What’s next for Fujifilm? Here is the list of rumored/expected new products:
Screen covers, dial locks, and leatherette accessories for Fujifilm cameras
The post What’s next for Fujifilm? appeared first on Photo Rumors.
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| Image: Fujifilm |
Earlier this month, Fujifilm announced that it would be raising its US prices on its products across the board, citing "volatile market conditions," but it didn't mention by how much. Now that retailers have started updating their listings, though, it's clear what the impact is. Here's what you need to know.
Several of its cameras have been affected. At retailers like B&H and Adorama, the X-T5 has gone from $1899 to $1999, while the GFX100RF has gone from $5399 to $5599. The GFX 100S II has seen a similar jump, going from $5499 to $5699.
This is Fujifilm's second price increase within the last month; at the beginning of August, the company raised the prices on some of its cameras and lenses by up to 15%.
| Aug 30 price (% change) |
Previous Price | Original MSRP | |
|---|---|---|---|
| X-T5 | $1999 (5.3%) | $1899 | $1699 |
| X-T50 | $1599 (0%) | $1599 | $1399 |
| X-M5 | $899 (0%) | $899 | $799 |
| X-100 VI | $1799 (0%) | $1799 | $1599 |
| GFX100RF | $5599 (3.7%) | $5399 | $4899 |
| GFX 100S II | $5699 (3.6%) | $5499 | $4999 |
At time of writing, the X-M5, X-T50 and X100VI all appear to have stayed at the prices they rose to at the beginning of the month. However, two cameras have been unaffected by both of the price changes: the X half and X-E5.
Unlike the rest of Fujifilm's lineup, they were released after the tariffs were announced. It seems like Fujifilm built plenty of room into their prices to avoid having to raise them again before people had even received their pre-orders. The company did say, however, that its goal was to maintain its overall pricing structure.
The X half and X-E5 were released after the tariffs were announced
Of course, some of Fujifilm's lenses have also been affected by both waves of price adjustments. The venerable 16-55mm F2.8 II has gone from $1349 to $1399, and the company's more affordable standard zoom, the 16-50mm F2.8-4.8, is also now $50 more. Some of its premium primes, like the 23mm F1.4, 56mm F1.2 and 90mm F2 have gone up by $100, and while the 35mm F2 has gone up by $50, several of the company's more entry-level primes appear to be unaffected.
Obviously, having to do a second price increase in a row isn't ideal for anyone. It's now more expensive for Americans to get the company's cameras, which could lead to decreased demand, though Fujifilm is far from the only camera company having to raise its prices in the US.
This week, Hasselblad announced the X2D II, its latest medium format camera. While its "end-to-end" HDR capabilities are perhaps the most eye-catching feature, there are other upgrades that make it a more versitile camera than its predecessor.
In this week's roundtable discussion, editors Abby Ferguson, Dale Baskin and Mitchell Clark sat down to discuss the camera and what it means for the industry. Of course, there are some bits about the moon in there, too (we couldn't resist).
If you're looking for more info on the X2D II, check out our first look video, presented in HDR, or read our initial review.
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| These cards may physically look the same, but they'e all very different. |
At first, choosing an SD card to go in your camera may seem like an easy task. After all, they all look more or less the same, so picking one should be as simple as going to the store, finding the highest-capacity one that fits in your budget, and putting it in your camera, right?
Unfortunately, that's not quite the case. While that strategy will probably work for most modern cameras, there are some considerations you'll want to take into account if you're using older cameras or if you're shooting video or bursts of photos.
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| SD card labels have a lot of information, but not all of it is relevant. |
Looking at the label of a typical SD card can be an assault on the senses. They're often covered with numbers and letters, and while the meaning of some (such as the size) may be obvious, others are less so.
Many cards advertise a write and/or read speed, usually denoted in MBps. You can pretty much ignore this; often the card only shows the read speed, which isn't particularly important for cameras, as you'll mainly be writing to it, and even when it does include a write speed, it's almost always showing the best-case scenario rating, which won't be particularly applicable to real-world shooting.
You can ignore the listed read/write speeds
If that number isn't useful, what should you look at instead? It depends on your use case. If you just plan on taking single photos and maybe a few short video clips, most modern SD cards will work just fine; you don't need to pay extra for a super-fast model, which will often come with labels like V60 or V90.
If you have a high-resolution camera, plan on doing a lot of burst shooting with both Raws and JPEGs, or shooting long 4K60p clips or even 8K video, you'll want to spend the extra money to get one of the high-end cards. If you get a card with a low speed rating like V30 or even no V-rating at all, it could hinder your camera's performance.
