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Comparing the S1II lineup
Panasonic is now selling three hybrid cameras housed in the exact same body with similar features: the S1II, S1RII, and S1IIE. However, they all have different sensors, making them better suited to a particular type of shooting.
We'll go over those differences and, in the process, discuss who each model is best for.
Overview
All the cameras in the S1II series are generally aimed at hybrid shooters who take both stills and video. What sets them apart are their sensors. The S1IIE has the most familiar option of the bunch, with a standard 24MP BSI CMOS sensor that's also shown up in cameras like the Lumix S9 and S5II.
The S1II is still 24MP but steps up to a 'partially stacked' sensor with faster readout circuitry. It's aimed at people who need higher burst rates or higher framerates in video with less rolling shutter. The S1RII focuses on resolution versus speed and comes equipped with a 44MP BSI CMOS sensor, which will capture more detail in stills and allows for 8K video recording, while the other models top out around 6K.
Photo Burst Rates
All the cameras in the S1II series can shoot at up to 10fps with their mechanical shutters, which are rated for 400,000 actuations and can be configured to close when you shut down the camera to protect the sensor from dust. The differentiation happens when you start using the electronic shutter.
Maximum burst rate (Raw, C-AF)
S1IIE
30fps
S1II1
70fps
S1RII
40fps
None of the cameras are billed as action cameras, but it's worth noting that their different burst rates and resolutions also affect how many photos you can take before their buffers fill up. The S1II can shoot Raws at its max speed for around three seconds, taking around 200 images, while the S1IIE can go for around six, capturing around 180 images. The S1RII can shoot for around a second and a half at its max burst rate, taking around 70 frames.
Base ISO
The second-gen S1 cameras all have dual conversion gain sensors, which will produce cleaner images at high ISOs. However, each camera has different low and high settings in their standard photo style response mode.
Low gain mode
High gain mode
S1IIE
ISO 100
ISO 640
S1II
ISO 100
ISO 800
S1RII
ISO 80
ISO 400
The low and high ISOs will change depending on what response mode you're shooting in and, for the S1II and S1RII, whether you're using their respective Dynamic Range Boost and Expansion modes. It is worth noting that these two modes work quite differently – with the S1II, there isn't even a second gain mode in DR Boost – but we'll cover that in more depth later.
Video Resolution
The S1RII is the only camera in the S1II line that can shoot at 8K UHD, though it can't quite handle DCI 8K; instead it has an 8128 x 4288 '8.1K' mode with the same 1.89:1 aspect ratio. Those could theoretically be delivery resolutions, as there are 8K displays on the market, whereas the >4K options for the S1II and S1IIE are more likely to be used because they offer a bit of extra wiggle-room or detail in post rather than because someone's looking to deliver to a 6K display.
However, those looking for flexibility may also want to use a 3:2 open-gate resolution. Both the S1II and the S1IIE can also shoot 6K open-gate, using the full sensor to produce a 5952 x 3968 3:2 image at up to 30fps. The S1RII can currently shoot in 6.4K open-gate at up to 30p, but Panasonic has promised to add an 8.1K open-gate mode to the S1RII via a firmware update, though the company hasn't given a date for when that will be available.
Video framerates
While the S1II and S1IIE have the same maximum resolution and framerate, the differences become stark the moment you move away from 6K open-gate.
Resolution
Framerates
Crop Factor
S1IIE
6K open gate
30, 25, 24, 23.98
1.0
UHD 4K
30, 25, 24, 23.98
1.0
60, 50
1.5
2.4:1 Cs4K
60, 50, 48, 30, 25, 24, 23.98
1.0
S1II
6K open gate
30, 25, 24, 23.98
1.0
5.1K open gate
60, 50, 48, 30, 25, 24, 23.98
1.0
16:9 5.9K
60, 50, 48, 30, 25, 24, 23.98
1.0
UHD 4K
60, 50, 48, 30, 25, 24, 23.98
1.0
120, 100
1.24
2.4:1 Cs4K
120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98
1.0
S1IIR
UHD 8K
30, 25, 24
1.0
6K open gate
30, 25, 24
1.0
16:9 5.9K
30, 25, 24
1.0
60, 50, 48
1.11
UHD 4K
30, 25, 24
1.0
60, 50
1.11
120, 100
1.17
Despite its length, this table only shows a selection of each camera's video modes. However, it is broadly illustrative of their high-level capabilities. The S1IIE can only manage full-with 60p in 4K when using the quite short 'Cinescope' aspect ratio, which still only captures a roughly APS-C-sized portion of the sensor. The S1II, meanwhile, can capture full-width 4K and 5.9K up to 60p without a crop. The S1RII will need to apply a small crop to achieve 60p at those resolutions but actually manages to have a slightly smaller crop than the S1II at 4K120p.
Rolling Shutter
The faster the rolling shutter rate, the less risk there is of getting the jello-effect when panning in video or shooting fast-moving subjects when using the electronic shutter.
When it comes to readout speed, the S1II is the fastest of the bunch; it can read the data it needs for its standard UHD 4K mode in 12.5 ms, something the S5IIE takes 21.6ms to do. The S1RII, meanwhile, takes 23.9ms. While those numbers are generally indicitive of how the cameras compared to each other in rolling shutter performance, the S1II and S1RII both have modes that can drastically reduce their performance. But to talk about those, we need to talk about...
Dynamic Range
Panasonic says the S5II, S1II can capture "14+ stops+ of dynamic range when shooting in V-Log, while the S1RII is capable of 13 stops. However, both the S1II and S1RII have modes that, when activated, will capture an extra stop of dynamic range, at the cost of readout speed and higher base ISOs.
UHD rolling shutter
Base ISO
Stops of DR
Available in
S1II
DR Boost off
12.5 ms
640 / 5000
14+
—
DR Boost on
30.4 ms
1000
15
Up to 24p for full-height modes
Up to 30p for other video modes
S1RII
DR Expansion off
24.9ms
200 / 1000
13
—
DR Expansion on
31.7ms
400 / 2000
14
All video modes up to 30p
The S1RII's mode achieves this by simply reading out at a higher bit-depth, and Panasonic says the S1II is using some combination of its dual gain readouts, but not in the same way that the GH7 does. This means that you don't have the second gain step when in DR Boost mode.
