The Yashica FX-D 100 appears to be modelled on the FX-7 Super SLR sold by the original Yashica company (and reportedly manufactured by Cosina) in the early 1980s.
Image: Yashica
In all the buzz and chatter around the launch of Fujifilm's X half, we missed the quieter announcement of another digital camera with a film advance lever: the Yashica FX-D 100. This has now been joined by two sister models, the FX-D 300 and FX-D S300. All three cameras are being funded via Kickstarter.
The FX-D 100 and FX-D 300 have a blanking plate where you'd expect a viewfinder.
Image: Yashica
All three cameras are designed to approximately resemble the original Yashica FX-7 Super film SLR, but a fair bit smaller. All three are built around very small sensors. The least-expensive FX-D 100 model has an optical zoom lens, while the more expensive FX-D 300 and S300 have a fixed lens with a ring around the lens controlling digital zoom / cropping. Only the most expensive of the three models has an electronic viewfinder, the other two have a blanking plate over the back of the finder hump.
FX-D 100
FX-D 300
FX-D S300
MSRP ('Early bird' price)
$359 ($239)*
$549 ($339)*
$679 ($459)
Pixel count
13MP
50MP
50MP
Sensor size
Type 1/3 (17mm²)
Type 1/1.56 ()
Type 1/1.56 ()
Lens
3.45-10.5mm F1.6-2.8 (25-mm equiv)
5.68mm F1.8 (24mm equiv)
5.68mm F1.8 (24mm-equiv)
Stabilization
No
Yes, 3-axis
Yes, 3 axis
EVF
No
No
1.44M dots (800x600px)
Focus options
MF / AF
AF / Full-timeAF
AF / Full-time AF
*Campaign ended
The FX-Ds are the second generation of digital cameras to be sold via Kickstarter, following the revival of the Yashica name on the Y35 camera in 2017, which raised over $1M on the platform. That camera, which also married a small sensor and film simulation concept to a design that visually mimicked a film-era Yashica camera, was met with reviews that ranged from critical to scathing.
The FX-D 300 and S300 have a fixed 24mm equivalent lens that can crop to deliver the 60mm equiv field of view listed on the front of the camera. All three FX-D models have flip-forward LCDs.
Image: Yashica
Somewhat concerningly, the FX-D 100's lens specs are a match for the company's City 100 model, which again, hasn't been well received. Both '300' models use the same 50MP sensor and 24mm equiv prime lens used by the upcoming City 300, which promises a 24-60mm equiv range, by cropping into an 8MP region to give the 60mm equivalent view.
Unlike the Y35, all three FX-D cameras have a (fold-forward) rear screen and let you choose between film simulation modes without having to slot a 'film' module into the back of the camera. All three cameras include six virtual filmstocks:
Ruby 60s
Sapphire 70s
Yashica 400
Golden 80s
Mono 400
Black and White 400
The company says it's working on building Raw capability into the FX-D 300 models.
The FX-D S300 has an 800 x 600px (1.44M dot) viewfinder.
Image: Yashica
The Yashica name appears to currently be owned by a Hong Kong company called JNC Datum Tech, which is owned by the MF Jebsen Group. It has been used for a wide range of products, including being licensed to Kickstarter film module company, I'm Back.
This is a slightly different situation to Kodak, where the post-bankruptcy remains of the original Eastman Kodak company still controls who gets to license and use its brand name.
Happy Friday, folks. Outside of the significant firmware update for the Nikon Z8 (which has had some drama since being available for download), it's been relatively quiet on the firmware front. That said, there are some minor updates for Nikon, OM System, Fujifilm and Sigma cameras and lenses. Read on to see what's new.
Nikon
First and foremost, a PSA. The firmware update for the Nikon Z8 was officially made available for download at the beginning of July, but with it came some trouble. First, updating to the Z8 Ver 3.00 could result in functionality issues with Tamron lenses. Tamron says it's working on a solution, but there hasn't been an update at the time of writing. You may want to hold off on updating your Z8 if you use Tamron lenses as a result.
Perhaps more significant is that Nikon (and Viltrox) issued a warning not to update your camera's firmware with third-party lenses or mount adapters. This warning was initially only on the Z8 firmware download page, but is now also on other recent firmware pages.
Nikon hasn't specified what could happen if you don't listen to that advice other than saying it "could result in camera malfunction." If you are updating to any of the firmware options below, please make sure to remove any third-party lenses and mount adapters.
With that out of the way, here's what's new for Nikon cameras.
Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
The subject detection function became available during manual focus.
The subject detection area selection is now available for manual focus.
Added support for “Flexible Color” Picture Controls.
Added a [C15] high-speed frame capture + release mode option.The image quality for high-speed frame capture + can now be set separately from other release modes.
Added [High ISO NR mode] in [PHOTO SHOOTING MENU] that allows to select a noise reduction processing mode.
Added frequency setting mode to [High-frequency flicker reduction] in [PHOTO SHOOTING MENU] that allows frequency presets to be configured.
[Options] has been added under [Focus shift shooting] in the [PHOTO SHOOTING MENU] to allow [Pixel shift shooting] to be used together with focus shift shooting.
[Options] has been added under [Pixel shift shooting] in the [PHOTO SHOOTING MENU] to allow [AE bracketing] to be used together with pixel shift shooting. [Starting storage folder] has also been added.
[Pixel shift shooting] options can now be set when the self-timer mode is selected.
Added and changed the following functions to [Auto capture] in [PHOTO SHOOTING MENU].
Date and time to start auto capture can now be configured in advance
Auto capture is now available with camera’s manual focus settings
The appearance and some item names in the settings display have been changed
The detection range available for [Advanced: Distance] has been extended
Auto capture is now compatible with the new [C15] release mode option
A yellow frame is now displayed during auto capture
The Profoto A10’s continuous LED light can now be used as an AF-assist illuminator. Note: The firmware update is needed for Profoto A10. See Profoto’s corporate website for details.
Video Recording
Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
The subject detection function became available during manual focus.
The subject detection area selection is now available for manual focus.
Added support for “Flexible Color” Picture Controls.
Added and changed the following functions to [Auto capture] in [VIDEO RECORDING MENU].
Date and time to start auto capture can now be configured in advance
Auto capture is now available with camera’s manual focus settings
The appearance and some item names in the settings display have been changed
The detection range available for [Advanced: Distance] has been extended
A yellow frame is now displayed during auto capture
Selecting [ON] for [Hi-Res Zoom] in the [VIDEO RECORDING MENU] now displays a focus point on the detected subject in the shooting display.
Added a function to include file names used in the camera when recording videos to an external recorder that supports file name transmission via HDMI. The following Atomos external recorders support this function (as of May 2025).
Ninja V *
Ninja V+ *
Ninja (2023 models)
Ninja Ultra
Shogun (2023 models)
Shogun Ultra
Shogun Connect * * Some recorders may require an ATOMOS OS upgrade or paid activation of the recorder. Contact ATOMOS for details.
Playback
Added [Date] to [Filtered playback criteria] in playback menu and playback “i” menu.
Added [Customize retouch options] to [Retouch] in the playback “i” menu.
Added [Auto-rotate during playback] to the playback menu. Controls
Added a [Maximum aperture Lv] item to the [CUSTOM SETTINGS MENU] in position of a14.
Added a [Focus limiter setting] item to the [CUSTOM SETTINGS MENU] in position of a16.
Added a [Minimum] option to Custom Setting c2 [Self-timer] > [Interval between shots] in the [CUSTOM SETTINGS MENU].
Added [Auto capture] to the roles assignable to the “i” menu via [CUSTOM SETTINGS MENU] > f1 and g1 [Customize <i> menu].
Added assignable custom controls and roles to the following items in the [CUSTOM SETTINGS MENU]. Also, the options for [Zoom on/off] have changed.
f2 [Custom controls (shooting)]
g2 [Custom controls]
Added assignable custom controls and roles (for example, [Jump to the source image] and [Trim]) to [CUSTOM SETTINGS MENU] > f3 [Custom controls (playback)].
Network
Added [Wi-Fi connection (STA mode)] which allows you to connect the camera to the smart device via a wireless LAN access point.
Port numbers can now be specified using [Connect to FTP server] in [NETWORK MENU].
Added [Upload in HEIF format] to [Connect to FTP server] > [Options] in [NETWORK MENU]. Note: Converted HEIF images are not stored on the memory card.
Other Changes
Voice memo recording is now available with external microphones.
The speed at which the camera cycles through focus points using the multi selector or sub-selector no longer slows down when changing direction.
The tonal characteristics have been changed when [ON] is selected for Custom Setting g14 [View assist] in the [CUSTOM SETTINGS MENU].
The camera now records company and model names in the video metadata recorded with [ProRes 422 HQ 10-bit (MOV)] selected for [Video file type] in the [VIDEO RECORDING MENU].