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| UHS-I cards (top) have fewer pins than UHS-II ones (bottom). |
The SD standard has had several speed ratings over the years, enough that it could be its own separate article. If you're using an older camera, it may be worth checking if it recommends a certian C or U-rating, but nowadays the most important spec will be the card's UHS rating. Most cards you're likely to run into are UHS-I or UHS-II. It's easy to tell the difference between the two, as UHS-II cards have a second row of pins on the back.
If you have an older or lower-end camera, it'll likely have a UHS-I slot, and you won't get any benefit from a UHS-II card. It'll likely still work with your camera, but it'll only be able to run at the slower UHS-I speeds. Likewise, UHS-I cards will work in cameras with UHS-II slots, but as we noted in the speed section, they may bottleneck your camera's performance if your usage is particularly demanding.
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| Some cameras won't be able to accept larger cards. |
While high-capacity SD cards are always getting less expensive, there are situations where you may need to avoid getting the one with the most storage. For example, if you're using an older camera, it may not work with larger cards.
If you look closely at your card, you may notice that it has a few letters after "SD," such as "SDHC" or "SDXC." These actually denote different generations of cards, and while most newer cameras will be able to use any of them, older cameras may not be compatible with newer generations of cards.
Some cameras have a printed or engraved indicator that shows which version of SD they support; if not, that information should be available in the manual, or online. If your camera says "SDHC," for example, you'll probably only be able to use it with cards that are 32GB or smaller. Cameras that just support "SD," meanwhile, are limited to cards that are just 2GB or less, which can be difficult to find new.
SD eXtended Capacity, or SDXC, was introduced in 2009 and supports cards up to 2TB, so this will mainly be a concern for cameras released around that year or before, though some lower-end cameras from the 2010s may also lack SDXC support.
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While it's not particularly common, a few cameras use microSD cards instead of full-size ones. The name makes the difference obvious: microSD cards are SD cards, but much smaller. The speed ratings and classes will all be the same, so the advice for buying a microSD card is much the same as it is for full-size ones; figure out how big and fast a card you need, and go from there.
If your computer only has a full-size SD card reader or you want to be able to use your card in a variety of cameras, fear not: microSD to SD adapters are widely available, and may even be included when you buy a microSD card. This only goes one way, though; you can't gracefully fit a full-size SD card into a microSD slot.
It's not particularly likely, but you may come across cards labeled as "SD Express." If you do, we don't recommend buying it, as there are currently no cameras on the market that support the standard. While SD Express cards are backwards compatible with standard SD slots, they'll only run at UHS-I speeds, so you'll be paying for a high-speed card without any benefit at all.
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| Higher-end cameras may have a CFexpress slot alongside an SD one... or even two CFexpress slots! |
While SD cards have been the industry standard for years, if you buy a vintage point-and-shoot, you may wind up with something that doesn't take them. Unfortunately, there may not be much you can do about that, as finding obsolete cards such as xD or the original Memory Stick is increasingly difficult. In some cases, you may be able to find an adapter that will let you use SD or microSD cards in other slots, and some older formats like Compact Flash are still around, but generally it's best to stick to cameras with SD card slots.
On the opposite end of the spectrum are high-end modern cameras, which may use standards like CFexpress Type B. While most people won't have ended up with one of these cameras by accident, if you see a port that's far too big for an standard SD card, that may be what it's meant for.
If you bought a new camera and are unsure what card to use with it, check the manual. Most come with recommendations for specific SD cards that the manufacturer knows will let you get the most out of your camera. Cards not on the list will almost certainly work with it, but if you want to be sure you're not getting something that will slow your camera down, it's a good place to start.
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| Image: Rollei |
Rollei Analog may have something new coming for analog shooters, according to its first Instagram post in four years. The company shared "We are back" on its account this week, with hints that something is coming.
The Instagram account rollei_analog hadn't posted since October 14, 2021. This week, though, it shared a post with a Zebra and text saying "We are back" and "be prepared and stay tuned!" The caption of the post said it has "big plans, new projects and analog inspiration." It isn't clear if it's simply an announcement that the Instagram account will be active again, or if there will be new products coming.
Hans O. Mahn GmbH & Co. KG manages the Rollei Analog brand, which specializes in film, photo chemicals and photographic papers. It last shared news on its website in 2020, so even that platform has been quiet for a while. You can still buy Rollei-branded film; however, it's not produced in-house by Rollei and is repackaged from other major manufacturers.