Conclusion
There's a lot going on in Panasonic's second-generation S1 line, but by and large, the cameras occupy their own space. The S1IIE is a hybrid camera with solid workflow features and ergonomics but an otherwise relatively basic spec sheet, while the S1II is made for speed, and the S1RII is made for high-resolution shooting. All three are extremely capable when it comes to shooting video, though the aforementioned benefits of the non-E models still apply.
Where things are a bit more complicated is price. The S1IIE retails for $2500, which is substantially cheaper than the S1II's MSRP of $3200 and the S1RII's $3300 price tag. The relatively small price difference between the latter two cameras means that your use, not your budget, should be the deciding factor between the two.
The photo above may look like a city or some sort of industrial plant, but it's not: it's actually the inside of a pipe organ, photographed by Charles Brooks. It's one of the many pictures he's taken from the inside of musical instruments, a process that's substantially more complicated than it may seem, especially since he's often working with rare, historically significant objects.
Charles Brooks spent much of his career as a principal cellist, traveling to perform with renowned orchestras from China to Chile and Brazil. But beyond his music, he also has experience with photography, going back to when he was young. It was a natural combination, then, when he stepped back from playing and picked up his camera. The project that kicked things off for him was when he started capturing the inside of instruments. Brooks was kind enough to talk with me over video chat, sharing his background, what drives him, and unique insight into his Architecture of Music series.
"The inside of a heavily restored Double Bass by Charles Theress, circa 1860, one of the finest bass makers in the history of the instrument. Photographed in Wellington, New Zealand, with the aid of it's present owner Matthew Cave."
Photo: Charles Brooks
Brooks had been living in New Zealand and photographing musicians when COVID-19 happened, which quickly brought things to a halt. During that time, though, he noticed that since musicians couldn't play, they were sending off their instruments for repair. As a result, workshops were filled with fantastic instruments, sparking an idea. Brooks said he had seen a few photographs of the inside of instruments before, including some taken for the Berlin Philharmonic, but those always looked like parts had been removed to create the images. He wanted to find a way to photograph the inside of instruments with everything intact.
Inside a 2021 Selmer Paris Saxophone.
Photo: Charles Brooks
Luckily for Brooks, Laowa had released its first probe lens not too long before. His first attempt was on a cello, an instrument he is very familiar with. "That wasn't too hard, since you can take the spike at the bottom off and getting the probe lens in is easy," he explained. He said he thought it was a nice shot, so he decided to see if he could sell a few and posted it on Reddit. It blew up there, so Brooks started scheming how to continue with other instruments, including smaller ones.
He quickly realized the Laowa probe lens was too big for most instruments. To fix this, the first thing he did was use a heat gun to melt off the waterproof casing to make it a bit smaller (though he doesn't recommend others do this). That allowed him to photograph pianos, but what he really wanted was to capture the inside of a Stradivarius violin. Violins only have a 5mm hole at the bottom, which is much too small for anything except medical cameras (called scopes), which are not made for high-resolution photography. And so began the rabbit hole that Brooks has found himself going down.
"Inside a French violin crafted by Nicolas Augustin Chappuy in 1770. This violin was brought to New Zealand by Le Violin Rouge luthiers (Auckland). They will spend the next year or two restoring it. It's a stunning old instrument that has been unplayed for quite a while and needs careful care and attention to bring it back to a playable state."
Photo: Charles Brooks
Brooks says he started by buying 20 to 30 adapters that allow you to attach medical scopes like endoscopes or arthroscopes to cameras. These introduced many problems, though. First, they are made to cover tiny sensors. You could adapt it to a full-frame camera, but most of the resulting image would be black. So he had to find a combination of adapters and magnifiers. "I sort of stacked them on top of each other to get that image circle as large as I could," he said.
"This remarkable photo captures the interior of the first violin I successfully photographed. Initially, it was presented to me as a Hopf, but I believe it is actually a 19th-century replica. This particular violin has been played but never repaired or opened since its creation, a rarity for an instrument of this age. This photograph marks the first time anyone has seen the inside of this violin."
Photo: Charles Brooks
Unfortunately, every time you add more glass, it degrades image quality. Making things more complicated, "these scopes are so small, they're right at the limits of diffraction," Brooks explained. "So even if you do blow it up, you're going to get a larger image, but it's not necessarily going to give you any more data. It's just a bigger blurry image." He spent a lot of time playing around with adapters and magnifiers and talking to the manufacturers to see what he could do.
In the end, Brooks decided to use the Micro Four Thirds Panasonic Lumix G9 II with his scope setup. "That's as large as I could get it magnified without it sort of falling to pieces," he explained. Then, he uses the high-res mode to get larger images, which especially helps because there's still some vignetting he needs to crop out.
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Unfortunately, figuring out the camera and adapter combination didn't solve everything. He explained that with all the magnification, he was shooting at roughly the equivalent of F250, meaning there was essentially no light. His solution was to use a bunch of flashes at the highest power possible, but that adds a lot of heat, and old instruments don't tolerate heat well. To keep these expensive instruments safe, he has to ensure that the varnish doesn't get over 28°C. So, he constantly measures the temperature and pauses between each shot to keep everything cool.
A photograph of the inside of a Geminhardt Elkhardt Alto Flute, which is the result of combining 960 individual images.
Photo: Charles Brooks
After lots of trial and error, Brooks landed on a process involving a combination of focus stacking and panoramic stitching. He uses the probe to rotate around the inside of the instrument, almost like a clock. However, the probe only focuses on roughly 2mm at a time. He wants it all in focus so that it doesn't look like a classic macro shot, so he's taking 20 to 30 images to get it all in focus. He also takes dark frames, like astrophotographers, to prevent hot pixels. Plus, given that the probe lens isn't made for photography, the light transmission isn't even across the frame. So, he photographs a piece of paper to identify where the vignetting starts, determining where he needs to take additional photos to compensate.
"Deep inside the action (the moving parts) of one of the world's finest grand pianos. Fazioli make around 100 of these instruments a year, each handcrafted with over 8000 individual parts. Shot with a Lumix S1R and a Laowa Probe lens, 100 images at various focal distances have been stacked together for sharpness from front to back, giving a distinct architectural appearance reminiscent of a concert hall or film set."
