The previously reported 7Artisans 10mm f/3.5 APS-C ultra wide angle lens for E/X/Z/MFT is now officially announced and available for order at the official online store.
Additional information:
The post Officially announced: 7Artisans 10mm f/3.5 APS-C ultra wide angle lens for E/X/Z/MFT appeared first on Photo Rumors.
The new Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z and Sony E mount is now available for pre-order at:
The Tamron G2-Trinity is now completed (pictured above):
Additional information on the new 16-30mm lens can be found here:
Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z-mount officially announced
The new Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z/Sony E will be priced under €1,000
Tamron to announce a new 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z-mount
The post The new Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z and Sony E mount is now available for pre-order appeared first on Photo Rumors.
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Product images by Mitchell Clark / Richard Butler
The Canon PowerShot V1 is a vlogging compact built around a large sensor and a 16-50mm equivalent zoom lens. Despite its focus on video, which extends to a cooling fan for extended capture periods, its similarity to the PowerShot G1 series of large-sensor enthusiast compacts has caught the attention of photographers.
The Canon PowerShot V1 was originally announced as costing $899 in the US. Elsewhere, pricing was set at €999 and £959, including VAT. However, the US price has subsequently risen to $979.
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The V1 is Canon's first high-end vlogging compact, with a multi-module mic on top and a cooling fan to extend its recording duration. But, while its wide-angle lens points at its ambitions to help self-filming social mediaists, its use of a roughly-four-thirds-sized sensor and a zoom lens can't help but evoke the more stills-focused PowerShot G1 X cameras.
The sensor's specs are a match for using a similarly sized chunk of the EOS R7's chip. Both need to crop into the same size of their sensor to deliver 4K/60, but the smaller 'full image' region on the V1 means the difference between the full-width and cropped areas is much less dramatic than was the case with the R7.
The camera is built around a 16-50mm equivalent F2.8-4.5 stabilized lens with a leaf shutter that appears to operate using an electronic first curtain shutter, limiting its maximum flash sync speed to (a still very respectable) 1/400 sec. There's a built-in 3EV ND filter to help you keep to video-friendly shutter speeds in bright light. It can be set to activate automatically in video mode and can be manually engaged when shooting stills.
It has a built-in fan and fully articulating touchscreen but there's no built-in flash or electronic viewfinder, nor the option to fit one.
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The degree to which the V1 has prioritized vlogging becomes apparent when you pick it up: the body is surprisingly deep, as a result of the fan-cooled chamber at the back of the camera, and the grip is unexpectedly shallow.
Just as we saw with the EOS R50V, the grip is designed so that it's easy to hold the camera facing towards you, but with less to hold onto if you're behind it. The body feels pleasantly dense and solid, with the grippy rubber coating making it feel secure in the hand. But while it works pretty well from both sides of the lens, it's not as well optimized for conventional hand holding as a dedicated photo camera.
All the camera's control points are quite small, though, with the shutter button, its surrounding zoom lever and the exposure mode dial all looking as if they've shrunk in the wash. The little power button gets partially obscured if you fit the included mic wind screen into place.
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One of the principal control points is the free-rotating dial around the lens. Its default function varies, depending on your mode (controlling aperture value in Av mode, for instance). The direction of its operation can be reversed, if you find that easier, when facing the camera.
There's also a small, rather fiddly dial around the four-way controller on the back of the camera. Its function can't be changed directly, but if you assign the front dial to a specific function, such as Exposure Comp or ISO, it takes on the function that the front dial would otherwise do.
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The PowerShot V1 has both Mic and Headphone sockets, placed on the right flank, meaning they can't clash with the articulated screen mounted on the other side of the camera. Below these are a USB-C and a Micro HDMI port. |
There are two small camera strap points on either side of the body: a protruding lug on one side, a recessed bar on the other. Both are quite small, which will limit your choice of neck or wrist straps to those with very thin cords.
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The V1 uses the relatively small LP-E17 battery, from which it achieves a rating of 340 shots per charge (400 in power saving mode). These numbers shouldn't be taken literally, as it's common to get twice the rated number, depending on your shooting style. But the numbers are broadly comparable between cameras and a rating of around 350 shots per charge will usually allow you to shoot for a good amount of time without having to worry about it.
The V1 can be charged over USB and, with a powerful enough USB PD power source, can record or stream video and charge, simultaneously (you'll need a battery in the camera to do this, though).