Added support for “NX Field*”, a remote shooting system for corporate users.
* Visit the “NPS” website for overview and user’s manual of NX Field.
Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).
Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).
Changed the camera name displayed when pairing with SnapBridge.
Changed the camera name displayed on USB-connected devices when [iPhone] was selected for [USB] in the [NETWORK MENU].
Renamed d13 [Display on during burst] in [CUSTOM SETTINGS MENU].
“FILM CAMERA MODE” is unintentionally deactivated when the shutter release button is held down fully for about 1 second after “AUTO POWER OFF” is activated with “FILM CAMERA MODE”.
The thumbnail image of the recorded image may become abnormal in rare cases if the “Frame Advance Lever” is operated so quickly after shooting with the “GRAIN EFFECT” setting ON in “FILM CAMERA MODE”.
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We tried to make vlogging the main focus of our Canon PowerShot V1 review, but we know that its combination of a large sensor and unusually wide lens caught the attention of a lot of photographers.
We also thought about how it stacked up in that regard, and found it's a little closer to RX100 territory than G1 X levels of usability. Unfortunately it's not RX100-like in terms of size.
Of course if you really want a relatively small camera with an ultrawide lens, the V1 is one of your only choices. In which case, it's still worth considering, but we thought we should make clear what the experience is like, before you commit your money to it.
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Photo: Richard Butler
When we reviewed the Panasonic S1RII, we chose to mainly focus on its stills performance, as Panasonic had already announced it was working on a software update to add several additional video modes. That update recently arrived, so we took the S1RII back to our studio scene to evaluate its performance across its wide variety of framerates and resolutions, including the newly added 8.1K open-gate mode.
Image Comparison
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Let's start by looking at that mode, which records a 3:2, 8064 x 5376 image using (almost) the entire sensor. Unsurprisingly, it offers a noticeable increase in detail captured compared to the downsampled ~∼6K open-gate capture that Panasonic originally shipped with the camera, and the 6K open-gate modes found in its other models like the S5II/X and S9. Most people shooting in this mode will be doing so because they want flexibility to reframe their shots in post, and the higher resolution offers even more of that; you can crop in even further while still retaining a native 4K resolution.
The camera's UHD 8K and 1.89:1 "8.1K"* capture are derived from this open-gate region, and have the same level of detail, though are less flexible in post thanks to their more delivery-ready aspect ratios. Still, if you plan on outputting in 4K, they'll offer at least some room to move the frame around.
Standard 4K 24p output is on par with the oversampled modes from other high-res cameras like Canon's EOS R5 II and the Nikon Z8, though the S1RII's rolling shutter rate will be considerably higher; see the chart below for its readout speeds. Compared to those cameras' subsampled 4K modes, which are mainly useful for avoiding overheating or accessing higher framerates, the S1RII's footage provides finer detail.
UHD
DCI
Crop
Rolling shutter
Crop
Rolling shutter
8K, 5.xK*, 4K 30/25/24
1.00
24.9ms
1.00
22.4ms
5.xK*, 4K 50/60
1.11
15.4ms
1.04
15.3ms
4K 100/120
1.17
7.3ms
1.10
7.3ms
4K/30 DRExp*
1.00
31.7ms
1.00
29.8ms
*8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD
The story is much the same at 60p, where the S1RII's 4K footage retains a similar level of detail found in the 24p mode, which is good news for anyone hoping to slow their footage down a mild amount, or who prefer the hyper-real look. It does, however, come with a slight crop, and the lower rolling shutter rates strongly imply that it's derived from a 12-bit readout rather than a 13-bit one.
While 60p isn't available in the open-gate modes, you can shoot it at greater-than-4K resolutions; it's available in the 16:9 5.9K mode and the 1.89:1 5.8K mode, which offer slightly more detail than their 4K counterparts.
120p is only available in 4K resolutions, and the capture has a noticeable loss in detail compared to lower framerates; the S1RII is obviously skipping lines to achieve these readout speeds. (Spoiler: Panasonic makes cameras with faster sensors much better suited to shooting at 120p if that's vital to you; stay tuned.)
Raw video
The S1RII has several options for Raw video recording, including the ability to output 8.1K open-gate Raw to a supported BlackMagic or Atomos recorder via HDMI as of the latest firmware update. It can also record ProRes and ProRes Raw to a CFexpress card using an up-to 5760 x 4030 native-pixel crop (though there are currently no 16:9 options).
