15mm Widest Perspective for Enhanced Storytelling Possibilities
Powerful & Par-focus 2.3x Zoom Range for Greater Framing Flexibility
Direct, Periscope, and 35-degree Tilt View for Dynamic Angles
Up to 2x Magnification for Finer Details
Unrivaled Sharpness and Superior Image Quality
Waterproof Tubular Barrel for Confident Shooting in Challenging Environments
Each lens will have three different interchangeable barrels: Direct View, 35-Degree View & Periscope View.
The new lenses offer the longest zoom range ever of 2.3x with the longest tube length in its class for enhanced framing and creative freedom.
The default lens mount option is ARRI PL mount with optional interchangeable mounts available for Sony E, Canon EF, Canon RF, Nikon Z, and Leica L-mount.
For people in many western states, summer is synonymous with rodeo. Above, a rider sits on her horse after failing to rope a calf at the Flathead River Rodeo in Polson, Montana, part of the Indian National Finals rodeo circuit.
Photo: Dale Baskin
The theme for our June Editors' photo challenge is 'Chasing Summer'.
With summer just around the corner, we want to see photos that evoke the spirit of summer fun and adventure. Whether it's jumping into cold water on a hot day, melting ice cream, or epic road trips, we want to see what 'Chasing Summer' looks like through your lens. Our favorites will be featured on the DPReview homepage later this month.
This challenge is open to photos taken at any time.
Photos can be submitted between Sunday, June 8, and Saturday, June 14 (GMT).
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
E8M8888 reports that Fujifilm could announce two new cameras at the upcoming X Summit in Shanghai:
"I was a little surprised to receive the news that Fujifilm is going to release two new products. Fujifilm has registered FF250001 and FF250003 on the Bluetooth official website in the past two days. It should be noted that the Bluetooth Association only registers information about products that are about to be released (within 3 weeks) or after they are released."
One of the rumored models is the previously reported Fujifilm X-E5.
Here is the full list of unreleased Fuji camera models:
For people in many western states, summer is synonymous with rodeo. Above, a rider sits on her horse after failing to rope a calf at the Flathead River Rodeo in Polson, Montana, part of the Indian National Finals rodeo circuit.
Photo: Dale Baskin
The theme for our June Editors' photo challenge is 'Chasing Summer'.
With summer just around the corner, we want to see photos that evoke the spirit of summer fun and adventure. Whether it's jumping into cold water on a hot day, melting ice cream, or epic road trips, we want to see what 'Chasing Summer' looks like through your lens. Our favorites will be featured on the DPReview homepage later this month.
This challenge is open to photos taken at any time.
Photos can be submitted between Sunday, June 8, and Saturday, June 14 (GMT).
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
The details of the previously reported Hasselblad X2D II medium format camera leaked online from the recent FCC filing - the confidentiality request was for 180 days starting from 12/02/2024. I posted the first leaked pictures in March of this year. Here is a quick recap on what to expect:
The HASSELBLADTM HB722 is Hasselblad’s next generation mirrorless medium format digital camera with a large 100-megapixel CMOS sensor that boasts 16-bit colour depth and a dynamic range of 15 stops. The camera features a 5-axis 8-stop in-body image stabilization (IBIS) and face detection. Hasselblad Natural Colour Solution (HNCS) technology is integrated into the camera’s system, delivering superb, true-to-life tones that match what the human eye sees. The HB722 offers more storage with a built-in 1TB SSD and users can expand the capacity further with a CFexpress Card Type B. With access to a vast range of high-quality lenses including XCD, HC, HCD, XPan, and V System, the creative possibilities with the HB722 are endless.
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Illustration: Hasselblad
It was something that haunted the fringes of my consciousness, like some half-remembered nightmare. It couldn't have been real, surely? And yet it had the shape of an actual memory.
News of the death of filmmaker David Lynch no doubt caused plenty of us to recall the strange, compelling and sometimes distinctly unnerving visions he committed to film. This week it unexpectedly prompted some other memories.
The online auction of many of the auteur's personal possessions includes, as you might expect, a great deal of photo, video and film equipment. Buried in amongst it was a reminder of one of the weirder paths taken by the camera industry.
In amongst a lot that included a Pentax 645 film camera and a Sony NEX-5 was a relic from a period we'd seemingly collectively erased: a Hasselblad Lunar.