We found the V1 could be a little temperamental with SD cards. In principle, its highest video rate is the cropped 4K/60 mode, which uses a 230 Mbps average bit rate. This is just under 30MB/s so should be safely accommodated by a memory card with U3 or V30 speed rating (the fastest class of UHS I cards). In practice, we found we also needed to use the low-level format option in the camera if we wanted it to work reliably. We'd strongly recommend doing this if you notice that the V1 is taking a long time to write video or Raw files to the card.
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The PowerShot V1 essentially uses a cropped version of the sensor from the EOS R7. This means it can deliver oversampled 4K video from its full width at up to 30p but has to crop-in to a roughly native 4K region of the sensor to deliver 60p, with the crop factor shown in the table below.
| Lens IS On / Off | Digital IS On | Digital IS Enhanced | Subj. track IS | |
|---|---|---|---|---|
| 4K up to 30p | 1.00 | 1.11x | 1.43x | 1.43x |
| 4K 50/60 | 1.43x | – | – | – |
It also means its rolling shutter numbers are proportionate to those of the EOS R7: a fraction faster because it's using a smaller region of the sensor, but not dramatically different.
Interestingly, the rolling shutter rate in the standard 4K modes is slower than the mode used for whole-image electronic shutter in stills (23.4ms). We're not sure why this is.
| Stabilization Off | Digital IS On | Enhanced / Subj. track IS | |
|---|---|---|---|
| 4K up to 30p | 26.3ms | 23.7ms | 18.4ms |
| 4K 50/60 | 15.9ms | – | – |
All the 4K/24 and 30 modes are taken from the same readout mode: the decreased rolling shutter is accounted for entirely by the degree to which they're cropped. The 60p mode, meanwhile, is actually being read faster.
We generally consider rolling shutter rates below 25ms to be acceptable, those below 20ms to be good and those below 15ms to be very good. With the Powershot V1, if you're moving the camera it's well worth applying at least some degree of digital IS to make your footage smoother and reduce the rolling shutter rate a little. There's a noise and detail penalty to be paid as you crop in, but it's probably a worthwhile compromise.
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| The 4K/60 options disappear from the menu if you have any form of Digital IS engaged, which is worth being conscious of. |
In terms of their intended effect, we found both IS modes to be very effective, with the basic digital IS letting you maintain a fairly steady handheld shot and 'Enhanced' doing a good job of handling more significant motion. There's also a subject recognition IS mode that applies a large crop so that it has freedom to move the capture area around to maintain your chosen composition, relative to a recognized subject.
We were also pleasantly surprised by the internal mics. The sound isn't as good as using an external mic but it's better than we've become used to, with these vlogging cameras.
In general, the V1 makes video capture fairly simple but there are a few quirks. 'Close-up Demo' mode, which over-rides face detection AF when you hold something in front of the camera is only available as a 'Scene' mode, so you suddenly lose control over things like mic volume and exposure. The same is true if you want to use the camera's skin-smoothing effect.
While we understand Canon wanting to make these functions easy to access, the fact you can only use them in a very limiting, highly automated manner means you lose any control over audio and white balance. To be truly useful, it should be available as an AF option for experienced users as well as a Scene mode for beginners.
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Although conceptually the V1 looks a lot like a wide-angle successor to the PowerShot G1 X series, its increased focus on vlogging seriously undermines its usability as an enthusiast compact.
The lack of a clicking front dial and the awkwardness of operating the small rear dial means it's not a camera that gives effortless access to, say, aperture and exposure comp. This is the same thing that stopped Sony's RX100 series from shining as enthusiast compacts, and meant instead they worked better as (superlative) point-and-shoots. The V1's added bulk means it doesn't rate so highly in that regard, either.
Add to this the insubstantial hand grip and slightly bulky body and you end up with a camera that, on paper, appears to have the capabilities of a high-quality wide-angle compact for photographers but that never delivers on the experience. The small buttons and awkward dials (of which only the front one can be customized), mean taking direct control is more fiddly than would be ideal.
Also worth noting is that you'll need to assign one of the camera's buttons if you want to position the AF point with anything other than the touchscreen.
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The large sensor and ultrawide lens can deliver the goods. Canon PowerShot V1 @ 16mm | F2.8 | 1/250 sec | ISO 100 |
On the plus side, the V1 has a hot shoe, compatible with newer flashes or with older ones if you buy an adapter. Despite having a leaf shutter, the V1 has the same 1/400 sec flash sync speed limit as the G1 X III with external flashes: still good but not as flexible as being able to sync all the way up to 1/2000 sec.
