CIPA also revealed their 2025 camera and lens shipment forecast and price graphs:
Shipment forecast for 2025
The graph, presented by CIPA (Camera & Imaging Products Association) at the CP+ Camera & Photo Imaging Show 2025, provides the 2025 shipment forecast for digital cameras, comparing the 2024 results (in ten thousand units) with the 2025 outlook, including year-over-year (YoY) percentage changes. The data is categorized into total digital cameras, interchangeable-lens cameras, built-in lens cameras, and interchangeable lens cameras specifically.
2024 Results (in ten thousand units):
Total Digital Cameras (Total): 84.9 units, with a YoY increase of 110.0%.
Interchangeable-lens Cameras: 66.1 units, with a YoY increase of 110.2%.
Built-in lens Cameras: 18.8 units, with a YoY increase of 109.2%.
Interchangeable Lens Cameras: 1,031 units, with a YoY increase of 107.0%.
2025 Outlook (in ten thousand units):
Total Digital Cameras (Total): 85.8 units, with a YoY increase of 101.0%.
Interchangeable-lens Cameras: 66.6 units, with a YoY increase of 100.8%.
Built-in lens Cameras: 19.2 units, with a YoY increase of 101.9%.
Interchangeable Lens Cameras: 1,056 units, with a YoY increase of 102.4%.
The forecast indicates a modest growth in shipments for 2025 compared to 2024, with all categories showing a slight slowdown in the rate of increase. Total digital camera shipments are expected to rise from 84.9 to 85.8 units (101.0% YoY), interchangeable-lens cameras from 66.1 to 66.6 units (100.8% YoY), built-in lens cameras from 18.8 to 19.2 units (101.9% YoY), and interchangeable lens cameras specifically from 1,031 to 1,056 units (102.4% YoY).
Shipment volume of Interchangeable lens cameras
The graph, presented by CIPA (Camera & Imaging Products Association) at the CP+ Camera & Photo Imaging Show 2025, illustrates the shipments of interchangeable-lens digital cameras (in thousands of units) from 2014 to 2024. The data is categorized into two types: SLR cameras (blue bars) and mirrorless cameras (gray bars), with a line graph representing the total shipments of interchangeable-lens cameras.
2014: Total shipments started at around 12,000 units, with SLR cameras dominating at approximately 10,000 units and mirrorless cameras contributing around 2,000 units.
2015-2017: Total shipments remained relatively stable, fluctuating between 10,000 and 12,000 units. SLR camera shipments stayed high, around 8,000-10,000 units, while mirrorless camera shipments began to grow, reaching about 4,000 units by 2017.
2018-2020: A noticeable decline in total shipments occurred, dropping to around 6,000 units by 2020. SLR camera shipments decreased significantly to around 2,000-4,000 units, while mirrorless camera shipments started to rise, contributing a larger share.
2021-2024: Total shipments showed a slight recovery, stabilizing around 6,000-8,000 units by 2024. Mirrorless camera shipments increased to approximately 4,000-6,000 units, overtaking SLR cameras, which dropped to minimal levels (around 1,000-2,000 units).
The graph indicates a shift from SLR to mirrorless cameras in the interchangeable-lens camera market, with total shipments peaking in the mid-2010s and then declining, followed by a modest recovery driven by mirrorless technology.
Interchangeable lens digital camera shipment value 2014-2024
The graph, presented by CIPA (Camera & Imaging Products Association) at the CP+ Camera & Photo Imaging Show 2025, illustrates the shipments of interchangeable-lens digital cameras in terms of value (in 100 million yen) from 2014 to 2024. The data is divided into two categories: SLR cameras (blue bars) and mirrorless cameras (gray bars), with a line graph representing the total value of interchangeable-lens cameras.
2014: The value started at approximately 400,000 (100 million yen), with SLR cameras dominating.
2015-2017: The value remained relatively stable, fluctuating around 400,000-500,000, with a gradual decline in SLR camera shipments and a slight increase in mirrorless camera shipments.
2018-2019: There was a noticeable drop in total value, reaching a low of around 200,000-300,000, with mirrorless cameras beginning to gain more market share.
2020-2021: The value continued to decline, hitting its lowest point around 200,000, with mirrorless cameras overtaking SLR cameras in contribution.
2022-2024: A significant recovery is observed, with the total value rising sharply to over 800,000 by 2024, driven largely by a surge in mirrorless camera shipments, while SLR camera shipments remain minimal.
Overall, the graph highlights a shift from SLR to mirrorless cameras and a strong recovery in the market value of interchangeable-lens cameras in recent years.
Average shipping cost of digital cameras 2012-2024
The graph, presented by CIPA (Camera & Imaging Products Association) at the CP+ Camera & Photo Imaging Show 2025, displays the average shipping price of digital cameras in yen from 2012 to 2024. The data is categorized into four types: built-in lens cameras, interchangeable-lens cameras, mirrorless cameras, and the overall average price of digital cameras.
2012-2014: The average price for all digital cameras (black line) started around ¥40,000 and remained relatively stable, with built-in lens cameras (cyan line) around ¥20,000-¥30,000, interchangeable-lens cameras (green line) around ¥40,000-¥50,000, and mirrorless cameras (red dashed line) beginning to rise from around ¥60,000.
2015-2019: The overall average price saw a slight decline to around ¥30,000-¥40,000. Built-in lens cameras remained steady at ¥20,000-¥30,000, while interchangeable-lens cameras fluctuated around ¥40,000-¥50,000. Mirrorless cameras showed a steady increase, reaching approximately ¥80,000 by 2019.
2020-2021: The overall average price dipped to its lowest point around ¥30,000. Built-in lens cameras stayed low at ¥20,000-¥30,000, interchangeable-lens cameras dropped to around ¥40,000, and mirrorless cameras peaked at around ¥100,000 before a slight decline.
2022-2024: A significant upward trend emerged, with the overall average price rising to over ¥60,000 by 2024. Built-in lens cameras increased to around ¥40,000, interchangeable-lens cameras rose to approximately ¥60,000, and mirrorless cameras surged to over ¥120,000, driving the overall increase.
The graph indicates a general increase in the average shipping price of digital cameras, particularly driven by the rising cost of mirrorless cameras in recent years.
Digital camera shipment volumes from 2003 to 2002
The graph, presented by CIPA (Camera & Imaging Products Association) at the CP+ Camera & Photo Imaging Show 2025, shows the shipments of digital cameras (in thousands of units) from 2003 to 2024. The data is categorized into three groups: built-in lens cameras, interchangeable-lens cameras, and the total digital camera shipments.
2003-2007: Total digital camera shipments (black dotted line) began at around 40,000 units and rose sharply to a peak of approximately 120,000 units by 2007. Built-in lens cameras (blue bars) dominated, contributing the majority of the shipments, while interchangeable-lens cameras (gray bars) started at a low level and remained minimal.
2008-2010: The total shipments reached their highest point, exceeding 140,000 units, driven primarily by built-in lens cameras. Interchangeable-lens camera shipments began to increase slightly but remained a small fraction.
2011-2019: A significant decline occurred, with total shipments dropping to around 20,000-30,000 units by 2019. Built-in lens camera shipments fell sharply, while interchangeable-lens camera shipments saw a temporary rise around 2012-2014 before declining.
2020-2024: The total shipments continued to decline steadily, stabilizing at around 10,000 units by 2024. Built-in lens camera shipments became negligible, and interchangeable-lens camera shipments also dropped to low levels.
The graph highlights a dramatic peak in digital camera shipments in the mid-2000s, followed by a consistent decline over the subsequent years, with built-in lens cameras initially driving the market and interchangeable-lens cameras failing to sustain growth.
2019: A significant decline to 2.316 million units.
2020: Further drop to 1.296 million units, influenced by the COVID-19 pandemic.
2023: Reaching a low of 912,000 units.
2024: A slight recovery to 1.012 million units.
Breakdown by Camera Type:
2018–2021: Compact cameras with integrated lenses accounted for about 60% of shipments, DSLRs 10%, and mirrorless cameras just over 20%.
2022: Mirrorless camera shipments surged, surpassing compact cameras.
2024: Mirrorless cameras constituted 53.6% of total shipments.
Sales Data from BCN Ranking:
Despite the increase in mirrorless camera shipments, actual sales data indicates that compact cameras with integrated lenses continue to dominate, maintaining over 60% of sales from 2018 to 2024.
Mirrorless cameras, while growing from 18.4% in 2018 to 32.3% in 2024, have not exceeded a 30% sales share.
CP+ may have ended last week, but that apparently hasn't stopped the flood of accessory news. Today, we'll look at a few lights, bags, computers and more, but first, let's see what's on sale.
Second-gen Goodness
Photo: Richard Butler
Canon's Stacked sensor flagship, the EOS R5 II, is currently on sale for $300 off MSRP. We reviewed it late last year, and came away very impressed – it's a camera that excels at nearly everything.
Panasonic's S5II isn't quite as performant, but it's still quite a good camera. It's also substantially cheaper than the EOS R5 II, especially given the current sale that gets you $500 off.
Godox's latest light for videographers and photographers is the Litemons C30. It's a tiny LED panel weighing 248g that packs an internal battery capable of putting out 30W of light for up to 45 minutes. A USB-C port lets you recharge the battery or run the light for an extended period of time.
There are two versions of the light – a bicolor model, which costs $59, and an RGB model that will run you $89.
If you need something a little more powerful, there's the recently released Elinchrom LED 100 C, a continuous RGB light with an integrated 72Wh battery that provides up to 40 minutes of power in the field. It comes with a diffusion dome and an adapter for Profoto light modifiers and can be charged via USB-C.