What were they thinking?
Like many instances of misbegotten folly, the Lunar sprang from the involvement of private equity. Hasselblad was bought by Swiss/German capital fund Ventizz in 2011, with TechCrunch predicting this could lead to something like the Leica/Panasonic attempt to expand the brand. They weren't wrong, but perhaps underestimated the level corporate hubris in the offing.
2012 looks like a very different era, viewed from our modern perspective. Compacts were still being released in their bucket loads, the enthusiast compact revival was reaching its peak with the likes of the Sony RX100 and Olympus XZ-2, and although mirrorless cameras were strongly emerging, with the likes of Fujifilm's and Canon joining the market alonside second-gen models from Nikon, Sony and Olympus, but DSLRs still ruled the roost with Canon launching the EOS 6D and Nikon its D600.
But one of the most talked about releases at the Photokina trade show, that year didn't come from any of the big brands. Or, at least, didn't have their name on it. Instead is called itself the Hasselblad Lunar.
As the show opened, Hasselblad announced a partnership with Sony, to "cultivate new markets for photo enthusiasts and consumer digital imaging products." This would include "a new range of advanced mirrorless interchangeable lens cameras (a.k.a. compact system camera), which will be followed by new products for DSLR and compact camera segments," it said.
The Hasselblad Lunar added exotic materials to a spec sheet remarkably similar to that of the Sony NEX-7.
Photo: Richard Butler
The Lunar was the first of fruit of this union. "the Lunar has both a vintage and a high-tech aesthetic, exemplified by its Italian design and its Swedish pedigree," the company's marketing claimed: "It’s unmistakable."
But for all the adornments of titanium, carbon fibre, exotic woods and leathers, the thing that was unmistakable to most people was how much it looked like a Sony NEX-7, right down the the Minolta-style hotshoe. We were able to shoot a side-by-side comparison that couldn't help but emphasize the similarities.
A side-by-side comparison showed a lot of commonality between the Lunar and the NEX-7
Photos: Richard Butler
The three lens models mounted on the 40-or-so prototypes that dominated the Hasselblad stand were also distinctly familiar. The 18-55mm, 18-200mm and 16mm lenses may have had the classic 'Hasselblad' logotype draped around their barrels, but even their model names included Sony's 'SEL' designation.
It was going to take more than Hasselblad's talk of taking "aesthetic and technological inspiration from the first camera to go into space," to sell the idea that Sony's $1399 enthusiast APS-C mirrorless flagship, launched a year earlier, should be worth $6995; craftsmanship, Tuscan leather, ruby record buttons or not.
Carbon fiber was one of the materials on offer.
Photo: Richard Butler
The result was immediate and widespread derision, with the company rattled enough to respond that the camera wasn't just an NEX-7, and that it wasn't profiteering, though details weren't given on what work Hasselblad has done, other than restyling the exterior.
The Lunar finally reached the market nine months later. We don't have an insight into how many sold, but the fact Lynch's lens is marked as a prototype could be taken as a hint that it wasn't many.
The a7R-based Lusso was the final model in the series. The Hasselblad Solar, rumored at the time of the original a7/a7R launch proved to be a hoax.
Illustration: Hasselblad
The Sony collaboration continued for another couple of years and a change of CEO, spawning the a99-based HV, the RX100-derived Stellar and Stellar II and even a variant of the Sony a7R, called the Lusso, produced in a limited edition of 100 for the Asian market. The company says the Stellar, at least, was profitable.
By 2016, new investment and new management had set a new course for the company
Photo: Damien Demolder
By 2015 the company had yet new management and, by the end of the year, new investment from the company that would later take full ownership: DJI. The Italian design studio responsible for the Hassel/Sonys was closed in 2014 and by the next Photokina, Hasselblad had a product and a direction that fitted much more happily with its medium format heritage.
Looking back it barely seems credible, but we were there as it happened.
Last year, Wired reported that 28 Years Later, the upcoming sequel to the classic zombie flick 28 Days Later, was being filmed using an iPhone 15 Pro Max. A new IGN interview with the film's director, Danny Boyle, now confirms that at least some parts of the movie were shot with the phone and sheds even more light on that process.
Apparently, several iPhone shooting rigs were used on the production. According to IGN, there was one that held eight phones, one that held ten, and one that held up to 20, which could be used to create what Boyle calls "basically a poor man’s bullet time."
