The registration for the 2026 CP+ Camera and Photo Imaging Show is now open, and the show's dates have been officially announced: February 26 - March 1, 2026. Previous coverage of the CP+ show can be found here:
Check also the 2024 CP+ report here.
The post 2026 CP+ Camera and Photo Imaging Show dates announced appeared first on Photo Rumors.
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| Images: Canon |
Canon has introduced the Speedlite EL-1 V2, though the changes are extremely subtle. The latest flash shares nearly all specs with the original EL-1, with only two minor differences in flash power and battery life.
The EL-1 V2 offers a slightly lower guide number than the EL-1. The original model's guide number is 14.1m (46.3') at ISO 100 for the 14mm position, while the EL-1 V2 is 14m (45.9') with the same settings. At the 200mm position, the EL-1 offers a guide number of 60m (196.9') at ISO 100, while the EL-1 V2 is 2m (6.6") less.
The new model also offers a small increase in battery life. Canon promises 340 full-power flashes per charge with the EL-1 V2, 5 more than the original EL-1. Given that there's slightly less power, that slight bump in battery life makes sense.
Other than those two things, the EL-1 and EL-1 V2 are identical and looks, size and other specs. Both are designed for professional users and offer 24-200mm coverage, a 0.9 second recycle time, an active cooling system, three flash modes and the same wireless radio control technology. Like the original, the EL-1 V2 is also weather-sealed, making it possible to use the flash in poor weather conditions.
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| Images: Canon |
Hopefully, availability will be the most significant change here, though. Canon's EL-1 has had stock issues for a long time. PetaPixel reported last year that some users had been waiting a year for the flash. Even since then, it's consistently been out of stock at B&H and Canon's website, as is the case at the time of writing. Perhaps Canon addressed some of its production process that will enable it to keep the new model in stock.
The EL-1 V2 also comes with a steeper price tag for US customers. It costs $1349, whereas the EL-1 launched at $1099 in 2021 and currently sells for $1199. That's up 12.5% from the current price of the EL-1, which is roughly in line with Canon's pricing increases related to the US tariffs. It does appear that the cost of the EL-1 V2 outside of the US may be consistent with the current price of the EL-1, coming in at £1229.
You can preorder the Canon Speedlite EL-1 V2 as of today through B&H and Canon. Canon has an estimated arrival date of September 25, though, so you'll still have to wait a bit to get your unit.
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The RX1R III is Sony's latest full-frame, prime lens compact. It's a 61MP update of a series that dates back to the original RX1 in 2012 and that hasn't seen a refresh since 2015's RX1R II.
But a lot has changed in that time. The original RX1 arrived a year before Sony introduced its first full-frame photo-focused mirrorless camera, the a7. Since then we've seen four generations of a7, five of the high resolution a7R series and, more recently the introduction of the more compact a7C models. It's these, and the high-resolution a7CR in particular, that draw the RX1R III's specs into sharp relief.
Especially given the a7CR was launched for $3200/€3700/£3200, whereas the RX1R III has a list price of $5100/€4200/£4200.
Does the cheaper, more flexible camera obviate the need for an updated RX1, or is there more to the story? We dig a little deeper.
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It's entirely fair that people would look at the RX1R III and wonder whether Sony's budget high-res a7CR model can't do more, for (a lot) less, mainly because of the high degree of commonality between the two cameras' spec sheets.
Both cameras have the same 61MP full-frame BSI sensor at their heart, and combine this with Sony's latest Bionz XR processors and "AI processing unit," meaning the two cameras should provide comparable image quality, speed and AF capabilities. The co-processor is dedicated to running the complex algorithms developed by machine learning to recognize and track a range of subjects.
They also share the same viewfinder: a 2.36M dot unit with optics that deliver 0.7x magnification. That resolution is relatively low by modern standards, but is one of the highest available in the 0.39 Type (∼8 x 6mm display) panel format. Most higher resolution displays are 0.5 Type (10.1 x 7.6mm), which take up more space with a larger panel, surrounding case and optics. In both these models, the EVF panels have been chosen to minimize the amount of camera taken up by the viewfinder.
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The key difference between the two cameras is probably size. The a7CR is very small for a full-frame ILC, but that's quite a significant qualifier. The RX1R III's body is significantly smaller, in practice, than the a7CR's.
Add in a lens and the difference becomes even greater. The RX1R III's lens pushes back almost to the point of touching the sensor, whereas the a7CR has to leave room for a mechanical shutter and lens mount between the sensor and the rear element. Though of course the a7CR lets you select from lots of lenses if you're willing to be a little flexible on focal length and aperture.
For some users, the difference isn't going to be meaningful: once a camera is too large to be pocketable, the degree to which it's not pocketable isn't as important. But as a carry-everywhere camera or a camera you want to be relatively unobtrusive, the difference may well be critical to some.
In terms of weight, at 498g, the RX1R III is 3% lighter than the a7CR even before you add a lens. Attach the Sigma 35mm F2.0 we used in the graphic above and the ILC comes out as 70% heavier.
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Other than the ability to switch lenses, perhaps the most obvious difference between the a7CR and the RX1R III is that the CR has image stabilization.
There's certainly an argument to be made that a bright 35mm lens doesn't need stabilization (hence so few primes historically having the feature), and that the a7CR's stabilization is more valuable when you mount longer lenses on it.
But, even though, in principle, more moving elements risk denting absolute image quality, in practice the extra stability a good IS system brings means more shots that deliver the full capability of the 61MP sensor.
The RX1R III uses the same Zeiss-branded lens as the 2012 version and, in the name of size, illuminates the sensor and very little beyond it: it would need to project a larger image circle to allow sensor-shift IS (making both the lens and body bigger), or would need a complete redesign to have optical stabilization incorporated into the lens itself.
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As alluded to in the previous slide, the a7CR has a physical shutter in front of its sensor. In this case it only has a series of shutter blades to end the exposure: an electronic first curtain shutter approach. In most respects this works as well as a full mechanical exposure plane shutter with the only risk being misshapen bokeh when used with wide apertures and very short exposures. The a7CR's flash sync is limited to 1/160 sec.
By contrast, the RX1R III has an in-lens, 'leaf' shutter, which closes in from several directions, rapidly creating an ever smaller aperture as it does so. This affects the light level to the entire sensor as it closes and opens, meaning it has a whole-sensor, 'global' shutter action. This allows the RX1R III to sync with flashes up to its maximum shutter speed.
However, it's worth noting that the camera's maximum shutter speed varies with aperture, because the shutter has more distance to cover when the aperture diameter is large. Like the previous model, the RX1R III can shoot at up to 1/2000 sec when wide open, 1/3200 sec at F4 and narrower, and 1/4000 sec when stopped down to F5.6 or beyond.