Ball-head tripods are great if you want to easily level your tripod without messing around with leg length, but what if you already have a tripod that you like? Vanguard's LVL accessory might be for you. It's designed to sit between your sticks and your tripod's head, adding a bit of height and letting you level your tripod head in a matter of seconds.
Vanguard makes several sizes, so it should be compatible with a wide range of tripods. The smallest, the LVL 42, has a 42mm base and can support up to 20kg (44lb), while the LVL 75 can support up to 40kg (88lb) – just make sure the rest of your tripod can handle that much weight too.
In the bag
Image: Wandrd
If you want to carry around some camera gear without using a massive backpack, Wandrd's Stratus Photo 18L may be the bag for you. It's relatively small and has built-in organization for your camera gear, as well as access hatches on both the right and left-hand side. It's made of weather-resistant materials and has load-adjustment straps and a chest strap, which should let you carry it comfortably even if you've got it filled with gear.
People don't always think of the iPad as a photographic tool, but nowadays Apple's tablets have a lot of processing power and can run many of the apps photographers use on their desktops. The company's entry-level models – the iPad Air and the plainly-named iPad – have just gotten updates that make them better than ever. The Air gets the laptop-class M3 chip, as well as a new, optional keyboard with a bigger trackpad, function row and aluminum design. The M3 iPad Air starts at $599, and the new keyboard costs $269.
The cheaper iPad, meanwhile, gets the A16 chip from the iPhone 14 and 14 Pro. While it's not as powerful as the M-class chips and doesn't support Apple's suite of AI features, it should still be plenty for light photo editing and organization. Its base storage has also been doubled from 64GB to 128GB. It starts at $349, which is what its predecessor sold for ever since Apple cut the price by $100 in 2024.
That wasn't all Apple announced this week, though...
Get caught up
Some accessory news is so big that it gets its own article during the week, but we'd feel remiss not also mentioning those products here.
Image: Apple
As an example, Apple's new computers. The company announced updates to its entry-level MacBook Air and top-of-the-line Mac Studio this week, adding its latest processors. The MacBook Air has enough processing power to handle the typical Photoshop and Lightroom tasks that most photographers need, all while being hyper-portable, while the Mac Studio can handle the highest-end photo and video editing tasks.
Image: Peak Design
Also announced this week: Peak Design's Roller Pro, the company's first piece of roller luggage. It's a bit of a hybrid between a hardshell case and a softshell one, with plenty of padding and a front sleeve that can hold a laptop and other everyday carry items. You can read our full coverage of it here.
It's currently being sold via Kickstarter for a discount over its $599 MSRP, but the usual disclaimer applies: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Phototrend published their latest interview with OM SYSTEM executives at the 2025 CP+ show. One of the questions asked was about the future of the currently discontinued PEN camera line, and Kazuhiro Togashi (Vice President of Product Planning and Brand Strategy) responded that "The PEN series is a core part of the OM SYSTEM lineup, and we are actively exploring the possibility of a successor":
There's something magical about the experience of shooting with Polaroid film, no matter how many times you see it roll out of a camera and wait for it to develop. It's clear it's a complicated process even without understanding the ins-and-outs of how it's produced. But, in a recent video, Polaroid has pulled back the curtain, revealing just how complex Polaroid film is.
The video provides a behind-the-scenes look, walking you through the Polaroid factory in Enschede, Netherlands, the only place where Polaroid film is made. It shows the entire process from start to finish, including the mixing of the developer, the cutting of the negative sheets in complete darkness with night vision goggles, how the cassettes are made and more, all the way to quality control and boxing up the finished product.
While the video touches on some of it, it doesn't go into all the details of how interesting the history of the factory is. The factory doors closed in 2008, but a small group managed to save the company, bringing it back, albeit in a much smaller form. For some time, it produced film under the name The Impossible Project. In 2017 the company rebranded as Polaroid Originals, and then in 2020, it was able to rebrand as Polaroid once again. You can watch a full documentary on the story on YouTube as well.
"I mean, this is an ancient technology that nobody uses anymore. So it's not like we can just say hey, let's replace it and put a whole new brains in it."
It's fascinating to see that the factory still uses the same process and machinery as it did in the 1970s. "There's a lot of frustration. You've got to have patience. We've got a machine here from the seventies," explains an employee named Andrew in the video."It stops, starts, stops, starts. I mean, this is an ancient technology that nobody uses anymore. So it's not like we can just say hey, let's replace it and put a whole new brains in it. We've got to try and make do with what we've got, which means refurbishing parts, which means having people learn how this works and specialize in it."
The video also touches on the formula of the film. Anyone familiar with the early Impossible Project days will remember how rough around the edges that film was. I purchased many packs for my beloved SX-70, most of which didn't turn out. While the current film is significantly better than it used to be, it still isn't quite where Polaroid film was quality-wise. Andrew says in the video that they know the quality isn't as good as the original Polaroids, but he explains that the original formula wasn't very environmentally friendly and they are trying to address that.
Whether you shoot Polaroid or not, it is interesting to see the complex process behind something that played such a significant role in the history of photography.
Clockwise from the bottom: 24mm f/2, 55mm f/1.7, 80.5mm f/1.9, 35mm f/2. In the center is the 135mm f/2.8.
Lomography displayed a new series of Petzval lenses at the 2025 CP+ show in Japan with easily adjustable "swirly bokeh" (the lenses are not yet officially announced):
Petzval 24mm f/2
Petzval 35mm f/2
Petzval 55mm f/1.7
Petzval 80.5mm f/1.9
Petzval 135mm f/2.8
Additional pictures:
Petzval 55mm f/1.7
Petzval 135mm f/2.8
The "swirly bokeh" ring
Petzval lenses were created in the 19th century and were the world's first objective lenses for photography. Their most distinctive feature is the swirling bokeh that appears in the out-of-focus areas. This unique bokeh creates a nostalgic atmosphere in portrait photography.
Lomography has previously released 55mm and 80.5mm products, but now they have added three new lenses to the Petzval series: 24mm, 35mm, and 135mm. The new Petzval series does not just increase the focal length lineup. The introduction of a high-precision correction mechanism makes it possible to change the level of "swirly bokeh" without focus shift (shift in the focal position. (Capa Camera Web)
Phototrend published their interview with Tamron at the 2025 CP+ show - here is the recap:
Event and Interviewee: Interview with Kota Misawa, Marketing Planning Manager of Tamron’s Imaging Products Business Unit, at CP+ 2025 in Yokohama, Japan.
New Product Goal: Tamron plans to release up to 10 new products per year to meet market demands.
Production Expansion: New factory in Vietnam opening in 2025, aiming for 45% production in China, 45% in Vietnam, and 10% in Japan for stability and efficiency.
Quality Assurance: Emphasis on maintaining "Japanese quality" across all manufacturing locations, challenging stereotypes.
Product Focus: Strong demand for prime lenses (e.g., new 90mm macro lens); plans to expand fixed focal length options alongside signature zooms.
Mirrorless Market: Intent to develop more lens options for Canon RF mount users, adapting to the growing mirrorless segment.
Innovative Lenses: Showcased unique zoom ranges like 50-300mm and 28-300mm at CP+ 2025, reflecting Tamron’s creative approach.
Software Updates: Tamron Lens Utility enhancements planned for 2025, with wireless connectivity under consideration.
Marketing Highlight: Collaboration with Godzilla at CP+ 2025, featuring an immersive booth blending photography and cinematic effects.
Growth Outlook: Misawa credits past success to customer feedback and delivering high-quality, distinctive optics; optimistic about future expansion.
Overall Strategy: Commitment to innovation, adaptability, and strengthening Tamron’s position in the photography market.
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Photo: Richard Butler
Sony has released a firmware update that brings its Content Authenticity Solution to the a7 IV. The company announced a similar update for the a1 II, a1 and a9 III in January. However, this is the first time the tool to authenticate images will be available on something other than high-end, professional-grade cameras.
Software Ver. 5.00 for the Sony a7 IV adds support for the "Write Digital Signature" function for still images. This function allows photographers to add an electronic signature to their images to prove that they were taken with that camera. Authenticity tools such as this are becoming increasingly important with the growing prevalence of generative AI-created imagery and, as a result, the spread of fake images.
Of course, as with the update for the three pro-grade cameras in January, there are some caveats involved. The Digital Signature function requires a paid license and is only available for certain media outlets, not the general public. Unfortunately, Sony still hasn't provided any additional information on if or when it will be available for general consumers. On the firmware update page, Sony simply says that the "timing for the provision of paid licenses to customers other than certain media outlets is yet to be determined."
Even though the current usability is limited, Sony rolling this out to consumer models is a step in the right direction. The Content Authenticity information page also says that "more camera models will be supported in due course," so it sounds like we should see additional cameras with the tool at some point. If Sony makes the feature more widely available beyond media outlets, the Digital Signature feature will already be on cameras and ready for use.
If you want to be prepared, or happen to work for one of the select media outlets, the Sony a7 IV firmware update Ver. 5.00 is now available for download.
Jointly Developed with LK Samyang: A perfect blend of German optical expertise and advanced manufacturing technology
Collaboration with LK Samyang Leads to New Super-Wide Zoom Lens.
At CP+ 2025, the largest imaging exhibition in Japan, which taking place from February 27 to March 1, LK Samyang, in collaboration with Schneider-Kreuznach, unveiled the new AF 14-24mm F2.8 FE super-wide zoom lens. This innovative lens combines Schneider-Kreuznach renowned optical proficient with LK Samyang’s advanced technology, resulting in a significant product for the mirrorless market.
The AF 14-24mm F2.8 FE will officially be released in April 2025 by LK Samyang, marking the first of many innovative products resulting from this strategic partnership. Schneider-Kreuznach remains dedicated to driving optical innovation and expanding ist global market presence through continued investment in research and development and strong collaborations.
