Canon celebrates 22nd consecutive year of No. 1 share of global interchangeable lens digital camera market:
MELVILLE, N.Y., - February 24, 2025 — Canon U.S.A., Inc. today announced that its parent company, Canon Inc. is celebrating that the company’s interchangeable-lens digital cameras (digital SLR and mirrorless cameras) have maintained the No. 1 share1 of the global market for 22 consecutive years from 2003 to 2024.
Canon’s EOS series of interchangeable lens digital cameras is an imaging system based on the basic concept of “Speed, Comfort, and High Image Quality,” for which the company has developed proprietary key components, including CMOS image sensors, the DIGIC image processors, and interchangeable lenses. Putting together a wide-ranging product lineup—from high-performance flagship models that are highly trusted by professionals to entry-level models that allow users to enjoy full-scale shooting with easy operation, as well as a rich selection of over 1202 RF and EF series lenses that make possible a wealth of creative expression—Canon continues to support the diverse needs of customers.
Throughout its 22-year history, the EOS series has led the market with a range of outstanding models. During the dawn of digital SLR cameras, Canon introduced its breakthrough EOS Kiss Digital (EOS Digital Rebel or EOS 300D in other regions) in September 2003. By launching this groundbreaking camera, which was competitively priced and featured a compact, lightweight design, Canon spurred growth in the digital SLR market, capturing the top share of the global market and heralding the age of digital SLR cameras.
Canon has continued to release further innovative cameras by launching the professional-model EOS-1D series and the EOS 5D series, which paved the way for digital SLR video recording. The company’s desire to further expand the boundaries of visual expression led to its next-generation EOS R SYSTEM, launched in October 2018, that includes the full-frame mirrorless camera EOS R5—the first camera to feature 8K video recording3—released in July 2020 and the EOS R3 in November 2021, which features tracking of fast-moving subjects and continuous shooting performance. In addition, it launched the EOS VR SYSTEM, designed to record video for virtual reality content, in December 2021.
In 2024, Canon managed to secure the No. 1 share of the global market once again for the 22nd consecutive year by further enhancing its lineup of EOS R Series cameras and lenses.
For cameras, Canon released the EOS R5 Mark II (August 2024), a full-frame mirrorless camera that combines the capability to cover shooting in a wide range of scenarios with a single camera with mobility, and the EOS R1 (November 2024), the first flagship model of the EOS R SYSTEM. Both models featured the new image processing system “Accelerated Capture” and included diverse video shooting functions accumulated through the CINEMA EOS SYSTEM for achieving high-speed analysis and high-speed shooting.
As for lenses, in 2024 Canon expanded its L-series lineup of large-aperture single-focus lenses, which contribute to full-fledged video production, and added 15 models of RF lenses4, including two types of lenses that facilitate making 3D VR videos to meet the growing demand for video and handle 3D imaging.
Going forward, Canon will continue to refine its proprietary imaging technologies while bringing fulfillment and excitement to people’s daily lives as well as promoting the spread of photo and video culture by providing products, services, and solutions that meet its customers’ diverse needs.
CP+ – the International Camera and Photo Imaging Show – in Yokohama, Japan, is nearly upon us, running from February 27 to March 2. Some of the DPReview team is onsite in Japan and will get a chance to see things in person and chat with brands. If you're curious about our past coverage, you can check out what the team did last year.
This year's show is already gearing up to be quite an event for new releases and announcements in the camera and lens worlds. Even though things haven't officially kicked off yet, we've seen some pre-show surprises, like the Sigma BF, many Sigma lenses and the Panasonic S1RII mirrorless cameras.
What do you think will come next? Visit our forum thread about the show and let us know what you think will get announced this week!
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Photo: Sigma
On Monday, Sigma kicked off what looks to be a very busy week in camera news by announcing a new full-frame mirrorless camera called the BF. The company says it's an exercise in "radical simplicity," and the camera features only five buttons and a single dial, integrated storage and a menu system designed to put all your exposure settings at your fingertips.
Given how much of a departure this camera is from the mainstream, it's unsurprising that it's generated a fair bit of conversation among the camera enthusiasts in our forums and in the comments. We thought it'd be interesting to highlight a few to give you an idea of how the community has reacted to this bold new camera.
One important caveat: these opinions are entirely the commenters' own and don't necessarily reflect those of DPReview. Once we've had time to review the BF, our thoughts will be in our official review.
"Intriguing"
There are some launches where people see the camera and immediately decide they want it without further questions. That hasn't necessarily been the case with the BF, though the design and interface do seem to make people interested in at least trying one out.
"I'd love to handle one for a day, it looks super interesting," said MJ_Photo38. "Paying $2000 for one though? Hmm. Not sure about that."
Image: Sigma
SigmaChrome was also unsure about actually buying one – early in the thread, they showed some trepidation. "I'm sure it's a beautifully made piece of engineering but it doesn't seem to have been designed for human photographers. Sharp edges, no grip, not enough controls, no removable storage, only one port, no viewfinder.... This is not a versatile camera. Not for me I'm afraid."
After a bit more time to think about it, though, SigmaChrome seemed a bit more open to the idea. "I'd sure like to have a play with one too. The menu system seems to be nice and simple; Sigma is good at menu design. Maybe shooting with it for a day or two might make me change my mind. You never know... I might fall in love, or a least become infatuated."
ArchiMark, who owns a Sigma fp-L, says the BF "Looks very intriguing.....," and that it "will be interesting to see how it compares, especially in stills" to the company's compact, high-resolution camera.
Too minimal?
Sigma says the BF "cuts out everything that distracts, limits or stifles creativity." As a result, it lacks many of the things you'll find on most other $2000 cameras: there's no mechanical shutter, stabilized sensor, wireless connectivity, hot shoe, viewfinder, memory card slot or tilting screen, and there's only a single 10Gbps USB-C port for I/O.
A fair number of commenters aren't fans of the radical minimalism, with both SigmaChrome and SandyF saying that the camera isn't very versatile. "I see few positive selling points. It's more like what it does not have, rather than positive features," said the latter.
MJ_Photo38 agreed. "To me the BH only makes sense for the few people that want to have a extremely high end build quality, super modern design and UI, etc. This doesn't look like a pragmatic camera decision." Some people, like Jeffry7, were even harsher: "By ruthlessly stripping down the concept of a camera, Sigma has made a far less capable, and far less versatile a device."
The BF isn't exactly bursting with controls, and you'll have to compose using the fixed display. However, the company says the UI will provide a "distraction-free view."
Image: Sigma
The lack of a viewfinder seems to be the biggest sticking point, with Tom Schum lamenting: "why oh why did they not put an EVF in the BF? Can we have a BF2, a little bit bigger and with an EVF?" SnowBeard expanded on that thought in a separate thread: "Again, they left off a decent viewfinder - no EVF. The hype about this and some other cameras is 'we strip it down to its simple form so you can focus on the subject and what you want to say'. Maybe so but you still have to view the subject, no viewfinder makes that frustratingly hard. Viewing a 3 inch LCD from 10-12inches away is more like aiming a shotgun. Viewing the scene through an enlarged viewfinder is like being in the scene."
That's not to say that everyone agreed. Some of our members praised the design, with SigmaTog saying "Fantastic idea, wish I was younger, I would take it up immediately," and SandiWay saying that "It is 'beautiful' for sure."
"Beyond Foveon"
The BF's sensor is a conventional full-frame, 24MP BSI model that we suspect we've seen in several other cameras.
Image: Sigma
The other elephant in the room for the BF is its choice of color filter. Like the vast majority of cameras on the market, it uses a Bayer pattern to capture color. Normally, that wouldn't be notable, except that Sigma has been the flagbearer for Foveon technology, which works completely differently, capturing full-color data across the entire sensor rather than relying on interpolation. The company has said it's working on making a full-frame Foveon sensor – its previous efforts have maxed out with a 476mm² APS-H sensor – but that's not what's in the BF.
Unsurprisingly, this comes as a disappointment for those who have been waiting years for a new Foveon camera. Responding to a joke about "BF" standing for "Beyond Foveon" (we're told it actually stands for "beautiful foolishness"), Heritage Cameras hopes it actually means "Before Foveon."
Roger also bemoaned the choice, saying "I was hoping to see something with a Foveon sensor, but maybe those days are gone." In another thread, Manzur Fahim and Tirpitz666 both cited the lack of Foveon as their reasons for not buying the camera, with the latter stating "No Foveon No Party, will happily continue to use my Merrills and Quattros."
Like a Leica
The BF's design reminded several people of the Leica TL2.
Several users said the BF reminded them of something you'd see from Leica, specifically models like the TL, which was also machined out of aluminum, featured a photo-focused interface and did away with things like an electronic viewfinder.
"The entire design reminds me of the Leica TL & TL2," said bs1946. "A handful of simple controls and milled from a solid block of aluminum, even though Sigma claims the BF's milled aluminum block is a first." SaltyDogStudios agreed, saying that "Sigma seems to be taking a lot of cues from Leica on this camera," especially when it came to a focus on design. "I remember reading a blog post about the Leica TL and how it was a real conversation piece of a camera. [..]. That’s clearly what this camera is intended to be."
Photo: Sigma
DavidMillier made a similar connection, commenting: "Interesting, Sigma goes Leica/Hassie! Not for me, though. Whilst I love minimalist industrial design, there are certain things I demand of any camera: a built in viewfinder, a hand grip, minimum of two command wheels (I prefer 3 or even 4)." Roger had a similar take. "The camera reminds me of the Leica TL series which I wouldn't buy either."
Heritage Cameras, meanwhile, said the design "seems to make little sense logically, but (as with the Leica T) I want one anyway. I suspect I'm not alone."
Leica wasn't the only reference point people jumped to, with several commenters saying the design reminded them of something produced by Apple or Teenage Engineering. Another common point of comparison: the Panasonic Lumix S9.
Not the last word...
We've had the chance to get some hands-on time with the BF and plan on writing an article detailing our experiences and answering some of the most frequent questions we've seen about it. However, we want to get one out of the way right now: yes, it does have a tripod thread.
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Product photos: Mitchell Clark
The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.
Key features
Full-frame 44MP dual gain CMOS sensor
Up to 40fps continuous shooting with pre-burst capture (e-shutter only)
8.1K/8K video at up to 30p
5.76M dot viewfinder
Flip-out and tilt rear screen
ProRes 422 and ProRes RAW capture
Capture to CFExpress Type B, UHS II SD or external SSD
Multi-shot high res mode up to 177MP
32-bit float audio via optional XLR 2 adapter
The S1RII will be available from late March with a recommended retail price of $3300.
Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.
It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.
Autofocus
The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.
The S1RII has algorithms trained to recognize the following subjects:
Human
Animal (Dog, Cat, Bird)
Car
Motorcycle / Bike
Train
Airplane
We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.
Cinelike A2 color mode
The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.
Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.
Real time LUT
The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.
Additional LUTs can be created or downloaded via Panasonic's Lumix Lab app.
False color
The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.
Capture One tethering
The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.
What's new for video
The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.
The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.
It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.
Video options:
Output dimensions
Frame Rates
Crop
MOV
ProRes
1.89:1 modes
8.1K
8128 x 4288
30, 25, 24
1.0
4:2:0
–
5.8K
5760 x 4030
30, 25, 24
1.0
422/HQ
30, 25, 24
1.31
–
RAW/HQ
60, 50, 48
1.04
4:2:0
–
DCI 4K
4096 x 2160
30, 25, 24
1.0
4:2:2
422/HQ
60, 50
1.04
60, 50, 30, 25, 24
1.52
120, 100
1.10
4:2:2
–
16:9 Modes
8.0K
7680 x 4320
30, 25, 24
1.0
4:2:0
–
5.9K
5888 x 3312
30, 25, 24
1.0
–
60, 50, 48
1.11
–
UHD 4K
3840 x 2160
30, 25, 24
1.0
4:2:2
422/HQ
60, 50
1.11
60, 50, 30, 25, 24
1.52
120, 100
1.17
4:2:2
–
3:2 Modes
6.2K open gate*
6432 x 4228
30, 25, 24
1.0
4:2:0
–
4:3 Modes
4.7K
4736 x 3552
60, 50, 48, 30, 25, 24
1.65
4:2:0
422/HQ**
- Boxes marked green off All-I compression options. - Red boxes have a ProRes option. * 8.1K and 7.1K open gate capture promised in future firmware ** ProRes 422/HQ only available up to 30p
The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.
Dynamic Range Expansion
The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).
Base ISO
2nd gain step
Standard color mode
ISO 80
ISO 400
Cinelike D2, V2, A2
ISO 160
ISO 800
HLG
ISO 320
ISO 1600
V-Log
ISO 200
ISO 1000
V-Log + DR Expansion
ISO 400
ISO 2000
This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.
Open gate shooting
At launch the S1RII will be able to capture 6.4K footage from the entire 3:2 region of its sensor, downscaled from full-resolution capture.
Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.
5.XK at up to 60p, 4K at up to 120p
Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.
Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.
DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.