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The larger body of the a7CR has enough room for Sony's largest NP-FZ100 battery, a honking-great 16.4Wh unit that powers the a7CR to a CIPA battery rating of 530 shots per charge using the rear screen and 470 through the viewfinder.
The RX1R III makes do with the smaller NP-FW50 battery, which has a capacity of 7.3Wh. This helps give the smaller camera ratings of 300 and 270 shots per charge, respectively. Which aren't as impressive but also aren't terrible. This is big improvement over the 4.5Wh BX1 battery used in the previous RX1 models which, despite ratings of 220/200 shots per charge, were limiting enough that the RX1R II invited jokes about giving such a film-like experience that it felt like you were limited to 36 shots at a time.
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The knock-on effect of the move to the larger battery - the NP-FW50 is twice as deep as the one used in the previous model: taking up 18.5mm of a body that's only around 31mm, front to back - is that Sony has decided a moving rear monitor would add too much additional depth. It features a 2.36M dot (1024 x 768px) panel, but one that can't be moved away from the camera for waist-level shooting.
By comparison, the a7CR has a 1.04M dot (720 x 480px) display but one that's mounted on a fully-articulating hinge, making it more useful for waist-level work, video, selfies and tripod-based photos. On which note, the a7CR also has a multi-shot high res mode (arguably best suited to landscape work), which the RX1R III lacks.
It should, perhaps, be noted that the first four generations of X100 sold quite happily with a fixed rear screen, as did the first two generations of Leica Q and all Ricoh GRs to date. However, there is certainly a part of the audience for fixed-lens compacts that finds it useful as both Fujifilm and Leica have adopted tilting screens in their more recent models.
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Perhaps ironically, several of the decisions that have been most criticized: the small, hence low-resolution, EVF and the fixed rear screen of the RX1R II, were made to keep the body as small as possible, and maximize the size difference between the RX1R III and the a7CR. And yet its these same compromises that will, to many photographers, make the a7CR look more attractive.
We believe a fixed-lens camera is thing unto itself: it isn't just an interchangeable lens camera with restrictions. And, much as we love them, we recognize that the greater flexibility of an ILC will often win out over the size and focus of a fixed-lens camera for the majority of people.
We suspect the respective pricing of the RX1R III and the a7CR will reduce the compact camera's appeal still further. But until we've shot with it more, we're not going to just assume that the more flexible camera is inherently better.
Canon made several new product announcements tonight:
Canon EOS R1, R3, R5, R5II, R6II, R7, R8, R10, R50, and R50V Firmware Updates Released
The post Canon announced a new flash, remote, and new cameras with cropping guide firmware appeared first on Photo Rumors.
What else is new:
The new Mr. Ding Noxlux DG 50mm f/1.2 lens for Nikon Z-mount is now available for purchase
Beware of scam: multiple fake Leica websites offer significant discounts
Ricoh released new firmware updates for the GR III and GR IIIx cameras
Comic-Con International in San Diego is the next stop on the Nikon Tour
Panasonic released new firmware updates for the G97 and G100D cameras
FUJIFILM X RAW STUDIO Ver 1.27.0 Released With Fujifilm X-E5 Support
Camera Comparison: Sony RX1R III vs Fujifilm GFX100RF vs Fujifilm X100VI
The post What else is new? appeared first on Photo Rumors.
After the RX1R III camera announcement, Sony is rumored/expected to release three more new cameras and a new lens in the next few months:
Here are the latest updates to the Sony registered/announced cameras table:
Table via E8M8888
The post What’s next for Sony? appeared first on Photo Rumors.
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Today, July 16th, is A.I. Appreciation Day. Well, at least it is according to A.I. Heart LLC, the company that invented this "holiday" in 2021. It's intended to be a day to acknowledge the positive impact A.I. has on society, as well as promote discussion about ethics and the responsible development of A.I.
While we recognize A.I.'s potential to revolutionize fields from healthcare to scientific research, we're also more than a little uneasy about the flood of A.I.-generated imagery, much of which is based on training using photographs taken by actual human beings, usually without their permission.
While we're not going to get that particular genie back in the bottle, we've decided to celebrate A.I. Appreciation Day by doing something really appreciative: showcasing real photos by real photographers in the DPReview community. These photos highlight some of our favorite images from our Editors' photo challenge series in 2025. We hope you enjoy them as much as we have.
Oh, and we would be remiss if we failed to mention that July 16th is also Corn Fritters Day, National Personal Chef Day and National Hot Dog Day. Just in case you need an excuse to celebrate.
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Challenge theme: Red, Green and Blue
Photographer: JeffryzPhoto
Description: High up in the Andes Mountains of Peru near the Sacred Valley a girl walks with her pet llama. Even the llama is wearing red, green, blue, and white.
Equipment: Fujifilm X-T4 + Fujifilm XF 16-55mm F2.8 R LM WR
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Challenge theme: B&W Street
Photographer: Daneland
Description: A young girl watches soap bubbles with a mesmerized expression on Southbank, London. If you look carefully, you can see reflections of the Tate Gallery in the individual bubbles.
Equipment: Leica Q2 + 28mm Summilux
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Challenge theme: Water
Photographer: Bram Floria
Description: Waiting for the defroster to kick in, Spokane, WA, on January 26, 2025. On a bright, cold morning following a night of ice storms, the water came out to play as leaves of crystal.
Equipment: Google Pixel 6a
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Challenge theme: Human-Powered Travel
Photographer: Gbeeston
Description: Built this jump with my friend over a week, turned out a little larger than we had imagined. The day we tried hitting it was a little muddy, so getting up to speed was a challenge. After a few run ups, he pulled the trigger. Neither of us were expecting to get that much height of the lip!
Equipment: Canon EOS R8 + Canon EF 50mm F1.8 STM
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Challenge theme: Chasing Summer
Photographer: Giampier
Description: It was one of those July afternoons when the air is still and heavy, and the sun burns your skin. The city seemed to be slumbering under the oppressive heat. For three young friends, boredom was about to take over, until their parents brought them to a park that held a secret. At first, it was just a path like any other, lined by a wooden fence and topped by a pergola of climbing plants. But then, as if by magic, a thick, cool cloud began to descend from the pergola. It was a tunnel of mist. This photo captures the exact moment when shyness turned into pure joy. After a brief moment of hesitation, one of them darted off, and the others followed without a second thought. They are running not just to find relief from the heat, but to cross a portal into another world.