Raw video doesn't offer the dramatic benefits that stills shooters may be used to
We'd only recommend a Raw workflow to those working on professional productions that have a compelling reason to use it. While Raw recording can offer more flexibility to adjust parameters like white balance and brightness ('ISO') in post, as we've detailed before, it doesn't offer the dramatic benefits that stills shooters may be used to from comparing Raw and JPEG files.
Shooting Raw also requires substantial post-processing to add back in noise reduction and sharpening. And while ProRes Raw gained support for lens correction data in 2023, Panasonic's implementation currently doesn't support it, unlike Canon or Nikon's cameras. This adds further work if you're shooting with modern lenses designed with geometric distortion correction as part of their optical formulas instead of older or cinema glass (which, realistically, is what most people shooting Raw will be using).
Despite all the modes we've covered, this article is far from comprehensive. The S1RII has an overwhelming number of resolution and framerate combinations; more than any single filmmaker or videographer is ever likely to use, but enough that it's flexible enough that pretty much anyone could use it to accomplish their goals.
It provides exceptional image quality at its higher resolutions, and its standard 4K options are also on par with the best hybrid cameras around, even when bumping up to higher framerates. While it can't match Stacked sensor cameras in every spec, it's also considerably cheaper and provides a suite of video assistance and workflow tools that's unmatched by other companies' hybrid mirrorless cameras.
* The S1RII's sensor doesn't quite have enough pixels to capture the 8192 x 4320 DCI 8K standard
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Sony a7R V | Tamron 16-30mm F2.8 Di III VXD G2 | F2.8 | 1/30 sec | ISO 400 Photo: Mitchell Clark
This week, Tamron announced the 16-30mm F2.8 Di III VXD G2, a wide-angle zoom lens for Sony E mount and Nikon Z mount. We've gotten the chance to shoot with it in a variety of scenarios, and have put together a sample gallery to give you some idea of how it performs. We've also added a few new photos since we originally published the gallery alongside the announcement of the lens.
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.
Sample gallery
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Nikon has recently released a feature-packed update for the Z8, but its rollout appears to have hit a few snags with regards to third-party lenses.
Issues updating
Nikon users looking to update their camera's firmware should first remove any third-party lenses, according to warnings from Viltrox and Nikon. Failing to do so could cause issues with lens functionality.
A warning on the newly released Nikon Z8 firmware download page says, "Do not update the camera firmware with lenses other than Z-mount NIKKOR lenses or mount adapters other than FTZ II/FTZ attached." It goes on to say that not following that warning could cause "camera malfunction."
Viltrox also has a statement on its website saying essentially the same thing as Nikon. "We’ve recently become aware of a new notice issued by Nikon, advising users not to update their Nikon camera firmware while a third-party lens is attached, as this may cause potential issues or malfunctions," the statement reads, in part. Viltrox instructs users to reach out via info@viltrox.com if they experience issues after a firmware update.
While the companies don't specify what the potential malfunction is, it appears that the Z8 update could impact communication between the camera and lens, causing issues with autofocus or potentially rendering the lens inoperable.
Post-update issues
Tamron has also issued a statement about the new firmware, but it appears to be about issues occurring after the upgrade, not during it. "After updating the Nikon Z8 to firmware version 3.00, some TAMRON lenses may experience limitations in functionality," the company says, adding that its team is "working hard to analyze the cause and find an appropriate solution."
DPReview readers have been sharing what they've encountered since updating their Z8's firmware on our forums. One DPReview reader shared that all of their Tamron lenses stopped working after updating the Z8 firmware. Another said their Tamron 70-300mm only works when the Focus Limiter setting is off after updating the Z8 firmware.
The issues seem to be exclusive to the Z8 firmware and not smaller firmware updates that recently came out for Nikon's other cameras. However, to be safe, it's best to remove any third-party lenses or third-party adapters before updating any Nikon firmware. If you've already updated your Z8 firmware to Ver 3.00 and are having issues, you could try downgrading to Ver 2.10.
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We tried to make vlogging the main focus of our Canon PowerShot V1 review, but we know that its combination of a large sensor and unusually wide lens caught the attention of a lot of photographers.
We also thought about how it stacked up in that regard, and found it's a little closer to RX100 territory than G1 X levels of usability. Unfortunately it's not RX100-like in terms of size.
Of course if you really want a relatively small camera with an ultrawide lens, the V1 is one of your only choices. In which case, it's still worth considering, but we thought we should make clear what the experience is like, before you commit your money to it.