Photo: Charles Brooks
If you're thinking that sounds like a lot of images, you're right. Brooks says that there isn't a single final image with fewer than 100 shots stacked together, and some have more than 1,000 individual frames stacked. It's an incredibly time-consuming and technical process, both while shooting and in post-production.
Every part of his process is intentional because he doesn't want the images to look like miniatures. The focus stacking helps him avoid the typical aesthetic of macro photography by reducing the amount of background blur and focal compression. Creating an image that looks like it was taken with an ultra-wide-angle lens also results in leading lines we associate with normal-sized things, like streets and buildings, which tricks your brain into thinking the subject is not small. He also uses lighting to make it look like the sun is shining down, emphasizing the feeling that you are standing inside something. Finally, when Brooks displays prints, they are massive, adding to the feeling that you are inside a grand structure. For example, one upcoming show will have prints that are five by seven meters (16 x 23').
"This is a photograph showcasing the interior of one of the world's most exceptional violas, a magnificent 1619 creation by Nicolò Amati. The instrument is on a long-term loan from The Adam Foundation to the New Zealand String Quartet. It is presently being played by Gillian Ansell, a founding member of the quartet, and one of the greatest viola players to emerge from New Zealand."
Photo: Charles Brooks
His unique way of photographing the instruments is part artistic and part documentary. He's photographing some of the finest instruments in the world. While they may look the same on the outside, with finely polished finishes and pristine surfaces, inside is a historical record. His photographs reveal the maker's marks, repairs, signatures and imperfections from use or cleaning the instruments. Because of this, he has no plans to slow down and has a list of famous instruments he'd like to photograph someday. You can see more of Brooks' photographs and read stories behind some of the instruments on his website.
The GP-VPT3 is a three-in-one wireless shooting grip, tripod, and detachable remote that pairs seamlessly with Sony’s Alpha and vlog camera systems via Bluetooth®. Engineered for content creators, solo shooters, and hybrid users, the grip is optimized for handheld stability, one-touch self-shooting, and multi-angle tilt functionality. It supports cameras and lenses up to 1.5kg and is available in both black and white.
The detachable remote offers intuitive control with dedicated buttons for movie recording, zoom/focus, and custom functions, allowing precise wireless operation up to approximately 10 meters. Together, the system prioritizes comfort, responsiveness, and dust-and moisture-resistant performance without the need for cables or receivers.
The previously rumored Fujifilm X Half digital compact camera with diptychs feature is now officially announced. The Fujifilm X-Half is a compact digital camera inspired by half-frame film cameras. Compact and lightweight, the camera is based on Fujifilm’s classic designs. It features a 1-inch back-illuminated sensor, a fixed 32mm f2.8 (35mm equivalent) prime lens, and a rear LCD with a 3:4 aspect ratio, optimised for vertical shooting. Alongside the camera is a new dedicated X Half companion app, designed to enhance the viewing and sharing of your images.
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All product photos: Richard Butler
The Fujifilm X half is a JPEG-only compact camera with a fixed focal length and a vertically orientated sensor, designed to mimic the experience of shooting with a half-frame film camera. It prioritises fun over technical excellence.
Key features
Vertical 18MP, 8.8 x 11.7mm CMOS sensor
32mm equiv F2.8 lens
JPEG-only output
2-in-1 mode combining sequential shots into a 3:2 image
Tunnel-style optical viewfinder
Film Camera mode simulates the film camera experience
10 Film Simulations
18 Filters
Twin touchscreen interface
Date stamp option
880 shot per charge rating when using OVF
'Film advance' lever
Direct printing to Instax printers
The obvious reference point will, no doubt, be Fujifilm's own X100 series cameras, and we doubt Fujifilm will dislike the comparison, given their popularity. But, whereas the X100 cameras look a lot like miniature Leicas, the cute, boxy X half looks more like a scaled-down Rollei 35.
The X half will have a recommended price of $849 and will be available in black, charcoal or silver. There's no obvious precedent for a camera like this and the uncertainty around the cost of importing items from China into the US makes it a little hard to make sense of, but it seems like a lot for a camera that's putting more effort into being fun than functional.
The Fujifilm X half is a fixed-lens camera built around an 8.8 x 11.3mm sensor. Those dimensions may not sound familiar but it's essentially a 4:3 crop from a 20MP 3:2 Type 1 sensor, turned on its side.
So, when Fujifilm talks in terms of half frame, it's talking about the 3:4 shooting experience you get from shooting half a frame of 135 film, not about mimicking the same capture area that would give.
It has a 10.8mm F2.8 prime lens, and that sensor's 2.94x crop factor means this gives a 32mm equivalent field of view and an F8.2-equiv maximum aperture.
Flicking the film advance lever just after you've taken a shot (or when you're reviewing an image in playback mode) lets you combine that shot with the next one you take.
Left image: Provia film sim | F2.8 | 1/800 sec | ISO 200 Right image: Provia film sim | F2.8 | 1/1600 sec | ISO 200 Photos: Richard Butler
You can shoot individual 3:4 vertical images, swiping on the Film Simulation window on the back of the camera to change your virtual film stock. Alternatively, if you flick the film advance lever after taking a shot, you can combine your previous and next images to create a side-by-side diptych. Both individual images are saved to the memory card, in addition to the combined version.
Film Camera mode
The X half is best understood through its Film Camera mode. Engage the mode and you'll be asked how many exposures you want on your virtual film: 36, 54 or 72. If those second two numbers look unfamiliar, remember that this is styling itself as a half-frame camera, so you can fit 72 shots on a '36 exposure' film.
"Once you start shooting, you'll have to use the film advance lever after each shot: the camera won't take another photo until you do"
When in film camera mode, you lose the live view on the back of the camera and have to compose via the optical viewfinder. You also lose the ability to swipe to change Film Simulation or filter: you're using a single roll of 'film,' after all.
And, once you start shooting, you'll have to remember to use the film advance lever after each shot: the camera won't take another photo until you do.