The phone rigs could be attached to cranes or carried by people. Photo: Sony
He also says that having so much coverage also provided options in post. "It gives you 180 degrees of vision of an action, and in the editing you can select any choice from it, either a conventional one-camera perspective or make your way instantly around reality, time-slicing the subject, jumping forward or backward for emphasis." Boyle also called it "a wonderful tool" to keep the actors on their toes. "They get to know where the cameras are and they get to know lenses and they get to know what they're doing. But [the multi-camera rig] throws them."
As for why Boyle decided to use iPhones at all for the production, he says it's a callback to the vibe of the original. IGN points out that when 28 Days Later came out footage of an apocalyptic event would've been shot on cheap digital camcorders, similar to the ones they used to make the movie. Nowadays, such an event would be recorded on smartphones.
With that said, it's hard to say that the footage from the trailer looks like phone video. With some movies shot on iPhone, like Sean Baker's Tangerine or Steven Soderbergh's Unsane, the shot-on-a-cell-phone aesthetic is strong, but, to my eye, 28 Years Later just looks like a movie. That's not necessarily a surprise, though – on-set photos from Sony show the crew using full-blown cinema lenses in front of the phone's built-in cameras.
If you're at all interested in the movie, the full interview is well worth the read. It goes into how Boyle and his team use the widescreen 2.76:1 aspect ratio to put the audience on edge, and how the movie's story (penned by Alex Garland, like the original) was inspired by major events over the past two decades, such as Brexit. 28 Years Later is set to hit theaters on June 20.
The Clever Photographer released a brand new and first AI personal assistant called LumiBot for Luminar NEO, trained to help you edit faster, stay creative, and avoid getting stuck (on sale this weekend for $29, the price after will be $39).
Instant Answers: No more endless scrolling through manuals or videos. Ask LumiBot any question about Luminar NEO and get instant, reliable answers.
Creative Suggestions: Upload your image, and LumiBot will give you tailored editing tips to make your photos shine.
Deep Dives: When you’re ready to go further, LumiBot can direct you straight to the right tutorial, making learning as easy as clicking a button.
Expert Knowledge: Trained on 100+ tutorials, blogs, and expert techniques by Jakub Bors, LumiBot brings real-world Luminar experience to every question.
Always Available: Use it on desktop or mobile, 24/7. LumiBot is always ready to help, whenever creativity strikes.
Multilingual: LumiBot speaks your language, so you can focus on editing without language barriers.
BONUS: Exclusive AI Preset Collection: As a special thank you, you’ll also receive a collection of powerful AI presets for Luminar NEO, perfect for giving your images that extra wow factor right out of the box
When you use DPReview links to buy products, the site may earn a commission.
Canon EOS R50 V vs. Sony ZV-E10 II: which is the best vlogging camera?
Product Photos by Mitchell Clark and Richard Butler
With the EOS R50 V, Canon has joined the fray of manufacturers selling boxy, EVF-less APS-C cameras aimed mainly at vloggers and videographers. Those who have been considering other models, such as the very capable Sony ZV-E10 II, may find themselves swayed by the EOS R50 V's much lower price tag.
In this article, we'll break down the differences between the two, so you can figure out if it's worth saving the money, or springing for the more expensive option.
Vlogging-specific features
Both cameras have loads of vlogging-specific features to make it easier to get the look and feel that you want. The EOS R50 V has a product demo mode that overrides its facial recognition autofocus so the camera will focus on whatever you're holding up to show it, a cinematic mode that bakes black bars onto your footage to emulate a movie-like aspect ratio and the ability to be used as a USB webcam without any additional drivers or software. Its vlogging controls will switch between vertical or landscape depending on the camera's orientation, and it has two record buttons: one at the top and a front-facing one on the right-hand corner.
Except for that front-facing record button, the ZV-E10 II has all those features plus a background defocus mode that you can switch on to prioritize a wide-open aperture for a blurry background. There are also a few other features handy for vloggers that we'll cover in later sections.
Rolling shutter
The EOS R50 V's sensor is quite slow compared to more modern models and therefore has quite poor rolling shutter performance in its standard 4K 24p mode. You'll have to be careful about how you move the camera and what subjects you shoot to avoid the dreaded jello effect.