Equipment: Pentax KP + Sigma 17-70mm F2.8-4 DC Macro OS HSM | C
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Challenge theme: Winter Games
Photographer: mmkarb
Description: Heliskiing was a bucket item I thought I'd never get a chance to experience, but I got an opportunity in 2019 and couldn't pass it up. It allowed the group to experience amazing skiing and breathtaking views. One of my favorite views came together with the helicopter dropping us off at the top of the mountain and being able to take in the entire view.
Equipment: GoPro Hero5 Black
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Challenge theme: Human-Powered Travel
Photographer: Nilesh Trivedi
Description: A kayaker faces up to the ultimate challenge: riding the Grade 5 rapids at the Zambezi River, Victoria Falls, Zimbabwe. These are some of the most intense rapids known to Man.
Equipment: Canon EOS 70D + Sigma 18-250mm F3.5-6.3 DC OS HSM
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Challenge theme: Red, Green and Blue
Photographer: Cambrian Coast
Description: Carrog Station is located on the Llangollen to Corwen heritage railway. Here we see the Station Master Platt saying good afternoon to the resident of the station house.
Equipment: Sony a7R IV + Sony Vario-Tessar T* FE 16-35mm F4 ZA OSS
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Challenge theme: Chasing Summer
Photographer: Martella Media
Description: My daughter was deathly afraid of the "swing swinger" at first. Then, after one ride, she kept asking, "One more time?" We bought an unlimited ride bracelet after that.
Equipment: Canon AE-1 Program + Canon FD 50mm F1.8
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Challenge theme: B&W Street
Photographer: SFStreets
Description: Every year, the San Francisco Low Rider Council holds the "King of the Streets" event, where lowriders cruise along Mission Street. This year I caught a skateboarder come riding by one of the entrants, between 17th and 18th Streets. We all survived the encounter.
Equipment: Sony Cyber-shot DSC-RX100 II
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Challenge theme: Winter Games
Photographer: jshepka
Description: With its 100th anniversary, Harris Hill in Brattleboro, Vermont, is one of the oldest ski jump hills in the US. It is a FIS-approved 90-meter hill that has been around since 1922. This image is a view of a jumper passing in front of the judge's tower on the way down!
Equipment: Canon EOS 70D + Canon EF 16-35mm F4L IS USM
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Challenge theme: Water
Photographer: Cliff Connell
Description: On one of the last hot days in autumn 2011, just before our southern Australian Easter swell kicked in, I had just finished a long session of surfing some pretty big, clean waves when I decided to get back in to capture some in-water shots of the rest of the crew. Most of the shots I got that morning were pretty average, except for this one of a young guy duck diving under the closed-out section of a 5-6 foot wave. It made my day!
Equipment: Canon EOS 20D + Tamron SP AF 17-50mm F/2.8 XR Di II VC LD
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While rainy weather is often seen as a negative, it can allow for stunning photographic moments. However, such conditions also result in a dilemma for photographers. Is it worth getting your camera and lens soaked to get some photos, or should you play it safe and stay inside?
Rain and snow don't have to mean the end or cancellation of a session or outing. With some precautions and the right equipment, you can use your camera in wet conditions. Whether you're caught in an unexpected shower or purposefully getting out there in wet weather, here's what you need to know to keep your gear safe.
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In the camera and lens world, you'll come across mentions of weather-sealing or weather-resistance. Put simply, weather-sealing refers to gaskets and rubber rings around buttons, dials, switches, seams and ports to keep moisture out. Unfortunately, companies don't use those terms consistently, and they can mean vastly different things even within one brand. As a result, it can be difficult to decipher what weather-sealing actually means.
High-end cameras and lenses typically offer fairly robust weather-sealing, whereas budget cameras often lack much weather-sealing. OM System and Leica are the only two companies offering a specific IP rating, and only for some of their cameras.
Some companies may share diagrams highlighting where the seals are on their cameras and lenses, though that's not very common. If you can find specific information about your gear's weather-sealing, that may help you make decisions about how much rain it can handle. Some will be fine with longer stays in fairly heavy downpours, whereas others are best kept to short stints in rain.
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| Photo: ugis bralens / iStock / Getty Images Plus via Getty Images |
Broadly speaking, even cameras with minimal weather-sealing are okay in rain and snow without special gear. You don't need to panic if you get caught in a shower, and it isn't necessary to avoid purposefully going out in inclement conditions.
No matter how much rain you're in, a lens hood will be helpful. It will reduce the number of raindrops landing on your lens, keeping it clearer for your photos. Of course, if there's heavy wind blowing rain around, it won't help much, but it's better than nothing. Keeping your hot shoe cover on (unlike the photo above) in damp conditions is also smart. Water could ruin the electrical contacts there, damaging your hot shoe.
If you want to stay out for longer periods in rainy weather or need to withstand epic downpours, there are additional steps you may want to take. Having at least some cover for your camera could give you better peace of mind, but that doesn't mean you need to buy anything. Things in your environment can block rain, such as dense overhead vegetation, an overhanging cliff or an awning on a building. If you don't like being tied to one spot, an umbrella is a shelter you can take anywhere. Or, if you're wearing a jacket, you can tuck your camera inside, only removing it when you want to take photos.
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Rain covers are ideal for especially wet conditions, or for giving you more peace of mind. Photo: ThinkTank |
If you want to be cautious or are in particularly wet conditions, you could pick up a rain cover for your camera. A plastic bag will work in a pinch, but camera-specific covers will offer more protection and make it easier to use your camera. These can be lightweight rain sleeves that are essentially camera- and lens-shaped plastic bags or ones that are more like rain jackets for cameras.
Rain sleeves are ideal to keep on hand in case the weather turns unexpectedly, since they are lightweight and compact. They are also highly affordable, but they aren't all that durable. The more heavy-duty covers are meant for repeated use, which is likely the better option if you know you'll be in wet locations frequently.
Finally, it's smart to have some clean, dry microfiber cloths on hand to wipe raindrops off your lens as they appear.
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What you do after the rainstorm is perhaps more important than preventing your camera from getting wet in the first place. The general "never store anything wet" phrase also applies to camera gear. If your camera gets wet, dry it off as much as possible before packing it in your bag. Otherwise, it will sit in moisture, which isn't great for electronics.
Once you are out of the wet environment, take the camera out of your bag, fully dry off the camera and leave the bag open so both can dry out. You can also use silica gel packets to help dry things out.
Shooting in the rain can allow you to create some truly dramatic and amazing images. In fact, some of my favorite photos were taken in the rain or snow. While you shouldn't let rain stop you from getting out there, you still need to know your gear's limits and take care of your camera afterward. With those things in mind, you'll be able to stay creative even in wet weather while keeping your camera safe.
