The X-M5 seems to have turned into a hot-ticket item.

Despite being released in late 2024, the Fujifilm X-M5 isn't the easiest camera to get your hands on, especially in the US – a situation not helped by tariffs. That raises the question: is it worth putting in an order to try and get one, or are there more readily available cameras that will scratch the same itch?

As with the X100VI, the answer will depend on why you're considering an X-M5 in the first place (though, thankfully, it's not essentially unique like Fujifilm's fixed-lens offering). If you want one primarily for shooting video, the best alternative will be different than if you're looking for a small, sub-$1000 mirrorless to mainly shoot stills with.

I want an X-M5 just for stills

While the X-M5 is shaped like a lot of vlogging cameras – it has a boxy body with no EVF, and a rather insubstantial grip – it's generally nicer to shoot with than most vlogging-focused cameras thanks to its two top-plate dials. It also has a mechanical shutter, essential if you want to shoot flash.

The Nikon Z30 shares the same list of benefits and has a very similar form factor, and while its autofocus system will probably be about as reliable as the X-M5's, it's not Nikon's latest and greatest: it has fewer subject recognition modes, which can make it easier to set your focus point, depending on what you're shooting. While the Z mount has a more limited selection of lenses than X mount, Nikon has started allowing third-party companies to make some autofocusing primes for its system. If you want a zoom lens, though, you're still stuck with Nikon's lackluster offerings.

The Z50II has different styling, but is aimed at a similar audience.

If you're not married to the easier-to-pocket boxy shape, you'll have even more options, such as the Nikon Z50II and Canon EOS R10. Both cameras include viewfinders, which makes them easier to use in direct sunlight at the cost of some bulk. The Z50II has a newer autofocus system than the Z30, as well as a color profile system that can at least get you closer to the aesthetic choices you can make with Fujifilm's famous film simulations. The EOS R10, meanwhile, has a healthy selection of zoom lenses, including some quite fast options from Sigma and Tamron.

I want an X-M5 for video

The X-M5 is aimed at content creators and has a fairly robust suite of vlogging features, dedicated microphone and headphone jacks, and the ability to shoot 6.2K open-gate and 4K60p video, though the latter comes with a 1.29x crop.

If you're mostly interested in video, the Sony ZV-E10 II is a worthy alternative. It can't shoot open-gate, so you won't have as much flexibility in post, but it makes up for it with much more reliable autofocus and tracking and a faster sensor with less rolling shutter distortion and less of a crop in 4K 60p. It's also capable of producing nice photos, though the experience of taking them won't be as engaging, thanks to its lack of a second top-plate command dial.

While the Z30 is also pitched as being good for video, it falls short of the X-M5 in a number of ways: it doesn't have a headphone jack, can't shoot 4K 60p and can't shoot 10-bit video, which provides you more room to color-grade in post.

The Canon PowerShot V1 is another option, though it's quite different from the other cameras on this list. It's explicitly aimed at video creators but has a built-in 16-50mm equiv. F2.8-4.5 lens rather than a mount and uses a smaller Type 1.4 (226mm²) sensor instead of an APS-C (~367mm²) one. That means you lose out a lot on flexibility and a bit on image quality, but given how many people only ever use their camera's kit lens, that may not be a huge con for you. It has a fan for extended recording time, a built-in ND filter and quite reliable autofocus, making it a useful video tool if you're willing to put up with its limitations.

I was hoping to shoot a little of both

Part of what makes the X-M5 so interesting is that it packs a lot of photo and video capabilities into a small, stylish body. It's that last part where most of its peers don't quite measure up; if you want something with this form factor that has classic styling and is equally capable for photos and videos, you may well need to wait for the X-M5.

If you're willing to get something a bit bigger with less emphasis on aesthetics, though, the story is the same as the stills. The EOS R10 and Z50II are both quite capable hybrids and have more reliable autofocus, though their 4K60p modes come with a slightly higher crop than the X-M5's (1.56x and 1.5x, respectively).

Ultimately, there's no direct substitute that does everything the X-M5 does, especially if you're attracted to the wide range of lenses available for X-mount. But depending on your priorities, there are at least some reasonable alternatives, unlike with the X100VI.

Photo: Fujifilm

Fujifilm is moving the production of some of its most popular cameras to Japan, potentially due to the steep US tariffs on Chinese products. The Fujifilm X-T5, X-T50, X-M5 and X100VI all appear to be impacted. The latter two have had availability issues since their respective releases.

Fujifilm did not formally announce the move, but new listings with unique product names and SKU numbers have appeared on Fujifilm's online US store, as Digital Camera World and PetaPixel reported. Listings for the X-M5, X-T5, X100VI and X-T50 cameras now have "-JP" in the product name, suggesting that those are produced in Japan.

The existing X-M5 and X-T5 SKUs both show discontinued notices when you search for them at B&H. Screenshots: Abby Ferguson

There are also new listings up for the X-M5, X-T5, X100VI and X-T50 at US retailer B&H, along with discontinued product notices. When you search for the X-M5, for example, a note will appear that it has been discontinued, asking, "May we suggest FUJIFILM X-M5 as a possible replacement?" Clicking on that second name takes you to a product page for an X-M5 with "Japan" at the end of the name, and a "J" at the end of the SKU. The SKUs for the other camera have "JP" at the end. Fujifilm's UK website doesn't have any models with JP in the name. It appears, then, that production could continue in China for cameras headed to other countries.