The New York Times article focuses primarily on Kodak Apparel, a licensee of the Kodak name in South Korea
Photo: Kodak Apparel
An article in the New York Times draws attention to the way the Kodak brand is being used, now that the company itself has left the consumer photo market. It gives an interesting insight into the value of legacy photo brand names in a time when online retail is flooded with near-infinite choice and seemingly ephemeral branding.
Eastman Kodak, these days primarily an industrial printing business, licenses the classic Kodak name and branding to 44 different companies. Its name is now used on everything from clothing to eyeglass lenses (via RayBan maker, EssilorLuxottica), solar panels to camera straps, TVs and paint.
In the camera space alone, its name is used by JK Imaging, which makes Kodak-branded PixPro digital cameras (having previously used 'GE' branding). Prinics and C + A Global, which make Kodak-branded instant cameras for different markets, Meta Imaging, which makes 35mm film compacts and Reto Production, which makes the Kodak Ektar-branded half-frame film cameras.
The risks of licensing
And while this may sound like the company is just lending its name to anyone with a checkbook, there's a risk to picking the wrong partners. As it identified in the 'risks' section of its annual report, any harm to its brand or reputation can damage the company's bottom line. As it points out: "Consumers and the public may view the products and activities of brand licensees as the products and activities of Kodak."
The Kodak Thrust UAV Riot sport drone, launched in conjunction with an education company, wasn't even Kodak's most ill-judged licensing exercise of 2018.
Look at the company's figures and it starts to make sense why Eastman Kodak casts its net so wide. In terms of revenue, Eastman Kodak's 'Brand' division, responsible for licensing, seems small. It generated $20M in 2024, making up just 1.9% of sales for a company with revenues of around $1BN. However, since there are very few costs associated with this income, Brands contributed $17M to the company's earnings, before interest, taxes, depreciation and amortization: 65% of the annual earnings associated with its different divisions.
The recently released Kodak PixPro C1, a $99 compact with a Type 1/3 (4.8 x 3.6mm) sensor and a fixed 26mm equiv lens. Licensing the name to companies such as JK Imaging, which makes the PixPro range, generates more income for Eastman Kodak than manufacturing photo film does.
Image: Kodak / JK Imaging
And, although it's not possible to pull out exact figures, it's worth noting that Kodak Alaris, the company that owns the former Eastman Kodak photo film business, tends to make up around 34% of the revenues of the 'Advanced Materials and Chemicals' division, which contributed a similar $17M to EBITDA. In other words, allowing the brand name to be used on all those clothes, USB drives and digital cameras generates somewhere around three times more income for Eastman Kodak than manufacturing photo film does.
Heritage, misfires and zombie brands
To us, Kodak Apparel looks like a thoughtful way to use the brand without undermining its heritage, which isn't always the case. So we're planning to look at a few other grand (and not-so-grand) names from photo history that are still being used today. Let us know if you've seen any especially ill-judged bits of branding, or examples of zombie brand names that are inexplicably still being reanimated.
Sony has increased US pricing for most of its imaging products, seemingly in response to tariffs levied by the country. While the company raised prices for some of its lenses and cameras back in May, it wasn't an across-the-board increase, as some gear, such as the a7R V, was untouched. However, that's no longer the case – very few products are left at the prices they were at the beginning of the year.
To see the changes, we looked at pricing at B&H, Sony's US website and Amazon, and compared those to launch prices and historical pricing at those sites. Of the items we looked at, the increases ranged from 7% to 34%, though the average fell right at 13%. Even gear that was initially unscathed by tariff pricing has now been impacted. The aforementioned Sony a7R V was still at its original MSRP of $3,900 in May, but it is now up to $4,200.
Sigma, Nikon and Canon have all increased prices by around 10%, which is in line with the 10% baseline tariff placed on imports from almost all countries. Sony's 13% isn't well beyond that, so it's possible there are multiple factors at play, or it could entirely be tariff-based. Sony has yet to comment on tariff-related prices publicly, so there's no official word on how various products have been impacted.
Either way, these higher prices raise questions about what happens come July 9, when the 90-day pause on the full tariff rates is set to expire. After that date, tariffs could jump to 24% on Japanese goods, 37% on imports from Thailand and 46% on Vietnamese products, depending on how negotiations play out. The pause on full tariffs on goods from China runs through August 12. It appears that a deal with China is in the works, but there's still a chance that prices on Chinese-made goods could rise substantially for US customers. Sony could absorb some of the higher costs, but given how high some of the rates are, it seems possible that prices could rise even further if trade deals aren't worked out soon.
Connexion