Sony had an embargo on the RX1R III camera's price and pre-order time in Europe that just expired. This was a strange move, typically seen in the US. At the same time, the RX1R III was available for immediate pre-order in the US - a notable exception to the usual 24-hour delay.
Sony RX1R III pre-orders are now open in Europe and Canada:
The RX1R III is expected to start shipping in July/August.
Finally, a real Leica Q3 competition: Sony announced a new RX1R III camera
The post Sony RX1R III camera pre-orders are now open in Europe and Canada appeared first on Photo Rumors.
Here are some leaked pictures of the previously rumored Sigma 12mm f/1.4 DC DN Contemporary (DC means APS-C lens) for X/E/L/RF mount:
Sigma will also announce a new Sigma ART 35mm f/1.2 DG DN II lens:
The post Leaked pictures of the upcoming Sigma 12mm f/1.4 DC DN lens appeared first on Photo Rumors.
Related posts:
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The GR World smartphone app logo. Graphic: Ricoh Imaging |
Ricoh Imaging has announced a new app for its GR series cameras. The GR World app will provide features beyond what's available with the company's existing Image Sync app, unlocking more capabilities for GR users.
Like most companion apps, the GR World app allows users to view and transfer photographs from their GR camera to their smartphone. Once the photos are synced, you can create and organize albums to help keep photos sorted. There's also widget function to display those albums as widgets on the home screen. Additionally, the app can pull a phone's location and record location information from the smartphone directly to images, provided it's connected via Bluetooth.
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The left two screenshots show the image import process, while the right shows filter options. Screenshots: Ricoh |
Outside of file storage and organization, users can register and name their GR cameras, which will make connecting to the app faster after the initial connection. With the camera paired, you can check the Bluetooth connection status, whether location information is being recorded, battery level and the remaining number of shots on your memory card.
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The app allows users to register and name their cameras and view basic information, such as battery level and memory card space. Screenshots: Ricoh |
The app also unlocks remote shooting, though its functionality is quite limited and is only compatible with GR III series cameras. You can use the app to operate the shutter release or set a basic self-timer, and that's all. There are no controls over exposure settings or anything else, which many other brands offer in their companion apps.
GR World is compatible with all Ricoh GR III cameras, including the GR III, GR III HDF, GR IIIx and GR IIIx HDF. It's also compatible with the GR II. The app is free and available for both Android and iOS. It will be available for download on July 23.
Press release:
TOKYO, July 15, 2025 －RICOH IMAGING COMPANY, LTD. is pleased to announce that it will begin offering “GR WORLD,” an application that enables users to transfer images taken with compatible models of the RICOH GR series of high-end compact digital cameras and configure various settings on connected smart devices, from July 23.
Main Features of the “GR WORLD”
App Name: “GR WORLD”
Release date: July 23, 2025
Price: Free
Compatible models： RICOH GR III / GR III HDF: V2.00 or later
RICOH GR IIIx / GR IIIx HDF: V1.50 or later
RICOH GR II: V1.10 or later
Download: Install from Google Play or App Store
Compatible OS: iOS 16-18, Android OS 13-15 * Operation is not guaranteed on all devices..
◇ Please refer to the product page for details of each function.
* Only models equipped with Bluetooth®
With the new RX1R III camera, Sony also released the following new accessories:
Finally, a real Leica Q3 competition: Sony announced a new RX1R III camera
Sony announced new CFexpress Type A memory cards + reader and a new shotgun microphone ECM-778
The post Sony RX1R III camera accessories appeared first on Photo Rumors.
The Zeiss Otus ML 85mm f/1.4 lens (E/Z/RF) is now officially released and available for pre-order:
Zeiss Otus ML mirrorless lenses for Z/E/RF mount officially announced
The post The Zeiss Otus ML 85mm f/1.4 lens (E/Z/RF) is now officially released and available for pre-order appeared first on Photo Rumors.
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| Image: Sony |
Sony has just announced the RX1R III enthusiast compact, now with a 60.2MP BSI CMOS sensor behind the same 35mm F2 lens as previous models.
In addition to the updated sensor, the camera's body has been redesigned, mounting the viewfinder into the top shoulder of the camera, rather than the pop-up unit used by the previous version. It uses the same 2.36M dot (1024 x 768px) panel but the internal finder is smaller, with magnification dropping to 0.7x (from 0.74x).
And, despite the visual similarities, the body has been completely redesigned, with the control dials and hotshoe now recessed into the top plate, so they sit flush with the top of the camera. The rear screen is now fixed, rather than tilting.
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The viefinder is now integrated into the top corner of the camera and the rear screen is now fixed, rather than tilting. Image: Sony |
The Mark III includes the company's latest subject recognition AF modes, though the performance is still likely to be hindered by the lens design that has to move relatively large glass elements to focus. These are powered by the company's latest processor and dedicated "AI processing unit." The camera loses the dedicated AF mode switch from its front plate.
It has the same leaf shutter as previous RX1 modes, which tops out at 1/4000 at F5.6, is limited to 1/3200 at F4 and 1/2000 at F2, and it can flash up to these speeds. There's an e-shutter mode that extends to 1/8000 available at any aperture.
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| Image: Sony |
The camera also gains two additional "film looks" from the FX2, in its Creative Looks menu for both stills and video. These are quite significant color and contrast shifts to mimic old filmstocks. FL2 and FL3 join the existing FL and IN (Instant) film looks.
In terms of video, there's no longer a dedicated [REC] button, so you don't have to think about video at all, if you don't want to. If you do choose to, the RX1R III can shoot up to 4K/30 with options such as S-Cinetone, Log capture and the ability to upload LUTs. There's no internal ND, so you'll need to buy a screw-in one if you plan to shoot video outdoors.
It uses the NP-FW50 battery, which is larger than the ones in the previous model. Sony says gives the camera a CIPA rating of 300 shots per charge (270 via the viewfinder), up from a rating of 220 on the previous model. It can also power and charge over the camera's USB-C socket.
The RX1R III will be available this month at a recommended price of $5099.99, a 54% increase over the RX1R II, when it launched in 2015. In Europe it'll retail for €4900 including tax or £4200 inc VAT in the UK.
Various accessories, including a grip, a case and a lens hood will be available separately.
SAN DIEGO, July 15, 2025 – Sony Electronics Inc. announces the RX1R III, the eagerly anticipated third generation of its RX1R series, featuring a 61-megapixel1 35 mm full-frame Exmor R™ CMOS image sensor, the latest BIONZ XR™ image processing engine, and a ZEISS® Sonnar T* 35 mm F2 lens.