Over the past year, we've also seen the Rollei name pop up on other products, including a mirrorless lens and the Rollei 35AF film camera. However, those products are the result of licensing deals, with other companies obtaining the rights to use the Rollei branding on their products. The lens looked as though it was likely a re-branded 7Artisans offering. The revival of the iconic Rollei 35 in an autofocus format was a project by Mint Camera, which licensed the Rollei name from Rollei GmbH & Co. KG.
Rollei Analog's cryptic post leaves a lot to the imagination, and the comments are peppered with requests. We'll just have to wait and see what it means by "big plans," though.
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One of the most critical parts of photography is getting the right exposure. Unfortunately, mastering that process isn't always straightforward. Tricky lighting conditions like backlighting or high-contrast scenes can complicate things, whether you're using automatic or manual exposure settings. The key is to master metering modes, settings that tell your camera how to measure light in a scene.
Metering modes can be confusing, though, especially since each brand uses slightly different names. In this article, we'll break down the most common modes and provide examples of when you should use each.
Before exploring the different settings, it's important to know what metering modes are. Digital cameras are able to measure light within a scene. The camera uses that information to suggest how bright or dark your photo should be, helping you get an accurate exposure.
We'll have more on how to use that light meter later, but for now, what's key to understand is that you can adjust how your light meter reads the scene, allowing you to tell the camera what's most important in terms of exposure. For example, you may want it to evaluate the entire scene for a balanced exposure, or the center of the frame could be what matters most.
Changing the metering mode will affect how your camera determines a proper exposure. This is vital in automatic or priority modes, but it's also helpful if you're using manual mode. After all, if the meter reads the wrong part of the scene, you may end up with an image that is far too dark (underexposed) or bright (overexposed).
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| This scene doesn't have any particularly challenging light, so evaluative metering mode handles the metering nicely. Photo: Abby Ferguson |
Evaluative metering is the default setting for most cameras. Canon and Sigma call this mode Evaluative, and it's labeled as Matrix on Nikon, Multi on Sony and Fujifilm and Digital ESP on OM System.
While each brand might have its own nuance, it's typically more than just a basic average of the entire scene on modern cameras. Broadly speaking, this mode divides the scene into zones and assesses the brightness of every zone. The camera may also factor in color and the location of the focus point. That information is all processed using an algorithm that suggests a balanced exposure for the entire setting.
Evaluative metering is the default because it works well in most situations. It is useful for landscapes, portraits, wildlife and many other everyday scenarios.
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| My subject was right in the middle of the frame, making center-weighted metering a useful choice. Photo: Abby Ferguson |
Center-weighted metering (also called Center-weighted Avg. on Canon and Center on Sony), as the name suggests, prioritizes the center of the frame. It doesn't completely disregard the edges of the frame, but the camera will make sure the center is correctly exposed, even if that means the edges will be a little too dark or bright.
Center-weighted metering is useful for any situation where you know the subject will be centered. Portraiture is a great example, as it typically involves the subject in the center of the frame.
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| High contrast scenes, like a black dog on a snowy field, can benefit from spot metering. Photo: Abby Ferguson |
Spot metering is the most precise metering option. This mode calculates exposure based on a small area of your selected focus point. Each system is different in the size of the area it references, with most using just 1-5% of the frame. In addition to Spot metering, Canon also offers what it calls 'Partial' metering, which is similar but uses a larger section that covers 6-10% of the frame.
This mode is ideal when your subject is on a very dark or bright background. Situations like backlit portraits, a dark subject against a snowy backdrop or the moon in the night sky are good candidates for Spot metering.
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| Backlighting is a great example of when you might want a highlight-weighted metering mode, if you have it available. In this case, the highlights were more important to me than the rest of the scene. Photo: Abby Ferguson |
Highlight-weighted metering is less common, but is available on some Nikon models. Sony also offers a similar mode called Highlight. As the name suggests, it prioritizes highlights in the image to ensure bright areas aren't overexposed. It uses the same information as evaluative metering, but instead of balancing the exposure, it calculates what's necessary to retain highlight detail.
Highlight metering mode is useful in bright or high contrast situations where you want to pay particular attention to highlights. In such situations, you may be willing to underexpose the image to retain highlight detail with the intention of lightening the shadows when editing. Capturing a sunset, photographing in the snow or documenting someone on a stage with spotlights are good examples of when you may want to use this setting.