Once you've taken all your photos, you can connect your camera to the app and transfer the photos, at which point you get to see a contact sheet and watch the images 'develop.' That contact sheet image, complete with sprocket holes, frame numbering (with the images numbered as 01, 01A, 02, 02A and so forth), can also be downloaded.
If you lose interest in a project before the end of the roll, you can double-tap the film window screen and the camera will 'rewind' the roll, leaving you with a partially-complete film strip. Fujifilm also warns that removing the memory card or the battery can result in film camera mode being abandoned.
Filters and Film Simulations
One of the X half's main selling points is likely to be Fujifilm's film simulation modes, and the camera includes ten of the most popular ones.
Provia / Standard
Velvia / Vivid
Astia / Soft
Classic Chrome
Reala ACE
Classic Neg.
Nostalgic Neg.
Eterna / Cinema
Acros (with Red, Yellow or Green filter)
Sepia
The X half also has a range of Filter modes, including Toy Camera, Vignetting, Light Leak, Halation and Expired Film. These give more extreme looks than the film simulations, but include some fun options such as giving the expired film mode a green or red tint, or the light leak mode that applies a one of a selection red/yellow bursts across each image at random, which are only visible in the final image. Filters can't be combined with Film Simulation modes.
ISO and Autofocus
The camera's base ISO is 200 and there are three pre-defined Auto ISO settings, you choice is essentially whether the camera stops at ISO 800, 3200 or 12,800.
In terms of autofocus, you have a choice of two AF area modes: a large central point or an AF area that can be moved to one of nine positions. There are eye and face detection options on top of this, and the camera will prioritize faces in your scene, regardless of the AF position.
Autofocus is somewhat laggy and distinctly slow, though, so we found the camera to be much more dependable in AF-S mode. This is not a camera for action or moving subjects, really.
Video
The X half can shoot up to 1080/24 footage at up to 50Mbps, captured in a 3:2, 1080 x 1440 format. It can also shoot 2x slowmo footage. These video clips can be combined with still images in 2-in-1 diptychs, output as 2160 x 1440px MOV files. There's a 3.5mm-to-USB-C lead in the box that lets you use an external mic with the camera, if you insist.
Body and handling
The X half is small, boxy and really rather cute: both its size and looks attract attention. It's also pretty well built. It feels like a lot of it is plastic but it's thick enough that the camera doesn't feel flimsy. It's small enough to fit in a coat pocket, despite the protruding lens.
The lens has an aperture ring around it, controllable in whole stops and with an 'A' position at one end, passing control back to the camera body. There is no other control dial on the camera, so there's no way to gain 1/3EV control of the aperture.
The camera's shutter tops out at 1/2000 sec, so in bright light you'll need to remember to stop down; especially if you're using the viewfinder, where there's nothing to indicate that your shots will be overexposed.
The lens is covered with a soft plastic lens cap. It's not the prettiest or most convenient feature, but ends up highlighting a benefit to the lens design: it doesn't change length. As such you never have to worry about stripping the gears or damaging a motor if you turn the camera on in your pocket or with the cap still attached.
The top of the camera is decidedly simple: a large exposure comp dial, that photo advance lever and an power switch, which releases the level from its stowed position. There's also a cold shoe slot in the middle of the camera. We're not really sure why.
The whimsy continues on the back, with a film-window-style rounded LCD panel that displays the currently active Film Simulation mode or Filter effect. It's a touchscreen, so you can swipe up or down to change mode (unless you're in Film Camera mode).
Next to this is the main display, a small, portrait-orientation 2.4" 640 x 480px touchscreen. In regular shooting mode this shows a live view display, just as you'd expect. Swiping your finger across the screen brings up one of four menus.
Swipe right
Swipe down
Swipe right
Swipe up
Swipe left
Swiping down gives you the choice between connecting to a smartphone and entering Film Camera mode.
Swiping right lets you select whether you're in Film Simulation or Filter mode. There are icons at the bottom of the screen to let you determine which of these modes applies to stills or video shooting. You don't select which of the simulations of filters you're using, just which mode the camera is in.
Swiping up brings up a quick menu, detailing eight of the camera's core settings:
Exposure mode (P, S, A, M)
Image size (L, M, S)
Face/Eye detection setting
Portrait enhancer
Focus mode (MF, AF-C, AF-S)
Self-timer (2s, 10s, Off, Continue)
Grain (Roughness / Size)
White balance
Finally, swiping left brings up the camera's main menu. It's a much-simplified variant of the one from other Fujifilm cameras, divided up into seven catagories: Shooting settings, Movie settings, IQ settings, AF/MF settings, Audio settings, Set up and Networking/USB settings. These catagories are navigated by swiping up and down on the film window, next to the main LCD.
The film advance lever
One of the only physical controls on the whole camera is the film advance lever. In normal camera mode its job is to engage 2-in-1 diptych mode, in Film Camera mode it acts as the film advance lever it mimics. Push the lever in towards the body in normal shooting mode and the camera will show you the last image you took, while the lever is held in. Again, we're not entirely sure why.
Battery
The X half takes the same NP-W126S battery as Fujifilm's other small cameras. It's a relatively large battery for such a small camera, making up something like 1/7th of the camera's volume. This helps power the camera to a rating of 880 shots per charge, if you use the OVF. We've not seen a figure for shooting with live view.
This is enough that you'll essentially never have to worry about charging the battery. The camera can charge over its USB-C socket, so all you need to do is remember to plug it in from time-to-time.
Initial impressions
The Fujifilm X half is, objectively, a profoundly silly camera. It is, after all, a digital camera with a film advance lever. But that's not to say it's a joke, necessarily.
Whether you think the X half is cute and fun or utterly ridiculous is likely to come down to what you think of its Film Camera mode. If you like the creative challenge and playfulness of a mode where you have to shoot a whole virtual roll's worth of images before 'developing' them on your phone, then you might well really enjoy the X half.
If you find the idea preposterous, worry about it only being able to produce JPEGs, or find yourself thinking 'it's basically half of Four Thirds, doesn't that make it 1/8th frame?' then it's fair to say this isn't the camera for you.
Even without using Film Camera mode, the ability to combine images (with a choice of dividers and widths) prompts you to think about pairs of images that will go well together.