UHD
DCI
Crop
Rolling shutter
Crop
Rolling shutter
8K, 5.xK*, 4K 30/25/24
1.00
24.9ms
1.00
22.4ms
5.xK*, 4K 50/60
1.11
15.4ms
1.04
15.3ms
4K 100/120
1.17
7.3ms
1.10
7.3ms
4K/30 DRExp*
1.00
31.7ms
1.00
29.8ms
*8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD
Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.
In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.
In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture.
Forthcoming attractions
As usual for Panasonic cameras, the company has already given some details of features that are still being worked-on for the camera, and which it has promised will come in later firmware updates.
At launch the S1RII can capture open gate video footage at 6.4K resolution, but we're told 7.1K and 8.1K (native resolution) will be enabled in a later firmware update.
Similarly, the S1RII can currently output footage at up to 8K over HDMI but will gain the option to output a Raw data stream in 8.1K or 7.2K resolutions, at a later date.
How it compares
The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.
We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.
Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.
The a7R V's rolling shutter rate of 38ms means it can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.
Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.
Body and handling
The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.
It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.
However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.
Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).
The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.
The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.
Rear screen
On the back of the camera, Panasonic has adopted a similar screen layout to the one Panasonic used on its explicitly video-focused S1H: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.
Battery
The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.
A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.
Initial impressions
The S1RII is an interesting proposition: replacing a camera we get the impression didn't exactly fly off the shelves. Panasonic has done a lot to broaden its appeal, making it smaller, faster, more video capable and, notably, less expensive.
The easiest to spot changes are on the video side of things: Panasonic pitched the S1R as a photographer's camera, so the decision to make the S1RII more of a hybrid sees even more of an expansion in video capabilities than we've become used to over the past few years.
The S1RII's sensor seems genuinely capable of delivering video, despite its high pixel count and the lack of Stacked architecture often used to speed up readout. Despite its much higher pixel count, the S1RII's main 8K, 5.XK and 4K modes exhibit comparable rolling shutter to the widely-used 24MP full-frame sensor, and with a promise of better detail and dynamic range capture. This means it can also deliver 4K/60 with a minimal crop and without the need for line-skipping.
Wedded to this underlying capability are all of Panasonic's usual video features, developed for the GH series of cameras, so it has the feature set and well-polished usability that's not always present when video gets added. For instance, if you decide you want to shoot 5.9K ProRes 422 / 24 for the bulk of your project but want to shoot some 4K/60 or 4K/120 for some slow-mo cutaways, you can add these two modes to "(My List)" to quickly swap between them, rather than having to switch from ProRes to MOV capture and then find the modes in the 18 pages of quality options those two codecs cumulatively give.
You can then set the camera to report Shutter Angle, so that you maintain an appropriate shutter speed as you switch frame rates, without the risk of forgetting to reset it when you switch back. It's not quite a full-frame GH7, but it's closer than you'd normally expect from a high-resolution body.
The S1RII is smaller than its predecessor but still finds room for a good level of control points without them becoming too small or too cramped. There's a customizable 'Lock' switch on the left of the camera to prevent accidental changes of settings.
Even more than usual, this risks overshadowing the improvements made on the stills side of the camera, because the S1R already had a very solid stills feature set, so there's less room for dramatic improvement. We weren't overly impressed by the sensor of the S1R, so we hope to get the S1RII into our studio in the next few weeks to check for improvements in that regard. The smaller, lighter body is likely to be of benefit to some photographers, whether they're landscape shooters lugging the camera to a picturesque nowhere or a wedding shooter using it for hours on end.
But, whether you shoot stills or video, it's the promised autofocus improvements on which the S1RII is likely to stand or fall. The previous camera used Panasonic's depth-from-defocus system that could deliver good results but was often disconcerting and distracting to shoot with. The new camera promises an improved version of the phase-detection system introduced with the S5II. If it really is faster and more dependable, the S1RII starts to look very interesting indeed. Our initial impressions are mixed: when it locks on it seems really tenacious, but there are other occasions on which it fails to focus on anything, to a degree we're not used to seeing in modern cameras. We're really hoping this can be addressed in firmware.
On paper, the S1RII promises to be an affordable option for someone looking to capture high res photos and high-quality video. We're already out using the camera and will report back on its real-world performance as soon as we can.
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The LUMIX S1RII is designed to be the ideal partner for creators who wish to pursue high-resolution artistic expressions. Featuring a new 44.3MP full-frame sensor and high-performance engine that work together to deliver a delicate and natural rendering of reality. The compact body, packed with refined operability and reliability, delivers a whole new level of shooting experience, supporting your creative activities across the entire workflow.
Experience stunning detail with the LUMIX S1RII’s revolutionary 44.3MP sensor. From breathtaking landscapes to intricate artwork and everyday moments, the "Capturing it All" philosophy comes to life with vivid color science and handheld high-resolution mode. The LUMIX S1RII is built for action with AFC 40 fps burst shooting, making it ideal for capturing high-speed moments in sports and wildlife photography. With its 8K video recording and wide dynamic range log support, create cinematic content without compromise. Enjoy the flexibility of slow-motion video to capture every mesmerizing detail. Advanced tools like the False Color function and the LUMIX Flow app provide seamless support for video production. Pair it with the optional microphone adaptor (DMW-XLR2) for professional 32-bit float audio recording.
Featuring Phase Hybrid AF with advanced AI, the LUMIX S1RII delivers exceptional precision and tracking performance, even in complex scenes. Active I.S. technology ensures steady shots and smooth framing, whether walking or using a wide-angle lens. Compatible with powerful software and apps like Capture One, Frame.io, and LUMIX Lab, the LUMIX S1RII streamlines your workflow for both personal and professional projects. Elevate your creativity and capture every moment with the LUMIX S1RII.
"The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. The legendary ZEISS quality is now being made available for mirrorless cameras to meet the demands of today’s photographers
ZEISS Otus ML Lenses• Optical excellence for the finest details• The distinctive ZEISS Look with the iconic 3D Pop• Exceptional depth of field and a harmonious bokeh• Ultimate control through precise mechanics• Highest craftsmanship for an unparalleled feel
ZEISS Otus ML 1.4/50 - The Otus ML 1.4/50 is indispensable in every photographer’s toolbox. The smooth manual focus gives you complete control, allowing you to craft images with unparalleled depth and emotion. Whether you’re capturing portraits, streetscenes, or landscapes. This lens is your perfect partner for bringing your creative vision to life.
ZEISS Otus ML 1.4/85 - Portray your story. Designed for the art of portrait photography, with the Otus ML 1.4/85, you can isolate yoursubject beautifully, capturing the depth and detail that bring characters to life. This lens allows you to highlight powerful expressions, subtle emotions, and the finest details, portraying your subjects exactly as you see and feel them. Portray your story."
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Product photos: Mitchell Clark
The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.
Key features
Full-frame 44MP dual gain CMOS sensor
8.1K/8K video at up to 30p
5.76M dot viewfinder
Flip-out and tilt rear screen
ProRes 422 and ProRes RAW capture
Capture to CFExpress Type B, UHS II SD or external SSD
Multi-shot high res mode up to 177MP
32-bit float audio via optional XLR 2 adapter
The S1RII will be available from late March with a recommended retail price of $3300.
Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.
It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.
Autofocus
The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.
The S1RII has algorithms trained to recognize the following subjects:
Human
Animal (Dog, Cat, Bird)
Car
Motorcycle / Bike
Train
Airplane
We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.
Cinelike A2 color mode
The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.
Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.
Real time LUT
The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.
Additional LUTs can be created or downloaded via Panasonic's Lumic Lab app.
False color
The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.
Capture One tethering
The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.
What's new for video
The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.
The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.
It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.
Video options:
Output dimensions
Frame Rates
Crop
MOV
ProRes
1.89:1 modes
8.1K
8128 x 4288
30, 25, 24
1.0
4:2:0
–
5.8K
5760 x 4030
30, 25, 24
1.0
422/HQ
30, 25, 24
1.31
–
RAW/HQ
60, 50, 48
1.04
4:2:0
–
DCI 4K
4096 x 2160
30, 25, 24
1.0
4:2:2
422/HQ
60, 50
1.04
60, 50, 30, 25, 24
1.52
120, 100
1.10
4:2:2
–
16:9 Modes
8.0K
7680 x 4320
30, 25, 24
1.0
4:2:0
–
5.9K
5888 x 3312
30, 25, 24
1.0
–
60, 50, 48
1.11
–
UHD 4K
3840 x 2160
30, 25, 24
1.0
4:2:2
422/HQ
60, 50
1.11
60, 50, 30, 25, 24
1.52
120, 100
1.17
4:2:2
–
3:2 Modes
6.2K open gate*
6432 x 4228
30, 25, 24
1.0
4:2:0
–
4:3 Modes
4.7K
4736 x 3552
60, 50, 48, 30, 25, 24
1.65
4:2:0
422/HQ**
- Boxes marked green off All-I compression options. - Red boxes have a ProRes option. * 8.1K and 7.1K open gate capture promised in future firmware ** ProRes 422/HQ only available up to 30p
The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.
Dynamic Range Expansion
The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).
Base ISO
2nd gain step
Standard color mode
ISO 80
ISO 400
Cinelike D2, V2, A2
ISO 160
ISO 800
HLG
ISO 320
ISO 1600
V-Log
ISO 200
ISO 1000
V-Log + DR Expansion
ISO 400
ISO 2000
This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.
Open gate shooting
At launch the S1RII will be able to capture 6.4K footage from the entire 3:2 region of its sensor, downscaled from full-resolution capture.
Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.
5.XK at up to 60p, 4K at up to 120p
Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.
Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.
DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.
UHD
DCI
Crop
Rolling shutter
Crop
Rolling shutter
8K, 5.xK*, 4K 30/25/24
1.00
24.9ms
1.00
22.4ms
5.xK*, 4K 50/60
1.11
15.4ms
1.04
15.3ms
4K 100/120
1.17
7.3ms
1.10
7.3ms
4K/30 DRExp*
1.00
31.7ms
1.00
29.8ms
*8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD
Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.
In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.
In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture.
Forthcoming attractions
As usual for Panasonic cameras, the company has already given some details of features that are still being worked-on for the camera, and which it has promised will come in later firmware updates.
At launch the S1RII can capture open gate video footage at 6.4K resolution, but we're told 7.1K and 8.1K (native resolution) will be enabled in a later firmware update.
Similarly, the S1RII can currently output footage at up to 8K over HDMI but will gain the option to output a Raw data stream in 8.1K or 7.2K resolutions, at a later date.
How it compares
The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.
We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.
Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.
The a7R V's rolling shutter rate of 38ms means if can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.
Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.
Body and handling
The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.
It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.
However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.
Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).
The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.
The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.
Rear screen
On the back of the camera, Panasonic has adopted a similar screen layout to the Sony a7R V: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.
Battery
The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.
A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.
Initial impressions
The S1RII is an interesting proposition: replacing a camera we get the impression didn't exactly fly off the shelves. Panasonic has done a lot to broaden its appeal, making it smaller, faster, more video capable and, notably, less expensive.
The easiest to spot changes are on the video side of things: Panasonic pitched the S1R as a photographer's camera, so the decision to make the S1RII more of a hybrid sees even more of an expansion in video capabilities than we've become used to over the past few years.
The S1RII's sensor seems genuinely capable of delivering video, despite its high pixel count and the lack of Stacked architecture often used to speed up readout. Despite its much higher pixel count, the S1RII's main 8K, 5.XK and 4K modes exhibit comparable rolling shutter to the widely-used 24MP full-frame sensor, and with a promise of better detail and dynamic range capture. This means it can also deliver 4K/60 with a minimal crop and without the need for line-skipping.
Wedded to this underlying capability are all of Panasonic's usual video features, developed for the GH series of cameras, so it has the feature set and well-polished usability that's not always present when video gets added. For instance, if you decide you want to shoot 5.9K ProRes 422 / 24 for the bulk of your project but want to shoot some 4K/60 or 4K/120 for some slow-mo cutaways, you can add these two modes to "(My List)" to quickly swap between them, rather than having to switch from ProRes to MOV capture and then find the modes in the 18 pages of quality options those two codecs cumulatively give.
You can then set the camera to report Shutter Angle, so that you maintain an appropriate shutter speed as you switch frame rates, without the risk of forgetting to reset it when you switch back. It's not quite a full-frame GH7, but it's closer than you'd normally expect from a high-resolution body.
The S1RII is smaller than its predecessor but still finds room for a good level of control points without them becoming too small or too cramped. There's a customizable 'Lock' switch on the left of the camera to prevent accidental changes of settings.
Even more than usual, this risks overshadowing the improvements made on the stills side of the camera, because the S1R already had a very solid stills feature set, so there's less room for dramatic improvement. We weren't overly impressed by the sensor of the S1R, so we hope to get the S1RII into our studio in the next few weeks to check for improvements in that regard. The smaller, lighter body is likely to be of benefit to some photographers, whether they're landscape shooters lugging the camera to a picturesque nowhere or a wedding shooter using it for hours on end.
But, whether you shoot stills or video, it's the promised autofocus improvements on which the S1RII is likely to stand or fall. The previous camera used Panasonic's depth-from-defocus system that could deliver good results but was often disconcerting and distracting to shoot with. The new camera promises an improved version of the phase-detection system introduced with the S5II. If it really is faster and more dependable, the S1RII starts to look very interesting indeed. Our initial impressions are mixed: when it locks on it seems really tenacious, but there are other occasions on which it fails to focus on anything, to a degree we're not used to seeing in modern cameras. We're really hoping this can be addressed in firmware.