Dr. Wolfgang Ullrich, CEO of the Schneider-Kreuznach, said:
“We are pleased to extend our presence in the still photography market with our expertise in optics. This initiative is an important step for our company, and we are proud to collaborate with LK Samyang. Together, we are developing our first mirrorless lenses designed specifically for photography enthusiasts.“
Mr. Bonwook Koo, CEO of LK Samyang, stated, “We will continue our collaboration with Schneider-Kreuznach to develop and release zoom lenses that meet consumer needs, while ensuring sustained momentum for growth in the interchangeable lens market.”
Fujifilm officially announced the 2025 X Summit in Prague (March 20). They also displayed a teaser fron view of the upcoming/rumors Fujifilm GFX 100RF medium format fixed lens camera:
Fujifilm took to some of its social media channels to announce that its next X Summit will take place in just two weeks. The March 20 event will be hosted in Prague, supposedly at 10 am GMT (5am ET), according to some posts. "The wait is almost over. Mark your calendars for March 20 and get ready to witness something extraordinary. Stay tuned for more updates," teased the Fujifilm X India YouTube channel.
A screenshot from the YouTube video announcing the X Summit and teasing a new camera.
Image: Fujifilm
Fujifilm is clearly aiming to build excitement, and the announcement video included a very brief flash of a camera at the end. The camera is shrouded in shadow, so it doesn't reveal much. A closer examination of a screenshot reveals a compact-looking lens with text that says "Fujinon Aspherical Lens" on the front. That's really all that's visible, though it does seem like the camera may be larger than standard compacts like the X100VI.
The company's post certainly leaves more questions than answers about the upcoming camera announcement. Luckily, though, two weeks isn't terribly long to wait.
We live in a time when camera brands (well, at least one) are stripping down controls while smartphone brands are ramping up physical camera controls. Indeed, the quest to bring a camera-like shooting experience to smartphones is going strong, as we've seen on full display at MWC 2025 in Barcelona. Brands like Xiaomi and RealMe have even gone so far as adding lens mounts to prototype smartphones.
On the less dramatic side are features like Apple's iPhone Camera Control button, which provides quick access to the camera and various settings like zoom. You can also find grips from the likes of Belkin, ShiftCam and even Leica that add shutter buttons and a more camera-like form factor. Now, a lesser-known smartphone brand is getting into the mix with an innovation on the camera itself.
Nubia, which also sells phones under the name Redmagic, opted for a simple control ring on its new Focus 2 Ultra smartphone. According to Notebook Check, the distinctive rotating ring allows users to control zoom or select filters. Such a feature should feel more natural and familiar for zooming in or out, especially for those who use dedicated cameras. Plus, you don't have to remember if you double press, long press, or tap your head three times to get to certain settings. A control ring also means there's no fiddling with getting your finger placed just right to zoom in or out, as is necessary on Apple's Camera Control Button.
Adding to the camera-like experience, the Focus 2 Ultra has a dedicated button that acts as a shutter release when you have the camera app open.
The camera system itself on the Nubia Focus 2 Ultra doesn't seem like anything to write home about; the company says the main shooter uses a Type 1/1.55 (8.3 x 6.2mm) sensor with 2μm pixels and an F1.47 lens, but doesn't provide further details about it or the phone's other cameras. However, it's exciting to see how phone makers are experimenting with physical camera controls on their devices. Especially as phone camera technology improves, it certainly would be nice to have more tactile controls when I leave my dedicated cameras behind.
The company hasn't announced exactly when the Focus 2 Ultra will be available, but Notebook Check reports it'll cost around 300 Euros.
Like in previous years, the 2025 5DayDeal Landscape Photography Bundle contains a package of photography tools at a significant discount. Several different bundles are available, and a portion of the sales will go to charities:
Apple has updated its ultra-portable laptop, the MacBook Air, as well as its ultra-powerful desktop, the Mac Studio. The former gets the company's latest chip, a price cut and comes in a fun new color, while the latter is being billed as "the most powerful Mac ever."
The M4 MacBook Air
Image: Apple
On the outside, the MacBook Air is much the same as its predecessor, though it's now available with a "sky blue" finish. On the inside, it features the company's latest M4 chip, which has been available for a while now in computers like the Mac Mini, iMac and entry-level MacBook Pro. Based on those machines, the M4 Air should be a bit more powerful and efficient than its predecessor.
The biggest upgrade, though, is to external display support. The M3 MacBook Air could only run one display alongside its built-in screen. You'd have to close the laptop's lid if you wanted to use a second external display. With the new model, that limitation is gone: it can drive two 6K external monitors and its internal display.
Multi-monitor support has historically been the Apple Silicon MacBook Air's biggest weakness, but that's clearly no longer the case.
Image: Apple
Apple has also upgraded the webcam and says the new model has "improved video quality." In a rare move, it's done all this while lowering the computer's base price. The M4 Air's predecessor started at $1,099 for a model with 16GB of memory and 256GB of storage – now, you can get those same specs for $999. The 15" model now starts at $1199 instead of $1299, with the same RAM and storage capacity.
The M4 MacBook Air is available to pre-order now and will be available starting March 12th.
Apple says the M4 Max Mac Studio is "1.6x faster image processing in Adobe Photoshop" than the M1 Max version.
Image: Apple
Apple has also updated the Mac Studio, its desktop aimed at creative professionals with its powerful internals and integrated UHS-II SD card reader. It's been a moment since the computer has been updated – the previous version came out in the summer of 2023 and was powered by Apple's M2 chips.
The base-spec Studio now comes with the M4 Max, which has 14 CPU cores and 32 GPU cores. That chip is the same found in the top-tier MacBook Pros released last year. However, the computer also introduces the M3 Ultra. As its name implies, it's built around Apple's last-gen architecture, but it makes up for that by essentially being two Max-class chips fused together. The entry-level M3 Max has a 28-core CPU and a 60-core GPU but can be optioned to add 4 CPU cores and 20 GPU cores.
The Mac Studio offers more I/O than any of Apple's laptops.
Image: Apple
The M3 Ultra also supports ThunderBolt 5, a spec previously only available on M4-powered machines, which allows for data transfers at up to 120 Gbps. The Ultra-equipped studio has a whopping six ThunderBolt ports, two more than the Max model, which has four ThunderBolt ports and two USB-C ones.
Beyond the new silicon, the new Studio has a few improvements over the previous generation. It can now drive eight 6K displays or four 8K displays; the M2-powered Studio topped out at six and three, respectively. The M3 Ultra version is also available with much more storage and RAM; you can get it with a 16TB SSD and up to 512GB of memory, which Apple says is "the most unified memory ever in a personal computer." The maxed-out M2 Ultra only supported an 8TB SSD and 192GB of memory.
Given that this is more or less Apple's flagship desktop – sorry, Mac Pro – it's not surprising that it costs a pretty penny. The M4 Max version starts at $1999 and comes with 36GB of memory and a 512GB SSD. The M3 Ultra Studio starts at $3999 and has 96GB of memory and a 1TB SSD. Like with all Apple machines, costs start to add up if you want to upgrade – the 512GB memory option costs an additional $4000, and bumping up to that 16TB SSD will run you a cool $4600. Both models are available to pre-order now, and will be available starting March 12th.
Phone manufacturers are continuously trying to find ways to make the cameras in their devices bigger and better, allowing them to serve as a true replacement for dedicated cameras. To this end, Xiaomi recently announced the "Modular Optical System" concept phone, which features a lens module with a built-in Four Thirds sensor that attaches magnetically to the phone's back. RealMe, a fellow Chinese smartphone brand, said, "Hold my lens," and upped the ante, releasing a concept phone with an M-mount.
While Xiaomi's approach uses a sensor built into a lens that attaches magnetically, RealMe opted for a bare sensor built into the back of the phone and an existing lens mount. RealMe says the concept features a customized Type 1 (13.2 x 8.8 mm) Sony sensor, which is covered by glass to protect it. Granted, no matter how tough that glass is, it is vulnerable to scratches and cracks, which would then impact image quality.
The phone's M-mount allows users to take advantage of existing full-frame lenses rather than buying a proprietary lens system. The prototype is on display at the Mobile World Congress show in Barcelona. RealMe is reportedly providing lenses to try out the system, though the current concept isn't able to power autofocus motors and lacks electrical contacts to provide EXIF data. Given those limitations, it makes sense that the company chose the manual focus-only M-mount.
The mount itself is rather large, even before attaching a lens.
Image: RealMe
The concept phone features also two traditional phone cameras, both of which use Type 1 sensors. It's still not all that common to get one sensors that large in a phone, let alone three, so it's possible the phone could be a standout shooter even without an external lens attached.
The concept of a phone with an interchangeable lens mount isn't new – Xiaomi did something very similar a few years ago – and the end product can be quite unwieldy. That is especially true with larger lenses, which would get incredibly front-heavy when attached to a slim, lightweight phone. It's hard to imagine the ergonomics would be anything you'd want to experience for very long. After all, you would have to essentially only hold the lens, not the phone itself. Plus, the required lens mount is bulky before attaching a lens, so it isn't exactly a compact system. However, despite all its potential flaws, it is nice to see companies working to push the boundaries. Who knows where it could take us, after all.
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Photo: Richard Butler
Last week, Panasonic announced the S1RII, the second-generation version of its high-resolution camera. While the original model was mainly focused on stills, the S1RII is being billed as a hybrid camera with the ability to shoot 8K video.
The video chops are possible because Panasonic is using a new 44MP sensor, which has a slightly lower resolution than the 47MP model found in the S1R. Thankfully, we got the chance to shoot some initial samples with while in Japan to cover CP+, and we've put together a sample gallery. It also includes a few examples of the camera's handheld multi-shot mode, which produces 177MP images.