Fujifilm had previously paused pre-orders of the X-M5 and X100VI because of the tariff situation, though it restarted US shipments earlier this month. However, that doesn't mean they are actually available for purchase right now. Production issues still seem to plague the X-M5 and X100VI, as the JP models are also listed as out of stock on Fujifilm's US site at the time of writing. All four of the cameras are listed as back-ordered at B&H, but the X-T5-JP and X-T50-JP are both in stock at Fujifilm's site.

The "new" models appear to be identical to the previous product pages, with the exception of the names. That includes the same prices. That could mean Fujifilm opted to adjust production instead of raising prices to adapt to the US tariffs. The tariffs also impact Japan, but the 10% rate for Japanese products is much lower than China's current (though unstable) 30% rate. If the prices do, in fact, stay consistent, that could be welcome news, given that Nikon, Canon, Sigma and Leica have announced increased prices because of the tariffs.

We reached out to Fujifilm for comment but did not receive a response at the time of publication. We will update this story if we receive a response.

Fujifilm moved production of 4 popular camera models from China to Japan in order to avoid Trump's tariffs.

• Fujifilm X100VI
• Fujifilm X-T5
• Fujifilm X-T50
• Fujifilm X-M5

For other markets, the above models will still be made in China.

Coming next: Fujifilm price increase in the US

Nikon is the next company to announce a price increase in the US as a result of Trump’s tariffs

The post Fujifilm moved production of 4 popular cameras to Japan in order to avoid US tariffs appeared first on Photo Rumors.

Fujifilm has released a short teaser video ahead of a June 12th announcement, hinting at a new rangefinder-style camera in its lineup. The announcement will come at the company's X Summit in Shanghai.

The video starts with an X100 and X-Pro placed on a black background, followed by a camera that is significantly obscured in darkness. The text mentions a rangefinder-style series that is "essential when telling the story of our X Series history." It potentially suggests that the X-Pro series is still part of the lineup, even though the last X-Pro – the X-Pro3 – was released in 2019.

The DPReview team had a chance to interview Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group at CP+ earlier this year, asking him specifically about the X-E and X-Pro series. His comments at the time confirm that the X-Pro series isn't gone: "Our plan hasn't changed, we still plan to launch a successor to X-Pro3, but we don’t have a date, yet. And X-E of course, too. We haven’t abandoned the line either."

When asked if the X-E series would return to its enthusiast-focused roots, Igarashi explained, "There’s nothing that’s perfect, which is totally unchangeable: it’s something we consider every time we come up with the next version." Jun Watanabe, Fujifilm's Product Planning Manager, commented on the types of users they are building the next X-E for, explaining that "They love the rangefinder style." He also said, "They love daily life photography [and using X-E] as a snap camera. They love the style and the design."

Based on the comments at CP+ and the limited amount of detail contained in the teaser video, it seems feasible that we could be seeing the next X-E or X-Pro. However, we'll have to wait until June 12th for the reveal.

Another photo news from Russia: the previously reported Zenitar 50mm f/1 lens for Leica M-mount was officially announced at an event in Moscow. Several other lenses were also on display:

• Zenithar 2.8/16
• Zenithar 1.2/50
• Zenithar 1.4/75 Helios Edition
• Selena 1.9/58
• Selena 2.2/85
• Helios 40-2 1.5/85

Additional informtion on the new lens, including the full press release and some sample photos, can be found here:

Zenitar 1/50 M-mount lens officially announced in Russia

Additional information on the new/upcoming Zenit M-mount lenses: 2.8/21, 1.0/35 and 1.0/50

The post New Zenitar 50mm f/1 lens for Leica M-mount officially announced in Russia appeared first on Photo Rumors.

 

 
A few months ago, Shvabe announced the first Russian anamorphic cinema lenses. The Lytkarino Optical Glass Plant is developing cinema lenses with 40, 60, 80, and 100mm focal lengths. The lenses are equipped with PL-mount and a 2x compression ratio. The weight of the 100mm lens is 3 kg.

Additional informtion:

Shvabe developed the first Russian anamorphic cinema lenses

The Shvabe holding of the Rostec State Corporation is presenting a line of Russian anamorphic cinema lenses for the first time at the Innoprom-2024 International Industrial Exhibition. Such lenses, using a complex system of cylindrical lenses, allow shooting a unique ultra-wide frame. Unlike the image obtained using wide-angle lenses, the anamorphic image is not distorted at the edges of the frame and is not darkened at the corners.

Anamorphic lenses began to be used for filming in the last century. This solution allowed directors to fit a wider image into a standard frame of 35 mm film, which a regular lens could not do. The optics "compressed" a larger viewing angle horizontally into a standard area. As a result, due to the lens system, a frame with a close to square aspect ratio produced an image compressed in width. In cinemas, it was again stretched horizontally to fit a wide screen format using a reverse lens.

Today, despite the spread of wide-angle optics, anamorphic lenses are actively used by large film studios due to their high image quality and unique cinematic effects.

The line of the first Russian anamorphic cinema lenses with focal lengths of 40, 60, 80 and 100 mm was developed by the Lytkarinsky Optical Glass Plant (LZOS) of the Shvabe holding. The devices are equipped with high-quality optics and are distinguished by high light intensity, allowing work in low light. The anamorphic coefficient in the lenses is 2.0, that is, the ratio of the vertical and horizontal images is 1 to 2. The devices can be used with digital cameras with a PL bayonet, and adapters are used for other types of fastening. The lenses have an ergonomic design.