Left image: Provia film sim | F2.8 | 1/125 sec | ISO 640 Right image: Provia film sim | F2.8 | 1/125 sec | ISO 640 Photos: Richard Butler
The X half will inevitably ride on the coat-tails of the hugely successful X100 series, but whereas that camera was beloved both by established photographers and newcomers enraptured by its stylish aesthetic and attractive color response; the X half's pull is likely to be much stronger for the latter group.
"Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so"
The pictures aren't great and the camera is distinctly laggy in most of the things it does. If you're coming from a modern mirrorless camera, it might be a bit of a shock. If you've been buying old compacts on eBay, you'll probably feel right at home. And it seems likely that this is the intended audience for this camera: someone who appreciates a small camera with a sense of fun.
Because yes, the Film Camera mode is fun. Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so. Likewise the idea of a retro-feeling compact camera that can deliver Fujifilm's Film Simulation colors is a delightful prospect, even with the X half's drawbacks.
It's hard to get a sense, from pictures, of just how small the X half is. It's not much bigger than the palm of my hand.
Our main concern is the price, though. Even after a surge of inflation that's left us all a little unsure how much our money is now worth, $849 feels like a lot for something so playfully flirting with frivolity. And, on our production camera, albeit with non-final firmware, the lagginess and autofocus speed risks taking some of that joy out of the experience.
The X half doesn't take itself too seriously, and that doesn't in itself make it a joke, but we worry its price tag risks being a punch-line that falls rather flat.
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Perhaps unsurprisingly for such a well-established line of cameras, the design study for the new camera looks an awful lot like its predecessor.
Image: Ricoh
Ricoh has announced the development of the GR IV, the latest in its long-running and much-loved series of fixed lens compact cameras. An HDF version with built-in highlight diffusion filter will also be offered.
Both cameras will feature a new lens as well as a new sensor and processor, the company says. Ricoh says the GR IV will have a sensor with 25.74 million effective pixels, which is likely to mean the same 26MP BSI chip used in Sony's a6700.
It highlights the core values of the GR series as being "high image quality, quick response and portability," but also says it also includes "the changes and refinements demanded to meet emerging user needs."
Key features:
25.74MP APS-C sensor
18.3mm F2.8 lens (28mm equiv) with 2EV ND
New lens with seven elements in five groups (3 asph)
5-axis image stabilization
1/4000 sec - 30 sec shutter*
53GB internal storage and UHS-I Micro SD card slot
3.0" 1.037M dot LCD
FullHD video at up to 60p
109.4 x 61.1 x 32.7mm
262g with memory card and battery
*as in the GR III, the shutter will top-out at 1/2500 sec at F2.8, offering 1/4000 at F5.6 and beyond
The specs released don't include any mention of a flash: a detail the company said it was wrestling over, when we spoke to them in February.
Ricoh says production of the GR III will end in July 2025, with the successor model due in "autumn 2025." Production and marketing of the GR IIIx will continue for now.
Image: Ricoh
Currently under development: the RICOH GR IV, the latest model of the GR series of high-end digital compact cameras, designed to be the ultimate snapshot camera
TOKYO, May 22, 2025 — RICOH IMAGING COMPANY, LTD. is pleased to announce the development of the RICOH GR IV — the latest model of the GR-series high-end compact cameras.
Over a history of nearly three decades (since the introduction of the film camera, RICOH GR1 in 1996), and two decades (since the introduction of the first digital-format GR DIGITAL in 2005), the GR series has always kept the basic concept of pursuing the essential values of a camera: high image quality, quick response and portability. At the same time, the series has always incorporated the changes and refinements demanded to meet emerging user needs. Because of this, GR-series models have been preferred by many photographers, particularly professionals and highly experienced amateurs.
Currently under development, the RICOH GR IV inherits the basic GR-series concept, while also incorporating totally new components, including a newly designed lens, a new image sensor and a new imaging engine, to further upgrade image quality. It also features more advanced communications functions and is compatible with a new application designed for smart devices to improve operability and functionality.
Based on this new GR IV, another GR-series model featuring an HDF (Highlight Diffusion Filter) is also under development.
Designed to be the ultimate snapshot camera in the history of the GR series, the RICOH GR IV is a totally new breed of camera, one which will satisfy every photographer’s demands and expectations
Note: The exterior design sample of the RICOH GR IV, currently under development, will be showcased at GR SPACE in Tokyo, Beijing and Shanghai, beginning on Saturday, May 31, 2025.
The production and shipment of the RICOH GR III, currently on the market, are scheduled to be discontinued this July, due to difficulty in procuring of parts and components. However, the production and marketing of the RICOH GR IIIx will be continued for the time being.
Overview of the product under development
Model name: RICOH GR IV
Launch date: Scheduled to be launched in Autumn 2025
The HDF model is scheduled to be released after winter 2025.
GR WORLD (application for smart devices)
Launch date: Scheduled to be released soon
Supported models: All GR-series models released after the RICOH GR I
Camerainsider insider reported on X that a new GR camera (Ricoh GRIV?) will be announced this week. Camerainsider has generally been correct in the past when reporting on upcoming cameras and lenses, but they were also wrong on several occasions. Stay tuned for updates.
There's no denying the convenience of using a smartphone camera for travel photography. While dedicated cameras offer advantages regarding quality and flexibility, lugging around an often clunky extra device isn't always ideal. You'll likely have your phone with you anyway, so you might as well pack a few accessories to help you get the most out of it for documenting your travels.
Grip
Photo: ShiftCam
Smartphone grips provide a more camera-like experience for holding your phone, making them more comfortable while putting your hand in a more natural position for taking photos. Made by brands like ShiftCam, Ulanzi and even Leica, some rely on magnets to connect to your phone, while others are more complete cases.
Beyond making your phone easier to hold, most smartphone grips also solve additional problems you may come across when using your phone for travel photography. They typically provide a dedicated shutter button, making it faster and easier to take photos. Many offer a built-in battery, giving your phone more power for your adventures. The full case designs also give your phone a bit more protection.
Power bank
Image: Anker
If you aren't using a grip with a built-in battery, you'll want to make sure you have a portable power bank. After all, using your camera frequently can burn through the battery fast. There are endless options available, with many that are compatible with wireless charging. However, that method won't charge your phone as fast or as efficiently. Instead, you may want to keep a cord on you (or, even better, choose a power bank with one built-in) for those times you need power fast.