"The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body," said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”
The combination of the 61-megapixel1 full-frame Exmor R™ back-illuminated CMOS image sensor and the BIONZ XR™ image processing engine delivers high resolution and sensitivity, with low noise and a wide dynamic range. The sensor surface features AR (Anti-Reflection) coating and omits the optical low-pass filter to achieve superior image quality.
The integrated lens offers excellent image quality. By optimizing the position of the lens and the imaging surface one by one at the micron level, RX1R III achieves high optical performance in a compact form factor.
To ensure you always get your shot accurately and without effort, RX1R III is equipped with the latest AI-processing unit, a valued feature of top-of-the-line professional Sony AlphaTM cameras. The AI-processing unit can accurately recognize the shape and movement of subjects, human bodies, heads, and the position of eyes, tracking subjects even when their faces are not visible, and is available for both still images and videos2. Up to 693 densely arranged3 phase-detection AF (Auto-Focus) points cover approximately 78% (for still image shooting) of the image capture’s area.
While the camera has a fixed lens, users can tap into the versatility of three prime lenses thanks to the Step Crop Shooting4 function, which allows users to switch between focal lengths equivalent to 35 mm, 50 mm, and 70 mm5 via assigned buttons or dials. When shooting in RAW format, users can reselect the focal length during post-production. The lens’s macro ring enables instant switching to macro mode, allowing users to get as close as 20 cm (maximum magnification: 0.26x).
For creators who enjoy unique and personalized visuals, RX1R III offers twelve built-in Creative Looks. Adjustments to hue, saturation, brightness, contrast, and sharpness can be applied not only to still images but also to videos. Most notable among the Creative Looks6, FL2 allows the capturing of a nostalgic expression with subdued colors, and FL3 allows for a more vibrant image.
Made of lightweight yet highly rigid magnesium alloy, the RX1R III design balances aesthetics and functionality. While maintaining excellent operability, the dials and Multi-Interface (MI) Shoe are embedded into the camera body and the top surface of the body features a flat design. The grip design and surface texture provide a secure and comfortable hold.
RX1R III is equipped with an electronic viewfinder featuring an approximately 2.36 million-dot XGA OLED with high resolution and high contrast, offering a magnification of approximately 0.70x.
RX1R III uses the rechargeable battery pack NP-FW50, allowing the capture of up to 300 still images7. It features a USB Type-C® port that allows rapid charging when connected to USB Power Delivery8 -compatible devices, or the addition of external power sources, such as mobile batteries, for extended shooting sessions.
Aligned with Sony's ambitious 'Road to Zero' initiative, this product supports the company's vision for achieving a zero environmental footprint by 2050. The Sony Group’s manufacturing facilities for imaging products, including the RX1R III, are operating at 100% renewable energy. The RX1R III packaging uses Sony's proprietary environmentally friendly Original Blended Material9 instead of plastic10.
The camera system incorporates comprehensive accessibility options, including a Screen Reader function11 and Display Magnification, to support visually impaired users across an expanded range of menu items.
TG-2 is a dedicated thumb grip that attaches to the Multi Interface (MI) Shoe to provide stable holding and operability, including when operated with one hand. When attached to the body, the metal material and high-quality paint finish provide exceptional design unity.
LCS-RXL is a compact body case dedicated to this camera model intended to protect the camera from scratches and dirt and enhance its elegance with its refined texture material. The body case allows access to all ports—USB, HDMI, battery, memory card, and tripod attachment—without removal. The grip design improves the holding experience.
LHP-1 is a lens hood made specifically for this camera. It features a robust construction using lightweight and high-strength aluminum material, protecting the lens from impact and dirt. The bayonet mount allows for quick and secure attachment.
Pricing & Availability
The RX1R III will be available in July 2025 for approximately $5,099.99 USD and $6,299.99 CAD. The TG-2 for approximately $299.99 USD and $349.99 CAD, the LCS-RXL for approximately $249.99 USD and $224.99 CAD, and the LHP-1 for approximately $199.99 USD and $249.99 CAD, in August 2025. They will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.
1Approximate effective
2Available subject settings are: Auto, Human, Animal, Bird, Insect, Car/Train, and Airplane. Subject types other than the type specified may be erroneously recognized in some cases.
3It is number of AF measurement points during still image shooting. The number of points varies depending on the shooting mode.
4Not available for movies.
5When shooting JPEG images with a 3:2 aspect ratio, the resolution is as follows: At 35 mm: L size (60 megapixels), at 50 mm: M size (29 megapixels), at 70 mm: S size (15 megapixels)
6ST (Standard), PT (Portrait), NT (Neutral), VV (Vivid), VV2 (Vivid 2), FL (Film), FL2 (Film 2), FL3 (Film 3), IN (Instant), SH (Soft Highkey), BW (Black & White) and SE (Sepia).
7When using the viewfinder: 270 shots.
818W (9V/2A) USB PD power source is recommended.
9Paper material made from bamboo, sugarcane fibers, and post-consumer recycled paper.
10Excluding materials used in coatings and adhesives.
11Supported languages differ according to country and region.
| Price | |
|---|---|
| MSRP | $5100, €4900, £4200 |
| Body type | |
| Body type | Large sensor compact |
| Body material | Magnesium alloy |
| Sensor | |
| Max resolution | 9504 x 6336 |
| Image ratio w:h | 1:1, 4:3, 3:2, 16:9 |
| Effective pixels | 60 megapixels |
| Sensor photo detectors | 63 megapixels |
| Sensor size | Full frame (35.7 x 23.8 mm) |
| Sensor type | BSI-CMOS |
| Processor | Bionz XR |
| Color space | sRGB, Adobe RGB, BT.2020 |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, ISO 100-32000 (expands to 50-102400) |
| Boosted ISO (minimum) | 50 |
| Boosted ISO (maximum) | 102800 |
| White balance presets | 9 |
| Custom white balance | Yes |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Extra fine, fine, standard, light |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Digital zoom | Yes (2x - 4x) |
| Manual focus | Yes |
| Number of focus points | 693 |
| Lens mount | Sony E |
| Focal length multiplier | 1× |
| Screen / viewfinder | |
| Articulated LCD | No |
| Screen size | 3″ |
| Screen dots | 2,359,296 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.7× |
| Viewfinder resolution | 2,359,296 |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/4000 sec |
| Maximum shutter speed (electronic) | 1/8000 sec |
| Exposure modes |
|
| Built-in flash | No |
| External flash | Yes (Multi-interface shoe / Sync socket) |
| Flash modes | Flash off, Autoflash, Fill-flash, Slow Sync., Rear Sync., Red-eye reduction, Wireless, Hi-speed sync. |
| Flash X sync speed | 1/4000 sec |
| Drive modes |
|
| Continuous drive | 5.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Format | MPEG-4, XAVC S, XAVC HS, XAVC S-I, H.264, H.265 |
| Modes |
|
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | UHS-II SD |
| Connectivity | |
| USB | USB 3.2 Gen 1 (5 GBit/sec) |
| USB charging | Yes (USB PD supported) |
| HDMI | Yes (Micro HDMI) |
| Microphone port | Yes |
| Headphone port | Yes |
| Wireless | Built-In |
| Wireless notes | 802.11ac + Bluetooth 4.2 |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Battery Pack |
| Battery description | NP-FW50 lithium-ion battery & charger |
| Battery Life (CIPA) | 300 |
| Weight (inc. batteries) | 498 g (1.10 lb / 17.57 oz) |
| Dimensions | 113 x 68 x 88 mm (4.45 x 2.68 x 3.46″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes |
| GPS | None |
The previously reported Hasselblad X2D is expected to be officially released in August 2025. Here are the rumored specifications:
The post The rumored Hasselblad X2DII camera is expected to be officially released in August 2025 appeared first on Photo Rumors.