4K 24p
4K 60p
1080p 24p
EOS R50 V
31.9ms
15.7ms (1.56x crop)
12.3ms
ZV-E10 II
16.7 ms
16.2 ms (1.1x crop)
6.8 ms
The ZV-E10 II's sensor is much faster and has good rolling shutter performance. You'll still see a bit of artifacting if you're shooting a very fast-moving subject or whipping the camera around, but it won't be something to worry about in most circumstances.
4K 60p recording
Both cameras can record in 4K 60p, letting you shoot slow-motion video, or achieve a hyperreal look that some viewers appreciate. However, the EOS R50 V has to crop in to a 1.56x center region of its sensor in order to read out the data fast enough for 60p recording. This will significantly tighten your frame, which may not be ideal for vlogging, depending on what lens you're using.
The Sony has to crop in far less – 1.1x – to shoot at 4K 60p.
The ZV-E10 II's 4K 60p mode has a much smaller 1.1x crop, so switching to it won't change your field of view nearly as much. Its 4K 60p footage is also oversampled from 5.6K, while the EOS R50 V's is a native 4K capture, so it can produce slightly more detailed results.
Color modes
The EOS R50 V and ZV-E10 II both have standard, punchy-rather-than-accurate color profiles, the ability to shoot 10-bit footage with an HLG response curve for HDR playback and a Log mode for those looking for more color-grading flexibility.
While both cameras have 'Log assist' modes to give a corrected preview to help with getting exposure right, the Sony also lets you load in custom LUTs and overlay them, to let you preview your 'look' of choice, though they won't be baked into the footage. The ZV-E10 II also has Sony's S-Cinetone profile, which is lower contrast than the standard color mode and thus gives you more room to make edits, without requiring as much grading as full-on Log.
Both cameras also include a variety of other color mode presets that you can tweak, which are meant to emulate certain styles if you don't want to spend the time to do it yourself in post.
Autofocus
Sony and Canon's autofocus systems are both at the top of the pack. Their tracking algorithms are generally reliable, and their subject recognition modes are even more so.
The ZV-E10 II has fewer of those available, though; it can recognize humans, animals, and birds, but the EOS R50 V can pick out all of those, plus vehicles. It also has an "Auto" mode that will automatically detect those subject types if they're in the frame, which can be handy if you frequently switch between filming humans and animals, people and cars, etc.
In both instances, these systems work hand-in-hard with the rest of the AF system: only selecting a recognized subject near your chosen AF point, if you want to specify.
Audio
Both cameras have microphone and headphone sockets and can support four-channel audio when paired with certain their respective multi-function shoe accessories. However, while the EOS R50 V has a standard stereo internal microphone, the ZV-E10 II has a three-capsule model that lets you choose whether you want it to bias towards sounds coming from a certain direction.
More importantly (the audio quality from multi-capsule mics usually isn't anything to write home about), the ZV-E10 II includes a fluffy wind blocker for its built-in microphone. You'll have to buy one separately for the EOS R50 V to get usable audio outdoors without an external microphone.
Shooting stills
Neither camera is particularly fun to use for shooting stills, thanks to their lack of an EVF and second top-plate control dial. However, the EOS R50 V does have the advantage of a mechanical second-curtain shutter, whereas the ZV-E10 II only has a fully electronic shutter. That means the Canon has a much higher flash sync speed: 1/250 sec vs 1/30 sec for the Sony.
Flash aside, both cameras can produce pleasing images with good colors. The Sony technically has a higher resolution sensor with 26MP compared to the Canon's 24MP, but such a small difference isn't noticeable in real-world use.
The extras
Both cameras have a few little things that stand out. For example, the EOS R50 V has a second tripod socket on its side, which makes shooting vertical video as simple as attaching your tripod plate to a different part of the camera. It also includes false-color monitoring, which can help you nail exposure for skin tones.
The ZV-E10 II distinguishes itself with a side-mounted SD card slot, meaning you'll never have to remove your tripod plate to get at your videos, something that can happen with the EOS R50 V. However, the 10Gbps USB-C port on the Canon is twice as fast as the Sony's, so there is an alternative option for getting data off it.
Sony also chose to use a much larger battery in the ZV-E10 II, which could be helpful on longer shoots. The battery life on the EOS R50 V isn't bad, and both cameras can charge via USB-C while in use, but you won't have to reach for a power lead as often with the Sony.