On paper, the S1RII promises to be an affordable option for someone looking to capture high res photos and high-quality video. We're already out using the camera and will report back on its real-world performance as soon as we can.
Sample gallery
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Sample gallery
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Adobe has announced it is expanding its popular photo editing program, bringing Adobe Photoshop to smartphones. Until now, users could only access Adobe Photoshop Express on phones, but that app lacks many of the critical tools that make Photoshop so useful. That changes with the company's latest app, however, with the aim of "bringing the ultimate image editing and design app to a new generation of creators."
Adobe understands that many people exclusively use their phones for editing images or creating artwork. The new Photoshop mobile app brings "Photoshop's iconic image editing and design capabilities" to your phone, offering greater functionality than the Photoshop Express app. It will enable Photoshop's "tools for precise selections, targeted adjustments, advanced color corrections, expanded access to commercially safe AI with Firefly-powered generative AI tools, full format support for opening and editing any Photoshop document and more."
Image: Adobe
To accommodate a robust set of tools, Adobe designed the new app from the ground up with an "accessible and intuitive interface" made specifically for phones. This interface, by necessity, looks very different from the desktop version, as phones have far less screen real estate (not to mention usually a different aspect ratio). There is no toolbar on the side of the app like the desktop version. Instead, Adobe concentrated things on the bottom of the screen with a simplified workflow, highlighting the most commonly used tools. There's also a small layer stack on the right side of the app.
The new app will provide access to unlimited layers, plus masking and blending modes.
Image: Adobe
One of Photoshop's most important features is the ability to edit non-destructively in layers. Layers were notably missing from the Photoshop Express app, so seeing those coming to the new mobile app is certainly nice. Users can access the standard Photoshop layer types, including adjustment layers, and create unlimited layers. Adobe also added masking and layer blending tools, with plenty of flexibility in how you select and edit individual items. Plus, those layers will remain even when you close the app, so you can keep changing things without starting the process over.
One new tool coming to the Photoshop mobile app is Tap Select. This tool will automatically select all the obvious subjects and objects in an image, providing a list of components you can edit selectively. Should Tap Select not get the objects you want, you can add to that list with the Lasso tool or use the Magic Wand.
With an expanded web platform and new mobile app, users can seamlessly switch between interfaces.
Image: Adobe
Adobe also expanded the web experience to help those who want more flexibility with where and when they edit. It promises a complementary user interface across web and mobile, making it easy to bounce between the two platforms. Adobe says that with "seamless integration between the mobile and web experiences, the new offering empowers creators to work on the same project across devices." To accomplish this, Adobe made changes to the user interface of Photoshop on the web and expanded availability across Safari, Chrome, Firefox and Edge browsers. It also added Access to Firefly-powered features like Generative Fill, Generate Similar, Reference Image and updated selection models.
The new Photoshop on mobile app is available for iPhones as of today, with an Android version coming later this year. It's free to download and use, but premium features are locked behind a paywall. Additionally, while free plans will have access to a range of fonts and Adobe Stick assets, a subscription will unlock even more options. For those who want full access, you can opt for the new Photoshop Mobile and Web plan for $7.99/month or $69.99 annually. Adobe says that all current Photoshop paid plans that provide access to Photoshop on iPad and Photoshop on the web will also provide access to Photoshop on mobile.
Datacolor, the company behind powerful color management tools like the Spyder, announced a new offering to streamline photo sessions. The LightColor Meter, as the name suggests, is a multi-functional device that measures both light and color temperature. Most devices either measure light or color, though not both. It makes sense, then, that Datacolor describes this wireless tool as "a portable on-set Personal Assistant" that can save time and provide more accurate results.
“The LightColor Meter takes the guesswork out of exposure settings for those new to using a light meter, and experienced users will appreciate the added advantage of being able to measure color temperature and DUV, as well as light, with one powerful and convenient product," says Heath Barber, Director of Product Management, Consumer at Datacolor.
Photo: Datacolor
The triangular little meter can measure light and color from any source, including tungsten, LED, HMI, fluorescent, strobe and more. Since it provides continuous readings, it can even be useful in outdoor settings with shifting light.
Photo: Datacolor
What makes the LightColor Meter even more useful is its companion app. The meter uses Bluetooth to communicate with the free Datacolor LIghtColor Meter app, which is available for iOS and Android. The device continuously streams data to your phone, so you can monitor and adjust lighting without going back and forth between your subject and camera. You can sync multiple LightColor Meters together to get readings from multiple locations, which is especially ideal when working with more than one light source. Plus, it also offers filter libraries from Profoto, Lee and Rosco to help you choose the right gels for correcting color in-camera.
The Datacolor LightColor Meter is available for purchase for $399 through the Datacolor website, Amazon, and other authorized retailers. The corresponding app is completely free and also available now.
Introducing the Datacolor LightColor Meter. Measures All Types of Lighting + Color Temperature, Wirelessly. Streams Data to Your Phone in Real-Time Via Its Free App
LAWRENCEVILLE, N.J. – (February 25, 2025) – Datacolor, a global leader in color management solutions, today announced the release of its Datacolor LightColor Meter, a multi-functional device that measures both light and color temperature for any light source, including changing outdoor light, tungsten, LED, HMI, fluorescent, strobe, and more. The measurement of color temperature – the warmth or coolness of a light – provides users with essential information to choose the most appropriate lighting and exposure for a specific application to ensure consistent color appearance. Additionally, filter libraries from Profoto®, LEE® and Rosco® are included to help users select the right color-correcting gels.
Used with the free Datacolor LightColor Meter app (iOS/Android), the Bluetooth-connected device continuously streams data to your phone for time-saving remote flexibility and pinpoint accuracy. Photographers, cinematographers, and hybrid photo/video shooters can easily fine-tune lighting and exposure without leaving the camera and can sync multiple LightColor Meters for simultaneous readings from several locations for enhanced workflow efficiencies and precise exposure.
“The Datacolor LightColor Meter is like a portable on-set Personal Assistant. Its wireless feature eliminates the need to run to and from your camera to your metering location while receiving precise light and color temperature data in real-time, even in shifting light conditions such as those outdoors,” said Heath Barber, Director of Product Management, Consumer at Datacolor. “The LightColor Meter takes the guesswork out of exposure settings for those new to using a light meter, and experienced users will appreciate the added advantage of being able to measure color temperature and DUV, as well as light, with one powerful and convenient product.”
The LightColor Meter retails for $399 and is available for purchase on the Datacolor website, Amazon, and through authorized retailers. The free Datacolor LightColor Meter app is available for both iOS and Android. For more information about the product, visit datacolor.com/lcm.
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Image: Zeiss
Zeiss is returning to making lenses for stills cameras, introducing the Otus ML line with new 50mm and 85mm F1.4 lenses for E, RF, and Z mounts. The lenses are manual focus only, but are focused on providing "the highest optical performance and precision mechanics," according to the company.
The lenses emphasize build quality, with an all-metal design that's sealed against dust and moisture. They also feature engraved markings for the aperture ring and depth-of-field scale. The focus ring has a very long throw, giving you precise control over the focus point – essential when pairing a wide aperture with a high-resolution camera.
Given the amount of metal and glass that make up these lenses, it's no surprise that they're on the heavy side: the 50mm weighs 677g (1.5lb) and the 85mm is 1040g (2.3lb). For reference, Sony and Canon's flagship 50mm F1.4 lenses weigh 516g and 580g, respectively, and those have autofocus motors.
The focus ring? Metal. The lens hood? Also metal.
Image: Zeiss
The 50mm has 14 elements in 11 groups – two aspheric and four special glass – while the 85mm has 15 elements in 11 groups, with two aspheric lenses and five special glass elements. The apertures have 10 blades, and the rings to control them can be de-clicked using a special tool.
It's nice to see that Zeiss is bringing the Otus line to mirrorless cameras and that it's supporting a wide variety of mounts. Given that the original Otus line had 28mm and 100mm options and some of the wording in the company's press release, we wouldn't be surprised if we see more lenses in the Otus ML line in the future. We got the chance to shoot with a pre-production sample of the 50mm F1.4, and you can see the results for yourself in the sample gallery below.
The 50mm F1.4 will be available in the spring at an MSRP of $2500, with the 85mm F1.4 coming at an unspecified point later this year at $2999. While those are still big sums for manual focus primes, they are a fair bit more affordable than the original 55mm and 85mm Otus lenses, which retailed for $4000 and $4500, respectively.
Zeiss 1.4/50 Otus ML pre-production sample gallery
Sample gallery
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ZEISS Unveils New Otus ML – Continues the Legendary Lens for Mirrorless Mounts
Exceptional optical performance and precision with the highest standards for professional photography and visual story creation, optimized for the latest mirrorless mounts (E, RF, and Z).
Creative freedom through its exceptional optical performance and ultimate precise focus.
New lens family starts with 1.4/50 and 1.4/85 in 2025
ZEISS has announced the introduction of a new Otus ML family, a series of lenses designed specifically for professional photographers and ambitious visual story creators who require the highest optical performance and precision mechanics for full creative control. For the start, the Otus ML is available in two focal lengths: a 1.4/50 lens suitable for versatile photography and a 1.4/85 lens optimized for portrait work. Inspired by the legendary ZEISS Otus family, these new lenses bring ZEISS’ renowned optical excellence to mirrorless cameras: Sony1 E, Canon2 RF- and Nikon3 Z-Mount.
Continuing the Legacy of the First Otus Generation
The Otus ML lenses are engineered to provide exceptional optical performance, revealing details that may not be discernible to the naked eye. These lenses embody the well-regarded ZEISS Look, characterized by sharpness, accurate color reproduction, and a three-dimensional quality. The apochromatic lens design ensures excellent color fidelity while minimizing chromatic aberrations. Additionally, the aspherical design contributes to virtually distortion-free images, enhancing overall image quality. The ZEISS T* anti-reflective coating further reduces reflections and flare, improving clarity and color accuracy.
From a mechanical standpoint, the Otus ML lenses offer precise manual focus, which enhance the creative and storytelling process. The lenses feature a smooth metal focus ring with a precision helicoid drive, facilitating accurate focusing. Manual aperture control, equipped with a de-click function for video, allows for seamless adjustments, which can be advantageous in various shooting scenarios.
Sebastian Döntgen, Head of ZEISS Mobile Imaging and Photography:
"We are pleased to announce the introduction of the Otus ML lens to the community of photographers. This lens reflects our ongoing commitment to quality and innovation. The Otus ML family combines classic features with modern advancements, showcasing our dedication to enhancing photographic technology while honoring traditional craftsmanship.”
Petra Visuri, Category Manager ZEISS Photography:
“Manual focusing is more than a method — it's a way for photographers to connect deeply with their creative power and craftsmanship, enabling both unparalleled control and artistic freedom. It allows for precise focusing on the center of the image, the story, and emphasizes the exact details that bring the visual idea to life.”
The all-metal construction of the Otus ML lenses is designed to endure the demands of professional photography. The compact and portable design is optimized for the latest mirrorless mounts: Sony E, Canon RF, and Nikon Z-Mount, with the 1.4/50 weighing 677g and the 1.4/85 weighing 1,040g. Clear and precise scales on the lenses enable quick adjustments, ensuring that photographers maintain control over their settings.
Mo Xie, professional photographer and ZEISS ambassador:
“The unparalleled excellence of the ZEISS Otus ML lens makes it nearly impossible to find any flaws in the images it captures. Its remarkable sharpness and true-to-life colors are exactly what I need as a professional photographer – to preserve the essence of moments, people, and things as they truly are.”
Wolf-Peter Steinheisser, professional photographer and ZEISS ambassador:
"This new lens from ZEISS is simply stunning! Incredibly sharp and precise, with a wonderfully lightweight feel in hand. The fully metal focusing ring? An absolute tactile delight—it’s a joy to use!"
The Otus ML lenses are built to perform reliably in challenging conditions. A blue sealing ring protects the camera lens interface from dust and moisture, while additional seals provide protection against splashes. The lenses are temperature resistant, functioning effectively in environments ranging from -20°C to +55°C. They have also undergone rigorous testing for mechanical, vibration, and shock resistance.
Continuing the legacy of the Otus family, which has been recognized for its low sample variation and outstanding imaging performance since its introduction in 2013, the new Otus ML combines premium optical performance with precise mechanical engineering, optimized for the latest mirrorless mounts. This positions the Otus ML as a valuable tool for ambitious photographers seeking to combine full, precise control with creative freedom while focusing on the core of their imaging work.
Product Introduction Available on the Web
The ZEISS Otus ML lens family will be presented on February 26, 2025, at 11 am CET on YouTube (@ZEISSCameraLenses) by ZEISS experts. The new ZEISS Otus ML will be available from specialist retailers: 1.4/50mm from Spring 2025 at the RRP (incl. VAT) of €2,499 / $2,500, and the 1.4/85 later in 2025 at the RRP (incl. VAT) of €2,799 / $2,999
1 Sony is a registered trademark of Sony Corporation. 2 Canon is a trademark or registered trademark of Canon Inc. and/or other members of the Canon Group. 3 Nikon is a registered trademark of the Nikon Corporation.