Lenses
Anamorphic lenses can be a fun way to create a new perspective.
Photo: Dale Baskin
Most phones offer two or three different cameras with unique fields of view (what you'll see of the scene). Those don't always do what you need or want, though. Adding a lens to your smartphone can unlock new possibilities. Smartphone lenses come in many styles, including macro, telephoto, ultra-wide-angle and anamorphic. They can be useful for getting a fresh perspective or giving you more creative control.
Be aware that if you opt for cheap smartphone lenses, you'll be throttling your phone's quality quite a bit. Sandmarc, Moment, Beastgrip, PolarPro and SmallRig are some brands that make quality options worth investing in.
Microfiber cloth
Image: Spudz
Your phone goes through a lot throughout the day. Smartphone cameras seem to attract smudges, which will impact your photo quality. While you could use your shirt to wipe off the camera, that's not always effective and can risk scratching the lens. Instead, keep a microfiber cloth handy to keep your phone's cameras sparkly clean when it's time to take photos.
Tripod or mount
Photo: Peak Design
A tripod or some sort of mount will be a handy addition if you like to be in your photos or take photos in dark conditions. You could opt for a full-size tripod for maximum height, or a tabletop one if you don't want to deal with something so large. Peak Design even makes one that essentially sits flat against the back of your phone, so you can leave it attached without thinking much about it. There are also suction cup mounts or other accessories that allow you to put your phone in places that a tripod may not work, but still let you go hands-free.
Bluetooth remote
Photo: Moment
On top of a tripod or mount, a Bluetooth remote will make your life easier for group photos or selfies. That way, you won't need to rush in front of the phone after setting the timer, or keep going back and forth to take more images. Some watches can function as remotes as well, so you may not need to buy a dedicated device, either.
Final thoughts on smartphone travel accessories
If you're sticking with your smartphone for travel photography, you likely don't want to bring a bunch of extra stuff along. However, a few key accessories can help you get more out of your phone, while still saving you space and weight compared to a dedicated camera and the accessories that you'd need for that.
The winners of the World Food Photography Awards sponsored by Bimi have been announced, highlighting food photography across the globe. Yotam Ottolenghi, a renowned chef, restaurateur and food writer, revealed the winners at an event at the Mall Galleries, London. The awards showcase a diverse range of images across more than 25 categories, including ones dedicated to street food, cakes, innovation, drinks, food prep, photojournalism, harvest and much more.
This year's contest saw more than 10,000 entries from 70 countries. The submissions were judged by an extensive panel that included photographers, magazine editors, creative directors, film directors, food retailers and chefs. The best overall winner earned a £5000 prize, along with an exhibition at the Mall Galleries, London. Category winners also have the opportunity to have their work displayed in the exhibition and each receives a trophy. There are individual prizes for each of the different categories as well.
Category: Overall winner and Food for the Family supported by the Felix Project
Photographer: Xiaoling Li/World Food Photography Awards sponsored by Bimi®
Title: The Elderly Having Delicious Food
Photographer's description: In an early spring afternoon in Shuangliu Ancient Town, Sichuan Province, China, five elderly ladies in their eighties sit together. Wearing colourful jackets and wool hats, they happily eat the famous Sichuan snack 'Spring rolls’. A wrap of thin homemade dough, filled with cucumber, carrot and shredded scallions, drizzled with green mustard, Sichuan pepper, red oil, sweet sauce, and sprinkled with sesame seeds. They are “setting up a Dragon Gate formation” - an expression used in China to refer to neighbourhood friends coming together to chat, gossip and share stories. Food makes these people happy; they enjoy a beautiful and joyful life.
Bring Home the Harvest
Category: Bring Home the Harvest
Photographer: Chang Jiangbin/World Food Photography Awards sponsored by Bimi®
Title: Net Fish in Water Fields
Photographer's description: After the rice harvest, the river water filled the paddy fields, and at some point, some fish from the river ended up here too. After school, the two children went to the field together to catch fish with their covers. Approaching quietly, leaping vigorously, and pouncing towards the target.
Champagne Taittinger Food for Celebration
Category: Đặng Hoài Anh
Photographer: Champagne Taittinger Food for Celebration
Title: Banh Hoi Cake
Photographer's description: Banh hoi is a specialty dish in Vietnam found in many places such as Binh Thuan, Vung Tau, Ben Tre, Phu Yen, Nha Trang and Binh Dinh. The cake is made from rice flour and has an elaborate and meticulous preparation process. Banh hoi is often eaten with scallion oil, roasted meat, grilled meat and pork offal. This is an indispensable dish in holidays, death anniversaries, weddings, and ceremonies at communal houses and pagodas of the people. It is a culinary culture of the locality.
Claire Aho Award for Women Photographers
Category: Claire Aho Award for Women Photographers
Photographer: Lizzie Mayson/World Food Photography Awards sponsored by Bimi®
Title: Delfina, A Pasta Granny
Photographer's description: This is Delfina, I took her portrait as part of a bigger project documenting pasta grannies in Italy. Here, we are in the region of Lazio. On the bed is an angel hair type of pasta called Fieno di Canepina. It is technically very hard to make: Delfina rolls the pasta out, flicks a huge piece the size of the table out like a bed sheet, folds it concertina style, then slices it up finely. The best part is that she makes this huge amount then delivers it to the local church where they cook it up and feed homeless people.
Cream of the Crop
Category: Cream of the Crop
Photographer: Dorien Paymans/World Food Photography Awards sponsored by Bimi®
Title: Flour Swirl
Photographer's description: Part of the series ‘Perfectly Imperfect’ where I captured the process of baking sourdough bread while incorporating the symbolism of the Japanese Ensō sign (imperfect circle). Preparing food and photography are both mindful activities where calmness and creativity exist in the moment of creation. This makes the combination of both so magical.