Even those photographers who can live without a viewfinder or the capacity to add one are likely to find themselves fighting against the V1 to get the most out of it, despite all the promise. For some people, that wide range and large sensor, unmatched by any other compact, will make it worthwhile. But if you've used a previous G-X model, you'll be constantly reminded of what's been taken away.
This isn't the camera's intent, of course, but it's disappointing that a camera that sounds like it should double as a pretty adept photographers' compact isn't more engaging to use as one.
Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.
As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.
This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.
Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it's delivering.
Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.
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Canon PowerShot V1 @ 16mm equiv | F5.6 | 1/40 | ISO 100 |
As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.
However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.
It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.
And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.
| Pros | Cons |
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The Canon PowerShot V1 is an interesting addition to the vlogging market, with a larger sensor and wider lens than any of the currently available models. And, for now at least, it's also the closest we have to an ultra-wide-angle compact for photography. It's significantly better at one than the other.
As a vlogging camera the V1 is pretty capable, offering a good selection of features with good video quality and a relatively easy-to-use interface. The internal mics are no substitute for a good external mic but they're not terrible and the wind screen helps for outdoor work. More advanced users can attach their own and take advantage of options like C-Log3 capture, without beginners finding themselves too overwhelmed.
This balance isn't always perfectly struck: the 'close-up demos' scene mode works well for beginners but limits control to the point that users worried about matching footage or controlling the volume of an external mic can't really use it reliably.
As a photo camera, the V1 works less well. It can produce excellent images and its uniquely wide-angle lens will make it worth perservering with, for some photographers. But the small and rather limited controls mean it's not as fun or engaging a camera as the company's previous G-series compacts were.
This isn't the camera's main intent, and if you've been waiting for a compact with an ultrawide lens, that may be worth working 'round. But it's worth being aware that you may feel that you're having to coax something out of the camera it wasn't particularly designed to do.
As a vlogging camera its range of capabilities and ability to accommodate a range of users and vlogging styles earns it our silver award. It's a powerful piece of kit for getting your message out to the world.
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Canon PowerShot V1 Category: Enthusiast Large Sensor Compact Camera |
Build quality Ergonomics & handling Features Metering & focus accuracy Image quality (raw) Image quality (jpeg) Low light / high ISO performance Viewfinder / screen rating Optics Performance Movie / video mode Connectivity Value | PoorExcellent | ||||
Conclusion The PowerShot V1 is a capable vlogging tool that will support a wide range of vloggers and a wide range of vlogging styles. It's less compelling just for photos, but if you plan primarily to shoot video, it's pretty powerful. | |||||
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The PowerShot V1's most obvious peers are two of Sony's ZV series of vlogging cameras.
The Sony ZV-1 Mark II is the most direct competitor, with is 18-50mm equivalent lens. That lens has an F1.8-4.0 maximum aperture, which sounds impressive next to the V1's F2.8-5.6 zoom, but if you factor-in sensor size, the difference is much less pronounced. The V1 is likely to perform around a third of a stop less well in low light and in terms of depth-of-field at the wide end, and around two thirds of a stop better at the long end. Its larger sensor should give it the edge in good light.
The Sony is a lot smaller than the Canon, its autofocus that bit more reliable and its 'product showcase' mode is more readily accessible and controlable. Conversely, we found the Canon's stabilization to be more effective than the Sony's, giving smoother output and being less prone to the distracting grab-and-release effect if you intentionally pan. The Canon also has a 4K/60 option, that the Sony lacks, making it our choice overall.
And, despite our reservations about the V1 as a photographers' compact, its larger sensor and wider lens make it a more appealing option, despite its significantly greater size.
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The other real rival is Sony's ZV-E10 Mark II, a mirrorless camera built around an APS-C sensor. It's an appreciably larger sensor that's much faster to read out, and it has the same advantages in terms of autofocus. Its interchangeable lens design gives you more flexibility overall but means you end up with a larger camera/lens combination and a larger bill, as soon as you add something like the Sony 10-20mm F4 PZ G power zoom to approximately match the V1's range. Again, the V1 looks like a better-judged package, unless you specifically need an unusual lens, the attractive S-Cinetone mode or will benefit from its less-cropped, higher quality 4K/60 capability.