Kit lenses
Both cameras can be optioned with powerzoom lenses that have focal lengths suited to vlogging. Canon launched the EOS R50 V alongside a 14-30mm F4-6.3 lens (22-48mm equiv.), which is wide enough that most people's arms will be long enough to vlog with it, even with the 1.56x crop for 4K 60p (giving 35-75mm equiv). You can get it for $200 when purchased with the EOS R50 V.
The 16-50mm F3.5-5.6 (24-75mm equiv.) Sony lens is more versatile: it can zoom in much further, is faster at both ends and only adds $100 to the price. And while it doesn't go as wide as the Canon, in the ZV-E10 II's 60p mode it ends up being a 26.4mm equiv. compared to the Canon's lens which ends up as a 35mm equiv. thanks to its more severe 60p crop. However, we're not particularly thrilled by the Sony lens' image quality – we wouldn't be surprised if many ZV-E10 II owners end up wanting something sharper, though they'll likely have to give up the powerzoom feature to get it.
Conclusion
While the EOS R50 V is a capable camera with some interesting features like its side-mounted tripod socket, the ZV-E10 II's faster sensor and larger battery make it the overall more powerful camera for video. However, that comes at a price, literally – it costs $350 more. Depending on what you're filming, it may not be worth paying the extra; if you're mostly shooting semi-static subjects indoors, the rolling shutter and 4K 60p crop may not be as big a concern.
It's also hard to ignore that you could buy a cheap gimbal with your EOS R50 V and still come out ahead while getting much less shaky handheld video. However, if you're shooting faster moving subjects, or prefer extra bells and whistles like the background defocus button and microphone pickup area selector, the Sony definitely still justifies its price tag.
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Photo: Richard Butler
There's a funny thing that can happen with technology. Sometimes, products will get so good, and so easy to use that manufacturers start adding throwbacks to years past that reintroduce a bit of the friction. Think home arcade machines that still require you to put in a quarter, phones that purposefully can't run most apps, and, yes, cameras that make you wait to see your pictures.
Fujifilm's recently announced X half is just the latest example. It includes a film camera mode that prevents you from seeing the pictures you've taken until you've shot an entire "roll" and then used an app to "develop" it. This isn't the first time a digital camera has required an extra step to see your photos either; there are several apps that emulate that experience on your phone. One example is Dispo, an app that gained whirlwind popularity a few years ago that makes you wait until 9 AM the next day to see the photos you've taken.
As with anything, these nostalgic recreations have elicited scoffs from some, and confusion from others. Isn't the whole appeal of digital photography that we don't have to live with these sorts of limitations? Why artificially undo decades of progress in user experience and design?
Disposable cameras and apps that emulate them are another example of doing things the hard way despite having "better" options
The answer is that, sometimes, it's fun to get a break from what you're used to. A person in the 1990s probably wouldn't find these cameras at all charming since they're just recreating everyday photography for them. For them, having to wait for their photos, perhaps with some anticipation about whether they even turned out, is a frustration they're obligated to put up with. Nowadays, though, that ritual can be an endearing throwback to a style of photography that we haven't had to deal with for years or, perhaps, ever.
To borrow a term from wrestling, there's a kayfabe – a playing pretend – to these sorts of experiences. Case in point: you can take the SD card out of your X half and get at the film mode pictures the second after you take them. Or if you really can't miss the moment, you can take out your phone – a do-everything device that would've seemed miraculous in film's heyday – or another, more traditional modern camera and use it to take a picture instead.
Temporarily going without the extras can help you focus
The limitations are artificial, just like they are in so many of the other activities we participate in; football players agree not to ruin the game by picking the ball up, and going camping doesn't mean permanently converting to an 1800s lifestyle without running water, electricity and toilets.
Sometimes, temporarily going without the extras can help you focus on something else that you'd typically pay less attention to. If you know you won't be able to immediately review your photo and fix something if it doesn't turn out, you may take a bit more time composing it and making sure your exposure settings are correct. Or you may enjoy not worrying about those things, and letting the photos be a surprise when you do finally see them. And when you choose to use a camera with all the modern features instead, you may find a newfound appreciation for them.