Overall Winner of Errazuriz Wine Photographer of the Year
Category: Overall Winner of Errazuriz Wine Photographer of the Year (and People sub-category)
Photographer: Heather Daenitz/World Food Photography Awards sponsored by Bimi®
Title: Pinot Noir at Midnight
Photographer's description: Under the glow of a tractor’s lights, vineyard workers handpick Pinot Noir in the cool, misty midnight air at Sanford & Benedict Vineyard in Sta. Rita Hills, an American Viticultural Area (AVA) located at the western end of the Santa Ynez Valley in California's Central Coast wine region. One worker adds his contribution to the back of the tractor, a cascade of Pinot Noir falling from his picking bin.
Hotel Art Group Food Stylist Award
Category: Hotel Art Group Food Stylist Award
Photographer: Costas Millas/World Food Photography Awards sponsored by Bimi®
Title: Put All Your Pasta In One Basket
Photographer's description: Part of a wider food story concept titled Spaghetti. Traditionally styled in strands and swirls, the concept of pushing how we could capture spaghetti was the focus here. The aim was to painstakingly weave groups of spaghetti strands into this striking graphic pattern.
Jamie Oliver Youth Prize 13 -17
Category: Jamie Oliver Youth Prize 13 -17
Photographer: Indigo Larmour/World Food Photography Awards sponsored by Bimi®
Title: Early Morning Puris, Delhi, India
Photographer's description: Pooris are a staple breakfast dish in the winding alleyways of Old Delhi. Frequently cooked in huge vats of boiling oil on street corners and served with chole, a chickpea dish.
Marks & Spencer Food Portraiture
Category: Marks & Spencer Food Portraiture
Photographer: Simon Détraz/World Food Photography Awards sponsored by Bimi®
Title: Crispy Kale
Photographer's description: A drizzle of olive oil, oven at 180°C, salt and pepper, 10 minutes... delicious and so crispy!
MPB Award for Innovation
Category: MPB Award for Innovation
Photographer: Pieter D'Hoop/World Food Photography Awards sponsored by Bimi®
Title: Laundry Day
Photographer's description: Sometimes I have some weird ideas that randomly come to my mind. I had an idea of putting an octopus inside a washing machine or tumble dryer. This is one of the results.
Politics of Food
Category: Politics of Food
Photographer: Jo Kearney/World Food Photography Awards sponsored by Bimi®
Title: Afghan Refugee Women Wait for Free Bread
Photographer's description: Afghan women sit and wait for free bread handouts at the market as it's difficult for them to earn money.
Production Paradise Previously Published
Category: Production Paradise Previously Published
Photographer: Diego Papagna/World Food Photography Awards sponsored by Bimi®
Title: Sky Mushrooms
Photographer's description: Mushrooms enveloped in steam, immersed in a play of light and transparency, evoking the warmth of the kitchen like a sun in the sky.
Street Food
Category: Street Food
Photographer: Debdatta Chakraborty/World Food Photography Awards sponsored by Bimi®
Title: Ramadan Special Parantha Halwa
Photographer's description: During the Ramadan months, Kolkata turns into a foodie's paradise. Just after noon, huge ovens are lit and giant paranthas are prepared for the iftar. Not only Muslims, but people from all communities, throng around the food stalls, making it a culinary haven.
The James Beard Foundation Photography Award
Category: The James Beard Foundation Photography Award
Photographer: Luke Copping/World Food Photography Awards sponsored by Bimi®
Title: Tom Moriarty - Moriarty Meats and Cafe Bar Moriarty, Buffalo NY
Photographer's description: Tom Moriarty and his wife, Caitlin, own Moriarty Meats and its adjacent restaurant, Cafe Bar Moriarty. Moriarty Meats is a whole-animal butcher shop in Buffalo, NY, sourcing local meats and inspired by traditional European butcheries. Tom and his team work exclusively by hand.
Tiptree Cake Award
Category: Tiptree Cake Award
Photographer: Audrey Laferrière/World Food Photography Awards sponsored by Bimi®
Title: Pavlova’s Arabesque
Photographer's description: None
The Philip Harben Award for Food in Action supported by International Salon Culinaire
Category: The Philip Harben Award for Food in Action supported by International Salon Culinaire
Photographer: Diego Marinelli/World Food Photography Awards sponsored by Bimi®
Title: La Matassa. A Real Work of Craftsmanship
Photographer's description: Fresh pasta is a symbol that represents the cultural richness of the Italian territory. An image of its processing becomes a means to telling history, traditions and centuries-old passions. Matassa pasta is made in Irpinia in southern Italy with a truly exceptional technique.
World of Drinks
Category: World of Drinks
Photographer: Alessandra Bartoloni/World Food Photography Awards sponsored by Bimi®
Title: Sunshine Gin
Photographer's description: Sun, ice and a gin tonic. Condensation drips, the table’s a mess, and the afternoon heat is winning the battle. But who cares? It’s cold, it’s strong and it’s exactly what this day needed. Cheers to the simple pleasures!
The Bimi® Prize
Category: The Bimi® Prize
Photographer: Ryan Kost/World Food Photography Awards sponsored by Bimi®
Title: Buddhist Offerings
Photographer's description: Monks at a temple in Angkor Wat, Cambodia prepare traditional Buddhist offerings. This practice is deeply symbolic in Buddhism, often representing celebration, gratitude, respect and devotion to the Buddha, and the teaching and monastic community. The intricate arrangement of fruits and flowers emphasises mindfulness and respect.
Adobe is shaking up its Creative Cloud subscription tiers in North America, doing away with the current All Apps plan and introducing two tiers in its place: a 'Standard' plan, which will cost less, and a 'Pro' plan, which will cost more.
To set the stage, the current All Apps plan, which will be available until June 17th, costs $59.99 a month if you have an annual plan. As the name implies, it includes access to pretty much every Creative Cloud app, as well as 100GB of cloud storage and 1000 generative AI credits per month.
The main differentiation between the new plans is – what else – AI. Until now, Adobe's been playing things a little loose with features like Generative Fill in Photoshop and the ability to extend videos and audio in Premiere; you could use them without thinking too much about it. Now, they're getting segmented. There are "Standard" features like Generative Fill and text to vector, and "Premium" ones like generating video or audio with Adobe Firefly, using third-party models, or extending video in Premiere.