As a stills camera the V1 also out-points the ZV-E10 II, as Sony has omitted to include a mechanical shutter or physical stabilization: features you need to move up to the a6700 to gain.
Much as we were left cold by the V1 as an enthusiast compact, it is essentially your only option if you're looking for something plausibly pocketable with decent image quality and an ultrawide lens, it's essentially the best option purely as a consequence of being your only option.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
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| Image: Tamron |
Tamron has announced the 16-30mm F2.8 Di III VXD G2, a wide-angle full-frame zoom lens for Sony E mount and Nikon Z mount. It slots into the company's fast zoom lineup alongside its 28-75mm and 70-180mm F2.8 G2 lenses.
Tamron says the lens is a sequel to its 17-28mm F2.8 Di III RXD from 2019. Compared to that lens, the G2 obviously has a slightly wider zoom range and includes updates to the autofocus system. The older model used a stepper motor, while the new one uses the company's "VXD" linear motors. There's a single customizable function button.
The body is also moisture-resistant and includes a USB-C port that you can use to connect it to Tamron's lens customization software. The lens has a 67mm filter, the same as Tamron's 28-75mm and 70-180mm F2.8 lenses.
Optically, the 16-30mm F2.8 Di III VXD G2 has 16 elements in 12 groups and a 9-blade aperture that Tamron says is "almost perfectly circular up to two stops down from" its max setting. At the wide end, it has a minimum focusing distance of 0.19m (7.5"), and at the long end, it can focus on objects as close as 0.3m (11.8"), giving a maximum reproduction ratio of 1:5.4.
The lens will retail for $929; that's $30 more than the previous model, though given the extra range and faster autofocus system, that's hard to complain about. It will be available for E mount on July 31 and for Z mount on August 22nd.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Press release:
July 1, 2025, Commack NY – TAMRON Americas announces the launch of the 16-30mm F/2.8 Di III VXD G2 (Model A064), an ultra wide-angle lens in two full-frame mirrorless camera mount: the Sony E-mount will be available on July 31 and the Nikon Z mount on August 22. Both mounts will retail for $929 USD.
Expanding upon the success of the highly acclaimed TAMRON 17-28mm F/2.8 Di III RXD (Model A046), the 16-30mm F/2.8 Di III VXD G2 (Model A064) emerges as an advanced G2 (second-generation) model. While broadening the zoom range, the lens maintains a compact, lightweight design and delivers exceptional image quality. In addition, it features improved autofocus performance and has been updated to the latest lens design, enhancing overall operability. The lens is also compatible with the TAMRON Lens Utility™ that lets you customize practical functions for both photography and videography. Retaining the mobility and versatility of its predecessor, the 16-30mm F2.8 G2 unlocks new creative possibilities.
With the release of the 16-30mm F2.8 G2 ultra wide-angle zoom, the fast G2 trinity, "Daisangen1" is now complete2, alongside the standard zoom 28-75mm F2.8 G2 (Model A063) and 70-180mm F2.8 G2 (Model A065) telephoto zoom. Together, these lenses cover the extremely versatile 16mm to 180mm range, making them ideal for virtually any scene. Experience the perfect blend of performance and functionality, making professional-level photography more accessible than ever.
Product Features
1 The term "Daisangen" originates from the game of mahjong, where it refers to a winning hand made by collecting three sets of dragon tiles. Drawing from this concept, the photography industry uses the term "Daisangen lenses" in Japan to describe a set of three zoom lenses—a wide-angle, a standard, and a telephoto—all featuring a constant F2.8 aperture throughout their zoom range.
2 For Nikon Z mount, available only with 16-30mm F2.8 G2 and 28-75mm F2.8 G2 as of June 2025.
| Principal specifications | |
|---|---|
| Lens type | Zoom lens |
| Max Format size | 35mm FF |
| Focal length | 16–30 mm |
| Image stabilization | No |
| Lens mount | Nikon Z, Sony E, Sony FE |
| Aperture | |
| Maximum aperture | F2.8 |
| Minimum aperture | F16 |
| Aperture ring | No |
| Number of diaphragm blades | 9 |
| Optics | |
| Elements | 16 |
| Groups | 12 |
| Focus | |
| Minimum focus | 0.19 m (7.48″) |
| Maximum magnification | 0.19× |
| Autofocus | Yes |
| Motor type | Linear Motor |
| Focus method | Internal |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 440 g (0.97 lb) |
| Diameter | 75 mm (2.95″) |
| Length | 102 mm (4.02″) |
| Sealing | Yes |
| Zoom method | Rotary (internal) |
| Power zoom | No |
| Zoom lock | No |
| Filter thread | 67 mm |
| Hood supplied | Yes |
| Tripod collar | No |
The already leaked Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z and Sony E mount is now officially announced and available for order at B&H Photo.