The already leaked Samyang "Prima" full-frame autofocus lenses for Sony E-mount are now officially announced:
Check for pre-orders at Amazon and B&H Photo.
Additional information:
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LK Samyang launches new Prima series products 'AF 16mm F2.8 P FE' and 'AF 85mm F1.8 P FE' 2025-07-15 |
|---|
|
LK Samyang, Prima Series New Product 'AF 16mm Launch of 'F2.8 P FE' and 'AF 85mm F1.8 P FE' Completing the Prima Series Trio Lineup for Hybrid Content Creators Tuesday, July 15, 2025 – LK Samyang, a global optics company, is expanding its prime lens lineup by launching two new Prima series products for hybrid content creators and photography beginners, the ‘AF 16mm F2.8 P FE’ and ‘AF 85mm F1.8 P FE’. These new products represent the wide-angle and mid-telephoto ranges respectively, and combine excellent portability and optical performance. Together with the 'AF 35mm F1.4 P FE' released in 2024, the Prima Series trio lineup encompassing 16mm, 35mm, and 85mm will be established to meet diverse needs. Your First Lens, Prima Series The best choice for those who are just starting out with photography and videography The Prima Series is a lineup of prime lenses designed for photography and videography beginners and hybrid content creators, and was created with the goal of being 'your first lens' and 'the lens you reach for first'. It is compact yet lightweight and offers excellent optical performance, providing users with the optimal shooting experience. - AF 16mm F2.8 P FE: A compact and lightweight F2.8 wide-angle prime lens, ideal for vlogging and landscape photography. - AF 35mm F1.4 P FE: An all-rounder suitable for everyday and travel snapshots - AF 85mm F1.8 P FE: The smallest and lightest lens in its class*, a mid-telephoto lens optimized for portrait photography with shallow depth of field and smooth bokeh *As of July 15, 2025, LK Samyang's own research Beyond Lightweight A body that is both ultra-light and sturdy, and a minimalist design Both lenses adopt a minimalist design that boldly excludes the traditional red ring, and use high-strength engineering plastic materials developed by LK Samyang to create a lightweight yet sturdy and luxurious texture. In addition, the meticulous user experience design, including the newly applied focus ring pattern, has further enhanced the operability . AF 16mm F2.8 P FE — Ultra-wide-angle compact lens for capturing everyday life With an ultra-light design of 70.5mm and weighing 207g, it offers easy portability and excellent maneuverability. With a wide field of view, a maximum 0.33x close-up shooting function, and a short minimum focus distance of 0.12m, it is possible to take a variety of photos such as landscapes, snapshots, and close-ups while traveling. When mounted on an APS-C body, it is possible to take close-up shots with an equivalent angle of view of approximately 24mm and a close-up shooting of approximately 0.5x, allowing for greater effects and expanding the scope of creative expression. AF 85mm F1.8 P FE — A mid-telephoto ultra-light lens optimized for portraits Despite the bright F1. 8 aperture, it is compact and lightweight at just 272 g and 71.5 mm long, making it the lightest and most portable prime lens in its class * . The three ED lenses and nine-element circular aperture achieve both excellent resolution and smooth bokeh at the optimal distance for portrait photography. The natural and smooth depth of field transition between the subject and background adds depth and emotion to photos, providing an immersive visual experience. *As of July 15, 2025, LK Samyang's own research An LK Samyang official said, “The Prima series aims to be the first lens for creators and the lens they will hold most often, ” adding, “Both new models feature excellent portability, sturdiness, and optical performance , making them great partners for both everyday use and creative settings.” The new products 'AF 16mm F2.8 P FE' and 'AF 85mm F1.8 P FE' will be sequentially released through major online and offline channels at home and abroad starting July 15 , and an experience group and various marketing programs will also be held along with the product launch. |
The post Announced: Samyang AF 16mm f/2.8 P FE and AF 85mm f/1.8 P FE lenses appeared first on Photo Rumors.
Without any rumors or leaks, after a 10-year break, today Sony officially announced a new RX1R III camera:
Featuring a 61MP[i] Sensor and AI-based Real-time Recognition Auto Focus in a Palm-sized Body
SAN DIEGO, July 15, 2025 -- Sony Electronics Inc. announces the RX1R III, the eagerly anticipated third generation of its RX1R series, featuring a 61-megapixeli 35 mm full-frame Exmor R
CMOS image sensor, the latest BIONZ XR image processing engine, and a ZEISS® Sonnar T* 35 mm F2 lens.
"The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body," said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”
A Focus on High-Quality Photography
The combination of the 61-megapixeli full-frame Exmor R back-illuminated CMOS image sensor and the BIONZ XR image processing engine delivers high resolution and sensitivity, with low noise and a wide dynamic range. The sensor surface features AR (Anti-Reflection) coating and omits the optical low-pass filter to achieve superior image quality.
The integrated lens offers excellent image quality. By optimizing the position of the lens and the imaging surface one by one at the micron level, RX1R III achieves high optical performance in a compact form factor.
Dedicated to Creative Freedom
To ensure you always get your shot accurately and without effort, RX1R III is equipped with the latest AI-processing unit, a valued feature of top-of-the-line professional Sony AlphaTM cameras. The AI-processing unit can accurately recognize the shape and movement of subjects, human bodies, heads, and the position of eyes, tracking subjects even when their faces are not visible, and is available for both still images and videos. Up to 693 densely arranged[iii]phase-detection AF (Auto-Focus) points cover approximately 78% (for still image shooting) of the image capture’s area.