Of course, there will be those who just don't enjoy these kinds of modes, and that's okay too. On most of the cameras that include them, they're entirely optional. For cameras where it's not optional, such as the Camp Snap or the disposable film cameras it emulates... well, consider that a good reason to save your money instead.
Do you want to shape the online experience for one of the world's largest audiences of photography enthusiasts? DPReview is hiring! We're looking for a full-time Community Manager with experience building active and engaged online spaces to join our Editorial team and help grow our online forums.
Community Manager, DPReview
Full-time remote in NY, CA, WA, TX, CT, CO, NJ, OR Full-time contract opportunities available to candidates living outside of these locations
The Role
We're looking for an experienced and passionate Community Manager to lead the charge in revitalizing and growing our online forums. This is a critical role for someone who thrives on building active, engaged online spaces and understands how to foster a positive and inclusive environment. You won't just be managing; you'll be innovating, strategizing, and executing plans to boost participation and breathe new life into our community discussions. If you have a proven track record of growing online communities and a knack for building active, engaging, and welcoming forums or discussion groups, we want to hear from you.
This role requires a high-energy self-starter with a strong bias for action. You see opportunities for engagement and growth and pursue them independently, without needing constant oversight. You’ll be a key ambassador, bridging the gap between our editorial team and our users, and you’ll play a vital part in shaping the future of our community.
What you will do:
Own the strategy: Define, own, and execute the community growth strategy, setting measurable goals for participation, engagement, and user satisfaction. Identify opportunities to increase forum engagement and participation.
Analyze and refine: Regularly analyze community data and user feedback to identify trends, report on progress, and refine strategies to boost forum participation.
Engage and connect: Be an active, visible presence in our forums. Engage directly with users, answer questions, and spark conversations. Act as the primary liaison between our community and the editorial team.
Innovate and program: Design and implement engaging community programs, campaigns, and events (e.g., Q&As, contests, themed discussions) to foster interaction and attract new members.
Lead and develop moderators: Provide guidance and structured training to our dedicated team of volunteer moderators. Ensure moderation is consistent and aligned with our community guidelines. Develop resources and programs to support moderator effectiveness, handle recruitment and orientation, and arbitrate conflicts when they arise.
Help create and publish content: Proactively seed discussions and solicit user contributions in the forums to develop unique, community-driven stories, and identify existing organic content opportunities, transforming both into engaging, publication-ready articles that meet DPReview's high editorial standards.
Advocate: Serve as the primary advocate for the community within DPReview, channeling user feedback to the editorial and product teams.
Manage and administer: Oversee the moderation queue, review and approve flagged posts, and handle user requests.
What You Bring:
Proven community growth experience: Significant (3+ years preferred) experience managing large-scale online communities (forums, social media groups, etc.). Crucially, you have demonstrated success in growing communities, ideally including experience in revitalizing forums with declining engagement
Initiative and drive: You are a proactive, energetic self-starter who doesn’t wait to be told what to do. You can identify needs, formulate plans, and execute them quickly and effectively.
Exceptional writing skills: You possess exceptional writing skills with demonstrated experience authoring and publishing written content for a publication with high editorial standards. You can craft engaging articles that are ready for publication.
Diplomatic communication: You possess excellent communication skills, capable of interacting clearly, professionally, and with empathy, especially when navigating sensitive community disputes or moderation issues.
Strategic and analytical thinking: You can analyze the landscape, identify factors influencing community health, use data to make decisions, and develop creative solutions.
Passion for photography (highly desired): A genuine interest in and knowledge of cameras, photography, and related technology is strongly desired and will be invaluable for connecting with our community.
Authentic voice: An understanding of how to communicate authentically and establish a trusted, approachable presence that aligns with the DPReview brand.
Experience with volunteers (a plus): Familiarity with managing or working alongside volunteer teams is beneficial.
Flexibility: Ability to work flexible hours as needed to engage with a global community.
What a typical week might look like:
This is a new full-time position at DPReview, and as such, the role will likely evolve. However, we think it’s safe to say your week will be driven by strategic action. Your primary focus will be advancing initiatives designed to revitalize and grow our forums, analyzing results, and planning your next moves. Alongside strategic work, you'll spend time actively participating in key forums, talking with users, and getting a feel for the community pulse. You'll check in with moderators, provide support and training, and ensure moderation standards are applied consistently. You'll dive into community discussions to unearth interesting content ideas and dedicate time to writing articles for the main site. You'll also manage user support requests and review flagged posts.