We'll be shooting a lot more with the S1RII in the coming weeks, so stay tuned.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample gallery
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The 2024 Ricoh GR Photo Festival winners have been announced, with images celebrating ordinary life worldwide. The contest began in 2022 and is structured slightly differently from most contests. Instead of judges ranking images in order of excellence, the GR Photo Festival has professional photographers from around the world select three images that stand out to them. No prizes or award money are involved, and no titles are given out.
This year, the contest theme was daily life. "It is in your ordinary day-to-day life that you find precious moments," the festival explains. Any images that were taken with a GR series camera were eligible. You can learn more and see all of the selected images at the Ricoh GR Photo Festival website.
All the selected photos, along with some examples of each of the jurors' work, can be seen at Ricoh's GR Space Tokyo until March 24. The GR Space is a dedicated venue in the Shibuya district of Tokyo, where as well as seeing the exhibition, you can see examples of the GR series, browse a range of photo books, try some of the specially-commissioned GR Space house blend coffee, or put some money into a 'gashapon' vending machine to receive a miniature model of one of four Ricoh cameras. Some of the DPReview team visited on their recent trip to Japan and think it's worth dropping in if you're a photographer visiting the neighborhood.
Selected by judge Reggie Ballesteros
Photographer: 树·先生
Camera: GR III
Judge: Reggie Ballesteros
Judge's comment: This reminds me of a fleeting moment between a child and their parent. The composition and lighting make it a compelling frame with multiple frames within a frame, yet the identities of the subject are in shadow which makes it relatable and universal.
Selected by judge Reggie Ballesteros
Photographer: 刘旻尚
Camera: GR IIIx
Judge: Reggie Ballesteros
Judge's comment: Using a cell phone in public is such an everyday occurrence. This photo captures that and make it beautiful and abstract - a man on his phone amidst this minimal scene with a pop of color. The man is also so close yet so far from the person next to him who seems to be exhausted and napping.
Selected by judge Reggie Ballesteros
Photographer: 张裕烽
Camera: GR III
Judge: Reggie Ballesteros
Judge's comment: Walking is such a common occurrence and activity that we forget it's beauty and universality to the human experience. The lighting isolates the legs and obscures the identity of the walker. This image is bold and abstract turning this activity into an artful sight.
Selected by judge Jeremy Cheung
Photographer: 潘宇轩
Camera: GR IIIx
Judge: Jeremy Cheung
Judge's comment: This photo beautifully depicts the everyday life of workmen. The unified emerald colours of their uniforms match perfectly with the muted soil as well as the hazy background skyline. The whole scene portrays a routine hardship life under a collecive culture. The gestures and actions of the nine workmen are also very well timed to complete a poetic yet candid snapshot.
Selected by judge Jeremy Cheung
Photographer: Adam Taufiq Suharto
Camera: GR III
Judge: Jeremy Cheung
Judge's comment: This photo uses a elevation angle to tell an everyday story inside a school or community centre. Actions are packed within the well-spotted 'circle' frame, with each of the members focussing on their own tasks or living in their own world. The process of 'word making' gives the viewer a sense of fun guess, with the passing of 'M' is cleverly placed in the centre of the image. Complication is masterfully tackled with all elements balanced and structured. The colour tones are very truthful and aesthetically pleasing too.
Selected by judge Jeremy Cheung
Photographer: Cristobal A. Padilla Moreno
Camera: GR III
Judge: Jeremy Cheung
Judge's comment: The split lighitng temperature of the two sections in the photo gives an illusion of two different worlds. The phtoographer also brillantly chose to stand on a spot where the diverging perspectives of the two corridors were captured beautifully. The scenes shown on both sides are exceptionally detailed and inviting to more discovery. For me, it is like reading 2 different photos but in a single photo. It is a joy to feel how this night scene vividly delivers.
Selected by judge Oliver Jiang
Photographer: 快门师傅 徐威
Camera: GR III
Judge: Oliver Jiang
Judge's comment: The image is masterfully layered with different elements, I can see the state of the people in the sunset, from near to far. The big dog takes up an important part of the picture, and I think it will lick the camera at any time. Without its “intrusion”, this will be a very ordinary work.
There must be humid air, warm sunshine, and laughter at the scene. It’s a comfortable evening, especially in such a big busy city in China as shown in the picture, and I believe such a comfortable time is worth cherishing. I don’t know if the photographer was one of the participants of this waterside “leisure party”, but I am grateful to him and through his photo, I feel that I am involved in this wonderful afternoon.
Selected by judge Oliver Jiang
Photographer: 略商
Camera: GR III
Judge: Oliver Jiang
Judge's comment: This photo gave me a deep composition impression from the beginning. Many days after the first screening, I asked myself which photos I still remember, this photo appeared in my mind at first. I seldom simply summarize the principles of composition, but there is no doubt that this is a simple and clean black-and-white work, and I like this unique black-and-white expression of GR. I used to wonder what this thin young man was looking at and thinking, but it suddenly dawned on me that this is exactly what the photographer wanted me to do. Hehehe, well I fell for the trap. An unintentional yet interesting piece.
Selected by judge Rikard Landberg
Photographer: nicole sánchez
Camera: GR III
Judge: Rikard Landberg
Judge's comment: There are multiple layers in this image that make me pause and reflect, evoking a sense of mystery. The individual in the shadows seems to escape time, almost like a spirit from another dimension. The city in the background, bustling with motion and life, contrasts sharply with the calm solitude in the foreground. The corridor feels like a metaphor for the soul's journey, a path leading away from the familiar and into the unknown. The black-and-white tones enhance the drama, turning the image into more than just a moment, it becomes a story without words.
Selected by judge Rikard Landberg
Photographer: Eric Lopez
Camera: GR III
Judge: Rikard Landberg
Judge's comment: CHAOS! But chaos in a good way. There’s so much happening in this image that it almost makes your eyes wander in circles. I think the composition is excellent, with a touch of humor that I truly appreciate. It raises countless questions that let the imagination run wild. Bath time often means kids struggling with soap in their eyes, and they hate it. But what if this foam bomb is their way of turning the tables? With goggles on, the kid becomes a fearless shark in the water, while the adults are left squinting and wiping soap from their faces.The hand in the bottom right corner seems to be trying to stop it all. But is it too late? The white foam acts as a canvas that enhances the scene. Well done!
Selected by judge Rikard Landberg
Photographer: Shiho Ichimura
Camera: GR10
Judge: Rikard Landberg
Judge's comment: This is an image I find myself returning to again and again. It has something that truly makes me pause for a moment and brings a smile to my face, a metaphor for this year's theme. Just like everyday life can be quite predictable, you might think you know what's hiding under all those layers of newspaper. Or do you? Sure, the shapes and patterns look very familiar. But can we ever be completely certain? Perhaps this wrapped package holds a surprise, something unexpected that breaks the monotony of our all-too-familiar daily life. In the end, it’s a reminder that even in the most predictable moments, there’s always room for the unexpected to reshape our perspective. I really like this one.
Selected by judge Annalaura Pretaroli
Photographer: Jay Melliza
Camera: GR III
Judge: Annalaura Pretaroli
Judge's comment: This picture captures a beautiful balance of light and shadow. The left side of the image is darker, gradually revealing more light on the right: I find it pleasing to the eye. Some leaves might be burning in the background? Or is it just thick mist? The fog does the trick and beautifully enhances the warm sunlight filtering through the branches, adding depth and intrigue to the scene. The viewer wanders in search of details that could explain this beautiful, almost magical, rural scene. The two people in the image blend seamlessly into the composition, allowing the true star -light- to shine!
Selected by judge Hamish Ta-mé
Photographer: Cezar Niculescu
Camera: GR III
Judge: Hamish Ta-mé
Judge's comment: An intriguing moment in an ordinary day. Like a still from a moody art film, the image takes a mundane stage and populates it with actors, each with their own concerns and lives unfolding. We're presented with multiple leading frames, each with it's own focal point from near mid and distance. This is an exquisite masterclass in observation, anticipation, composition, technical capture, remarkable technology, mood and postproduction.
Selected by judge Michael Young
Photographer: Penphan Tarczaly
Camera: GR III
Judge: Michael Young
Judge's comment: This image captures the everyday life of commuting to or from work in an urban setting. The composition, with the vertical panels dividing the frame, creates a sense of order and routine. The figures lined up behind the panels, though blurred, suggest a sense of anonymity and the collective experience of daily routines.
I like the interplay of light and shadow it adds another layer of meaning. The bright light filtering through the panels creates a stark contrast with the darker areas. I like how each individual person stands partially hidden, and obscured, emphasizing anonymity.
The frames within frames, with each panel act as a visual barrier and offer a glimpse into a private moment within a public space. The use of perspective, with the figures seemingly receding into the distance, creates a sense of depth.
Through its careful composition, use of light and shadow, and framing, the photograph invites viewers to contemplate the themes of anonymity, routine, and the juxtaposition of public and private life in the urban landscape. It's a poignant reminder of the ordinary moments that make up the fabric of our daily existence.
Selected by judge Qianqian Zhang
Photographer: 马可风
Camera: GR IIIx
Judge: Qianqian Zhang
Judge's comment: The classical beauty of simplicity requires a longer gaze, keep staring a little longer. A good creator can send everything he feels in the present to the future through visual language. Photos speak of the past, but how do people travel between the past and the future?
The fishing net, the boy, and the sea in front of you are surprisingly quiet. Where are they taking you to? Please keep watching, as if you are staring at your deceased self. Time will surrender to the moment when you bend down. The boy is still a boy, but he will say "Forever like the sea will dry and the rocks will fall apart."
