film lenses to prompt its continuation. Photo: Phil Askey

In my opinion, it's senseless to bind a new technology to the specifics of a dead one and insist on the creation of a new term, when 'medium format' serves perfectly well. Especially given that, as we've seen, the resultant neologisms such as full-frame and Mirrorless might prove even more objectionable.

Does it actually matter?

So what of the M EV1? Is it a Mirrorless camera? Sort of. Probably. Why not? You could see it as the exception that proves the rule, or recognize that it's a question to which the answer doesn't matter.

Rangefinders sell in such small numbers that it really doesn't matter whether the person speaking is including them, when they say Mirrorless, or whether the person hearing them assumes they are or aren't. Either way both probably know, from context, what was meant, so the distinction becomes irrelevant.

It's not just photographers who have this problem. The name for modern pedals that cyclists clip their shoes into? 'Clipless.' Photo: Richard Butler

The remaining ambiguity will leave room in the margins for someone to say "but what about the M EV1?" or "medium format only refers to 645 and larger."

But that brings us back to the issue of self-reflection. It's worth asking yourself: do you really believe the language is unclear, or that anyone's being misled? Or do you just want to beat someone over the head with a piece of arcane, esoteric knowledge that you happen to have acquired?

Earlier this week, Fujifilm released the X-T30 III, its latest entry-level, SLR-shaped mirrorless camera. It is a subtle update over its predecessor, adding a film simulation dial, more film simulations, updated video specs, a new processor and updated autofocus. The company also released a new kit lens, the XC 13-33mm F3.5-6.3 OIS. It offers a wider perspective than most kit lenses and will be familiar to those used to the ultrawide lens on their smartphones.

Editors Dale Baskin, Richard Butler, Mitchell Clark and Abby Ferguson sat down to talk about the new camera and lens. You listen to our discussion in the video above.

If you're looking for more information on the X-T30 III, check out our first look video and initial review. You can learn more about the lens in our separate article covering the announcement.

Here are the latest updates on Jeff Bridges’ WideluxX camera and pictures of the first prototype camera (check the original Widelux camera on eBay):

Handscrafted WideluxX prototype 0001, ©SilverBridges GmbH

WideluxX prototype 0001, presented by Charys Schuler, ©SilverBridges GmbH

Charys Schuler and Marwan El Mozayen with WideluxX prototype 0001 and Widelux F8, ©SilverBridges GmbH

• Introduction to the WideluxX Prototype: The WideluxX is a revived panoramic film camera developed by SilverBridges, a new company co-founded by SilvergrainClassics’ Editor-in-Chief Marwan El Mozayen, Developmental Editor Charys Schuler, and Jeff and Susan Bridges. It represents a significant milestone for analog photography as the first new handmade film camera designed to last generations.
• Historical Context: The original Widelux factory burned down 20 years ago, nearly ending production of the iconic Panon Widelux F8. This revival project aims to preserve its legacy, bridging the history and future of panoramic analog photography.
• Prototype Details: Prototype 0001 is a one-of-a-kind, handmade item built in Germany near Wetzlar. It retains the core DNA of the Panon Widelux F8 but includes numerous small improvements; however, it does not reflect the final production model’s appearance.
• Development Process and Challenges: The project involved intense effort (“blood, sweat, and tears”) and old-school craftsmanship. An engineer hand-built the prototype, emphasizing artisanal manufacturing over mass production.
• Unveiling and Presentation: The prototype was revealed via a special video at the International Association for Panoramic Photography convention in Minneapolis, Minnesota. The video features Jeff and Susan Bridges, with editing by Ethan Boehme and 16mm footage by Marwan El Mozayen.
• Key Quotes:
  • Jeff & Susan Bridges: “Twenty years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life. We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations.”
  • Marwan El Mozayen and Charys Schuler: “There will be many small improvements, but its DNA is still the [Panon Widelux] F8. We see ourselves as a bridge between the history and the future of analog photography. It’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with.”