Here is another leak of the upcoming Panasonic LUMIX S1RII camera that will sell for $3,300 in the US (Google translated):
Panasonic is proud to introduce the LUMIX S1RII, the latest high-resolution full-frame mirrorless camera in the LUMIX S series. The camera is equipped with a newly developed 44.3MP BSI CMOS sensor and a high-performance L2 processing engine, which work together to deliver impressive photos and videos with the natural colour reproduction acclaimed in LUMIX cameras.
With revolutionary video performance, it is the first LUMIX camera to record 8K video with a 14-stop *1 dynamic range, expanding your creative possibilities. The popular Open Gate function has been improved to now record 6.4K, and even 8.1K/7.2K *2 via a future firmware update . What’s more, as the first camera in the LUMIX S Series, it supports internal 5.8K recording in Apple ProRes RAW HQ/ProRes RAW *3 format using a CFexpress Type B card. This enables high-quality video recording with minimal setup, without the need for external devices or cables, providing greater mobility for solo shooting and small-scale productions.
The improved Real-time Phase Hybrid AF, now with AI tracking, quickly and accurately detects people's eyes and faces, and tracks movements smoothly. With continuous shooting at approx. 40 fps *4 and AF tracking, dynamic subjects can be captured with incredible accuracy and effortlessness. SH pre-burst mode starts shooting even before you fully press the shutter button, ensuring you don't miss a shot.
Our acclaimed image stabilisation system is constantly being improved. The LUMIX S1RII achieves 8.0 stops *5 of exposure compensation with in-body stabilisation and 7.0 stops *6 even in the telephoto range thanks to Dual IS 2 technology. Advanced video stabilisation includes EIS distortion correction without cropping, which reduces peripheral distortion while maintaining the original angle of view. This allows for greater flexibility when shooting handheld in wide-angle. The newly designed, compact body and tiltable and swivel screen adapt to any working style, making it a great choice for those seeking both mobility and creative freedom.
The LUMIX S1RII will be compatible with the LUMIX Lab mobile app, which allows LUTs to be installed directly in the camera. This streamlines the post-production process, making it easier to deliver content to clients, giving you more time to focus on your creative work. A new LUMIX Flow app will also be introduced, optimizing workflow for a variety of projects, such as short films, documentaries, music videos and corporate promotional materials. It will offer a range of features from storyboarding and recording to file organization. The LUMIX S1RII integrates with third-party software such as Frame.io, enabling more efficient post-production and team collaboration. For the first time in a LUMIX camera, the LUMIX S1RII supports tethering via Capture One, helping creators in a variety of production situations.
Guided by our philosophy of developing technology that inspires creative passion, the LUMIX S1RII is a next-generation mirrorless camera built for creators who want to realize their unique vision.
Newly developed matrix and next-generation processor
It uses a newly developed full-frame BSI CMOS sensor with a resolution of approximately 44.3 MP.
It features a 177MP (approx.) Handheld High-Resolution mode that precisely captures image detail and depth.
It offers high-resolution recording that faithfully reproduces texture and fine detail, and for the first time in a LUMIX camera, supports 8K 30p *2 recording with 14 stops *1 of dynamic range.
Supports internal recording at 5.8K in Apple ProRes RAW HQ / ProRes RAW to CFexpress Type B card.
Improved core performance
Redefined Real-time Phase Detection Hybrid AF with improved eye and face detection and precise AI-based tracking.
Improved 8.0-stop *3 in-body image stabilization (BIS) and newly developed EIS video distortion correction without cropping, which stabilizes the image while maintaining the original angle of view.
High resolution and high-speed continuous shooting, offering high-speed shooting
approx. 40 fps *4 with the electronic shutter mode “SH”, and approx. 10 fps *4 with the extended mechanical shutter mode “H+ (High Speed Plus)”, allowing you to shoot without having the preview image black out after taking a picture.
Advanced applications that support the production process
Compatibility with Capture One makes it the first LUMIX camera to work seamlessly
with the professional photo editing software commonly used in studio photography.
Frame.io compatibility enables a seamless transition from recording to editing, as well as cloud file sharing and team collaboration.
LUMIX Lab app support makes it easy to transfer, edit and personalise the colour of photos and videos, enabling seamless smartphone integration and sharing on social media.
Support for the new LUMIX Flow app, which helps you create storyboards, control footage while shooting on set, and automatically organize data after shooting, streamlining the video production process.
LUMIX Mode: Helps you create a storyboard, control footage while shooting on set, and automatically organize data after shooting, streamlining the video production process.
Smartphone Mode: Enables video creation, such as scriptwriting and editing short fiction, documentaries, or dance films, using only your smartphone.
External Monitor: Allows you to use your smartphone as an external monitor while recording, allowing you to quickly change and adjust camera settings right on your mobile device.
New DMW-BG2 battery holder
Panasonic introduces the new DMW-BG2 battery grip, designed to make holding the S1RII more comfortable when shooting vertically. The battery in the grip can be swapped while the camera is on. The grip also provides additional support by powering the camera when shooting in more demanding modes.
Additional information:
*1 When Dynamic Range Expansion (Log) is enabled. *2 8.1K/7.2K Open Gate recording will be available via a software update scheduled for 2025. *3 8.1K / 7.2K RAW HDMI output will be available via a software update scheduled for 2025. *4 The continuous shooting speed may become slower depending on various conditions such as the lens in use, aperture, and shutter speed. *5 Center: 8.0-deg; Peripheral: 7.0-deg. Based on CIPA 2024 standard [Yaw/Pitch/Roll direction: Focus distance f=60 mm when S-R2060 lens is used. 5-axis.] *6 Center: 7.0-deg; Peripheral: 7.0-deg. Based on CIPA 2024 standard [Yaw/pitch/roll direction: focusing distance f=105 mm when S-R24105 lens is used. 5-axis.]
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Image: Sigma
Sigma announced its BF mirrorless camera today, with a "purposefully minimal" design that "cuts out everything that distracts, limits or stifles creativity." The "radical" simplicity is obvious looking at it – it only has five buttons, including the power and shutter release, and a dial.
The biggest concession to minimalism, though, may be what the BF lacks. It's not the first camera to omit a viewfinder or mechanical shutter, but it is one of the only modern cameras we've seen without a slot for a storage card of any kind, be it SD, CFexpress or something more exotic. Instead the camera will only record to its 230GB of internal memory, which you can access via its admittedly quite fast 10Gbps USB-C port – the only port on the camera, by the way.
It almost goes without saying that this is a very unusual decision. There are obvious benefits to a camera having internal storage – most photographers have had the experience of going to take a picture only to realize they've left their SD card at home. That's why it's not surprising that a few other photographer-focused cameras, such as the Leica M11 and Ricoh GR III, have it. However, its inclusion (almost) never comes at the cost of the ability to use external storage.
The BF is undeniably small. Maybe there was just no room for a card slot?
Image: Sigma
The company hasn't said much about why it decided to forego a card slot on the BF, though we have reached out for comment. There's an argument to be made that it helps achieve the company's ultra-simplistic vision; with the BF, you won't have to worry about remembering your SD card or making sure that it's fast enough to record 6K video. And while SD card slots are small, it's possible excluding one made it easier to make the camera as compact as it is. Cynically, it also gives people something to talk about, generating extra buzz around a major launch. In a market full of 24MP full-frame cameras around $2,000, this is just one more thing that sets the BF apart.
There are some downsides, though, beyond just the lack of flexibility. If you want to offload images to your computer but don't have a USB-C lead, you'll be out of luck. The same goes for if you're planning a mammoth shooting session that will generate more than the 14,000 JPEGs, 4300 uncompressed DNG Raws or 2.5 hours of video that Sigma says the internal storage is good for. You also don't have the option to shoot redundantly, like you can with cameras that have internal storage and a card slot or dual card slots.
We'd like to hear what you think, though. Is internal storage enough, or is the lack of a card slot more foolish than beautiful? Sound off in the comments below.
Its new wordmark, aka the way it writes its name, now uses a seriffed font, which wouldn't look out of place atop a newspaper of record or on the tag for a piece of designer clothing. The previous style, which you'll find printed on the company's lenses, used a modern-style sans serif font. The company says this new style "will be gradually introduced across Sigma’s products, website, social media and product packaging." The new wordmark already shows up on its website and all the new products the company released today.
Images: Sigma
Sigma is also updating its symbol, giving it a "contemporary update." The company says its new way of writing the Greek letter sigma – used in math to notate a summation – is meant to symbolize "the guiding idea behind our manufacturing philosophy: every single product is the sum of the technology, experience, passion and expertise of everyone involved in its creation."
The new look comes alongside a push to emphasize the fact that the company's products are made in-house in Japan, a fact it highlighted in a recent video showing off its production process of a 24-70mm F2.8 lens.
Alongside the new look, Sigma announced a new "Art Projects" initiative, where it will "collaborate with artists to produce and share their work." The first two artists involved in the program are Sølve Sundsbø and Julia Hetta, and the company's site now features pages showing off the two's work.
Press release:
Sigma Announces New Visual Identity & New Art Projects Initiative
On February 24, 2025, Sigma Corporation (CEO: Kazuto Yamaki) will adopt a new visual identity for its products and brand.
Since Sigma’s founding in 1961, we have continued to innovate and push the standards of optical engineering out of a deep respect for the creative ways photographers and filmmakers engage with the world. With our new visual identity, we refocus on the essence of our manufacturing philosophy and communicate our desire to provide outstanding products and services to our customers.
The way cameras and photography relate to our lives is constantly changing, as the industry undergoes constant evolution and occasional revolutionary leaps. At the same time, the fundamental desire at the heart of photography – to capture and share moments – remains unchanged. Our new visual identity reflects our unwavering commitment to supporting this pursuit through exceptional craftsmanship and creativity.
Wordmark & Symbol
The most striking changes concern Sigma’s wordmark and symbol.
The new symbol is a contemporary update of the symbol that has been in use since Sigma’s founding. Based on the Greek letter Σ, it reflects the name of our company and symbolizes the guiding idea behind our manufacturing philosophy: every single product is the sum of the technology, experience, passion and expertise of everyone involved in its creation. Our new visual identity will be gradually introduced across Sigma’s products, website, social media and product packaging.
Sigma Aizu Japan
Sigma’s production is entirely based in Japan, with every lens, camera and other product manufactured at Sigma’s factory in Aizu and our supply chain concentrated in the Tohoku region. Our commitment to keeping everything local has resulted in the unique levels of craftsmanship, know-how and technology that define our products today.
In our future brand communication, we will place more emphasis on the origin of our exceptional quality: Made in Aizu, Japan.
Art Projects and Deeper Commitment to the Arts
As a camera and lens manufacturer, we have always been deeply motivated by the art of photography. We are inspired by the passion of photographers and filmmakers everywhere and hope that our relentless pursuit of quality and innovation will help artists realize their visions.
Supporting the photographic and visual arts is a core tenet of our corporate mission. In addition to our ongoing sponsorships and partnerships with numerous festivals and cultural events, as well as maintaining, growing, and exhibiting our library of photobooks, we will continue to expand and deepen our support of the arts through several new endeavors.
With the launch of our new visual identity, we are introducing Art Projects, a new initiative in which we will collaborate with artists to produce and share their work.
The first artists to work with us are Sølve Sundsbø and Julia Hetta.
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Image: Sigma
Sigma had a big day yesterday, announcing multiple new lenses and a bold new camera. The Sigma BF takes a new approach to mirrorless cameras, simplifying things to only the essentials. On top of that, it also revealed the do-it-all APS-C 16-300mm F3.5-6.7 lens, powerful 300-600mm F4 lens for wildlife and sports and nine restyled I-series prime lenses.
Following yesterday’s announcements, we’re inviting you to participate in the discussion in our forums. We’re also collecting your feedback and questions for our editors. They are on the ground in Japan and will be getting their hands on Sigma’s new gear. As a result, they will be able to answer some of your inquiries this week.
Those interested in discussing the Sigma BF can visit the discussion thread dedicated to the new camera. Or, if you are intrigued by Sigma’s new 16-300mm F3.5-6.7 and 300-600mm F4 lenses, head over to the discussion thread here.
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Image: Sigma
Sigma has revealed the BF, a radically minimalist 24MP full-frame L-mount mirrorless camera.
It's a compact mirrorless body with a single rear-plate dial and three buttons that provide haptic feedback when pressed. Sigma says the interface has been designed to be simple and intuitive. Other than these three rear buttons, the camera has shutter and power buttons.
It offers phase-detection autofocus, which is combined with a subject recognition system designed to detect humans, dogs and cats: a first for Sigma.
The BF has 230GB of internal memory instead of any removable media cards and uses the USB slot to transfer data off the camera. Sigma says this is sufficient for 14,000 JPEGs, 4300 uncompressed DNG Raws or 2.5 hours of video shot in its highest quality settings.
Rendering: Sigma
The body is milled from a single block of aluminum, which Sigma says is a first (though this may include caveats in the smallprint as both Leica and Hasselblad have made similar claims in the past). It weighs just 388g (13.7oz) without battery.