People have been salvaging all their lives, salvaging gold, salvaging fish and shrimp, salvaging themselves. What are you salvaging at the moment? Condense "restraint" and "as you wish" with the simplest simple composition, so the viewer can stop for long. There are still many secrets hidden in the picture, waiting for you to discover.
Selected by judge Qianqian Zhang
Photographer: Nicholas Sansone
Camera: GR III
Judge: Qianqian Zhang
Judge's comment: How to praise this moment? Flowers, hugs, and kisses can’t explain the power of life, especially the pain and joy of life. In ancient times people celebrated the birth of a child with fire shouting ceremonies. At this moment, the camera is transmitting and framing all emotions.
How to portray the appearance of loved ones? Printing technologies with ink or oil paint have already reproduced countless faces. The photographer is “portraying” it truly without any interference. The wife waves towards the role of a mother, and the child is at ease. Can you portray such a scene every other year? Because this is painting "home", you will reap the fruit of "love" in 10 years.
How do we "portray" our family in the long and complicated days? Please be brave enough to pick up the camera to record the pain and joy of life in those moments of life and death, just like the warrior in the photo, who loves his family in front of you.
Polaroid has announced new versions of its instant cameras, the Now and Now+. The third-generation models bring only incremental changes to the table, though Polaroid promises an improvement to overall image quality and performance in bright light.
The most significant update on the Now and Now+ Gen 3 instant cameras is an updated ranging sensor. The ranging sensor drives the camera's two-lens autofocus system, which is effectively two fixed focus zones that the camera can swap between. To do this, the camera sends out infrared lights, measuring how long they take to come back to judge the distance. The camera can then determine which lens is appropriate given that distance. Polaroid says it updated the ranging sensor, allowing the cameras to pick the correct lens more often.
Photo: Polaroid
Polaroid also updated the placement of the light meter on its latest cameras. The light meter used to be under the viewfinder, but on the Gen 3 models, it has moved to under the lens. Polaroid says this will provide more accurate readings and, thus, more accurate exposures since it's measuring closer to where light is actually entering the camera. The new placement also sits under anything placed over the lens, making the camera filter compatible.
Beyond the slightly improved functionality, Polaroid has completely refreshed the colors of both the Now and Now+, doing away with the existing colors. The Now is now available in Coral, Arctic Blue, Purple, Yellow, Pebble White, and Black, while the Now+ comes in solid Arctic Blue, Coral, Black, and White.
Image: Polaroid
As with previous models, the Now+ remains the connected model, offering app connectivity for more creative control. As Polaroid says, the plus is in the name "because it “adds” to the experience." The Now Gen 3, meanwhile, is a more traditional instant camera with no extra controls beyond the point-and-shoot nature of the camera. Both cameras are rechargeable via USB-C and use full-sized Polaroid i-Type film.
The new cameras are available for purchase starting today on the Polaroid website and select retailers. The more basic Now Gen 3 is $120, while the connected Now+ Gen 3 is $140.
The Polaroid Now Generation 3 Instant camera is the classic analog instant camera, optimized for sharper pictures in more lighting conditions. Featuring a better light meter position, improved ranging sensor, upgraded two-lens autofocus system, built-in tripod mount, filter compatibility and even self-timer and double-exposure modes. All in a classic Polaroid look made with 40% recycled materials.
Available in six new colors, rechargeable with USB-C and compatible with Polaroid i-Type Film to capture real life in iconic, full-sized Polaroid pictures.
Optimized exposures to take sharper pictures in bright lighting. Thanks to ranging sensor, flash and autofocus upgrades, the Gen 3 Now camera takes cleared pictures = even on super sunny days.
Shoots original full-size Polaroid film. Capture modern life in the original Polaroid aesthetic. And see every detail of each beautifully imperfect picture on our iconic full-sized i-Type.
Iconic Polaroid Design. The classic Polaroid look that generations have come to know and love, now made from more future-friendly materials.
Two-lens autofocus = twice the clarity. The Generation 3 Polaroid Now’s twin-lens autofocusing system chooses which lens is right for the shot. Capturing the moment is as simple as clicking the big red shutter button.
The Polaroid Now+ Generation 3 Instant camera is unlocking new creative possibilities by being paired with the Polaroid app. Access aperture priority, remote controls, double-exposure, self-timer, manual mode and more. This connectivity, combined with an optimized two-lens autofocus system that takes sharper pictures in bright lighting, results in a classic-look camera packed with modern tech.
Available in four new colors, made with 40% recycled materials and compatible with iconic, full-sized Polaroid i-Type Film.
Optimized exposures to take sharper pictures in bright lighting. Thanks to ranging sensor, flash and autofocus upgrades, the Gen 3 Now+ takes clearer pictures – even on super sunny days.
App connected for extra creative firepower. Manual controls, aperture priority, remote controls, double exposures, and more are all unlocked when linking the Now+ with the Polaroid app.
Iconic Polaroid Design. Manual controls, aperture priority, remote controls, double exposures, and more are all unlocked when linking the Now+ with the Polaroid app.
Shoots original full-size Polaroid film. Capture modern life in the original Polaroid aesthetic. And see every detail of each beautifully imperfect picture on our iconic full-sized i-Type.
Two-lens autofocus = twice the clarity. The Generation 3 Polaroid Now+’s twin-lens autofocusing system chooses which lens is right for the shot. Capturing the moment is as simple as clicking the big red shutter button.
Price: $139.99 / €149.99 / £149.99
Available from March 4th on Polaroid.com and select retailers worldwide.
In a recent interview at the 2025 CP+ show, Panasonic executives confirmed that the company is actively planning the introduction of new fixed-lens camera(s):
In terms of market demand insights, Panasonic has keenly noticed that the fixed-lens camera market has seen a trend of demand recovery. As mobile phone photography functions become increasingly powerful, competition in the mobile phone market has become increasingly fierce. Fixed-lens cameras have become an important direction for mobile phones to achieve differentiated competition due to their unique functional characteristics. For example, the long focal length function has opened up new possibilities for mobile phone photography. Based on this market change, Panasonic is full of expectations for the fixed-lens camera market and is actively planning the introduction of new products. Although the specific time for the release of new products cannot be determined at present, it can be seen that Panasonic has carried out in-depth thinking and layout in this field. (fengniao)
According to a translated Mynavi article, the production update was announced by Sigma president Kazuto Yamaki at the CP+ trade show held in Japan last week. The article says the update will make the lens more compact, lighter and sharper. At the moment, the company has not announced the news through traditional channels such as its news or Instagram pages.
It wouldn't be the first time Sigma had made such an update to one of its lenses: last year, it released the 24-70mm F2.8 DG DN II Art, which was 10% lighter than its predecessor. At 1090g (2.40lb), the current 35mm F1.2 isn't particularly lightweight, but it also isn't notably heavier than similar lenses from other brands, such as the 1060g (2.34lb) Nikkor Z 35mm F1.2 S from Nikon.
Mynavi reports that there's currently no information on the lens' release date, pricing or what mounts it will be available for. However, it is exciting to hear that Sigma is working on improving one of its already good primes.
After weeks of teasing, Peak Design has fully announced a long-awaited addition to its lineup: a roller bag. It has everything the company's fans have come to expect: a meticulous design, carbon fiber and room for a ton of camera gear.
While it's called the Roller Pro, the 60mm custom-designed wheels are perhaps the least interesting thing about it. There are four of them, making it easy to maneuver the bag in a crowded airport, and the company says they're replaceable in case they break.
The real star of the show, though, is the handle. It's made of two solid pieces of carbon fiber, which Peak Design says allows it to be stiffer than traditional telescoping handles while only taking up a third of the space in the case. It also promises that the design won't get jammed when you're trying to put it back into the bag. You can set the handle to extend to either 90cm (35") or 100cm (39"), and the part that you actually touch is characteristically premium, made out of machined aluminum.
That low-profile design, combined with the bag's expandable capacity, means it can hold up to 39L while still qualifying as a carry-on, even for international flights. Empty, it weighs around 4kg (8.8lb).
On the outside, the bag is a hybrid between a soft shell and a hard shell. The back half is rigid polycarbonate, but the front half is softer, with a built-in padded laptop slot and pockets for items like glasses, keys and notebooks. It comes in three colors: black, "eclipse" red and "sage" green.
Image: Peak Design
The company says the entire bag is weatherproof, and there are gear loops on the outside to let you easily attach items like a tripod or rolled up blanket.
Unlike some of Peak Design's backpacks, the Roller Pro doesn't come with built-in camera storage by default. However, the company's existing camera cubes are compatible with it, and it's also releasing a new "X-Large" cube that perfectly fits the roller bag and can contain a 400mm prime lens. Like the rest of the Peak Design cubes, it has handles on every side, so if you suddenly have to check your roller, you can grab your camera gear out of it and carry it onto the plane with you.
The XL cube is designed to nestle perfectly into the Roller Pro.
Image: Peak Design
Peak Design says that pairing the two products together will give you a bag that it's easy to work directly out of. Instead of opening like a traditional bag, which folds out like a book to take up roughly double the space, the Roller Pro has what Peak Design calls a "drawbridge" design. That lets you open the top, and have it stay open, giving the bag an "L" shape. That means you can flip it open and get immediate access to your camera gear, and you can leave it open if you'll need to be in and out frequently.
As with many of Peak Design's products, the Roller Pro distinguishes itself with the details. There's an organization panel on the top lid for smaller items, which can be rolled up and stowed if you don't need it, and a cord system to keep everything in place after it's packed. There are handles on each side of the bag, so you can grab it no matter what orientation it is on the luggage belt, and there are secretive pockets for an AirTag and your passport. The interior is made out of an "auto-inspired" felt, and all the zippers can be secured with a single lock.