While the camera has a fixed lens, users can tap into the versatility of three prime lenses thanks to the Step Crop Shooting[iv] function, which allows users to switch between focal lengths equivalent to 35 mm, 50 mm, and 70 mm[v] via assigned buttons or dials. When shooting in RAW format, users can reselect the focal length during post-production. The lens’s macro ring enables instant switching to macro mode, allowing users to get as close as 20 cm (maximum magnification: 0.26x).
For creators who enjoy unique and personalized visuals, RX1R III offers twelve built-in Creative Looks. Adjustments to hue, saturation, brightness, contrast, and sharpness can be applied not only to still images but also to videos. Most notable among the Creative Looks[vi], FL2 allows the capturing of a nostalgic expression with subdued colors, and FL3 allows for a more vibrant image.
Streamlined Design and Reliable Hardware
Made of lightweight yet highly rigid magnesium alloy, the RX1R III design balances aesthetics and functionality. While maintaining excellent operability, the dials and Multi-Interface (MI) Shoe are embedded into the camera body and the top surface of the body features a flat design. The grip design and surface texture provide a secure and comfortable hold.
RX1R III is equipped with an electronic viewfinder featuring an approximately 2.36 million-dot XGA OLED with high resolution and high contrast, offering a magnification of approximately 0.70x.
RX1R III uses the rechargeable battery pack NP-FW50, allowing the capture of up to 300 still images[vii]. It features a USB Type-C® port that allows rapid charging when connected to USB Power Delivery[viii] -compatible devices, or the addition of external power sources, such as mobile batteries, for extended shooting sessions.
Social Responsibility
Aligned with Sony's ambitious 'Road to Zero' initiative, this product supports the company's vision for achieving a zero environmental footprint by 2050. The Sony Group’s manufacturing facilities for imaging products, including the RX1R III, are operating at 100% renewable energy. . The RX1R III packaging uses Sony's proprietary environmentally friendly Original Blended Material[ix] instead of plastic[x].
The camera system incorporates comprehensive accessibility options, including a Screen Reader function[xi] and Display Magnification, to support visually impaired users across an expanded range of menu items.
Optional Accessories
TG-2 is a dedicated thumb grip that attaches to the Multi Interface (MI) Shoe to provide stable holding and operability, including when operated with one hand. When attached to the body, the metal material and high-quality paint finish provide exceptional design unity.
LCS-RXL is a compact body case dedicated to this camera model intended to protect the camera from scratches and dirt and enhance its elegance with its refined texture material. The body case allows access to all ports—USB, HDMI, battery, memory card, and tripod attachment—without removal. The grip design improves the holding experience.
LHP-1 is a lens hood made specifically for this camera. It features a robust construction using lightweight and high-strength aluminum material, protecting the lens from impact and dirt. The bayonet mount allows for quick and secure attachment.
Pricing and Availability
The RX1R III will be available in July 2025 for approximately $5,099.99 USD and $6,299.99 CAD. The TG-2 for approximately $299.99 USD and $349.99 CAD, the LCS-RXL for approximately $249.99 USD and $224.99 CAD, and the LHP-1 for approximately $199.99 USD and $249.99 CAD, in August 2025. They will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.
The post The long-awaited Sony RX1R III camera officially announced appeared first on Photo Rumors.
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| The X half is joyously silly. But it was critical to assess it for what it is, rather than trying to review it as a photographers' compact. |
We published our full review of the Fujifilm X half yesterday, and it was perhaps the hardest-to-write review I've ever worked on. There were a number of factors that made it uniquely difficult.
The first is that it's not trying to be a serious camera and it's not designed for existing photographers or their needs, particularly. So how do you assess a camera that isn't particularly aiming to be a technically great camera? Harder still, how should DPReview, a publication often known for testing and technical analysis, review a camera whose specs and performance are tangential to its appeal?
Not being serious doesn't make it immune to criticism, by any means, but it means having to focus on where it fails at what it's trying to be, not at what it isn't.
The other big issue is the price. We'd been using the camera for a while before we were told the final price, so we had a blissful period of time when we could enjoy the experience without ever having to wonder whether we'd enjoyed it enough to justify the pricetag.
But, especially in the US, where the final figure was significantly higher than many of the numbers swirling around prior to launch, you can't ignore the price. In fact, it's so jarring as to make it difficult to make sense of the X half at all.
Pricing at anything near the price of an enthusiast compact muddies the waters completely. It invites comparisons that seem to make sense if you look at the sensor size and X100-like aesthetic, and squint, but that absolutely don't, once you've try using a camera.
 |
| It's been so long since anyone other than Leica launched an enthusiast compact, it's hard to know what a contemporary launch figure would be. But pitching the X half $100 higher than 2019's Stacked-sensor G7X III understandably invites comparison. |
The feeds into the pent-up frustration felt by many keen photographers that no one seems to be addressing the enthusiast compact market. But no amount of wishful thinking will make the X half into that camera.
Which is why I haven't listed the lack of Raw capability as a 'Con' in the review. For my own use, I quite like the idea of an X half that could shoot Raw. Not because I think I'd get great results adding masks and adjustments, trying to optimize the output from Adobe Camera Raw, but because it would be nice to be able to switch the film simulation I'd used, after the fact.
But just because I'd like it doesn't mean I think Fujifilm should change the X half. Adding Raw wouldn't make the X half a better camera, it would just mean some enthusiast photographers would find out the hard (cash) way that the X half wasn't designed for them.
 |
| If you're already a keen photographer, how often are you really going to use the film advance lever? And if you're shooting Raw, does it matter which film sim you shoot with? Trying to use the X half as an enthusiast compact risks ignoring what makes it good and putting undue scrutiny on what it does badly. |
Judged by the standards of enthusiast cameras, the X half is dreadful. It has a slow, not-wholly reliable 9-point AF system. It doesn't have the DR modes or Color Chrome effect options to create 'recipes,' it's really fiddly to tap and swipe to change most settings or adjust the shutter speed. And a 'serious' approach risks both the film advance lever and film simulation window touchscreen that define the camera being rendered vestigial.
Adding Raw wouldn't do anything to fix this, it would just send even more hopelessly mixed messages and would inevitably see the camera get an absolute kicking from people (quite reasonably) judging it for what it wasn't originally designed to be.
Even on its own terms, the X half is a decidedly imperfect camera. Its touchscreens aren't as responsive as they should be. The LED flash means you can't even get the 'retro' bleached-out indoor flash aesthetic that some of its users will want. The autofocus isn't as fast or reliable as you might like to think a modern camera would offer. And, again, it's really quite expensive.