Additional information on the new lens can be found here:
Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z-mount officially announced
The new Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z/Sony E will be priced under €1,000
Tamron to announce a new 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z-mount
The post The already leaked Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z and Sony E mount is now officially announced appeared first on Photo Rumors.
SG-image officially released the previously reported AF 25mm f/1.8 lens for Sony E and Fujifilm X mount. The new lens is available with four different color rings and is already listed for sale at Amazon Japan (SC-image lenses are also sold on eBay and Ali Express).
Additional information:
Product Overview
This wide-angle lens for APS-C cameras combines an easy-to-use angle of view equivalent to approximately 37.5mm in 35mm format with a large aperture of F1.8. It weighs only about 145g and is a thin and lightweight design with a total length of 32mm, yet it is equipped with a silent and high-speed AF using an STM (stepping motor). From street snapshots to video shooting, it is an "Everywhere Prime" that you can carry around in your pocket at all times.
Main Features
Specification
The post SG-image AF 25mm f/1.8 lens officially released (E/X) appeared first on Photo Rumors.
A new Sony PXW-Z380 camera was registered in Asia. The model is described as a "handheld shoulder-mounted camera" with support for dual-band Wi-Fi and Bluetooth.
Here is an updated list of all recently registered Sony camera models:
Source: Weibo
The post New Sony PXW-Z380 camera registered appeared first on Photo Rumors.
The new OM System OM-5 II camera is not compatible with the FL-LM3 flash
The post What else is new? appeared first on Photo Rumors.
Related posts:
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| Photo: Scott Ferguson |
Figuring out your perfect travel photography setup is quite the balancing act, and often a constantly evolving task. It requires finding a sweet spot between portability (large gear isn't fun to lug around), versatility (travel can bring a wide range of photographic situations) and image quality. Here at DPReview, we are no strangers to travel, with all of us embarking on big trips fairly regularly for both work and vacation. That time spent traveling has allowed us to dial in our preferred cameras and lenses for trips. We're opening up our bags, giving you a glimpse into what we gear nerds like to take along (when we have a choice).
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Fujifilm X100T | F3.2 | 1/340 sec | ISO 400 | Salvador da Bahia, Brazil |
While I always choose the right tool for a specific job, I’ve learned to travel light when I don’t have demanding photo requirements. It wasn’t always that way.
In the past, I often took too much gear, driven by FOMO: a fear of missing out on a once-in-a-lifetime shot. I’d constantly worry about having the right lenses, a tripod, or accessories for every possible situation.
At some point, I realized I was putting more effort into carrying photo gear than enjoying the travel itself. For my next international trip, I took a risk, carrying only my newly acquired Fujifilm X100T. Were there times I wished for more or different gear? Absolutely. But I quickly stopped stressing about what I didn’t have and focused on getting creative with the camera in my hands. That creative challenge has become part of what I enjoy about travel.
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| Fujifilm X100T | F2.0 | 1/105 sec | ISO 3200 | Salvador da Bahia, Brazil Photo: Dale Baskin |
A decade later, the X100 series is still my go-to travel kit, though I now use an X100V, and I’ll often carry Fujifilm’s 28mm equiv wide-angle adapter in case I want a wider perspective. Of course, if I’m going to photograph birds or shoot a wedding, I take the right tools for the job. But for personal travel, it’s usually just my X100V. Even then, I find myself reaching for my iPhone; for many personal memories and shareable moments, it’s the best tool for the job.
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Sigma BF |Sigma 35mm F2 DG DN | F5.6 | 1/500 sec | ISO 250 | Little Britain, London |
Working for DPReview means I'm usually shooting sample images, even when I'm on vacation, so I don't have much choice over which camera I'm shooting with. However, there are combinations of cameras and lenses that I find myself really enjoying, and that I try to recreate on my trips, where possible. And these combinations have evolved over time.