However, the camera has no mechanical shutter, which means it risks exhibiting rolling shutter when used to shoot fast-moving subjects and precluding the use of flash. There's also no stabilization.
The BF is a small rectangular body with a texture cut into the front surface to provide grip. A small settings display to the right of the fixed live view display displays either the ISO, shutter speed or aperture value, so that the main composition panel doesn't have to have camera settings intruding on the view.
The BF can shoot at up to 8fps and has a rolling shutter figure of 24.8ms (1/40 sec) strongly suggesting that it's using the same 24MP BSI sensor that we've seen across many cameras over the past few years, and that it's running in 12-bit readout mode. This blunts the overall dynamic range but also means that rolling shutter shouldn't be too pronounced unless your subject is moving quite quickly.
In addition to stills, the BF can capture 6K video at up to 30p, or 4K footage derived from 6K capture. This can be in H.264 or H.265 and has the option to use Leica's L-Log response curve for preserving flexibility for making tone and color adjustments in post.
There are no ports on the camera, other than a single, exposed USB-C socket on the side of the body. On the base there's just a tripod socket and a catch to release the battery.
The Sigma BF will be available in a choice of black or silver, with both versions retailing for around $2000. Silver versions of Sigma's i-series primes will be available in L-mount, to match the camera.
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Press release:
Announcing the “Radically Simple” Sigma BF camera
Ronkonkoma, New York - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the Sigma BF, a 24-megapixel full-frame L-Mount camera. The Sigma BF presents an uncompromising new vision for the digital camera. Stripped to the essence but packed with power, innovative yet rooted in the origins of photography, it is designed to accompany you throughout your day and to capture the spontaneous beauty of everyday life. The BF balances performance with simplicity and returns the focus to what matters most: your photographs. The Sigma BF will retail for $1,999 and be available in April 2025.
A radically simple camera that evokes the essence of photography A full-frame mirrorless camera offering an unprecedented intuitive shooting experience
Staying close to the photographer, the Sigma BF captures the beauty that lies hidden in everyday life, and becomes the catalyst to be aware of that beauty. The BF focuses on the joy of photography that only a camera as a tool can provide. By simplifying and stripping away all excess elements, this full-frame mirrorless camera redefines the process of taking a photograph as a natural act. The unique user interface, which provides a new sense of connection between the photographer and the camera in a true seamless unibody, is more intuitive than ever with its pressure-sensitive haptic buttons and dial. The high-definition expression of the approximately 24-megapixel full-frame sensor and the reliable dual autofocus system bring your vision to life.
Key features
Simple, clear, and completely new user interface
The user interface has a completely new information structure compared to conventional digital cameras, with the main shooting-related settings stored on the live view screen, secondary settings in the optional menu, and management functions and detailed settings in the system menu. Users can easily operate the shutter speed, aperture, ISO sensitivity, EV compensation and color mode, along with other important shooting-related elements at the touch of a finger. Combined with the auto setting, the functions of the general shooting mode dial are also covered.
Clear live view and status monitor
The default live view screen displays only the minimum necessary information and can be changed to display no information at all. Since the currently active setting is displayed on the status monitor, the users can concentrate solely on composition and the subject on the live view screen.
Minimal controls and haptics
All controls are integrated into just three buttons, one dial, the shutter release, and the power button. The BF is the first mirrorless camera* to incorporate haptics into its Dial, Center button, Option button, and Playback button, resulting in minimal physical wear. The buttons are always accurate and comfortable to press. * As of February 2025, by Sigma.
Unibody structure
The BF is the first camera in history* to feature a true unibody, which boasts unprecedented rigidity. Each camera is carved from a single, solid block of aluminum over the course of seven hours. The reliable, comfortable weight of its seamless all-metal body harmonizes perfectly with any attached lens. * As of February 2025, by Sigma.
Internal storage
The BF features 230 GB of internal memory, capable of storing more than 14,000 JPEG files, 4,300 uncompressed RAW images or 2.5 hours of video at the highest-quality setting, with the USB-C port offering fast charging and data-transfer speeds.
Various color modes
Thirteen different color modes are available to open up new avenues of creativity. The modes range from unique options like Teal and Orange, Powder Blue, and Warm Gold to creative yet versatile options such as Rich, and Calm.
Evolved autofocus
A hybrid autofocus system combining image phase detection and contrast detection utilizes state-of-the-art algorithms to capture subjects accurately and reliably. In addition to people, dogs and cats can be detected in the subject detection mode.
Video shooting (6K, L-Log)
The BF supports high-resolution 6K and L-Log recording, enabling video production that takes advantage of the wide dynamic range of a full-frame sensor.
Equipped with L-Mount
The L-Mount lens mount allows the camera to be used with a wide variety of interchangeable lenses for mirrorless cameras from Sigma as well as other L-Mount Alliance partners.
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Image: Sigma
Sigma has announced the 16-300mm F3.5-6.7 DC OS Contemporary lens, a wide-angle to telephoto, image-stabilized zoom for APS-C cameras that provides a 24-450mm equivalent focal length. Sigma claims it's the longest zoom ratio available in an APS-C lens and that it will be ideal for applications ranging from landscape to sports photography. It will be available in L-mount, E-mount, X-mount and RF-mount.
Optically, the lens comprises 20 elements in 14 groups and includes 1 FLD, 4 SLD and 4 aspherical elements. It contains one high refractive index glass element, which Sigma says has "significant thickness variation."
The lens has a close focusing distance of 17cm (6.7") at its widest angle and 105mm (41.4") at the telephoto end. The maximum magnification of 1:2 occurs at 70mm and is 1:3 at 16mm, and 1:4 at 300mm. The front element includes a water and oil-repellent coating. According to Sigma, the lens is designed to suppress focus breathing, making it useful for video work and applications like focus stacking.
Sigma says the autofocus is driven by its high-response linear actuator motor to provide fast and smooth autofocus. Image stabilization is rated at 6 stops at the wide, and 4.5 stops at the telephoto setting. A zoom lock switch is included to prevent lens creep when mounted on a camera.
Physically, the lens is 73.8mm (2.9") in diameter and 121.4mm (4.8") long and includes threads for a 67mm filter. It weighs in at 615g (1.4 lbs). Sigma rates it as dust and splash-resistant.
The Sigma 16-300mm F3.5-6.7 DC OS Contemporary has a retail price of $700 and will be available beginning April 17.
Sigma presents the world's first mirrorless lens with an approximate zoom ratio of 18.8x. Powerful yet portable, the 16-300mm F3.5-6.7 DC OS | Contemporary delivers outstanding results in any situation.
Ronkonkoma, New York - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the 16-300mm F3.5-6.7 DC OS | Contemporary lens for the US market. the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features an 18.8x zoom ratio, the world’s largest*1 for an APS-C format mirrorless lens. Equivalent to 24-450mm in 35mm format, this portable lens covers everything from wide-angle for landscapes and interiors to super-telephoto for sports, wildlife and aviation. This extremely versatile lens brings the full range of photographic subjects within reach, from landscapes and portraits to wildlife and sports photography. The lens is available in L-Mount, Sony E-Mount, Fujifilm X Mount and Canon RF Mount and will retail for $699 through authorized US retailers.
Sigma presents the world's first*1 mirrorless lens with an approximate zoom ratio of 18.8x. Powerful yet portable, the 16-300mm F3.5-6.7 DC OS | Contemporary delivers outstanding results in any situation.
The all-new Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features an 18.8x zoom ratio, the world’s largest*1 for an APS-C format mirrorless lens. Covering the entire range from wide-angle to super-telephoto, this extremely versatile lens brings the full range of photographic subjects within reach, from landscapes and portraits to wildlife and sports photography.
With a maximum magnification ratio of 1:2, the 16-300mm F3.5-6.7 DC OS | Contemporary captures detailed close-ups with ease. Its HLA (High-response Linear Actuator) motor provides exceptionally fast, smooth and accurate autofocus - ideal for fast-moving subjects such as birds and aircraft. The lens offers 6 stops of image stabilization at the wide end and 4.5 stops*2 at the telephoto end, helping photographers achieve blur-free results even at longer focal lengths and in low light.
This ultra versatile all-in-one zoom is the perfect tool for creative photographers who want to work in a wide range of photographic genres.
*1 As an AF compatible interchangeable lens exclusively for mirrorless, as of February, 2025 by Sigma. *2 Based on CIPA guidelines. (Measured at a focal length of 16mm and 300mm using an APS-C camera)
Wide-angle, super-telephoto and macro photography in one lens
The world's first 18.8x zoom with a 16mm wide-angle setting
The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary is the world's first mirrorless lens with an 18.8x zoom ratio. Equivalent to 24-450mm* in 35mm format, this portable lens covers everything from wide-angle for landscapes and interiors to super-telephoto for sports, wildlife and aviation. * Approximately 25.6-480mm for the Canon RF Mount version.
Maximum magnification ratio of 1:2 at 70mm for striking close-ups
With a maximum magnification ratio of 1:2 at 70mm, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary provides excellent close-up performance, perfect for capturing flowers, insects and other small subjects in great detail. With a maximum magnification of 1:3 at the wide end and 1:4 at the telephoto end, photographers have access to a huge range of creative expression.
Small, lightweight and portable
Despite its impressive zoom range of 16-300mm, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary prioritizes high portability, measuring just 73.8mm in diameter by 121.4mm in length and weighing just 615g*. This is achieved through advanced mechanical and optical design, including a high refractive index glass element with significant thickness variation and an aspherical lens element. * The figures are for the L-Mount version.
High-speed autofocus and image stabilization for effortless shooting with reliable results
Accelerated AF speed and accuracy with HLA autofocus
To help photographers capture even the most fleeting moments, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary uses a High-response Linear Actuator (HLA) to achieve high-speed autofocus functionality with excellent drive accuracy.
Outstanding optical stabilization powered by the OS2 algorithm
Inspired by the same technology that powers Sigma's super-telephoto lenses used by professional wildlife and sports photographers, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features 6 stops of optical stabilization at the wide end and 4.5 stops at the telephoto end. The latest OS2 optical stabilization algorithm provides superior image stabilization to mitigate the effects of camera shake, helping photographers achieve blur-free results without the need for a tripod, even when shooting in low light and at full zoom.
* Measured using an APS-C camera at focal lengths of 16mm and 300mm according to CIPA standards.
Equipped with a zoom lock switch at the wide end
The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending.
Dust- and splash-resistant structure* and water-repellent coating
Designed to help photographers work in all environments, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features a dust- and splash-resistant structure for use in harsh conditions. In addition, the front element features a water- and oil-repellent coating that helps keep the lens free of contaminants.
* The structure is designed to be dust- and splash-resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.
Uncompromising optical quality that redefines the standard for super-zoom performance
Consistently high image quality across the entire zoom range
Thanks to its advanced optical design with 1 FLD, 4 SLD and 4 aspherical elements, the lens has excellent aberration correction and delivers sharp results throughout the whole zoom and focus range.
Engineered to minimize flare and ghosting
By measuring light incidence under all conditions and using advanced simulation technology, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary guarantees superior resistance to flare and ghosting, allowing photographers to capture crisp, clear images in even the most challenging lighting conditions - just as an all-in-one lens should.
Suppressed focus breathing for consistent framing
The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary is designed to effectively suppress focus breathing, making it a perfect choice for filmmakers as well as photographers working with multi-shot techniques such as focus stacking. Throughout the zoom range, changes in angle of view are kept to an absolute minimum when changing focus.
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Image: Sigma
Sigma has announced the 300-600mm F4 DG OS Sports lens, designed specifically for applications like sports, action and wildlife photography.
Optically, the lens is built around 28 elements in 21 groups. It includes 6 FLD and 1 SLD element, anomalous dispersion glass, high refractive index glass, and a water and oil-repellent front coating. It's designed to provide a high level of correction for chromatic aberration throughout the entire zoom range. Sigma claims the new zoom will deliver the same optical performance as a prime lens.
Autofocus is driven by a high-thrust HLA (high-response linear actuator) motor that drives a lightweight lens focus group located close to the camera body for good balance and fast and precise AF performance.
The image stabilization system provides 5.5 stops of stabilization at 600mm. It includes two stabilization modes: Mode 2 is designed to be widely used for most still and video applications and Mode 2 is designed specifically for panning shots in the horizontal, vertical or diagonal directions.
The lens barrel is constructed from magnesium alloy, and the lens hood is made of carbon to deliver a sturdy but lightweight design. It's painted with thermal insulation paint to reduce heat absorption. The inner zoom mechanism is designed to minimize center of gravity fluctuations throughout the entire zoom range.
The lens also includes a newly added function ring that offers two modes. With the Focus Preset Mode, twisting the ring right or left will instantly shift to a pre-registered focus position. The Power Focus Mode is intended to make it easier to focus the lens at a constant speed for applications like video and supports two steps; focus speed can be changed in two steps, depending on how far the ring is turned.
Other controls include four AFL buttons, a focus mode switch, a focus limiter and OS mode switch and a custom mode switch. The L-mount version is also compatible with teleconverters.
There is a drop-in holder for 40.5mm filters. According to Sigma, it has developed a new drop-in circular polarizer and a variable ND filter with 7 stops of adjustment to use with the lens. Sigma says the lens is dust and splash-resistant.