"LZOS cinema lenses have no Russian analogues, and they differ from foreign ones in their unique picture. The developments allow for the creation of extended horizontal frames, while maintaining high image quality. Cinematic effects are created using lenses suitable for both video and photography. At the same time, our products will be cheaper than foreign products," said Lev Borisov, Deputy General Director of Shvabe.

The lens with a focal length of 100 mm was tested by Russian cameramen, who noted the good cinematic quality of the new product. The device creates a shallow depth of field, background blur, bokeh and other effects. They can be seen in all films from major film studios.

"Wide-angle optics today are not able to replace anamorphic, because the former does not give such a visual result - the visual effects are "poorer". Despite the high cost of anamorphic lenses, we continue to use them, because the resulting footage is of high quality, volume and effects that cannot be achieved with a wide-angle lens and graphic editors," says creative producer Evgeny Subochev, who organized the filming of the mini-series "Land of Great Opportunities", the film "Ural Derby" and other projects.

LZOS is a leading Russian manufacturer of optical materials and the only plant in the country that produces large-sized ground- and space-based mirrors. Over the years, the plant has manufactured mirrors up to six meters in diameter. Today, these products are successfully used on the most powerful telescopes around the world.

Also in the line of the Lytkarino Optical Glass Plant there are Rubinar lenses, which are suitable for both standard photography and stargazing.

The post Shvabe announced the first Russian anamorphic cinema lenses appeared first on Photo Rumors.

Fujifilm released the first teaser for the upcoming X-E5 camera:

Here are the leaked/rumored Fujifilm X-E5 camera specifications:

• 40MP X-Trans CMOS 5 HR
• 3.69 mdot OLED EVF
• 3-inch 1.84 mdot side tilt flip screen
• IBIS with 160MP multi-shot feature
• Film Simulation Dial
• 4K 60p, 6.2K 30p (4:2:2 10-bit)
• 425-point Intelligent Hybrid AF system
• 20fps Electronic Shutter
• 15fps Mechanical Shutter
• New 23mm pancake lens

Fujifilm X-E5 camera leaked/rumored specifications

New Fujifilm X-E5 camera expected on June 12th

The post The first Fujifilm X-E5 camera teaser is out appeared first on Photo Rumors.

Photo: Kevin Mahoney

Hiking with a camera can be incredibly rewarding. It can open up new opportunities for photographs and refresh creativity. However, it also presents some challenges. Finding a way to keep your gear safe while carrying it comfortably can be tricky, especially on more rugged hikes. Add in larger cameras or lenses, and things get even more difficult. While finding the ideal solution for each individual takes trial and error, below are some tips as you get started.

Quality camera bag

Shimoda is one company that makes rugged, adventure-specific camera backpacks. Photo: Gannon Burgett

First and foremost, a quality camera bag is a must to keep your gear safe while allowing you to bring other essential hiking items. When looking for a backpack or bag for hiking with your camera, choose one made of durable, weather-resistant (or, even better, waterproof) materials. If your bag is only weather-resistant, make sure you have a rain cover or pack liner to keep your gear dry.

Plenty of padding and structure are also essential to protect your camera. The padding also keeps your camera safe while you have other gear packed, since you'll generally need more than just your camera during hikes.

Finally, a proper fit is critical. An ill-fitting bag could lead to chafing or back issues, making your hike uncomfortable or even dangerous. Whenever possible, try on a bag when loaded with some weight before setting out on a long hike to identify if there are any fit issues. Even better, look for a bag with adjustable torso lengths so you can dial in the fit.

Camera strap or clip

Though not specifically designed for hiking, this Magpul MS4 strap at least puts the camera in a more comfortable position than straps that are worn around the neck. Photo: Mitchell Clark

While a camera bag is necessary, you'll likely want your camera out for most of your hike. After all, if it's tucked away, you're less likely to actually use it, or you may miss a chance to photograph something fleeting. Quick access is ideal, but your camera also needs to be secure and comfortable to carry.

There are a few options for keeping your camera accessible. First, you could opt for a camera strap, though we'd recommend a hiking-specific strap. A traditional strap can put a lot of strain on your neck and back. It could cause chafing as well, especially on long hikes. A hiking-specific strap, like those from Cotton Carrier or BlackRapid, could be more comfortable than a traditional strap, thanks to extra padding. However, if you're wearing a backpack, make sure the strap works with that.

Hiking-specific straps are designed to keep the camera from bouncing around on your body.

Even more beneficial than padding, though, is the added stability. Hiking-specific straps are designed to keep the camera from bouncing around on your body. Traditional camera straps worn around the neck or shoulder allow the camera to swing when you move, sometimes with an extremely uncomfortable amount of momentum. It could lead to a broken camera if it swings out at the wrong time and hits a rock or tree. Hiking camera straps secure the camera to your body so you can hike without holding onto it to keep it protected.

The Peak Design Capture Clip is one way to keep your camera quickly accessible, though it works best with smaller setups. Photo: Seth Halleran

If a strap isn't your style, some companies make clips that attach your camera to your backpack. Peak Design's Capture Clip is a popular example. It connects to a backpack strap or belt and uses a quick-release-style plate to give you quick access to your camera while keeping it secure against your body. That said, depending on your body, your camera setup and your backpack, those clips can put the camera in quite an uncomfortable position. Be sure to test it before setting off on a long hike.