A few years ago, I'd have opted for just a 35mm equiv prime and the smallest standard zoom I could lay my hands on, which typically meant the kit zoom for most systems. But I increasingly find I like to have an 85mm equiv prime with me, too, as I love having a good option for taking portraits when I see my friends and family. My two most recent trips saw me using a 24mm, 35mm, 90mm set of compact primes, and before that, a 24-80ish equiv F2.8 zoom, which fulfilled a similar role. There are pros and cons to both approaches.
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Sigma BF |Sigma 24mm F3.5 DG DN | F8 | 1/200 sec | ISO 100 | Twickenham, London |
But while I've learned this is the range I like to use, I've also found that size is the most important criterion when I travel. That 24-80 equiv was an APS-C lens, meaning it was still comparatively small and light. When I've tried to take a full-frame 24-70mm F2.8, I've come back with almost no photos: the camera having stayed in the hotel room. It's the same story when I tried a three-prime set for medium format: I've got the photos from the occasions I specifically pushed myself to go out and shoot, but failed to capture any of the unexpected moments and incidental shots that would tell the real story of the experience.
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| Sony a7CR | Sony 16mm F1.8 G FE | F2.8 | 1/60 sec | ISO 500 | Paris, France Photo: Mitchell Clark |
Like Richard, my travel kit is generally dictated by what camera or lens I'm currently testing. However, if I'm reviewing a camera and get to choose a lens, I'll typically go for a fast, relatively wide-angle one. Those let me easily capture the people I'm traveling with and whatever sweeping vista we're in, and, in a pinch, can even be used for selfies.
However, I can only get away with that choice because I also take my own personal camera on every trip I take. I'm talking, of course, about the iPhone 15 Pro, which I specifically chose because of its 3x telephoto camera. While I'd prefer one of Apple's smaller, lighter and cheaper non-pro phones, the fact that their second camera is an ultrawide rather than a telephoto one is a dealbreaker for me; I've found a lot more situations where I can't physically get closer to something than ones where I couldn't back up a little.
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| iPhone 15 Pro | 77mm equiv. lens | F2.8 | 1/315 sec | ISO 25 | Las Vegas, USA Photo: Mitchell Clark |
It's nothing like shooting with a dedicated camera, but if I need to take a picture of something quickly or something that's relatively far away, I'll reach for my phone every time...
Or, rather, I'll click the camera button, because it was probably already in my hand, acting as a GPS. I'm very good at getting lost in new places.
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Overhead photo of Mykim Dang's travel cameras and storage solution. |
I shoot more video than photos and am pretty obsessed with traveling as light as possible (when possible). This is a holdover from years of operating as a one-person team dealing with endless connections in different countries with changing rules and regulations. A checked bag is something I avoid at all costs.
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Ricoh WG-80 | Sayulitas, Mexico |
Most of my video work is focused on the outdoors and water-based activities. I tend to keep a few different cameras in my rotation for this reason. My main setup consists of a GoPro (still using the Hero 12 Black), a Sony ZV-1F, a Ricoh WG-80 and some sort of disposable camera. Between these 4 pieces of gear, I find a really nice rotation of video capture for in the water, underwater and on land. I love the variety of source material I have to work with in post. They are all very compact, lightweight and fun to use.
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| Photo: Abby Ferguson |
Even though I travel and adventure a fair amount, I've never bought a dedicated travel setup. Instead, I've used whatever gear I already have, even if it isn't excessively travel-focused. For the past handful of years, that has meant taking my Sony a7 III on trips. Luckily, it offers a decent balance of size and quality.
Lens selection is a bit more complicated, though. My one travel-specific purchase was a compact 35mm F1.8, which I picked up for a work trip to IFA Berlin. It has consistently been included in my travel kit since then, and is often my only lens. When I want a bit more versatility, I will throw in my 24-70mm. Or, for some select trips, I've swapped out the standard zoom for a 135mm prime lens. It's definitely not the most practical (it's far from light and compact) or versatile, but I like the challenge and I enjoy the photos I get with it.
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Pentax K1000 | SMC Pentax-M 50mm F2 | Flic Film Aurora 400 | Honolulu, Hawai'i |
Most recently, though, I've been more drawn to my Pentax K1000 film camera with a 50mm lens as my go-to travel camera. I was recently in Hawai'i for two weeks, and while I had my digital camera, I often only brought my film camera out with me. The size is right, and I love that it forces me to slow down and take in the scene more than I generally do with digital. It also doesn't separate me from what's going on as much, as I can't look at the rear display to check my shots. I take the shot and then move on, returning to enjoying my trip.