The new Creative Cloud Standard plan will give you 25 Standard credits a month; each use of a Standard feature costs one credit. With Creative Cloud Pro, you get unlimited use of standard AI features plus 4000 Premium credits. That may seem like a lot, but it's not one-credit-per-use like Standard features; for example, it costs 100 credits to generate a second of 1080p, 24fps video, 20 credits to generate an image using the company's Image Model 4 Ultra and five credits per second of audio translation.
Price per month (Annual)
Month-to-month price
Annual Price
Web / mobile apps
Cloud Storage
AI features
Current Creative Cloud All Apps
$59.99 Education: $19.99 first year, $34.99 after
$89.99
$659.88
Yes
100GB (Upgradeable)
1000 credits for standard features / month
Creative Cloud Standard
$54.99 No education options
$82.49
$599.88
Free features only
100GB
25 credits for standard features / month
Creative Cloud Pro
$69.99 Education: $29.99 first year, $39.99 after
$104.99
$779.99
Yes
100GB (Upgradeable)
Unlimited use for standard features 4000 Premium credits / month
Beyond AI, the major difference between the plans is access to the web and mobile versions of the apps. Both plans include full access to desktop apps and Acrobat on mobile and web, but with Standard you're limited to the free features for the mobile and web versions of Lightroom, Photoshop, Illustrator, Express and Fresco.
If you're currently using the All Apps plan and have an annual subscription to it, you'll automatically have the benefits of the Pro plan without the subsequent price increase until your next monthly or annual renewal date. So, for example, if you renew your annual plan on June 1st, 2025, you'll essentially have the Pro plan at the old price until June 1st, 2026. If you sign up on June 18th, 2025, however, you'll have to pick from the Standard and Pro plans.
Currently, you can only choose to renew with the Standard plan by contacting Adobe support, but the company says a self-service option is coming within the next few days.
For those on the Photography plans, there won't be any changes
For those on the Photography plans, there won't be any changes, though after June, 17th, new subscribers will get fewer monthly generative AI credits. Adobe updated the pricing for those plans in December, so it would've been surprising to see another change so soon after.
If you're outside North America, there will be a few changes to Creative Cloud plans. The company says that new subscribers to its Photography plans, single app plans, and Lightroom Mobile Premium, Photoshop Express and Illustrator on iPad subscriptions, will receive fewer monthly generative AI credits. Creative Cloud for teams Pro edition is also being rebranded as Creative Cloud Pro Plus for teams.
Apart from that, "there will be no plan, naming, or pricing changes for all other existing subscribers outside of North America at this time," according to an Adobe support document.
Skylum has teamed up with Google to unveil Luminar Photo Editor, now available for Android and ChromeOS:
Skylum Partners with Google to Expand Luminar Photo Editing to Android and ChromeOS
This launch brings Luminar’s powerful, intelligent editing capabilities to mobile and Chromebook users, offering a fresh, intuitive, and playful experience designed especially for creative photographers of any level. The interface has been carefully adapted for a wide variety of devices, including phones, tablets, Chromebooks, and foldable devices. Luminar dynamically adjusts to different screen sizes and aspect ratios, providing a consistent and comfortable workflow whether on a single-screen smartphone or a dual-screen foldable. This level of UX refinement ensures a seamless, device-aware editing experience that stands out across platforms.
Luminar stands out with its AI-powered tools that deliver professional-looking results in just a few taps, without the need for advanced photo editing skills or a desktop setup. Whether retouching a portrait, replacing a sky, or preparing Instagram-ready visuals, Luminar helps users edit with confidence, ease, and speed. With just a few clicks, users can enhance their photos and bring their creative vision to life — right from the convenience of their phone, tablet, or Chromebook.
“By bringing Luminar to Android, we’re showcasing our greatest strengths: professional‑grade imaging technology powered by an intuitive, engaging interface. It’s this unique fusion that sparks the urge to create, giving every photographer, on any device, the confidence and excitement to push boundaries and tell new visual stories.”— Ivan Kutanin, CEO, Skylum
"We're excited to collaborate with Skylum to bring its powerful AI-driven photo editing tools to the Android and ChromeOS ecosystems. This partnership showcases the potential of AI to enhance creativity and simplify complex tasks for users across different devices."— Maria Schmidt, Strategic Partnership Manager, Google
“Partnering with Google accelerates our product innovation and reinforces our position as a market leader. Together, we're committed to delivering exceptional user experiences that surpass expectations by bringing the power of Luminar to Android users worldwide.”— Kostiantyn Tymoschuk, VP of Growth, Skylum
With this release, Skylum and Google deliver a seamless, cross-platform creative experience that empowers users to focus on their artistry, not the technicalities.
Luminar Key Features:
AI-Powered Tools:
Enhance AI— A single slider intelligently adjusts up to a dozen essential settings - including shadows, highlights, contrast, tone, saturation, exposure, and detail - to improve the overall image quality instantly.
Structure AI— Brings out detail and clarity while preserving a natural look. Enhances only the necessary areas of an image without over-sharpening or introducing noise where it's not needed.
Relight AI— Gives full control over the lighting in a photo, ideal for creatively enhancing mood or correcting backlit scenes. The tool analyzes the image in three dimensions to realistically adjust foreground lighting without affecting the rest of the composition.
Atmosphere AI — Adds realistic fog, mist or haze, using content-aware and depth-based masking. The effect is applied with precision to enhance mood without covering key subjects, ensuring a natural, realistic look.
Sky AI— Automatically detects the sky in the image and replaces it seamlessly with a new one, factoring in realistic lighting and reflections, specifically on water and other reflective surfaces.
Skin AI—Smooths skin and removes blemishes with a single tap, helping portraits look polished while preserving natural texture.
Body AI —Allows subtle adjustment of the torso shape - either reducing or enhancing the volume - for a more balanced appearance. AI precisely maps key body features, ensuring natural-looking edits without distorting the background.
Core Editing Tools:
Develop: Adjust exposure, temperature, tint, smart contrast, highlights, shadows, blacks, whites, saturation, vibrance, vignette, and more.
Essential Tools: Crop, Details, Erase, Landscape Enhancer (Foliage Enhancer, Golden Hour, Dehaze), and Monochrome.
Filter collection: Robust color correction, film-inspired looks, and nostalgic tones loved by many in the photography world.
For more information and to download the app, please visit the link.
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