This camera backpack was not a good fit for my body, so it was rather a pain to hike with. Photo: Kathryn Melheim

Final thoughts on hiking with a camera

Hiking with a camera doesn't have to be overly complicated or require loads of fancy, specialized gear. The key is finding a setup that is comfortable for you so that you want to bring your camera along while keeping you and your gear safe.

The Wacom Cintiq 16. Photo: Wacom

Wacom has announced its latest pen displays, offering three new models with the Cintiq 16, Cintiq 24 and Cintiq 24 Touch. Unlike the company's Intuos lineup, the Cintiq series features displays, allowing them to function as monitors and touch-sensitive devices. The latest Cintiqs offer slightly larger displays yet thinner designs, and subtle upgrades across the board.

The lineup now includes the Cintiq 24 Touch, which offers 10-finger touch capacity in addition to pen control. Previously, you had to opt for the Pro models of the Cintiq lineup if you wanted touch control. The Cintiq 16 and Cintiq 24 do not offer touch control.

The existing Cintiq lineup included a 16-inch and 22-inch offering, but the company has bumped the larger one up to 24 inches for greater screen real estate. Even the 16-inch received a slight bump in screen size as well. Despite the larger sizes, both are slimmer than the previous models. For example, at 22mm, the Cintiq 24 is almost half the thickness of the Cintiq 22.

The Cintiq 24 offers a large display. Photo: Wacom

The resolution of both sizes is also greater than the previous models, jumping from full HD to 2560 x 1600 for the smaller device and 2560 x 1440 for the larger. Wacom improved color gamut on both, with each now covering 100% of sRGB. Cintiq also increased the maximum brightness substantially. All of these upgrades should offer a better experience for photographers looking to edit their images with the Cintiq tablets, even when working in bright locations.

Wacom released the Pro Pen 3 in 2022, but announced it again in February with its major refresh of the Intuos Pro lineup. Now, the Cintiq series benefits from the updated pen as well. All new Cintiq models are compatible with the Pro Pen 3, which offers lots of customization, responsiveness and accuracy.

The Cintiq 24 and Cintiq 24 Touch include an adjustable stand. All three models are VESA-compatible (75 x 75mm). Image: Wacom

Additional upgrades include new anti-glare etched glass to reduce reflections, making it easier to see while editing or drawing. A USB-C port joins the existing HDMI and USB-A connections. The Cintiq 24 includes the Wacom Adjustable Stand, which allows for a range of angle adjustments, while the Cintiq 16 comes with fold-out legs. The Cintiq 16 is compatible with the stand, though it is a separate purchase.

The Wacom Cintiq 16, Cintiq 24 and Cintiq 24 Touch will be available sometime this summer, costing $700, $1300 and $1500, respectively.

ON1 software is 20 years old this year, and they are celebrating their anniversary with a big sale:

• Products up to 75% off: ON1 Photo RAW, Effects, NoNoise AI, and more (view all products)
• Plugins starting at just $19.99
• Customer photo contest with gift card and merch prizes:

Check their website for additional information.

ON1 2025.2 released with smarter tools, faster edits

History of ON1:

In 2005, ON1 was born with a bold but simple idea: photography software should be created for photographers — not just for designers or software professionals.

At the time, founder Craig Keudell saw an opportunity. Tools originally built as Photoshop plug-ins for graphic designers were becoming less essential as designers became more proficient with editing software. But photographers? Many were still new to digital workflows and didn’t want to spend their creative time buried in menus and layers.

“Photographers have always been focused on capturing great moments — not becoming software experts,” Craig explains. “That’s where we saw a chance to help by making tools that worked the way photographers think. We saw a huge opportunity to tailor those tools for this growing photography market.”

That insight became the foundation of ON1.

Starting Small, Thinking Big

In those early days, ON1 (then called onOne Software) launched a suite of powerful tools like Genuine Fractals, PhotoFrame, Intellihance, and pxl SmartScale.

“Getting everything off the ground was hard. There was no cloud, no remote work. We built and maintained our own servers, databases — all of it,” Craig recalls. “We focused on one order at a time. Eventually, that turned into real momentum.”

The company’s first significant break came when Shutterbug Magazine featured Genuine Fractals on its cover. From that moment, things really took off.

But ON1 wasn’t just built on product success. It was built on values — creating a company culture that prioritized employees and customers. As Craig puts it:

“We wanted to build a people-first company — one that prioritized our team and customers, not outside investors,” Craig says. “That mindset of taking care of each other has guided us every step of the way.”

That people-first mindset still defines ON1 today.

A Major Turning Point: The Suite Era

As ON1 grew, so did its ambitions. The company moved from plug-ins into a more unified editing experience, culminating in the launch of the Perfect Photo Suite.

“We gave the entire Suite away to everyone at a Photoshop roadshow,” remembers Dan Harlacher, VP of Product. “It was a $500+ product — and we just gave it away. That was a major moment for us. It put ON1 in front of a massive audience.”

The Suite combined powerful tools like masking, portrait retouching, resizing, and effects — all inside one package. And with each release, ON1 became more than just a collection of plug-ins. It was becoming a full-featured photo editor.

Built with Photographers — Literally

In 2016, ON1 took a bold step: launching the Photo RAW Project. It wasn’t just a new product — it was an invitation.