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| Photo: Matt Waller |
My camera for a recent street photography trip to London was the OM System OM-5. This cute little guy could be effortlessly carried on long walking days and did absolutely everything a travel/street camera could be asked to do. Its weather sealing shrugged off my one day of London drizzle (with the new weather-sealed 25mm f1.8 prime aboard), the hand-held hi-res 50MP mode came in handy to target the Shard and its superb IBIS made long exposures in the night tunnels of Southwark a breeze.
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OM System OM-5 | OM 25mm F1.8 II | F4.5 | 1/2000 sec | ISO 200 | London |
Yes, it's stuck at face/eye detect AF – which worked flawlessly on the streets. But its greatest power was the ability it gave me to carry a battery of superb little lenses: the 12mm F2 for cathedrals, 75mm F1.8 for occasional portraits, tiny Laowa 7.5mm F2 for skyscrapers – all in my coat pockets, no camera bag required.
Pretty though it is, the thing that really caught our eye about Fujifilm's recently announced X-E5 wasn't a design flourish or aesthetic detail, it was the fact that the company has been taking note of how its users are actually using their cameras.
The film recipe concept, using tweaked versions of the brand's film simulations to give bigger vibes and more expressive looks, is an entirely grassroots development. Up until now, users had had to use the cameras' custom settings banks to capture these recipes, but with the X-E5, there's a dedicated system specifically to do so.
And, intriguingly, Fujifilm has adopted the term 'recipe' directly from its community.
While there are some photographers who'd rather start with a completely blank canvas in a way that a LUT-based system would allow, the option to riff on existing, attractive color modes, created by engineers with lots of built-up experience in the field, has its own appeal.
Now let's hope Fujifilm extends a similar capability to its other current cameras, with one of those firmware updates that inspired the appropriation of the term 'kaizen' in the first place.
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The moon rises over Cerro Fitz Roy and the Fitz Roy massif in Patagonia along the border between Argentina and Chile. I captured this photo during a solo trek through Patagonia, and to this day, I'm amazed that there were basically no other people there. I can't imagine that would be true today. Canon EOS Rebel XT | Sigma 18-50mm F2.8 EX DC Macro | F5.6 | 1/160 sec | ISO 200 |
The theme for our July Editors' photo challenge is "Landscape Showcase."
This is your chance to show us your favorite natural landscape photos! From grand vistas to creative compositions, we want to see your most stunning landscape shots. We know there are some talented landscape photographers here on DPReview, and we can't wait to see your stunning images.
This challenge is also open to stitched panoramas.
Photos can be submitted between Sunday, July 6, and Saturday, July 12 (GMT). It is open to photos taken at any time.
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.
Visit the challenge page to see all the rules
If you are planning to buy any Sony gear before the new price increase that will take effect on Monday, June 30th, consider doing so from one of our sponsors:
The new Sony prices are already live at Adorama.
On May 15, PhotoRumors exclusively reported on the upcoming Sony price increase in the US due to the Trump tariffs.
On May 19th, the new Sony prices materialized in the US.
On June 21st, I reported about a new Sony price increase coming to the US on June 30th:
Yesterday, SonyAddict already noticed another Sony price increase in the US:
Sony a1II $500 Price Increase Spotted at B&H Photo – More Increases to Come?
I have now received the new Sony price increase list that will take place on Monday, June 30th:
Cameras:
Lenses:
Here are the original tables:
The post Another Sony price increase coming to the US on June 30th? appeared first on Photo Rumors.
The new Brightin Star 28mm f/2.8 olive green limited edition lens comes with a free Z/RF/E/X/L/GFX lens mount adapter and UV filter if you purchase it directly from the Brightin Star official website:
The lens is also available for sale on Aliexpress, but without the free adapter. Amazon is already sold out.
Check all available Brightin Star lenses here.
Additional information on the Brightin Star 28mm f/2.8:
This new Brightin Star 28mm f/2.8 olive green limited edition lens comes with a free Z-mount adapter
Back in stock: Brightin Star 28mm f/2.8 olive green limited edition lens for Leica M-mount
New and almost sold out: Brightin Star 28mm f/2.8 olive green limited edition lens for Leica M-mount
New Brightin Star 28mm f/2.8 lens for Leica M-mount announced
Via NikonRumors
The post The new Brightin Star 28mm f/2.8 olive green limited edition lens comes with a free Z/RF/E/X/L/GFX lens mount adapter appeared first on Photo Rumors.