Previous coverage of the WideluxX panoramic film camera:

WideluxX panoramic film camera update

Jeff Bridges is developing a new Widelux(X) panoramic film camera

Via Silvergrainclassics

The post Jeff Bridges’ WideluxX panoramic film camera prototype revealed appeared first on Photo Rumors.

Matt Granger published a new video interview with Sigma’s CEO Kazuto Yamaki – here are the latest updates on the Sigma Foveon X3 sensor with 1:1:1 technology:

Short recap

• Sigma is “still working on the development of the sensor” [17:00].
• Current status: The project is still in the “technology development” stage [17:11]. They have not yet started the design of the actual, final sensor [17:11].
• Focus: The team is currently working on the “design of the pixel architecture” [17:20].
• Delays: The project has been “a little bit delayed” [17:30] because as they test prototype wafers, they encounter “technical issues” [17:53].
• Development team: The sensor development is now being handled primarily by the Sigma Japan engineering team [18:02].
• Path forward: Mr. Yamaki mentions that the technical problems “have been narrowing down” [18:12]. Once the team is confident that the technology is ready, they will start the final sensor design and move toward production [18:23].

Long recap

The post The latest updates on the Sigma Foveon X3 sensor with 1:1:1 technology appeared first on Photo Rumors.

TTartisan announced a new AF 27mm f/2.8 “Polar White” limited edition lens for E-mount ($160). Orders are now open at the official online store that offers intentional shipping (check also B&H and Amazon).

TTartisan also announced a new AF 23mm f/1.8 APS-C lens for Nikon Z mount ($127). Orders are now open at the official online store (check also B&H and Amazon).

The post New lenses from TTartisan: AF 27mm f/2.8 E “Polar White” limited edition & AF 23mm f/1.8 Z appeared first on Photo Rumors.

Image: Just_Super / E+ via Getty Images

For over a quarter of a century, DPReview's forums have been home to some of the most insightful discussions about digital cameras and photography anywhere online. They serve not only as a living conversation but also as an invaluable historical archive for photographers around the world.

To ensure we can continue supporting this community for years to come, we'll soon be making some important updates to our forums.

What's happening

Since their inception, DPReview's forums have run on a proprietary, custom-built platform. While that system has served us well, it has become increasingly complex and expensive to maintain. To keep the forums vibrant and accessible, we're migrating to a modern software platform built for today's web.

This update will deliver significant performance improvements and introduce new features, including a mobile-responsive design, enhanced photo galleries, and an all-new direct messaging system that supports group conversations. We've even prepared a short video to give you a preview of what the updated forums will look like.

When it begins

We plan to begin the migration on October 31. During this transition, the forums will enter read-only mode for approximately five days. You'll still be able to browse and search existing discussions, but posting and uploading new content will be temporarily paused while we move all data to the new system.

We've worked hard to ensure no content is lost. When you log back in, all your discussions, posting history, photo albums, private messages, and other data will still be there – you'll simply be joining the same community in a more modern home.

Get more info

We know there will be a lot of questions. To help, we've created a detailed forum thread that provides additional background on this update and what to expect, along with a comprehensive FAQ addressing many common questions. If something isn't covered, please post your questions in that thread and we'll do our best to provide answers.

DPReview's forums are a cornerstone of the online photography community. Updating to a modern platform ensures we can continue to support and nurture that community well into the future.

To all of you who have participated over the years – the experts, the beginners, and even the trolls – thank you for being part of DPReview. We look forward to many more discussions, debates, and shared discoveries in the years ahead.

Thank you for your continued support,
The entire DPReview Team

Read our detailed forum post about this update and what to expect

Read our FAQ about the forum update

Sony dropped the prices for two of their best-selling cameras in the US:

• Sony a7RV is now $900 off: Amazon | B&H Photo
• Sony a7IV is now $700 off: Amazon | B&H Photo

This new discount makes sense, since Sony is rumored to announce a new Sony a7V camera next month:

Sony a7 V coming with the same 33MP sensor?

What’s coming next from the big three?

What’s next for Sony?

The post New Sony price drops before the a7V announcement: a7RV now $900 off, a7IV now $700 off appeared first on Photo Rumors.