“We told our users, ‘You now have a voice in the future of raw photo editing,’ and we meant it,” says Dan. “We opened up our roadmap and started building directly with our community.”

The result was ON1 Photo RAW — a fast, flexible, non-destructive RAW editor with layers, effects, and AI tools built in. Since its launch, ON1 has released nearly 1,000 user-submitted ideas through the project.

“That level of engagement is something most software companies won’t match,” says Patrick Smith, Senior VP and GM. “But it only works if you’re truly listening — and we are. We’ve made community feedback part of our product development DNA.”

Patrick emphasizes that it’s not just about features — it’s about solving real problems for real photographers.

“When we build, we’re not chasing trends. We’re asking: Will this make editing faster? Will it be less complicated and allow for more creativity? Will it help someone fall back in love with their photography? That’s the bar.”

Education That Empowers

As ON1’s software evolved, so did its approach to education. Dylan Kotecki, ON1’s lead educator, has taught thousands of users over the years.

“What I love most is that click moment — when something finally makes sense for someone,” he says. “You can see their confidence grow right in front of you.”

Dylan’s teaching has evolved in tandem with the software.

“It’s not just about how a tool works anymore. It’s about knowing when to use it, why it matters, and how it aligns with your vision. It’s about helping people feel like editors, not just button-pushers.”

One of his most impactful lessons? A deep dive into masking techniques — a topic many find intimidating but one that unlocks powerful creativity.

“The feedback was amazing. People realized masking isn’t just technical — it’s expressive. It’s how you fine-tune your story in a photo.”

And when asked what advice he gives new users?

“Click around. Try things. You can’t mess anything up in ON1 — everything’s non-destructive. Editing should feel like a creative playground, not a checklist.”

A Culture of Connection

For Jonny Davenport, a longtime photographer, QA engineer, and support lead at ON1, the work is deeply personal.

“Photography is my life. It’s all I really know,” he says. “And every conversation I have with users — whether they’re brand new or seasoned pros — is a good day.”

Jonny’s experience in both film and digital helps him connect with users across generations. And that connection often becomes lasting.

“I’ve met people at trade shows, on the road, over support calls — and they’ve become friends. Whether it’s catching up with Frank Salas in Texas or chatting with a fellow film shooter, it all feels like one big community.”

He’s proud of how ON1 listens to users — not just in theory, but in practice.

“We’re a small team, so when I hear feedback, I bring it directly to Dan or the devs. Everyone’s always open. It’s how we improve.”

Patrick echoes that sentiment:

“One of the most unique things about ON1 is how connected our product, support, and engineering teams are. There are no silos here. If a customer shares an insight, it doesn’t just get filed — it gets a voice in the room.”

Looking Forward: The Next Chapter

So what’s next for ON1?

“We’re always balancing what’s new with what works,” Dan says. “That means faster workflows, smarter AI, and deeper mobile-to-desktop integration. But always with the same goal: helping photographers stay in control.”

To Craig, the core hasn’t changed.

“We’re still here for the same reason we started — to make great tools for photographers. And we’re just getting started.”

Patrick sums it up:

“20 years in software is rare. 20 years with a loyal, passionate community is even rarer. It’s a huge responsibility — and a privilege — to keep building for the people who got us here.”

The post ON1 software 20th anniversary promotion sale: get up to 75% off Photo RAW, Effects, NoNoise AI, and more appeared first on Photo Rumors.

Image: Adobe

Back in February, Adobe announced that it was bringing Photoshop to smartphones. The new app offers much more robust tools than those found in the existing Photoshop Express, but it was initially only available for iPhones. Now, that app is also available for Android phones in beta, with limited-time free access to premium tools.

Adobe recognized that many people edit photographs or create art exclusively on their phones, and the existing Photoshop Express app was extremely limited in its capabilities. The new Photoshop app brings the existing platform's well-known editing and design tools to the mobile platform, allowing for greater control, even when working on a phone.

The app was designed from the ground up with an accessible interface for phones, resulting in a very different look from the desktop version. The editing tools are concentrated at the bottom of the screen with a simplified workflow. Instead of displaying all tools, it only shows the most commonly used ones, along with a layer stack on the right side.

The new app provides many of the familiar controls and tools found in the desktop version of Photoshop. Images: Adobe

Critically, the app maintains one of Photoshop's main benefits: its non-destructive editing capabilities via layers. Users can create adjustment layers like in the desktop version and have the ability to create unlimited layers. There are masking and layer blending tools as well, allowing users to fine-tune each layer. Familiar tools like Spot Healing Brush, Generative Fill, Clone Stamp and more are also available.

To make selections on the small screen easier, Adobe added a Tap Select tool that automatically selects all obvious subjects and objects in an image. It then lists the different components that users can edit selectively.

The app is now available for download on Android in beta. It is free to download, and all of the app's features are free during the beta period. Adobe also says more capabilities are coming soon. Eventually, premium features will be locked behind a paywall and require an Adobe subscription.

Images: Fujifilm

Fujifilm's newly released X half camera takes quite a different approach to what we are used to from modern cameras. Fujifilm designed the camera, in part, to mimic the experience of shooting half-frame film. To get that full experience, though, you need the companion app, which is now available for download.

Of course, the app's standout function is the process that unlocks the unique features of the X half camera. When photos are taken with the camera set to Film Camera Mode, users will need the companion app to "develop" them so they are visible. The "rolls" of undeveloped "film" will show up in the app with icons of the film stock that was used. Once you process them, the app will automatically create a contact sheet while saving the individual images to your smartphone and app galleries.