The next drone announcement from DJI will be a new Mini 5 Pro, which will replace the current Mini 4 Pro model. Here is what we know so far on the Mini 5 Pro:
Via dronexl
The post More DJI Mini 5 Pro drone leaks and rumors appeared first on Photo Rumors.
Here are some newly leaked pictures of the upcoming DJI Osmo 360 camera that is expected to be officially announced in July (previous coverage can be found here):
Previously leaked pictures:
Source: Igor Bogdanov
The post More leaked DJI Osmo 360 camera pictures appeared first on Photo Rumors.
This week, we released our review of the Fujifilm GFX100RF, and we're deep into the review process for the Canon PowerShot V1. Editors Richard Butler and Mitchell Clark sat down with director of video and social Mykim Dang to discuss the cameras and the community's reaction.
The video touches on several topics: the PowerShot V1's capabilities as a vlogging camera versus how it performs as an enthusiast compact, the GFX100RF's placement as a luxury product and weirdness around flashes and leaf shutters.
IDSworks announced new modular base plate and L-bracket for Sony cameras compatible with the A1/A9III/A7R5/A7R4/A7m4/A7m3/a7s3 models (additional information is available here):
IDS Works released a new modular grip + base plate for the Fujifilm GFX100RF camera
New: IDSworks modular base plate and L-bracket attachment for Fujifilm GFX series
IDSworks announced new modular base plate and L-bracket for Hasselblad X2D cameras
Just announced: IDSworks grip for the new Fuji X100VI camera
The post IDSworks announced a new modular base plate and L-bracket for Sony cameras appeared first on Photo Rumors.
Here is a mockup of a Panasonic camera with interchangeable lenses inspired by the Leica Q design. Panasonic, please make this camera with an L-mount!
The post Panasonic, make this camera please (Leica Q inspired interchangeable lens camera) appeared first on Photo Rumors.
Artralab Noxika 28mm f/2.8 full-frame limited-edition lens for Nikon Z-mount now open for pre-order
An impressive and very long list of all awards the Pentax/Ricoh brands received over the years
Leica 0-Series No. 112 prototype coming up for auction: one of the rarest cameras in history
New from Akara Labs: Leica Q2 and Voigtländer Bessa Slim Skin camera cases
The Leica BP-SCL7 lithium-ion battery is now available in olive green and glossy black
Olympus M.ZUIKO DIGITAL ED 300mm f/4 IS PRO lens listed as discontinued in Japan
The post What else is new? appeared first on Photo Rumors.
A recent video shared by All Arts TV profiles the late Beuford Smith, a self-taught street photographer who captured iconic images in New York City in the 1960s and beyond. The video was the inaugural episode of the publication's new "The Darkroom MCs" series and is one of the last interviews Smith gave before his passing on June 7, 2025. In it, Smith talks about his career, what distinguishes someone's style and his darkroom process.
Smith was a prominent figure in capturing Black life and culture. He documented pivotal moments in the Civil Rights Movement and photographed the likes of Malcolm X, drummer Elvin Jones and jazz pianist Barry Harris. His accomplishments include serving as president emeritus of the Kamoinge Workshop, creating "The Black Photographers Annual," having photographs in the MoMA permanent collection and more.
In the video, Smith talks with hosts Russell Frederick and Anderson Zaca about how good photographs are everywhere. "You don't have to travel to Timbuktu or Peru or anyplace to take photographs," Smith says. "They're right in front of you, you just have to be able to see them and take them." As someone who sometimes grumbles about picking up a camera when I'm in a place that I deem boring, I really appreciated this reminder.
Smith also delves into the technical aspects of his darkroom work, a topic he noted was, frustratingly, rarely discussed in interviews. He walks Frederick and Zaca through a selection of his prints, demonstrating the importance of light and shadow, and explaining his exacting standards for print quality and style. He even reveals that he turned down the opportunity to purchase an Ansel Adams print for $125 because he didn't like its print quality.
Finally, Smith also shows a photo he created of Malcom X, which he said was simply a "self-assignment." Even though he didn't take the image for a paid job, it has been one of his best-selling prints, and the Whitney Museum bought a print of the photo for $6500. It's yet another push to just get out there and create photographs, even if you don't know what could happen with them down the line.
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