But if you see its competition as the over-priced second-hand CoolPixs, PowerShots, CyberShots and Optios being dredged up on eBay, then the Fujifilm is vastly better. It's cute, to a degree that it attracts comments everywhere it goes, it's silly, gimmicky and joyous in equal measure; doubly so in Film Camera mode. And it's also meaningfully better than the other 'fun'/'retro' cameras with their smartphone sensors (but lacking the smarts) that have sprung up to cater to that audience.
Overall, the X half is a lot of fun: we came very close to giving it a Silver award
Overall, the X half is a lot of fun, and we came very close to giving it a Silver award. But the degree to which it can struggle to take photos of people (even when they're holding a pose for the camera) is a significant flaw in a camera trying to be carefree and fun. Particularly for an audience that isn't necessarily au fait with having to half-press and wait, then try to check whether the focus is on the right thing. And on a camera where, through the viewfinder, you're just having to rely on faith as to what it's focused on.
Like many of our readers, I'd love an updated enthusiast compact: a refreshed, more rugged G7 X, an RX100-like camera with better controls. But it wouldn't have been fair to review the X half on those terms, because that's not what it is. It's a camera whose 'film counter' has to wind back to zero before you can leave Film Camera mode. And I tried to review it on that basis.
 |
Changing lenses outside can feel like a risky endeavor. After all, during the swap, your camera's interior will be exposed to the elements, potentially allowing dust, dirt or moisture to land on your sensor. Those resulting spots can be a pain to edit out, extending your editing time. It may also require a sensor cleaning session. While it may be tempting to avoid it altogether, sometimes you need a different lens, and there's no getting around the swap.
Sensor spots are unavoidable, but some simple habits can help keep your sensor as clean as possible when changing lenses. Whether you’re photographing on a rainy trail, a dusty park or a city street, the key is preparation and quick, careful action. Below, you'll find tips on changing your lenses safely, even in the great outdoors.
 |
| Keeping the lens mount pointed down will help prevent debris from getting into your camera. |
First and foremost, no matter where you are changing lenses, ensure your camera is off before starting. When active, the sensor can have an electric charge, which can attract dust. Plus, some mirrorless cameras have a shutter that protects the sensor when it's turned off; you won't be taking advantage of that feature with the camera on. DSLRs offer some protection by default with the mirror, but it's still a good idea to have the camera off. Then, it's time for some preparation so the swap can be as fast as possible.
Start by preparing the lens you want to put on. Loosen the rear lens cap, but leave it covering the lens. You don't want to expose the rear element to dust or moisture, as it can transfer inside your camera and onto your sensor. Keep it easily accessible so you aren't fumbling for it when it's time to make the change. It could be sitting upright in your open camera bag, on a picnic table or a sidewalk, just so long as it's in a safe location.
 |
| Get the lens you are switching to ready by loosening the rear lens cap and having it easily accessible. |
With the spare lens ready, turn the camera so the lens mount and sensor are pointing down. That way, you are using gravity to your advantage and preventing anything from falling onto the sensor. Release the lens currently on your camera and attach the other lens as quickly as possible. Finally, put the rear lens cap on the lens you removed to keep it clean.
While the general process of changing lenses isn't different if you're outside or inside, there are some additional considerations when outside. If it's windy out, you'll want to find a place that's somewhat protected from the wind. You could try to find a building to stand against, or even a large tree or rock. If nothing else, put your back to the wind and use your body as a shield.
The same technique applies if it's raining, though the risks are significantly higher. Only change lenses in wet environments if there's no dry place you can get to and it's absolutely unavoidable. An umbrella, poncho or rain jacket can help keep things dry while you swap lenses, but only when you have no other option.
Certain locations and environments are riskier than others, of course. Sand is extremely harsh on cameras, so it's best to limit lens changes at the beach or in other sandy locations. In such places, try to choose a versatile lens so that you don't need to swap. That's not to say you can't change lenses there; you'll just need to be extra careful, and it's best to avoid it when possible.
A new Rollei Powerflex X8 dual lens camera was released in Germany with a price of €299 (see all available Rollei cameras):
| Chip: | HisiliconH3519DV500 |
| Image sensor: | Main lens: 1/2.8" CMOS sensor | Diagonal 6.43 mm (crop factor 6.73) Selfie lens: 1/3.06" CMOS sensor |
| Lens: | Main lens: 8x optical zoom | 5.76 - 46.09 mm | 35 mm equivalent: 38 - 310 mm | F/1.8 - 2.6 Selfie lens: 3.37 mm | F/2.2 |
| Focus area: | Main lens: Wide angle: 0.2 - ∞ m | Telephoto: 0.4 - ∞ m Selfie lens: 0.5 - ∞ m |
| Photo resolution: | 64 MP* (10720 x 6030), 48 MP* (9280 x 5220), 36 MP* (7952 x 4472), 24 MP* (6544 x 3680), 20 MP* (5888 x 3312), 16 MP* (5376 x 3024), 12 MP* (4608 x 2592), 8MP (3840x2160) |
| Video resolution: | 5K* / 25 fps, 4K / 30 fps, 2.7K / 30 fps, 1080p / 60 fps, 1080p / 30 fps, 720p / 60 fps |
| Photo modes: | Standard Photo, Portrait, Landscape, Filter, Night |
| Video modes: | Standard video, slow motion, time lapse, night |
| White balance: | 2500 - 6500 |
| Exposure compensation: | -2EV to +2EV in 0.5 steps |
| Metering: | Center-weighted, multi-field metering, spot |
| Flash: | Yes |
| Self-timer: | 3 / 5 / 10 seconds |
| Display: | 3.6" IPS touchscreen |
| Memory: | microSD memory cards Class 10/U3 up to 64 GB ** |
| Data format: | Photo: JPG | Video: MP4 |
| Video compression: | H.265 |
| Power supply: | Lithium polymer battery type NP-60 (3.8 V / 1,350 mAh / 5.13 Wh), input: DC 5.0 V / 2.0 A |
| Connections: | USB-C port, mini HDMI port, microphone port, microSD memory card slot, 1/4-inch port, hot shoe port |
| Material: | Plastic, aluminum, glass |
| Dimensions (L x W x H): | 12.6 x 8.4 x 7.3 cm |
| Weight: | 383 g (without battery) |
The new Rollei 85mm f/1.8 AF full-frame lens for Sony E and Nikon Z-mount is now in stock in Germany (additional information):
Rollei 85mm f/1.8 AF full-frame lens for Nikon Z and Sony E cameras
The new Rollei 35AF film camera is now available for pre-order
The post New Rollei Powerflex X8 dual lens camera released with a main lens on the front and a selfie lens on the back appeared first on Photo Rumors.
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