The app will show your "rolls" of film, and once developed, will create a contact sheet. Images: Fujifilm

At a basic level, like other camera apps, the X half app provides the ability to wirelessly browse and transfer images from the camera to a phone. When connected via Bluetooth, the camera will sync geotagging information with a mobile phone's geotagging information. It can function as an album for perusing photos and videos. Or, use it like a digital gallery by selecting two background colors and six frame styles to show off your work. It also allows for firmware updates.

While the app does not offer editing tools, it does allow users to combine two images into one to create diptychs, taking advantage of the sensor's vertical format.

The Fujifilm X half app is available for free for both iOS and Android.

Sigma announced the development of two new AF cine zoom lenses for L + E-mount:

• Sigma 28-45mm T2 FF / November 2025
• Sigma 28-105mm T3 FF / Spring 2026

Sigma also released a new Aizu prime line of cine lenses. Check B&H Photo for pricing and availability.

Additional information:

Sigma 28-45mm T2 FF & 28-105mm T3 FF lenses

Advanced optical design and outstanding rendering performance

The optical systems of the Sigma 28-45mm T2 FF and Sigma 28-105mm T3 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art and the Sigma 28-105mm F2.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting.

Professional-grade mechanical design and operability

Inheriting the rendering performance and reliability of Sigma's Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands.

AF system with excellent tracking capability and near-silent operation

Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various shooting situations.

Sigma Aizu prime line of cine lenses

• A consistent T1.3 across all focal lengths
• Optical design for the demands of cinema
• Huge perspective range coverage
• Completely consistent look
• φ46.3mm image circle
• High-impact close-up expression
• A compact design that unleashes creativity
• Precise operation and durability
• Supports ZEISS eXtended Data

Sigma increased its prices in the US

The post Development announcement of Sigma AF cine zoom lenses + new Aizu prime cine lenses appeared first on Photo Rumors.

Photo: Abby Ferguson

Travel photography can spark new inspiration and bring fun back to the medium, and, of course, allow you to document memories during your trips. But choosing a camera for your travels can be daunting. There are seemingly endless options available, with a long list of technical terms to sort through. If you're looking to pick up a new camera for travel photography, one of the first questions you'll have to answer is whether you want a DSLR or a mirrorless camera.

What's the difference between DSLR and mirrorless cameras?

DSLRs have fairly bulky components that mirrorless cameras skip out on. Photo: Abby Ferguson

The primary difference between DSLRs and mirrorless cameras is suggested in the latter's name. DSLRs use a movable mirror to direct light into an optical viewfinder, while mirrorless cameras display the image electronically without those components. As a result, mirrorless cameras can be more compact and lightweight than DSLRs (though not all are).

Are DSLR or mirrorless cameras better for travel?

Mirrorless cameras are often (though not always) smaller than DSLRs. Photo: Richard Butler

Mirrorless cameras have quite a few advantages over DSLRs when it comes to travel, mainly because they use newer technology. Most companies haven't developed a new DSLR in many years, so mirrorless cameras often benefit from the most up-to-date features.

Size and weight are typically among the most important considerations for travel cameras. It's no fun to lug around a heavy backpack while traveling. Because mirrorless cameras and lenses are generally smaller, they are better suited for travel. That's especially true if you like to travel light or if you will spend a lot of time carrying your camera around.

Because mirrorless cameras and lenses are generally smaller, they are better suited for travel.

Beyond size, the new technology available in mirrorless cameras offers many benefits. Although a smaller feature at face value, mirrorless cameras often charge over USB-C. That means you don't need a separate charger. You likely already have a USB-C cable or two when traveling to keep your other devices charged, so it's not an extra bit you need to pack.

Mirrorless cameras offer more precise and more versatile autofocus. Some modern cameras often have AI-derived subject recognition and tracking systems, helping you get more images in focus even in challenging situations. Image stabilization is also more common in mirrorless cameras than DSLRs, which is helpful in dimly lit situations like museums or thick forests. Additionally, mirrorless cameras are much easier to use for shooting video, making them ideal for those looking to vlog or record their travels.

Many mirrorless cameras can charge via USB-C, eliminating the need for a separate battery charger. Photo: Richard Butler

DSLRs' main edge over mirrorless for travel purposes is better battery life. Unlike the electronic viewfinders in mirrorless cameras, the optical viewfinders in DSLRs don’t require power other than a small amount to display exposure information. If you know you won't have frequent access to power and can't bring spare batteries, a DSLR could be a better option.

Finally, DSLRs have been around long enough that the second-hand market is robust, with lots of very affordable options. If you're worried about your camera getting damaged or stolen while traveling, a DSLR could give you more peace of mind. It risks being a bit of a dead-end long term, though.

You can find some highly versatile yet compact zoom lenses for mirrorless cameras that are ideal for travel. This Sony FE 20-70mm F4 G is a great example. Photo: Sony

Final thoughts on the best camera system for travel

At the end of the day, the best camera for travel is one that you'll actually want to have with you. The challenge isn't necessarily whether you can fit it in your luggage, but whether you want to drag the camera around when you are out and about on your trips. As a result, because of their generally smaller size and more modern features, mirrorless cameras are typically the better choice for travel.

Image: Sigma

Sigma has announced an ambitious series of super-bright cinema lenses, due later this year, raising at least the possibility of some of the designs making their way across to the photo space.