Metering modes aren't something you need to change for every image. Most situations will call for one mode the entire time, and the default mode is a safe option that works for a wide range of scenarios. However, if you notice that your images are consistently darker or lighter than they should be (or than you want), it's worth assessing whether the lighting conditions may call for a different metering mode than what you have set, and adjusting accordingly.
The silver Fujifilm X100VI camera is now in stock at Adorama. The funny part is that the used X100VI cameras at Adorama are significantly more expensive.
Check out also the Fujifilm X100VI camera accessories:
Just announced: IDSworks grip for the new Fuji X100VI camera
The post Act fast: the silver Fujifilm X100VI camera is now in stock appeared first on Photo Rumors.
Matt Granger updated his Hasselblad Expert Setup Guide for the latest Hasselblad X2DII camera and XCD 35-100mm f/2.8-4 lens (pre-orders: B&H Photo | WEX Photo | Foto Erhardt):
Check out also Matt’s other classes and guides:
Matt Granger’s Sony Setup Guide is now live and it includes every full-frame Alpha camera
Matt Granger announced his new FujiFilm GFX Expert Setup Guide
The post Matt Granger’s Hasselblad Expert Setup Guide now updated for the latest X2DII camera & 35-100mm lens appeared first on Photo Rumors.
Here is some additional information on the upcoming Venus Optics Laowa AF FF 200mm f/2 C-Dreamer lens (check the Laowa website for any potential updates):
The post Additional information on the upcoming Venus Optics Laowa AF 200mm f/2 lens appeared first on Photo Rumors.
As I already reported back in January, Viltrox will be joining the L-Mount Alliance on September 1st. Expect also a new lens (or lenses) for L-mount to be announced on the same date (see the latest Viltrox news here).
Via LeicaRumors
The post Viltrox is joining the L-Mount Alliance on September 1st appeared first on Photo Rumors.
OM SYSTEM will soon announce a new M.Zuiko Digital ED 50-200mm f/2.8 IS PRO lens. The official release is rumored to happen around September 10. The 50-200mm f/2.8 telephoto zoom was the only remaining lens on the latest roadmap:
OM System updated its roadmap with a new telephoto lens for 2025
Via 43addict
The post New OM SYSTEM M.Zuiko Digital ED 50-200mm f/2.8 IS PRO lens to be announced soon appeared first on Photo Rumors.
Related posts:
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| Image: Blackmagic Design |
Blackmagic Design has dramatically reduced prices for its Ursa Cine camera kits. The move is surprising, given that most products have seen increased prices in the past few years. It also follows a price increase of some Blackmagic cameras for US customers earlier this year.
In April, Blackmagic announced that it was increasing the prices of most products in the US because of tariffs. That included the Blackmagic Pyxis 12K and Ursa Cine 17K. In a statement to DPReview at the time, Blackmagic explained that "in general, it’s a bit in flux as developments are happening with the tariffs." However, the company also said it would be "moving production of some products to help lower costs for customers from what we had previously raised them to since the tariffs went into effect."
Blackmagic said that since it released the Ursa Cine line last year, it has been working to reduce the cost of production and pass the savings along to customers. It appears that some of Blackmagic's production adjustments are starting to have an impact, and the price cuts to the Ursa Cine line are substantial. The Ursa Cine 12K LF previously retailed for $14,995 and is now priced at $9,495. The Ursa Cine 12K LF with EVF dropped from $16,495 to $10,995. The higher-end 17K 65 with and without the EVF is $7,000 less than the previous price.
While the decreased prices are certainly a welcome change, Blackmagic specifies they exclude duties. As a result, prices in the US will be higher because of tariffs, though they will still be lower than the original prices of the Ursa Cine lineup.
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Image taken with the Google Pixel 10. Photo: Dale Baskin |
When Google unveiled the Pixel 10 last week, it touted the 48MP main camera, and yet, it can only produce 12MP photos. The story is the same with last year's Pixel 9 and its 50MP main camera. This has led some users to complain that Google's spec sheets are misleading; why would Google advertise a resolution that Pixel owners can't actually use? However, there's likely more going on than meets the eye.
On paper, the specs of the Pixel lineup seem pretty straightforward. The Pixel 9 features a 50MP main camera, and the new Pixel 10 uses a 48MP one. Yet in reality, neither phone produces images near that size, with every shot capped at 12MP.
The Pixel 10 Pro and Pro XL also, by default, take 12MP images with their 50MP sensors. However, the Pro models give users the option to change the resolution and turn on a Hi-Res setting. With that turned on, the phone will output 50MP files, which is the promised resolution. Unfortunately, the standard Pixel doesn't offer such a setting, so there is no opportunity to change to the full resolution.