Bonus feature: the back has rubber feet that keep it from sliding around when its open, and that can help dampen shocks.
Image: Peak Design
As you can probably guess, none of this comes cheap. Peak Design will start selling the bag at retail in August at an MSRP of $599. The XL camera cube will cost $139. As with many of its other products, though, Peak Design will be running a Kickstarter campaign for the Roller Pro from March 4th through April 17th, where you'll be able to get it for $425. There's also a limited number of "Get it ASAP!" bags available that the company says will ship in May. Choosing that option, if there are any left, will run you $525.
The company says it'll ship bags to Kickstarter backers in June, though now is a good time to mention that pledging to a crowdfunding campaign isn't the same thing as ordering a product via an online store. Peak Design has established a solid record of using such campaigns to launch new products, with 13 successful campaigns, but there is always some level of risk involved with Kickstarter.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Press release:
Peak Design’s Roller Pro Is The Future Of Luggage Design
New carry-on features and innovations that manufacturers said were impossible
San Francisco, CA (March 4, 2025) – Peak Design is making its roller luggage debut with its most anticipated product release yet: the Roller Pro Carry-On. This new travel essential combines soft-sided style, hard-sided durability, and adaptive features to support any adventure, whether it’s for business, creative pursuits or just for fun. It’s made for the modern traveler, whose needs are multifaceted but always grounded in function, form and accessibility.
Having grown tired of the multitude of cookie-cutter roller bags on the market—made predominantly with off-the-shelf parts and having little-to-no newly discernible features—Peak Design designed Roller Pro from the ground up with entirely-custom parts and assemblies. This enabled the brand to address shortcomings such as poorly-built handles, wasted space, unwieldy clamshell access, and the ‘same-old’ boring aesthetics.
Roller Pro’s defining feature is Peak Design’s SlimDrive™ – a patented, low-profile carbon fiber handle, engineered for maximal strength in a minimal volume. Standard roller handles are made from off-the-shelf telescoping aluminum tubes, which create large ridges at the bottom of traditional roller bags and create wasted space around them. Roller Pro’s handle is made from single-stage flat carbon fiber tubes, making it significantly stiffer while taking up just a third of the volume, which both maximizes packing space and provides a superior handling experience. Coupled with custom-engineered 60mm wheels—nestled within the bag’s corners to optimize interior storage—the Roller Pro glides smoothly across a range of surfaces with just a flick of the finger.
Roller Pro also boasts a unique hybrid construction – a lightweight polycarbonate shell covered with Peak Design’s signature VersaShell™ fabric – that provides hard-sided protection with soft-sided features, all in a clean, classic aesthetic. A front EDC pocket has protected storage for passports, chargers, headphones, and a laptop/tablet. Unlike traditional clamshell-style rollers, Roller Pro features an innovative ‘Drawbridge’ opening system with a compact footprint, offering travelers a unique solution for packing in confined spaces like airplane aisles, busy event spaces or cramped hotel rooms. Additionally, the bag’s expandable capacity, from 34L to 39L, accommodates those returning home with more than they left.
Busy travelers will rejoice in Roller Pro’s nifty packing features and thoughtful details. An interior organization panel holds small items or acts as dedicated dirty clothes storage, and can be stowed to create a single large volume that reveals a hidden AirTag pocket. A proprietary Cord Hook™ Internal Retention System keeps contents secure, yet instantly retracts when not in use. Outside, 360-degree grab handles enable quick snagging from a conveyor belt or overhead compartment, and Cord Hook™ Gear Loops offer external carry of jackets, umbrellas, or even a tripod.
Not forgetting its roots, Peak Design is releasing a brand new X-Large sized Camera Cube that fills the Roller Pro’s entire volume and holds a 400mm prime lens. With the X-Large Camera Cube, or any smaller size available, the bag becomes a mobile creative workstation for photographers on location or in the studio. Camera Cubes also disappear as quickly as they install, eliminating the need for photographers to own a dedicated camera roller.
True to Peak Design’s commitment to sustainability, the Roller Pro’s fabric shell is 100% recycled and Bluesign-approved, and the entire product is PFAS-free and Climate Label Certified. Backed by Peak Design’s lifetime guarantee, the Roller Pro is built to last, representing a long-term investment in high-quality travel gear. Roller Pro is international carry-on approved and clocks in at 21.8 x 14 x 9” and 8.8lbs.
“Inside almost every roller bag on the market, you’ll find a floppy fabric liner, and under that liner you’ll find two big honkin’ tubes,” said Peak Design Founder & CEO Peter Dering. “A plastic clamshell with big, fat tubes: that’s the easy way to make a roller. We chose the hard way. When we told our factory we wanted to redesign things from the ground up, they told us we were crazy. But, we pushed them and found a better way. The result is a product that is wildly more effective and delightful. Roller Pro has real innovation in it, and I suspect many of its features will become future industry standards.”
From March 4 - April 17, 2025, the Peak Design Roller Pro and newly released XL Camera Cube will be available to pre-order on Kickstarter (peakdesign.com/ks), offering customers an exclusive chance to purchase at a discounted price (MSRP $139.95 - $599.95, depending on the item) in three colorways: Black, Eclipse and Sage. Products are expected to ship to Kickstarter backers in June 2025, with a full release on peakdesign.com, Amazon and global retailers by August 2025. Dates and prices are susceptible to change prior to launch.
Mobile World Congress 2025 is in full swing, running through March 6. As a result, phone announcements are coming out right and left. Xiaomi already announced its new 15 and 15 Pro phones. Now, there are new options for those who enjoy something a bit different thanks to British tech company Nothing. The Phone (3a) and Phone (3a) Pro keep Nothing's unique styling with upgrades to the cameras across the board. Nothing says it is the company's "most advanced camera system to date."
Nothing Phone (3a) and Phone (3a) Pro camera details
Naturally, the more expensive (3a) Pro promises the most complete camera system. The 50MP main camera on the (3a) Pro features "advanced sensor technologies" that Nothing says result in 43% faster autofocus and "double the pixel full well capacity" compared to the standard 3(a). That means the maximum amount of charge a single pixel can hold before reaching saturation has increased, which should translate to improved performance in bright and otherwise challenging lighting situations – though how much of that translates to improved image quality in real-world situations remains to be seen.
Also on the Phone(3a) Pro is a periscope telephoto camera. It relies on a 50MP Type 1/1.95 (6.5 x 4.9mm) sensor with a 70mm equiv. focal length and F2.55 aperture. The telephoto camera offers optical image stabilization and a mode that crops in to the central portion of the sensor to provide a "6x" field of view. A 60x field of view is also possible with "AI clarity-enhancing algorithms." AI-based upscaling programs can produce some impressive results, but 60x is quite a significant level of magnification to make up in software. The telephoto camera on the Phone (3a) Pro is also capable of focusing as close as 15cm for macro captures.
Image: Nothing
The Nothing Phone (3a), meanwhile, features a 50MP telephoto camera that is not a periscope design. It offers a 50mm equivalent focal length and F2.0 aperture with 2x optical zoom and 4x in-sensor zoom. Like the Phone (3a) Pro, it provides AI-powered ultra zoom for up to 30x.
Image: Nothing
Finally, the Phone (3a) and (3a) Pro feature the same ultra-wide camera with a 120-degree field of view, though Nothing didn't provide any details beyond that.
All of the cameras on both of the Nothing Phone models are reliant on AI processing. They are powered by TrueLens Engine 3.0, which Nothing says is a combination of "advanced computational algorithms, AI processing, and multi-frame technology." Taking things even further, the sensor in both of the main cameras, which was co-engineered with Samsung, integrates "on-sensor deep learning processing software algorithms" to "enhance image clarity, reduce noise, and provide true-to-life accuracy." In short, expect lots of heavily processed imagery, though that is very much the norm these days on smartphones.
On the selfie side of things, the Phone (3a) features a 32MP front camera. The Phone (3a) Pro uses a 50MP front camera that's capable of 4K video with "adaptive AI stabilization and night video enhancement." Nothing says that these AI-powered features will improve brightness by 74.4% and reduce noise by 33.7%.
Image: Nothing
Additional Nothing Phone (3a) and Phone (3a) Pro details
Outside of the cameras, the Nothing Phone (3a) and Phone (3a) Pro feature the Snapdragon 7s Gen 3 system on a chip. Nothing says that the Phone (3a) Series will be 92% better at processing AI tasks than the previous model, which could provide some headroom to support AI features down the road. Aiding this is the fact that Nothing says the phone will get updates for six years from the launch date, which includes three years of Android updates and six years of security updates on top of corrective and functionality updates.
The 6.77-inch displays offer Full HD+ resolution with a 120Hz adaptive refresh rate. They both offer 1300 nits of brightness on auto or peak brightness up to 3000 nits, which Nothing says is a 131% increase over the Phone (2a). Both phones use 5000mAh batteries that Nothing promises will provide up to two days of life on a full charge. They also provide fast charging at 50W, so you can get a full day of power (50% battery) in under 20 minutes.
Finally, Nothing has introduced a button that it calls the "Essential Key" on the side of the phones, which acts as a shortcut to the company's new Essential Space, an "AI-powered hub for notes, ideas, and inspirations." This early access feature makes it easier to log and recall content and will be available to all who purchase the Phone (3a) or Phone (3a) Pro.
Image: Nothing
Nothing Phone (3a) and Phone (3a) Pro pricing and availability
The Phone (3a) is available in black, white and blue in three storage configurations, starting at 8GB of RAM and 128GB for €329. The Phone (3a) Pro is available in gray and black and in three storage configurations. Nothing only has a price in Indian Rupees for the lowest tier, which is 8GB of RAM and 128GB of storage and costs ₹29,999. The company says the version with 12GB of RAM and 256GB of storage will be available for €459.