The Aizu Prime series of cinema lenses all cover a 46.3mm diagonal, making them suitable for use on "large-format" cinema cameras such as the Arri Alexa LF, slightly larger than what photographers would think of as 'full-frame.'

The series will include twelve lenses covering the 18mm to 125mm focal lengths, starting with eight lenses in the 25-75mm range. All the lenses will have T1.3 maximum apertures.

However, while it's plausible that some of these designs could be adapted to sit alongside the company's 35mm F1.2 and 50mm F1.2 Art photographic lenses, sadly, Sigma says all the lenses "feature an optical system developed exclusively for cinema applications." They are also priced at $8300 each.

In an interview with PetaPixel, Sigma's CEO Kazuto Yamaki also points out that it could be difficult to implement autofocus with these optical formulae, which have been developed as manual focus lenses for the cine market.

The eight initial lenses will each be available in either PL or Sony E mounts, with choice of distance scales marked using metric measurements or feet. All eight lenses feature gears focus and iris control, have similar dimensions and share the same 95mm front diameter.

Alongside the Aizu Prime line, Sigma has also announced a 28-45mm T2 cine zoom, based on the optical formula of its 28-45mm F1.8 DG Art lens and a 28-105mm T3 zoom, derived from the 28-105mm F2.8 DG Art. Both lenses retain their autofocus functions, in contrast to the Aizu primes, which are manual focus lenses.

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Sigma increased its prices in the US (previously reported here) as a result of the Trump tariffs. You can already see the new prices at B&H Photo. It seems that most/all items went up by around 10%. Here are a few examples:

Lens Model	Old Price	New Price
Sigma 24-70mm f/2.8 DG DN II Art	$1,199	$1,319
Sigma 105mm f/2.8 DG DN Macro Art	$799	$879
Sigma 14mm f/1.4 DG DN Art	$1,599	$1,759
Sigma 28-105mm f/2.8 DG DN Art	$1,499	$1,649
Sigma 28-45mm f/1.8 DG DN Art	$1,349	$1,489
Sigma 16mm f/1.4 DC DN Contemporary	$489	$538
Sigma 300-600mm f/4 DG OS Sports	$5,999	$6,599

A list of all price increases so far can be found here:

Nikon is the next company to announce a price increase in the US as a result of Trump’s tariffs

Sigma US prices increase confirmed

The post Sigma increased its prices in the US appeared first on Photo Rumors.

Here are the top 10 most viewed PhotoRumors posts for May 2025:

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Yashica FX-D camera coming soon to Kickstarter

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Additional information on the upcoming Yashica FX-D camera models: FX-D 100 and FX-D 300

Godox announced a new mini iT30 Pro TTL flash

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Panasonic Lumix S1II/S1IIE cameras and Lumix S 24-60mm f/2.8 lens leaked online

The post Top 10 most viewed PhotoRumors posts for May 2025 appeared first on Photo Rumors.

Photo: Pascal Le Segretain / Staff / Getty Images News via Getty Images

George E. Smith, one of the co-inventors of the CCD sensor, passed away on May 28th at his home in Waretown, New Jersey. The Washington Post reports that his death was confirmed by his son, Carson Smith, but that no cause was provided.

Dr. Smith was a Bell Labs researcher in 1969 when he and his colleague, Willard S. Boyle, sketched an idea on a blackboard that would eventually become the first digital image sensor. The Charge-Coupled Device, or CCD, was the first digital sensor that provided usefully good results, yet was affordable enough to put in consumer products. The first vision for CCD application was a video phone, dubbed the PicturePhone, but the project was killed as it wasn't seen as commercially viable, and Bell Labs wanted profit in the short term.

After its patent registration in 1974, the CCD sensor formed the basis of early digital cameras and sparked the digital imaging revolution. Smith and Boyle's work was so influential that they won a Nobel Prize in Physics in 2009. "Digital photography has become an irreplaceable tool in many fields of research," says the 2009 Nobel Prize press release. "The CCD has provided new possibilities to visualize the previously unseen. It has given us crystal clear images of distant places in our universe as well as the depths of the oceans."

While we appreciate the technology for what it did for photography, it impacted virtually every aspect of life

While we appreciate the technology for what it did for photography, it impacted virtually every aspect of life, as the Nobel Committee explained in its physics prize announcement. Smith and Boyle shared the prize with Charles K. Kao, who was recognized for his work with fiber-optic cables. "Taken together, these inventions may have had a greater impact on humanity than any others in the last half-century," said H. Frederick Dylla, director of the American Institute of Physics, to The Washington Post in 2009. It's been a critical tool for astronomy, undersea exploration and image-guided surgeries.

On the camera front, Eastman Kodak used the sensor in a prototype digital camera in 1975, which was as big as a shoebox and used cassette tapes to store about 30 images. Following that prototype, the CCD sensor was widely used in consumer cameras from the mid-90s to the early 2010s.

The 1.5MP Kodak DCS315 CCD Sensor. Photo: Binarysequence (CC ShareAlike 3.0)

The CCD sensor works by reading from the edge of the sensor, one pixel at a time, with the charge cascading from one pixel to the next. CCDs require a lot of power for fast readout, though. Unfortunately, consumer batteries at the time lacked that power, so live view in compacts was slow and laggy. Naturally, the development of digital imaging sensors continued, and the CMOS (Complementary Metal Oxide Semiconductor) sensor, which enabled faster readout, became the dominant choice in digital cameras.