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| The Quad Bayer design (right) uses an oversized version of the conventional Bayer pattern (left). Each color patch extends over four photodiodes; each has its own microlens in front of it. Image: adapted from Sony Semiconductor illustration |
So why put a higher-resolution sensor in the phone only to output a quarter of the resolution? There may be a few factors. First, the phone uses a Quad Bayer sensor, which differs from a traditional Bayer sensor by having each color patch extend over four photodiodes instead of one.
While each photodiode has a microlens that allows it to be used as an individual pixel (with a heavy helping of interpolation), there are other ways to use the data from a quad Bayer sensor. One is to bin the four photosites behind each color patch, which will reduce read noise and give you a resulting image that's 1/4 of the sensor's full resolution. This method comes at the cost of some detail, but gives you a cleaner image, especially in low-light situations.
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Image taken with the Google Pixel 10. Photo: Dale Baskin |
Another readout mode lets you retain more information in the highlights, again at the cost of outputting a file that's only a 1/4 of the resolution compared to if you used each photosite as a single pixel. In high contrast scenes, this allows for better HDR results.
Essentially, you can choose between having the maximum amount of detail captured, the minimum amount of noise or the maximum dynamic range. Or, rather, the phone manufacturer can; while the Pro models let you choose resolution over low-light performance, the standard model simply doesn't offer that option.
"There are other ways the phone may be using the extra pixels, even if they don't show up in the final output in the form of higher resolution."
It's also important to note that there are other ways the phone may be using the extra pixels, even if they don't show up in the final output in the form of higher resolution. Smartphones rely heavily on computational enhancements to produce better image quality than their tiny sensors would otherwise allow. It's possible that, somewhere in Google's imaging pipeline, it may be using a 48MP readout from the sensor in addition to the other modes, even though the end result is a lower-resolution file.
The Pixel 9 and 10's spec sheets aren't incorrect; they use 50MP and 48MP sensors, respectively. But it's also understandable why some users feel misled when they can't actually get files that match those resolutions. The phones may be taking full advantage of the sensors in the background, just in a way most don't necessarily expect.
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| A photo taken in 50MP mode on the Pixel 10 Pro XL. Photo: Abby Ferguson |
Of course, it likely doesn't help that Google only gives people who buy the Pro models the option to capture as much detail as possible with a full-res photo. That's especially true since other manufacturers, like Apple, don't divide their regular and Pro models along the same lines (though Apple's 48MP option is buried in the settings app).
It's an interesting situation because the spec sheets seem designed for people who assume that the more megapixels a sensor has, the better. But the same people will likely feel betrayed by the fact that they can't actually get that full resolution, even if their images will be better in most situations without it.
"At this time, the user cannot create a 48MP image from Pixel 10."
We reached out to Google for clarification on this difference between hardware specs and output. A representative for Google shared the following: "The Pixel 10 main/wide camera is a 48MP sensor. We include a clarifying footnote about resolution because even though the hardware is a 48MP sensor, Pixel Camera app configures the sensor in binning mode. At this time, the user cannot create a 48MP image from Pixel 10."
The footnote that Google is referring to states, "Reflects megapixels for camera sensor. Camera image resolution output may be less when using default settings." The use of "may" in that footnote is where Google is putting itself in a bind, since on the Pixel 10, it is always less, no matter what.
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| Ricoh GR IV | F16 | 1/500 sec | ISO 200 Photo: Mitchell Clark |
Last week, Ricoh fully announced the GR IV, the latest iteration of its photographers' compact camera. Compared to its predecessor, it has a new sensor, new processing engine and a new lens, so there's plenty to consider when it comes to its performance.
We've gotten the chance to shoot with it in a variety of conditions to see how it performs. Be sure to let us know what you think in the comments below, and keep an eye out for more photos as we continue our review process.
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.
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| Image: DJI |
DJI has announced its latest wireless lavalier microphone, the DJI Mic 3. The new device combines the compactness of the Mic Mini, which was released less than a year ago, with the functionality and higher-end features of the Mic 2.
Like the Mic Mini, the Mic 3 is a discrete option. The transmitter portion weighs 16g (0.56oz), which is only slightly heavier than the Mic Mini and 12g (0.42oz) lighter than the Mic 2. It can be attached to subjects with the detachable, rotating clip or with an included magnet. It also shares the Mic Mini's transmission range in ideal conditions, promising to connect at distances of up to 400m (just under 1/4 mile). That's a substantial bump from the Mic 2's 250m (820') range.