The lens is 167mm (6.6") in diameter by 467.9mm (18.4") long. It weighs 3,985g (8.79lbs)
The Sigma 300-600mm F4 DG OS Sports lens will be available from April 2025 at a retail price of $6000.
The innovative Sigma 300-600mm F4 DG OS | Sports combines the power of a prime lens with the freedom to zoom
Ronkonkoma, New York - Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the Sigma 300-600mm F4 DG OS | Sports lens for the US Market. the Sigma 300-600mm F4 DG OS | Sports is a revolutionary large-aperture ultra-telephoto zoom lens that delivers all the convenience and versatility of a zoom lens with the superior optical performance of an ultra-telephoto prime lens. The fast and precise AF performance of its High-response Linear Actuator (HLA) and 5.5 stops of optical stabilization at 600mm make the Sigma 300-600mm F4 DG OS | Sports a powerful choice for the challenges of sports, action and wildlife photography. Available for Sony E-mount and Leica L-Mount, the lens is priced at $5,999 and will be available through US retailers in April 2025.
Superior optical performance and agility for professionals:
The innovative Sigma 300-600mm F4 DG OS | Sports combines the power of a prime lens with the freedom to zoom
The Sigma 300-600mm F4 DG OS | Sports is a revolutionary large-aperture ultra-telephoto zoom lens that delivers all the convenience and versatility of a zoom lens with the superior optical performance of an ultra-telephoto prime lens. With the Sigma 300-600mm F4 DG OS | Sports, photographers can move freely between focal lengths of 300mm and 600mm without changing lenses. The fast and precise AF performance of its High-response Linear Actuator (HLA) and 5.5 stops of optical stabilization at 600mm make the Sigma 300-600mm F4 DG OS | Sports a powerful choice for the challenges of sports, action and wildlife photography, where situations change quickly and the opportunity for the perfect photo lasts only a few moments. Featuring a magnesium alloy body, thermal insulation paint and additional features such as the newly added function ring, the Sigma 300-600mm F4 DG OS | Sports has been designed to support professionals achieve their best shots.
Key Features
Ultra-telephoto zoom lens with the optical performance and brightness of a prime lens
Exceptional versatility in the ultra-telephoto range
The Sigma 300-600mm F4 DG OS | Sports extends the capabilities of a 600mm F4 prime lens with the freedom to zoom out all the way to 300mm without compromising optical performance. Its inner zoom mechanism minimizes center of gravity fluctuations throughout the entire zoom range, making it a versatile and easy-to-use tool for an unprecedented range of shooting situations.
Extremely high optical performance
The Sigma 300-600mm F4 DG OS | Sports features 28 lens elements in 21 groups, including 6 FLD and 1 SLD glass elements, anomalous dispersion glass, and high refractive index glass. Its optical design provides excellent correction of various optical aberrations, such as chromatic aberration, throughout the entire zoom range. Although a zoom lens, the Sigma 300-600mm F4 DG OS | Sports delivers the unparalleled optical performance of a prime lens.
High-speed autofocus and powerful optical stabilization to never miss a decisive moment
HLA-driven high-speed AF
Despite its large aperture of F4, the Sigma 300-600mm F4 DG OS | Sports features a lightweight focus lens group thanks to the use of a high-thrust HLA (High-response Linear Actuator), optimized optical power arrangement and state-of-the-art glass materials. The result is high-speed autofocus functionality with outstanding accuracy.
Powerful Optical Stabilization function driven by the OS2 algorithm
The Sigma 300-600mm F4 DG OS | Sports delivers exceptional optical stabilization of 5.5 stops* at 600mm. Powered by Sigma’s sophisticated OS2 algorithm and featuring a drive unit with a specially designed actuator and high-precision sensor, this lens effortlessly meets the demands of a large-aperture ultra-telephoto.
Additionally, photographers have the choice between two Optical Stabilization (OS) modes: Mode 1 is suitable for most still photography and video situations, while Mode 2 was specially designed for panning shots. Driven by Sigma’s Intelligent OS2 algorithm, this mode stabilizes the image during horizontal, vertical, or diagonal movements, regardless of the camera’s orientation, enabling photographers to capture moving subjects with professional precision.
* Based on CIPA guidelines. (Measured at a focal length of 600mm with a 35mm full-frame camera)
Exceptional quality, functionality and features as the flagship of the Sigma’s Sports line
Combines high robustness and mobility
The lens barrel is made of magnesium alloy for the main parts and the hood is made of carbon, achieving both high robustness and light weight. In addition, the optical design with the center of gravity toward the camera greatly improves the weight balance, which tends to be front-heavy.
Thermal insulation paint for perfect lens performance
The exterior of the lens body is coated with a thermal insulation paint that effectively suppresses heat absorption from sunlight. This prevents the lens from heating up, even during long outdoor shoots in sunny weather, such as nature or motorsports photography.
New function ring adds extended functionality
The Sigma 300-600mm F4 DG OS | Sports features a newly added function ring that further expands the options of the lens. The focus ring offers two different modes, selected via its setting switch:
Focus Preset Mode: By turning the function ring to the left or right, the focus can be instantly shifted to a pre-registered focus position. This is useful when frequently shooting at a fixed focus position.
Power Focus Mode: Focusing at a constant speed is possible by operating the function ring. This allows for smooth focus shift during movie shooting as well as for focusing with minimal movement when shooting hand-held. Focusing speed can be changed in two steps depending on the angle at which the function ring is operated.
Durable and easy-to-handle tripod socket
The tripod socket's rotating mechanism uses bearings for both high durability and smooth rotation with an optional click/declick mechanism for each 90° angle to assist in accuracy. The tripod socket foot is compatible with Arca-Swiss type clamps, whichcan be easily removed and replaced with different interchangeable tripod sockets (available separately) to suit a variety of situations and preferences.
Equipped with a drop-in filter holder
The Sigma 300-600mm F4 DG OS | Sports features a drop-in filter holder for standard ø40.5mm filters. In addition, Sigma has developed a new drop-in circular polarizing filter and a variable ND filter (available separately) that can be adjusted by approximately 7-stops while dropped into the lens.
Weatherability of Sigma’s Sports line specifications
The mount joints, manual focus ring, zoom ring, custom switches and other control switches, and exterior joints are all protected from dust and splash by a dust- and splash-resistant structure*. Further, the frontmost surface of the lens is coated with a water- and oil-repellent coating to facilitate maintenance when water droplets or dust adhere to the lens.
* The structure is designed to be dust- and splash-resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.
Various functions to support shooting
The lens features a variety of buttons and switches to accommodate individual preferences and the demands of different shooting situations, including AFL buttons in four different locations, a focus mode switch, a focus limiter switch, an OS mode switch (Mode 1 or Mode 2), and a custom mode switch. The L-Mount version of the lens is also compatible with Tele Converters (TC-1411/TC-2011) for AF-enabled shooting at a maximum focal length of 1,200mm.
The Sigma 45mm F2.8 DG Contemporary, showing Sigma's new typeface.
Rendering: Sigma
Sigma's I-series prime lenses will become the first to adopt the company's revised logo and branding, with updated versions of all nine lenses losing the 'DN' designation from their names.
All nine lenses retain their original optical formulae and change only in their external appearance. The exception to this rule is the original 45mm F2.8 DG Contemporary, which has now been made compatible with the magnetic lens caps used across the rest of the series.
Silver versions of the I-series lenses will also be available, to match the silver version of Sigma's new BF mirrorless camera. Prices for all nine lenses remain unchanged.
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Sigma CEO Kazuto Yamaki
Photo: Richard Butler
We're at Sigma's pre-CP+ event at its headquarters in the suburbs of Tokyo. CEO Kazuto Yamaki is talking and we'll be reporting live on what he reveals.
About the company
He says they've been working hard to provide "the best of the best." But, since he took over the company on 2012, the image quality of smartphones has increased and "the importance of the dedicated camera is gradually being questioned."
This caused him concern, he says. But he found himself encouraged when he went back to the founding ethos of his father: "technological innovation is an art in itself."
He says the company will focus on "technology, craftsmanship and art." To reflect this, the company is introducing a new look and new logo, with the tag-line: "The art of engineering, engineering for art."
As part of this, Yamaki says the company is establishing the Sigma Foundation that will promote the art of photography. The foundation's first actions will be to publish photo books by two photographers: Sølve Sundsbø and Julia Hetta.
But, he says the company's focus will remain the same: "to develop, manufacture and deliver the very best products to our customers."
"Since 1973 we have been making all our products in Aizu, Japan," he says, "and we remain committed to the people and the community of Aizu."
Two new lenses:
Sigma CEO Kazuto Yamaki reveals the 16-300mm F3.5-6.7 DC OS lens for APS-C mirrorless.
Photo: Dale Baskin
The first lens is the 16-300mm F3.5-6.7 DC OS, an 18.8x zoom lens for APS-C, as part of its Contemporary range of lenses.
He describes the design as compact and lightweight, with a diameter of 73.8mm and a length of 121.4mm. It weighs 615g (L-mount). The lens is ideal for travel, landscape, street and family photos, where flexibility is important, he says.
The autofocus is driven by the company's HLA linear motor and the optical stabilization can deliver 6.0 stops of shake compensation at the wide end.
It can deliver a 1:2 magnification ratio at 70mm. It will be available for L-mount, Sony E-mount, Fujifilm X-mount and Canon RF-mount. It will cost $699 and be available in April.
The second lens is a Sigma 300-600mm F4 DG OS Sports. It is the world's first zoom to reach 600mm with a maximum aperture of F4.
He says they aimed to make it compact and lightweight enough for handheld use. It weighs around 4Kg and is 467.9mm long. It has a diameter of 167mm.
The optical stabilization is able to deliver 5.5EV of correction. It has 28 elements in 21 groups include six FLD elements and one SLD element. The lens has a switch to change stabilization modes, for when you're panning.
The lens is an internal zoom design, minimizing shifts in the center of gravity. It can take internal filters. It will be available for both L-mount and E-mount. It will cost $5999, and is also available in April.
New camera: Sigma BF
Photo: Dale Baskin
"Smartphones are now the most used camera in the world," says Yamaki: "the very raison d'etre of dedicated cameras is brought into question."
While situations like sports and wildlife photography still require a dedicated camera, it's less obvious whether a dedicated camera is needed for day-to-day photography. "We believe it is," he says.
Modern digital cameras are not compatible with frequent day-to-day use. We wanted to create a camera that was small, simple and well-suited to everyday use.
"An everyday system camera for creative minds."
The BF is an L-mount camera with a 24MP CMOS sensor. He says the design concept is one of "radical simplicity."
He highlights three features: Unibody construction, Single-finger interface and Dual Layer menu system.
The body is a unibody/monocoque construction. It takes over seven hours to mill the camera from a single ingot. On one side there is a strap lug, on the other a USB 3.2 10Gbps port. Beyond this, just a tripod socket and battery compartment.
There is no memory card slot. Instead, it has 230GB of internal memory. This allows storage of up to 14,000 JPEGs, 4,300 DNG Raws and over 2.5 hours of video at the highest bit-rate.
Single-finger interface
Photo: Dale Baskin
He suggests the complexity of modern camera interfaces stems from them being based on film camera operation. He says they've simplified everything to allow everything other than the shutter button to be operated with your thumb. The buttons on the back use piezoelectric actuators to provide haptic feedback as you operate it.
The BF costs $1999 and will be available in April. We're told we'll be able to get our hands on a working sample shortly.
He points out that many menus have a great many options and can require a lot of exploring and button pressing. On the BF they have simplified all the options into two menu screens: the main menu screen with all the key shooting parameters: aperture, shutter speed, ISO, exposure comp and color modes. At the top of the screen: aspect ratio, AF mode and white balance.
Separately, there is a second screen where settings you change less often are grouped in a Options menu. More complex settings are stored one layer deeper, in a more conventional menu structure.
He acknowledges it may take some time to learn this new system, especially if you already know how to use another camera, but in time he says you will learn to enjoy the BF. "This is the easiest camera to use," he says.
The BF includes two new color modes, in addition to the ones on the existing fp and fp-L models. These are Calm and Rich modes, one of which is subtle, the other quite bold.
"The BF is chiefly a photo camera but it can shoot video," Yamaki says. It can shoot up to 6K/30 in H.264, H.265 and Leica L-Log formats.
The BF will be available in black or silver, with silver versions of the I-series primes available in L-mount, to match. The BF weighs 388g (without battery).
It features a hybrid AF system combining phase detection and contrast detection.
The theme for our February Editors' photo challenge was 'Winter Games', and we asked you to show us the coolest winter fun through your lens.
As usual, DPReview photographers iced it! We got snowed under with amazing entries, making judging an absolute blizzard of a task. Our top picks on the following pages are presented in random order.
Description: With its 100th anniversary, Harris Hill in Brattleboro, Vermont, is one of the oldest ski jump hills in the US. It is a FIS-approved 90-meter hill that has been around since 1922. This image is a view of a jumper passing in front of the judge's tower on the way down!