CCDs are no longer used in mainstream digital cameras, but they are still used in scientific and other specialized applications, such as deep space photography. The Legacy Survey of Space and Time (LSST) camera, the world's largest camera, uses 189 individual 41 x 40mm 16.4MP CCD sensors. Smith's legacy lives on, continuing to drive innovation and leading to discoveries.

Front runners of the 2025 Nikon Comedy Wildlife Awards

The Nikon Comedy Wildlife Awards are revealing some of the best entries so far in the 2025 contest. Over a thousand entries have already been received from around the world. The contest was founded in 2015 by professional photographers Paul Joynson-Hicks MBE and Tom Sullam to focus on "the lighter side of wildlife photography" and to help promote conservation with humor.

In line with its mission, the Comedy Wildlife Awards support a conservation organization each year. This year's partner is the Whitley Fund for Nature (WFN), a UK charity that supports conservation leaders working in their home countries throughout the Global South. The charity has been funding conservation for over 30 years, helping more than 220 conservationists in 80 countries.

The popular competition is still open for submissions through June 30, so there's still time to submit if you have your own funny wildlife captures. There are nine different categories, including Alex Walker’s Serian Mammals Category, Spectrum Photo Birds Category, Fish and Other Aquatic Species, Nikon Young Photographer, Nikon Junior Category and more. It's free to enter, and winners will earn prizes like a safari in the Maasai Mara in Kenya for the top prize, a Nikon Z50II with 16-50mm VR kit for the Junior Category winner and a Nikon Z6II with 24-120mm kit for the Young Photographer Category winner. All category winners will receive a ThinkTank bag. You can learn more and submit your images at the contest website.

Go away

Photographer: Annette Kirby

Title: Go away

Animal: White Tailed Sea Eagle

Location of image: Hokkaido, Japan

Description: This was taken in Japan where I was observing a White-Tailed Sea Eagle putting their fish in a hole and protecting it. This one had a fish and saw another Eagle coming in to try and steal it.

Go give it a try!

Photographer: Bhargava Srivari

Title: Go give it a try!

Animal: Lion

Location of image: Masai Mara National Reserve, Kenya

Description: The image shows Lion siblings at play, where one of the siblings seems to pushing the other one to do stuff that annoys their mom. Lions aren't natural climbers, so it looks like one sibling is encouraging the other to do something naughty!

I hate Ikea

Photographer: Brian Hempstead

Title: I hate Ikea

Animal: Common Myna Nest Build

Location of image: Kruger NP South Africa

Description: Photo taken at Kruger NP South Africa outside Skukuza Camp on Lower Sabie Rd at Sunset Dam in October and November during a self driving birding trip around National Parks of South Africa

Laugh like no-one is watching

Photographer: Emma Parker

Title: Laugh like no-one is watching

Animal: Blue Spotted Mudskipper

Location of image: Western Australia

Description: Two joyful mudskippers look they are having the best time in the mud - I just wish I knew what the joke was! Mud is fun

Happy deer

Photographer: Jeremy Duvekot

Title: Happy deer

Animal: Roedeer

Location of image: The Netherlands

Description: This roedeer was yofull running around and suddenly coming my way. Had only 1 chance and nailed it.

Aaaaaww Mum!

Photographer: Mark Meth-Cohn

Title: Aaaaaww Mum!

Animal: Gorilla

Location of image: Rwanda

Description: Caring Gorilla mum giving her infant a big sloppy kiss!

Queueing for the polar plunge

Photographer: Martin Schmid

Title: Queueing for the polar plunge

Animal: Gentoo Penguins

Location of image: Neumayer Channel, Antarctica

Description: A really spontaneous shot from an expedition ship in Antarctica. Those gentoo penguins seemed to orderly wait in queue to finally jump into the sea. Taken in January 2025.

Commandeer

Photographer: Rachelle Mackintosh

Title: Commandeer

Animal: Galapagos marine iguana and lava lizard

Location of image: Fernandina Island, Galapagos Islands, Ecuador

Description: A lava lizard takes charge of a Galapagos marine iguana and sets off on a ride. Judging by the iguana's possessed eyes, lava lizard may have taken over its soul, too. These two silly billies were hanging out with a big bunch of marine iguanas on a rocky beach. Photographed handheld on Fernandina Island in the Galapagos Islands in Oct 2023.

Waving Dragon

Photographer: Trevor Rix

Title: Waving Dragon

Animal: Gippsland Waterdragon

Location of image: Murrumbidgee River near Canberra, ACT, Australia

Description: Wandering along the Murrumbidgee River we spotted a few lizards sc urrying under the rocks looking for lunch, next thing this junior Gippsland Waterdragon popped up and gave us a friendly wave.

The wig

Photographer: Yann Chauvette

Title: The wig

Animal: Greater One-Horned Rhino

Location of image: Chitwan National Park, Nepal

Description: A Greater One-Horned Rhino feasting on aquatic fine dining, diving underwater and getting back up with a new wig made out of his delicious meal.

In addition to the Osmo 360 camera and Mini 5 Pro drone, DJI will also soon announce a new Osmo Action 6 camera. Here are the pictures and specifications from the FCC filing:

The next DJI Osmo Action 6 camera leaked online

The post Details on the upcoming DJI Osmo Action 6 camera from the FCC filing appeared first on Photo Rumors.