Why DPReview?
We’re a small, passionate team dedicated to the world of cameras and photography. This is a chance to make a tangible impact on one of the most respected photography communities online. You'll have the opportunity to shape strategy and see your ideas come to life. If you're ready to roll up your sleeves and build something special, we'd love to talk.
How to Apply:
Please send your CV/resume, LinkedIn profile link, and cover letter to the Managing Editor, Dale Baskin (dbaskin@dpreview.com), with the subject heading: “Community Manager.”
A brief introduction of yourself that includes an overview of why you believe you are a good fit for the Community Manager Position.
In your message, please include examples of past work managing and growing communities that you believe are most related to this role.
Only those candidates considered for an interview will be contacted. Please regard your resume as having been received unless your email bounced back.
The salary range and final title for this position is $70,000 to $90,000, depending on the candidate's experience. Where an employee or prospective employee is paid within this range will depend on, among other factors, actual ranges for current/former employees in the subject position; the associated discipline; market considerations, budgetary considerations, geographical considerations; tenure and standing with the company (applicable to current employees); as well as the employee's/applicant's background, pertinent experience, and qualifications.
DPReview strives to be a diverse and inclusive company. We firmly believe that different voices, experiences and points of view are an essential component of our current and future success. We do not discriminate on the basis of an individual’s gender, age, race, religion, national origin, marital status, sexual orientation, disability, genetics or any other personal characteristics protected by law.
A new Fujifilm X-E5 camera is expected to be announced on June 12th during the Fujifilm X Summit in Shanghai. Here is what to expect from the new X-E5:
40MP sensor
23mm pancake lens
IBIS
Similar to the Fuji X-T5, with reduced video features due to the compact rangefinder-style body
We've arrived at an important anniversary for a tool that many photographers use: Google Photos turns ten this week. When it was launched in 2015, Google pitched it as a "standalone product that gives you a home for all your photos and videos, helps you organize and bring your moments to life, and lets you share and save what matters."
It still essentially does that, but now with a heaping helping of AI assistance for finding the photos you're thinking of and making edits. As part of its look back, Google is also announcing a few new features. We'll take a look at those and then look back at the last decade to see how things have changed.
Image: Google
The first is a redesign for its photo editing experience, which the company says will bring together all its editing tools and provide suggestions on what changes to make to your photos. The editor will – of course – include traditional editing controls for cropping, etc., but also brings together a lot of the disparate AI features that Google's introduced over the years such as photo unblur, auto-framing and more.
You'll also be able to tap on certain parts of the photo, such as a person who's acting as the subject or the background, and get suggestions on what specific edits to make. The company says the update will start rolling out in Photos for Android next month and for the iOS version later this year.
It's also getting easier to share Google Photo albums, with the company adding a share via QR code option. You can then show people the QR code or even print it out, and people will be able to interact with the album, seeing the pictures with it, or even adding their own if you've given them permission. It should be a much easier way to share pictures with people, even if you don't know their email address or don't want to go through and manually add everyone in a group.
Google Photos launched into a world that's quite different from the one we live in today
Despite 2015 still feeling very much like the modern age, complete with near-ubiquitous smartphones and widespread social media adoption, Google Photos launched into a world that's quite different from the one we live in today. It and its main competitor, iCloud, were part of a series of apps and services that represented a shift in how many people share photos. They made it way easier for people to share their collections with friends and family without needing a ton of technical know-how or the willingness to pay for photo hosting sites like Flickr.
While photographers may have had plenty of ways to distribute their work beforehand, Google Photos helped bring that ability to the masses. Anecdotally, these services have made it way more likely that I'll get to see the photos taken by people other than myself. It's rare that I'll go on a trip with friends without receiving a link to Google Photos shortly after we get home or that family vacations don't result in a shared iCloud Photo album or two.
While not everyone will have use for these tools, it's good to see that they're still going strong after all this time. In its 10 year video, Google says it's storing over 9 trillion(!!!) photos and videos, and that the app has over 1.5 billion monthly users. It probably helps that it's the default photo viewer on many Android phones, but that's still a staggering number of people for a service that's still relatively new in the grand scheme of things.
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