Description: Polar Bear Swims are a New Year's Day tradition. Hundreds of adults, teenagers and families with children attend the event to race and swim in the chilly winter waters. This freezing winter plunge activity takes place all over the world.
Description: Not enough snow for skiing, but perfect for mountain biking. Provided you have heated socks. We climbed 700 m in deep winter conditions. We made our first tracks in the snow on the deeply snow-covered slopes of the Alps.
Description: At the winter festival, there were activities and games for everyone. People watched an ice sculpting competition, tried out snowshoes, and children played in a gigantic snow playground. Snow or shine, people immersed themselves in the festival. On our way to the sledding and tubing hill, we met a family on an ice skating rink. They had much fun skating, oblivious to the heavy snowfall. I took this shot, and it was my favorite of the day. I am happy to report that my camera survived the snow, ice, cold, and rough weather; the camera still works and still makes great memories to this day.
Description: Professional snowboarder Ryland Bell on location with Warren Miller Entertainment. This was shot in the Chugach Mountains with Points North Heli-Adventures, a heli-ski operation based out of Cordova, AK. This is a seldom-ridden line as conditions have to line up just perfectly.
Description: Heliskiing was a bucket item I thought I'd never get a chance to experience, but I got an opportunity in 2019 and couldn't pass it up. It allowed the group to experience amazing skiing and breathtaking views. One of my favorite views came together with the helicopter dropping us off at the top of the mountain and being able to take in the entire view.
Description: This is a view of Humber Bay Park, as seen from our Toronto apartment. A gentle snowfall had done some extra cake decorating overnight by powdering the trees with a delicate, sugary frosting. For me, the days of hip-shattering ice rinks and arduous ski and hiking trails are behind me. I’m 80. Nevertheless, I still participate in the winter games by enjoying an unhurried walk through this serene yet exhilarating landscape. After I took this shot, I switched the camera for Nordic walking poles and, with my wife of 55 years, followed the same trail as the couple you see in this picture. And, like the lamp they will soon pass under, ours still shines bright.
Description: The genera of Adventure Photography can be quite challenging. One has to have the stamina to manage the trip while expending extra energy to carry camera gear and capture photographs. This often requires anticipating shots, running ahead and photographing as your partners move through your frame. In this photo, safety was a primary concern as we skied along a crevassed glacier with seracs hanging above us. I was in the back, waiting for my friends to create a leading line to the peak framed in the picture. Moving quickly through this section of the glacier was important, so I only had a moment to capture the frame.
Description: I had the chance to photograph an organized hunt club where mounted riders follow a pack of hounds as they chase wild fox. The huntsman maintains control of the hounds, and no harm comes to the fox when these chases occur. The fox runs through the country cunningly evading the hounds until they eventually lose his scent, the fox “goes to ground” in his den, or the fox goes onto public or private land where the club does not already have permission to be. I rode with a "car follower" who showed me the places where I would most likely get good images.
Description: This is a local ice art competition in Fairbanks, Alaska. International teams arrive to carve the ice blocks. The blocks are transported from a local lake and brought to the site to be sculptured. This is the beginning of one team working on their multi-block piece. I'm not sure they even noticed I was grabbing the shot. Multi-block judging occurs four days after they begin.
Description: We encountered this polar bear on a tour of the Ranua Wildlife Park in Finland. She was very friendly and took her sweet time posing for the cameras.
Description: One of the local golf courses also serves as a winter recreation area, with cross-country skiing, fat tire biking, disc golf, and sliding. The very steep tenth fairway hosts the sleds and snow tubes, and this family joined several tubes to enjoy a thrilling ride to the bottom.
Description: This was my first photoshoot with remote controls, and it worked excellently. The sun was shining, and fresh snow had come in the night. The trail was covered with light snow, and it was like I was riding a motor-powered dirt bike, though it was a mountain bike. Taken with the OM System OM-1 II with 40-150mm f2.8, human subject tracking and AF-C using Hahnel remote controls.
Description: The Alaska Dog Mushers Association hosts the Open North American Championships, the world’s premier sprint sled dog race, annually in and around Fairbanks, Alaska. Teams gather from around the world to compete in a series of fast sprint races. Shown is from the race in March 2013.
Happy weekend, folks! This week was a fairly quiet one for accessories, but that doesn't mean were left empty-handed. We'll look at a new light, plenty of gimbals and a memory card. But first, as always, deals.
Nikon sales
Photo: Richard Butler
The Nikon Z8 is one of the company's best-ever cameras, with features beyond its price. You can grab one for $600 off right now.
If the Z8 is a bit more than you need, the Nikon Z7 II is also a fantastic choice with excellent image quality, great ergonomics and a well-rounded feature set. It's currently on sale for $1,000 off as a standalone item, with additional savings for bundles with the FTZ II Mount Adapter. Adorama is also throwing in a memory card and an extra battery.
A few weeks ago, we shared the Godox P1200R Hard Pro light panel with an IP65 weather resistance rating. This week, Godox expanded its water-resistant lighting lineup for photographers with the KNOWLED M600Bi Pro Bi-Color LED Monolight. It features an IP54 rating for protection when working on outdoor sets. The 600W light offers 2800-6500K color temperatures and an output of up to 21,400 lux at 1m (3.3'), plus a long list of controls and 11 unique and customizable effects for more control over the light in your images.
European memory card maker Angelbird has introduced a new lineup of extra-fast CFexpress Type B cards. The Angelbird AV Pro SE CFexpress v4 Type B cards use CFexpress 4.0 technology, which is twice as fast as CFexpress 2.0. It's important to note that no cameras currently take advantage of all that speed, but it will be beneficial when transferring files. Plus, it is a bit of a future-proofing move. The new cards are available in 512GB, 1TB, 2TB and 4TB capacities with a promised maximum read speed of 3700 MB/s and sustained read speed of 3500 MB/s.
It was certainly a busy week for gimbal and gimbal accessories. First up was the Insta360 AI Tracker, which made Insta360's popular yet Apple-centric Flow 2 Pro smartphone gimbal accessible to Android users. The little accessory uses a dedicated camera to support AI-driven tracking no matter what phone is on the gimbal or what app you use to record video. It also sports a built-in light with three adjustable brightness and color temperature settings. We covered the launch in its own article, which you can read here.
DJI announced three new gimbals this week, starting with the Osmo Mobile 7 and Mobile 7P smartphone gimbals. Both feature DJI's seventh-generation three-axis stabilization and ActiveTrack 7.0, meaning they can automatically track subjects even in crowds or when moving. The Mobile 7P is the more advanced model of the two and comes with the company's new Multifunctional Module, which is quite similar to Insta360's AI Tracker. You can read more in our article about the release.
Finally, DJI announced its latest lightweight camera gimbal, the RS 4 Mini. The new offering streamlines the gimbal process, making it easier and faster to get up and running or pack things away. It is also more compact when folded down and promises better stabilization and battery life. Plus, DJI released yet another gimbal accessory similar to its Multifunction Module, albeit without the light. The RS Intelligent Tracking Module comes with the RS 4 Mini Combo and enables ActiveTrack with any camera or phone. You can find more details in our announcement article.
Finally, we always try to share some bits of knowledge from around the internet in this roundup. Today's video walks you through a bit of a DIY project, offering a different way to carry your camera without dropping loads of cash on specialized accessories.
The new Panasonic Lumix S1rII is rumored to use a new 44MP Sony sensor. Here are the impressive specs! -
As you know, Sony released the 44MP IMX366 sensor 1-2 years ago. This is a fast sensor that may or may not appear in the new Sony A7V in the future. My gut tells me that the A/V will still keep the 33MP resolution... But I heard an interesting competitor rumor: Panasonic will release a new S1rII next week with a brand new 44MP sensor. I’m guessing this will be a variation of Sony’s new IMX366 sensor, and the rumored specs are pretty impressive.
Here are the full specs for the Panasonic Lumix S1RII:
New 44MP “high-speed” sensor
40fps burst shooting with electronic shutter
10fps burst shooting with mechanical shutter
8-stop image stabilization - 176MP high-resolution mode via sensor shift… handheld(!) and 8-image composite
1.5 second pre-capture
8k30p video
4K120 uncropped
8.1K Open-Gate coming later via firmware update
Internal 6K ProRes RAW HQ recording
Internal RAW video recording: ProRes 422 HQ, ProRes 422 and proxy
Features a 22.3-megapixel Type 1.4 CMOS sensor (18.4 x 12.3mm), which is roughly equivalent in size to a Micro Four Thirds sensor but with a 3:2 aspect ratio.
This sensor is larger than the 1-inch sensors found in many compact cameras (e.g., PowerShot G7 X Mark III) and approximately twice the area, promising improved image quality and low-light performance.
Maximum standard ISO sensitivity of 32,000 for stills, indicating strong high-sensitivity capabilities.
The sensor is paired with Canon's DIGIC X processor, a first for a Canon compact camera.
Lens:
Fixed zoom lens with a 35mm equivalent focal range of 16-50mm (stills) or 17-52mm (video).
Aperture range of f/2.8-4.5, suitable for a variety of shooting conditions.
Includes a built-in 3-stop Neutral Density (ND) filter to manage exposure in bright light without affecting color.
Autofocus:
Equipped with Dual Pixel CMOS AF II, inherited from higher-end Canon models like the EOS R6 Mark II.
Features face and eye detection for humans, dogs, and cats (but not birds or horses), enhancing subject tracking for both stills and video.
Includes a unique "subject tracking IS" mode that adjusts image stabilization and cropping based on subject position.
Video Capabilities:
4K video recording at up to 60fps with a 1.4x crop from the sensor’s center.
4K at 30fps uses an oversampled 5.7K readout from nearly the full sensor width, improving quality.
Supports 10-bit Canon Log 3 for enhanced dynamic range and post-production flexibility, alongside HDR PQ color profiles.
Specialized video modes include "Review Video" (optimized for product reviews) and "Image Stabilization Video" for handheld shooting.
Built-in cooling fan allows for extended recording, with Canon claiming over two hours of 4K/60p when the overheat threshold is set to "High."
Still Photography:
Captures 22.3-megapixel images.
Continuous shooting up to 15fps with the mechanical shutter (14-bit RAW) and 30fps with the electronic shutter (12-bit RAW).
"Advanced A+" mode for automatic scene recognition and "Creative Filters" (e.g., diorama, toy camera effects) for artistic expression.
Design and Ergonomics:
Compact, pocket-sized "candy bar" form factor, weighing approximately 426 grams (with battery and SD card).
Fully articulating 3-inch LCD screen (no electronic viewfinder or built-in flash).
Built-in stereo microphones with a windscreen ("dead cat" accessory included) and ports for external mic and headphones.
Features a control ring around the lens (functionality—smooth or clicked—unconfirmed) and a dedicated photo/video mode switch that retains separate settings for each.
Active cooling vents for heat management, contributing to its slightly larger size compared to some expectations (e.g., lighter than the EOS R8 at 461 grams with battery but heavier than the anticipated 350 grams).
Connectivity:
USB-C port (charging capability unconfirmed), Wi-Fi, and Bluetooth for use with the Canon Camera Connect app.
Can function as a webcam via USB-C without additional adapters.
Includes Canon’s multi-function hot shoe for compatible accessories.
Additional Features:
Tally lamps for recording indication, useful for vloggers.
Multiple in-camera "mood" filters for video, a first for the PowerShot line.
Compatible with standard tripods.
Positioning and Target Audience
The PowerShot V1 is marketed as a "video-first" camera, competing directly with models like the Sony ZV-1 Mark II, which also targets content creators. Its hybrid capabilities, however, make it versatile for both video and still photography.
It serves as the flagship of the PowerShot V series, a step up from the consumer-oriented PowerShot V10 (released June 2023), which had a smaller 1-inch sensor and a flip-style design more suited to vlogging.
Compared to the retired PowerShot G1 X series (which used an APS-C sensor), the V1 offers a smaller but still substantial sensor with modern video and autofocus features, appealing to travel photographers, vloggers, and social media creators seeking portability without sacrificing quality.
Context and Market Impact
Compact Camera Revival: The PowerShot V1 aligns with a resurgence of interest in compact cameras, driven by younger creators and the limitations of smartphone photography. Its release follows the viral popularity of older models like the PowerShot G7 X Mark III, which Canon is reportedly discontinuing alongside the SX70 HS in 2025.
Regional Launch: The initial Asia-only release reflects stronger compact camera trends in those markets, though Canon’s hints at a broader rollout suggest confidence in global demand.
Competition: At a rumored $899, it undercuts premium compacts like the Ricoh GR III ($1,159.95) and Sony RX100 VII ($1,298), offering a larger sensor and advanced video features at a potentially more accessible price point.
Current Uncertainties
Exact Pricing and Global Availability: Official details are pending, with North American availability possibly in late 2025.
Battery Life and Charging: Specifics on battery capacity and whether the USB-C port supports charging remain unclear.
Lens Control Ring: Whether it’s smooth or clicked is unspecified.
Full Specs: Some minor details (e.g., exact video recording limits under normal settings) may be clarified at CP+ or closer to launch.
Upcoming Opportunities for More Information
The PowerShot V1 will be showcased at the CP+ trade show in Yokohama, Japan, from February 27 to March 2, 2025, where hands-on impressions and additional details are expected to emerge.