While US customers can buy the Phone (3a) and Phone (3a) Pro, it is only available through the Nothing US Beta Program. It's important to note that the phone, within that program, is primarily for testing purposes and does not support most networks. You can find more details on the Nothing US Beta Program website.
The phone is available for pre-order today for most global customers at Nothing's website.
Nothing Unveils Phone (3a) and Phone (3a) Pro
The Phone (3a) Series delivers an enhanced all-around experience, featuring a significantly upgraded camera system with optical zoom, boosted performance, a refined design, and Nothing OS innovations, including Essential Space.
London, UK, 4 March 2025 - Nothing today introduced the Phone (3a) Series, elevating its mid-range lineup with advanced features. Building on the acclaimed Phone (2a), it boasts in advanced triple-camera system with optical zoom, a powerful Snapdragon® processor, a brighter, more responsive display, and Nothing OS innovations like Essential Space—all wrapped in two uniquely refined designs.
Design
Both the Phone (3a) and Phone (3a) Pro feature a more sophisticated look and feel, with upgraded glass back panels, enhanced symmetry in the internal structure, and refined visual details and elements throughout the finish. The design celebrates each new camera system through Nothing’s trademark exposed aesthetic and cutting-edge engineering, while meticulously optimising the integration of advanced hardware. The Phone (3a) Series also upgrades its durability to an IP64 rating and achieves Nothing’s lowest carbon footprint on a smartphone to date, with 51.3kg of CO2e.
Camera
The Nothing Phone (3a) Series introduces Nothing’s most advanced camera system to date, featuring an upgraded 50MP main sensor and a Sony ultra-wide sensor, along with optical zoom for the first time. All powered by TrueLens Engine 3.0 combining advanced computational algorithms, AI processing, and multi-frame technology to deliver professional-grade, true-to-life photography.
Phone (3a) telephoto camera
Ready to pull you closer to your subject, Phone (3a)’s telephoto camera features a powerful 50MP sensor combined with a fast f/2.0 aperture for detailed shots at its 50mm equivalent focal length. The 2x optical reach lays the foundation for a quality zoom, while the high resolution enables up to 4x lossless in-sensor zoom. When you need to zoom in even further, the Phone (3a) harnesses AI clarity-enhancing algorithms for 30x ultra zoom.
Phone (3a) Pro periscope camera
Flagship telephoto zoom meets ultimate versatility with Phone (3a) Pro’s powerful periscope zoom. A total upgrade in hardware, it combines a large 1/1.95-inch Sony LYTIA 600 sensor with a 70mm equivalent focal length and a fast f/2.55 aperture. All this translates to excellent zoom and much more.
With optical image stabilisation, Phone (3a) Pro’s periscope camera can capture quality photos across lighting conditions, whether indoors or at night, while the optical 3x zoom is a photographer-favourite, portrait-perfect focal length.
The high-resolution 50MP sensor delivers lossless in-sensor zooming at up to 6x and when boosted with AI clarity-enhancing algorithms, it unlocks 60x ultra zoom. Where Phone (3a) Pro surpasses even flagship smartphones is its telemacro capture. Able to focus as close as 15cm from a subject, it breaks through periscope limitations that hold back flagship phones.
Main camera
The Phone (3a) features a 50MP main sensor co-engineered with Samsung, integrating on-sensor deep learning processing software algorithms trained on millions of photography scenarios to enhance image clarity, reduce noise, and provide true-to-life accuracy.
The Phone (3a) Pro’s 50MP main sensor further elevates the experience with advanced sensor technologies, offering 43% faster auto-focus and double the pixel full well capacity, allowing for more detail in harsh lighting conditions. Zooming out, the Phone (3a) Series' ultra-wide camera boasts a 120º field of view, enabling you to capture more in each frame, while the upgraded Sony sensor enhances low-light performance.
Front camera
Finally, the Phone (3a) boasts a 32MP front camera, while the Phone (3a) Pro features an upgraded 50MP front camera capable of recording high-quality 4K videos with adaptive AI stabilization and night video enhancement, improving brightness by +74.4% and reducing noise by 33.7%.
Performance
The Snapdragon® 7s Gen 3 Mobile Platform, with breakthrough performance powering select Snapdragon experiences and turbo-charged by Nothing OS optimisations, is on hand to cut down on waiting and level up living. Phone (3a) Series also games faster, delivers more stable frame rates, and goes for longer, thanks to the powerful Snapdragon processor. Getting into some numbers, the CPU is up to 33% faster than Phone (2a), while the Qualcomm® Adreno™ GPU delivers 11% better graphics. Plus, you get select Snapdragon Elite Gaming™ features typically reserved for flagship devices.
Phone (3a) Series is 92% better at processing AI tasks than Phone (2a), making it more future-proofed for whatever AI developments are on the horizon. It also takes full advantage of Nothing OS and Essential Space, saving you time with things like on-device voice to text transcription.
RAM Booster uses a combination of physical and virtual RAM to allow users to access up to 20GB, plus a larger 4,500 mm² vapor chamber reduces temperature by 23% vs. Phone (2a).
Battery and Charging
Phone (3a) Series also lasts longer. With the optimised Snapdragon 7s Gen 3 mobile platform using 8% less power for typical tasks, enjoy 30 minutes more power every day.
Phone (3a) and Phone (3a) Pro both have large 5000mAh batteries, delivering up to two days of use on a full charge. With upgraded fast charging now at 50W, Phone (3a) Series delivers a full day’s power (50%) in under 20 minutes.
Display
Balancing size and quality, Phone (3a) and Phone (3a) Pro’s displays are immersive and brilliant. At 6.77 inches, their flagship size means on-screen content has room to breathe. Slightly taller and with less rounded corners than past Nothing phones, Phone (3a) Series’ displays represent a maturity and confidence befitting of a second-generation device.
At Full HD+ resolution, visuals look crisp with 387 pixels in every inch of screen, and with a fluid 120Hz adaptive refresh rate. The standard touch sampling rate is 480Hz, a 100% increase from Phone (2a), and 1000Hz touch sampling rate when in Gaming Mode, swiping through Phone (3a) Series is smooth, and responsive.
Fire up auto brightness and your Phone (3a) climbs up to 1300 nits all by itself, making it viewable under a scorching sun. But peak brightness now reaches 3000 nits, a 131% increase from Phone (2a).
Nothing OS
Nothing OS 3.1 is a fast, smooth foundation tuned for stability, utility and customisation, built with Android 15 at its core - there have also been updates to the Nothing Gallery, Camera and Weather apps. Phone (3a) Series peels back a new level of personalisation. Dial distraction back with a monochromatic theme, hide app labels to clean up your home screen, customise the lock screen and quick settings so everything you need is at your fingertips, and you can even shake up your apps. Phone (3a) Pro also supports eSIM (excluding India).
Phone (3a) Series will get updates for 6 years starting from when the device first became available on nothing.tech. This includes three years of Android updates and six years of security updates in addition to corrective and functionality updates.
Essential Space (early access)
Essential Space is a new, AI-powered hub for notes, ideas, and inspirations. Taking the friction out of logging and recalling content, it can capture, process and remember - just like a second memory.
To make sure Essential Space is always a click away, Nothing created the Essential Key. Easy for a thumb to find and press, it’s on the right side of Phone (3a) Series. Press the Essential Key to capture and send content to Essential Space, long-press to record a voice note, and double-tap to head straight to all your saved content.
Nothing is made better by its community, and so too is Essential Space. That’s why Essential Space Early Access will be available to all customers who purchase a Phone (3a) or Phone (3a) Pro. Early Access will open the doors to the full Essential Space experience, including upcoming features set for launch in the coming months such as Camera Capture, Smart Collections, Focused Search and Flip to Record.
Availability and Pricing
Phone (3a) is available in Black, White, and Blue (not available in the US)
8+128GB - £329 / €329 / ₹24,999
8+256GB - ₹26,999
12+256GB - £379 / $379 / €379
Phone (3a) Pro is available in Grey and Black
8+128GB - ₹29,999
8+256GB - ₹31,999
12+256GB - £449 / $459 / €459 / ₹33,999
Most global customers will be able to pre-order Phone (3a) today (4 March) via nothing.tech
Phone (3a) Pro pre-orders start from 11 March via nothing.tech
Nothing Store Soho (London) will be one of the first places in the world where Nothingfans can purchase Phone (3a) Series from 11:00 AM GMT on Saturday 8 March
In the US, the Phone (3a) series will be accessible to users exclusively through Nothing’s US Beta Program. Participants will be provided a Phone (3a) / Phone (3a) Pro and are encouraged to provide feedback on their experience. More information can be found on nothing.tech
Phone (3a) will go on Open Sales via nothing.tech and partners on 11 March
Phone (3a) Pro will go on Opens Sales via nothing.tech and partners from 25 March onwards
A full list of specifications and features can be found on nothing.tech. To stay updated on all the latest information, please follow Nothing on Instagram, TikTok, and X.
Here is another interesting product that was on display at the 2025 CP+ show in Japan - the ZNONZ II lens captures an image by using diffracted light:
ZNONZⅠ makes an interesting “lens” that doesn’t use any lenses because it captures an image using diffracted light. The founder, Tatsuoki Takeda became tired of clinically perfect photography and decided to do something new with zone plate photography, which is a style of pinhole photography. The lens mount is a universal Leica M mount, and there are two types of lenses “Type I uses an amplitude type zone plate, while Type II uses a phase type zone plate.” They both are turret type that can produce four different images that is operated by the dial on the side that is similar to a wristwatch dial, but it to keep it from being misaligned with the optical access a geneva mechanism was developed for a mechanical feel.
Additional informtion on the lens is available here and here:
At the 2025 CP + show, the Japanese camera brand Escura displayed an unusual InstantSnap camera with only a large optical viewfinder for composition:
The Escura’s InstantSnap is a unique toy digital camera set for a May release at an estimated 7,000 yen. This lightweight (28g), card-sized camera lacks an LCD screen and instead relies on a large viewfinder for shot composition. It uses a 1.3MP sensor, a fixed 1/125-second shutter, and supports photo and video recording onto a microSD card. Images are viewable via a USB-C connection to a smartphone.
Xiaomi just updated its flagship smartphone, filling it with even more Leica camera tech, but apparently, that's not enough. The company has also announced a concept called the "Modular Optical System," which asks: "what if you could magnetically attach a Four Thirds sensor and lens to the back of your phone?"
A video posted to Xiaomi's YouTube channel shows the module, which includes a sensor with a "Light Fusion X sensor" that "delivers true 100MP clarity," paired with a 35mm equiv. F1.4 lens in a relatively small package. The company says it produces "strikingly sharp images" despite its size. The module magnetically attaches to the back of your phone, with no mechanical latching system or pairing process required.
Image: Xiaomi
While an increasing number of phones include magnetic rings on the back thanks to the Qi 2 charging standard, the system will still require a specially-designed phone. That's because it uses lasers to get data from the camera module to the phone. While that sounds exotic, consumer devices have long used lasers to transmit data, such as in the case of Toslink in audio equipment, or fiber internet connections. Of course, that means your phone has to have a window for the laser to travel through, as well as hardware to receive the signal.
Xiaomi says this allows it to achieve mere nanoseconds of latency, which is important when you're trying to preview your image. The company also promises Raw files with 16EV of dynamic range, though the video implies that it's doing that by combining multiple exposures – that's standard fare for phone photography, but it does mean that the resulting image won't be Raw in the purest sense of the word.
Xiaomi is one step closer to achieving the dream of smartphone photography
There are no details on when this system will make it into a commercial product that you can actually buy, if that's even in the cards at all. However, it does make it seem like Xiaomi is one step closer to achieving the dream of smartphone photography: dedicated camera quality from a device that you already own and always have with you.
It's a goal that many other smartphone makers have pursued through similar means: Sony was mounting camera modules to phones in 2013 with its QX series, and companies like Samsung and Zeiss have experimented with devices that were hybrid Android phones and compact cameras. We've also seen cameras that achieve much smaller lenses by pairing them to the sensor, such as the Ricoh GXR, Sony RX1 and Fujifilm X100 series. But while the concept may not be new, Xiaomi's concept is one of the slickest we've seen in the smartphone space.
That doesn't mean that it's absolutely seamless. Of course, it still requires a separate component that you must carry around. However, it's still substantially smaller than a whole separate camera, and it doesn't require its own batteries or storage. It also gives you all the upsides that come with phone photography, such as the immense image processing power and the ability to share your photos instantly. If Xiaomi can pull this off, it could be a big step in the evolution of smartphone photography, especially if it expands on the system, adding additional lenses or even giving you just a bare sensor and a lens mount, letting you use traditional glass with your phone, though the latter would be a big ask for a purely magnetic mount.
Xiaomi has announced its 15 Series smartphones, promising exceptional image-making abilities thanks to a partnership with Leica, and the Ultra's inclusion of a Type 1 (13.1 x 9.8mm) sensor. The two companies originally partnered in 2022, bringing Leica camera technology to the Chinese smartphones. That collaboration continues, with the brand promising these latest models will be "the ultimate professional imagery flagship."
Xiaomi 15 Ultra
The Xiaomi 15 Ultra sits at the top of the company's lineup, combining "supreme build quality with a sense of refined sophistication," according to Xiaomi. It features a WQHD+ 6.73" AMOLED display with a 3200 x 1440 resolution and 522 ppi. The display offers 3200 nits of peak brightness. The 5410mAh battery is slightly improved over the 14 Ultra, though the China-only model gets an even better 6000mAh.
The device runs on Qualcomm Snapdragon 8 Elite and is available with either 12GB or 16GB of RAM and 256GB, 512GB or 1TB of memory.
For durability, it features the Xiaomi Guardian Structure, which uses Xiaomi Shield Glass 2.0, an upgrade from the previous model. The company says this results in 16 times better drop resistance. Meanwhile, the entire camera module is covered in Corning Gorilla Glass 7i to protect it from scratches and features a dual anti-reflection (AR) coating to improve optical performance.
The phone comes in black, white, and silver chrome, with the latter being the most distinctive of the bunch. With aerospace-grade glass fiber and PU leather, it is more reminiscent of classic Leica cameras when held in landscape orientation than typical smartphones. Each color variation features Leica prominently on the camera module.
Image: Xiaomi
Camera details
The 15 Ultra's camera array is the main feature that makes it stand out from the Xiaomi 15 since it uses four different sensors for each lens. Starting with the main camera, the latest flagship keeps the same 50MP Type 1 (13.1 x 9.8mm) LYT-900 sensor with the Leica Summilux 23mm equiv. F1.63 lens that was used on the 14 Ultra. That same camera supports 28mm and 35mm focal lengths, albeit with a crop, as they rely on digital zoom. Xiaomi says this camera provides a 14EV dynamic range, which should help with photographing in low-light conditions.
Next up on the 15 Ultra is a 50MP, 70mm equiv. F1.8 Leica floating telephoto camera with a Sony Type 1/2.51 (5.7 x 4.3mm) sensor. The 14 Ultra featured a 75mm equiv. telephoto camera. It keeps the close focusing distance of 10cm, though, making it suitable for macro photography as well as portraiture.
For even more reach, the 15 Ultra features a 200MP, 100mm equiv. F2.6 Leica-branded periscope telephoto camera using the Samsung Isocell HP9 Type 1/1.4 (9.1 x 6.9mm) sensor. This is the most significant change from the 14 Ultra, which featured a 50MP, 120mm F2.5 equivalent periscope camera. That big jump in resolution may seem impressive, but it doesn't necessarily mean there will be a massive increase in image quality. It's also worth noting that Xiaomi claims the ultra-telephoto camera "captures 136% more light than Xiaomi 14 Ultra." That's about the difference we'd expect, given that the 14 Ultra used a much smaller Type 1/2.51 sensor paired with a slightly faster lens. The ultra-telephoto camera is also capable of shooting at 200mm (equiv.) with digital zoom.
Image: Xiaomi
The wide-angle lens, a 50MP 14mm equiv. F2.2 lens with a Type 1/2.76 (5.2 x 3.9mm) sensor, rounds out the camera array. It provides a slightly tighter field of view than the 14 Ultra (115 degrees compared to 122 degrees).
Both telephoto cameras and the main camera offer optical image stabilization (OIS) and electronic image stabilization (EIS) to smooth out shake. The phone is capable of recording at 4K 120fps or 8K at 24 and 30fps. It supports Dolby Vision recording at 4K 60fps and 10-bit Log across all focal lengths, providing smartphone videographers with plenty of options and control.
Alongside the Leica lenses, the phone features "Leica color technology and the Leica brand’s authentic visual language."
Pushing the focus on photography even more, Xiaomi also launched a Xiaomi 15 Ultra Photography Kit Legend Edition. It includes a "signature red decorative ring" so everyone knows it's a Leica collaboration, plus a "custom-designed UI under camera's Fastshot mode, detachable thumb support and shutter buttons, a multifunctional 67mm filter adapter ring, and an integrated 2000mAh battery for extended usability."
Image: Xiaomi
Xiaomi 15
The Xiaomi 15 is smaller and cheaper than the 15 Ultra, featuring a 6.3-inch AMOLED (2670 x 1200) display. Still, it offers many features similar to the more premium model. That includes the Summilux lenses with anti-reflective coating. It also offers Dolby Vision, 8K 30fps and 4K 60fps recording, plus 10-bit Log recording at 4K 60fps across all focal lengths.
The Xiaomi 15, though, only features three cameras. The main camera is a 50MP 23mm equiv. F1.6 camera with a smaller Type 1/1.31 (9.80 x 7.35mm) Light Fusion 900 sensor. The telephoto camera offers slightly less reach, coming in at 60mm equiv. F2.0. Finally, the wide-angle is the same as the one found on the 15 Ultra.
Image: Xiaomi
Beyond the camera hardware, there are some useful software features on the Xiaomi 15. That includes a Fastshot mode, which it says enables a capture speed of 0.6 seconds at all focal lengths. Additionally, Leica explained that it developed software optimization that allows users to choose between the "classic 'Leica Authentic Look', characterized by warm colors and fine contrasts, and the 'Leica Vibrant Look', providing a dazzling depth of color."
Pricing & availability
The Xiaomi 15 is available in two storage variants at a starting price of EUR 999 ($1030). The Xiaomi 15 Ultra also comes in two storage variants and starts at EUR 1499 ($1550). Unfortunately, both of the Xiaomi Series 15 phones are not available for purchase through retailers in the US or Canada.
"Canon has developed a new app that enables you to shoot 3D imagery using a standard issue camera and lens – no need for special 3D optics or expensive camera rigs – effectively democratizing this previously cost-prohibitive form of content. Unveiled at the CP+ 2025 show in Japan, the new app exploits the Dual Pixel sensor in the Canon EOS R5 to record two images in a single file – combining a regular image and one with parallax information." (digitalcameraworld)
Xiaomi also showed another concept for interchangeable lenses for a smartphone where you can achieve 10x lossless optical zoom (no other information was provided):
Update: the second prototype is from a company called Realme - the interchangeable lens concept phone is also called Ultra (hence the confusion). The phone has a 1" sensor. The kit shown includes two lenses, a 73mm f/1.4 (equivalent) and a 234mm f/1.5 (equivalent).
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