Photos: Abdulaziz Al Saleh, Enric Gener, Bryan H. Blauvelt, Ruruka, Alvaro Herrero (Mekan), Jenny Stock, Wojciech Dopierala, Bryant Turffs and Shunsuke Nakano / UPY 2025
The winners of the 2025 Underwater Photographer of the Year contest have been announced, showcasing spectacular underwater scenes. The UK-based contest began in 1965, though it appeared in its current form in 2014/2015. It celebrates work across 13 categories, including Portrait, Behavior, Wrecks, Coral Reefs and Macro, with three categories focused on photos taken in British waters.
This year, the contest saw 6750 entries with photographers coming from 28 different countries. Peter Rowlands, Tobias Friedrich and Dr Alexander Mustard MBE served as judges this year. You can find out more and see additional winners at the Underwater Photographer of the Year website.
Underwater Photographer of the Year 2025: 'Radiant Bond'
Credit: Alvaro Herrero (Mekan)/UPY 2025
Nationality: Spain
Image caption: Radiant Bond
Country taken: French Polynesia
Location: Mo'orea
Camera: Nikon Z7 II
Lens: Nikkor Z 14-24mm 2.8 s
ISO: 1100
Aperture: F8
Shutter: 1/640
Lighting used: Natural Light
Housing: Isotta
Back story: A mother humpback whale accompanies her calf to the surface for its first breath early in the morning. The youngster is releasing a few bubbles as it rises, perhaps this is because it is still learning to control its breathing, or it is simply experimenting with its own body.
Every year, during the southern winter, I travel to French Polynesia to photograph these majestic animals. My favourite time of day is the early morning, because the light is soft and angled, allowing me to find the perfect angle to clearly define the shape of these animals in blue. For me, this photo is one that shows a mother’s love for her calf, communicating both the fragility and beauty of our oceans, and revealing one of the amazing species with whom we share our home world.
Underwater Photographer of the Year 2025: Macro winner
Back story: At the end of this dive, I spotted a couple of underwater photographers focused on shooting and it piqued my curiosity about what they were photographing. I signalled to my guide to check what they were shooting. After realizing that it was one of my favourite subjects, a hairy shrimp, I waited patiently for my turn and used the time to plan and prepare for the shot. I chose to shoot it in profile, backlight with a snoot. My guide and my buddy played a fundamental role in expertly managing the light of the snoot. After a few test shots to find the right setting, I finally got the photo I was looking for.
Underwater Photographer of the Year 2025: Wrecks winner
Credit: Alex Dawson/UPY 2025
Nationality: Sweden
Image caption: Deep wreck
Country taken: Egypt
Location: Gulf Fleet No 31 wreck at Shaabruhr Umm Qammar
Camera: Nikon Z9
Lens: 8-15 fisheye
ISO: 800
Aperture: F4.5
Shutter: 1/80
Lighting used: ambient light
Housing: Nauticam Z9
Back story: The wreck sits on the reef at around 104m depth. When she sank she got wedged between the reef wall and a small reef so there is a swim through under the wreck. We did 25 min bottom time and about 2 1/2 hours of deco to produce this image.
Underwater Photographer of the Year 2025: Behavior winner
Credit: Shunsuke Nakano/UPY 2025
Nationality: Japan
Image caption: Face Off
Country taken: Japan
Location: Sado,Niigata
Camera: Nikon D850
Lens: af nikkor 28-70mm f3.5-4.5 d with Nauticam WACP-1
ISO: 200
Aperture: F16
Shutter: 1/250
Lighting used: INON Z330
Housing: Nauticam NA D850
Back story: This is a photo of two male Asian sheepshead wrasse fighting. The unique form of this species is characteristic of males, who form harems and claim territories during the breeding season. The one on the left in the photo is the harem king, who has defended his territory for more than 10 years and is estimated to be over 30 years old, while the one on the right is a young challenger.
Although I had planned carefully to capture the images, the 2024 season was more difficult to predict than usual, and despite staying there for a week during the breeding season, I was only able to observe this scene once, for just 10 seconds. And this was the only photograph I was able to take. The sight of them fighting in their flashy white outfits was so magnificent I can still remember it vividly.
Underwater Photographer of the Year 2025: Portrait winner
Credit: Abdulaziz Al Saleh/UPY 2025
Nationality: Kuwait
Image caption: Hydration
Country taken: Kuwait
Location: Al Wafra desert
Camera: Nikon Z8
Lens: Nikkor 8-15mm fisheye
ISO: 100
Aperture: F18
Shutter: 1/100
Lighting used: Inon Z330 (dual)
Housing: Nauticam NA-Z8
Back story: I had the idea of photographing the camels drinking water for about one and half a years. I wanted to photograph them drinking water from the underwater perspective because I did not see any images showing this. The weather was a critical, and it took me several weeks to get the best possible shots. The first week the camels were a bit hesitant to drink water while my camera was under the water and only few gathered to drink, which is not what i wanted. But after several days the camels had already accepted to me and my equipment.
After my first week of shooting the Camels, I changed to electronic synch cords for my strobes instead of fibre-optic cables because of problems. And finally the shots came together.
Underwater Photographer of the Year 2025: Coral Reefs winner
Credit: Catherine Holmes/UPY 2025
Nationality: United Kingdom
Image caption: Kaleidoscope of Colour
Country taken: Raja Ampat, Indonesia
Location: Gorgonian Passage, Wayil Batan Island, Misool
Camera: Nikon D500
Lens: Nikon Fisheye. 8-15 (3.5-4.5) @12mm
ISO: 320
Aperture: F11
Shutter: 1/160
Lighting used: Retra Pro strobes- with diffusers
Housing: NA-D500. Nauticam
Back story: Raja Ampat, Indonesia, is a magical destination where the colour, beauty, biodiversity and dense fish life can almost be an overload on the senses- a celebration of healthy reef life. I was lucky to find perfect conditions with clear water and schooling baitfish swirling amongst the canyons of a large coral bommie, adorned with verdant soft corals.
I aimed to capture the reef teeming with life and colour to inspire us all to protect this valuable habitat. All around the world, our oceans, and in particular the coral reefs, are under threat. They are vital habitat for the myriad of species they support, and critical for the oceans health. Climate change, pollution, overfishing and destructive fishing all threaten this environment, and the devastating outcomes are seen worldwide with bleached and dying reefs, with dwindling fish life. Awareness is essential to protect and sustain these precious environments for the future.
Underwater Photographer of the Year 2025: Black & White winner
Credit: Enric Gener/UPY 2025
Nationality: Spain
Image caption: Chasing Dolphins
Country taken: Egypt
Location: Red Sea
Camera: Canon5D Mark IV
Lens: Canon EF 16-35mm 1:2.8 L III USM
ISO: 160
Aperture: F4
Shutter: 1/500
Lighting used: No Lighting
Housing: SeaCam
Back story: This image was captured in the northern Red Sea during a freediving expedition in search of bottlenose dolphins. The moment portrays an intimate mating ritual, where several males—four visible in the picture, though others were nearby—were playfully chasing a female. It was a dynamic and ritualistic display, with the males engaging in friendly skirmishes and occasionally mating with the female, their bodies joining briefly for just a few seconds. Notably, the female was not attempting to escape; she actively participated, playing along and waiting for them. The entire group swam gracefully and at a slow, deliberate pace, creating a mesmerizing underwater scene.
Underwater Photographer of the Year 2025: Up & Coming winner
Credit: Ruruka/UPY 202
Nationality: Korea
Image caption: Aurora Underwater
Country taken: Mexico
Location: Cancun
Camera: Nikon Z8
Lens: Nikon Z 24-50mm F4 with Nauticam WACP-1
ISO: 800
Aperture: F9
Shutter: 1/60s
Lighting used: Natural Light
Housing: Nauticam NA-Z8
Back story: I first travelled to Cancun, Mexico, for a shoot two years ago, and since then, I’ve been captivated by its charm. These days, I find myself visiting Cancun frequently. From where I live, it’s a very long journey - about 24 hours by plane - but this place perfectly aligns with the direction of my photography and offers a variety of shooting opportunities. To capture this particular photo, I visited during the rainy summer season and worked with a local Korean guide as my model.
Underwater Photographer of the Year 2025: Compact winner
Credit: Bryant Turffs/UPY 2025
Nationality: United States
Image caption: The Beauty of the Swamp
Country taken: United States
Location: Everglades National Park
Camera: GoPro Hero 7 Black
Lens: AOI 0.73x Ultra Wide Lens
ISO: 791
Aperture: F2.8
Shutter: 1/180
Lighting used: N/A - Available
Housing: GoPro Supersuit
Back story: I captured this image at one of my favourite locations within the Everglades ecosystem. Historically, I primarily dove in saltwater, but I have become enamoured by this foreboding environment, with clear waters, light filtering through cypress trees, and the fish species, both native and introduced. I have revisited this spot many times trying to capture various subjects and the light just right. The water levels vary significantly, sometimes completely drying, during different times of year. The fish species are in constant flux, and this location is often dominated by exotics. Ironically, on this occasion, I hadn't invested too much thought and I was enjoying the scenery when this Florida Gar positioned itself perfectly in the frame of my GoPro.
Underwater Photographer of the Year 2025: British Waters Wide Angle winner
Credit: David Alpert/UPY 2025
Nationality: United Kingdom
Image caption: The Curious Seal
Country taken: United Kingdom
Location: Lundy Island
Camera: Canon 5D MKiii
Lens: Canon EF 16-35mm f/2.8L iii USM
ISO: 200
Aperture: F8
Shutter: 1/200
Lighting used: 2 x Inon Z330 Strobes
Housing: Nauticam
Back story: North Devon is easily one of the most beautiful coastlines in Britain. High jagged cliffs pounded by an unforgiving sea. With the second highest tide change in the world, the outgoing current whips up against waves and wind rolling in from the North Atlantic. Stand back and marvel.
Diving windows are limited so I based myself in the area for two months last year, exploring different locations. This shot shows a grey seal off Lundy Island, a marine protected area since 1973. Seals are delightfully curious creatures, more interactive than any other species I have dived with around the world. Briefly, I become one of the privileged few, crossing the bridge into the world of a sentient wild animal.
Underwater Photographer of the Year 2025: British Waters Macro winner
Credit: Dan Bolt/UPY 2025
Nationality: United Kingdom
Image caption: The Hitch Hiker
Country taken: UK
Location: Scotland
Camera: OM Systems OM-1
Lens: Panasonic 45mm macro
ISO: 250
Aperture: F13
Shutter: 1/250th
Lighting used: 2x Sea & Sea YS-D3Duo
Housing: AOI UH-OM1
Back story: Occasionally in my time under the water I have come across this medusa ‘Neoturris pileata’ in the open water but had not taken a decent photo of one. On this occasion however, my buddy and I were specifically targeting them and other similar creatures to try to explore the idea of UK ‘blackwater’ photographic opportunities. Of the many, many(!), images I took that day, this one revealed a larval crustacean within the bell of this medusa. The frames either side of this capture actually show that the larval crab (or lobster) is actually on the outside of the bell, but in this instant it was perfectly on the opposite side from me and hence the effect of being contained within the transparent body.
Underwater Photographer of the Year 2025: British Waters Living Together winner
Credit: Dan Bolt/UPY 2025
Nationality: United Kingdom
Image caption: Rusty Haven
Country taken: Scotland
Location: Loch Carron
Camera: OM Systems OM-1
Lens: Olympus 14-42mm with Nautocam WWL-1
ISO: 640
Aperture: F7.1
Shutter: 1/50
Lighting used: 2x Sea & Sea YS-D3 Duo
Housing: AOI UH-OM1
Back story: This images shows nature’s ability to make the best of a bad situation. The iron block and heavy chain are actually holding a small barge in-place on the surface where local scallop divers store their equipment. The barge itself is a floating reef system all of it own, and the anchor blocks have attracted many species too.
I was actually practising for a different underwater photography competition when I took this shot. For a couple of days before an on-the-day ‘splash in’ competition, this crab was consistently in this position, or very close by. Sadly on the day it was no-where to be seen! Happily for me though that meant I was able to use my practice photos for UPY!
'Save Our Seas Foundation' Marine Conservation Photographer of the Year
Credit: Robert Marc Lehmann/UPY 2025
Nationality: Germany
Image caption: 1 / 200.000.000
Country taken: Indonesia
Camera: CANON R5
Lens: CANON EF 24mm f/1.4L II USM with EF to RF Mount
ISO: 1000
Aperture: F5.6
Shutter: 1/6400
Lighting used: n/a
Housing: n/a
Back story: This tiger shark is just one of around 200 million sharks that lose their lives every year at the hands of humans.
Since I was six years old (35 years+), I have been intensively studying sharks. In all these years, hardly anything has changed and that is frustrating. Sharks protect their habitat, the sea, through their ecological function as "health police". Over a billion people depend on the sea every day and we all breathe the oxygen that is largely produced in the sea. If we continue to eradicate the animals that guard our largest and most important habitat, we are taking away our own livelihood. And that's why I've been fighting for people to see and understand sharks through my eyes. Every time I take a photo like this, it hurts, but through imagery I can inspire millions of people to understand sharks and their situation and make a difference.