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| The Mic 3 is small and discreet. Image: DJI |
The Mic 3 gains some firsts from DJI, including the first DJI mic to offer voice tone presets. Users can select between Regular, Rich and Bright, which will professionally tune voices by boosting low frequencies or enhancing high frequencies. DJI says it will be helpful for interviews with multiple people who have different vocal characteristics.
The new mic is also the first DJI mic with two Adaptive Gain Control modes: Automatic and Dynamic. Automatic mode can suppress sudden volume spikes and prevent clipping. This mode promises to be helpful for outdoor environments with dramatic volume, such as sporting events. Dynamic mode automatically adjusts gain in response to volume changes to maintain consistent loudness, which DJI says is ideal for studio settings.
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| The windscreen helps cut down wind noise even more. It's also available (separately) in five different colors. Image: DJI |
Mic 3 provides Lossless Audio to deliver uncompressed 48kHz 24-bit audio directly to the receiver. It also offers two-level active noise canceling. DJI didn't specify if it carried over the Mic 2's 'Intelligent' noise cancellation, which doesn't require manual selection of a level.
It keeps the 32-bit float internal recording found on the Mic 2. However, it adds dual-file internal recording: one with the original track, and another with the algorithm-enhanced version. Unfortunately for some, the transmitter packs lack a 3.5mm jack, just as the original Mic Mini did. As a result, users won't be able to use traditional lav mics.
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| Image: DJI |
The system can work with up to four transmitters and eight receivers at once (though those have to be purchased separately), making it a worthwhile option for large group recordings. Additionally, the Mic 3 Receiver offers Quadraphonic mode, which supports independent output of four audio tracks, though only when paired with select Sony cameras or computer software.
In terms of battery life, DJI says the Mic 3 transmitter can last up to eight hours, while the receiver lasts up to 10 hours. The optional charging case provides 2.4 full charges.
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DJI says a five-minute charge will provide two hours of battery life. |
The DJI Mic 3 will be on display at IFA in Berlin from September 5-9. It is available with two transmitters, one receiver and the charging case, or users can opt for a single transmitter and receiver with no charging case.
Unfortunately for US users, as has been the case with other DJI releases lately, the Mic 3 will not be available for sale in the US through DJI’s official channels. The base model retails for £169 / €199, while the kit with a charging case costs £259 / €309.
Press release:
Expanding the DJI OsmoAudio™ Ecosystem, DJI Mic 3 is compact, lightweight, and discreet – with premium audio and a smarter experience
Aug 28, 2025 – DJI, the global leader in civilian drones and creative camera technology, today announced DJI Mic 3, an ultralight wireless microphone offering powerful performance and unmatched versatility. Building on previous generations of the DJI Mic series, Mic 3 supports up to four transmitters and eight receivers, making multi‑camera production and group recordings effortless. It is also the first in the series to feature an adaptive gain control that automatically prevents clipping or dynamically balances the volume, along with three voice tone presets and two-level noise cancelling. Another first is the dual-file 32-bit float internal recording with 32 GB of storage.
Lightweight, Versatile, and Ready to Go
The DJI Mic 3 Transmitter is compact and discreet, weighing just 16 grams. The microphone angle can be flexibly adjusted with the detachable, rotating clip, ensuring optimal audio capture no matter how it’s attached. It can be worn with either a magnetic or a clip-on attachment. The DJI Mic 3 windscreens can also be purchased in five different colors to easily match clothing or the environment.
Creators can easily bring Mic 3 along from location to location for multi-scene shooting while recharging on the go. The all-in-one charging case neatly holds two transmitters and one receiver. The transmitters can be stored without needing to remove the windscreen and magnetic clip. There is also space for the magnets and locking cables.
An Upleveled, Premium Audio Experience
Crafted to offer all content creators an unprecedented level of control and creativity, Mic 3 is equipped with intelligent features that enable dynamic, high-quality sound. It is the first DJI microphone to feature two Adaptive Gain Control modes. For outdoor environments with dramatic volume, such as sporting events, Automatic mode suppresses sudden volume spikes and prevents clipping. Meanwhile, Dynamic mode automatically adjusts gain in response to volume changes, ensuring consistent loudness - ideal for quiet indoor settings like studios.
Mic 3 is the first DJI microphone to offer three voice tone presets: Regular, Rich, and Bright. Ideal for interviews with multiple people with different vocal characteristics, this feature professionally tunes voices, boosting low frequencies to reduce muddiness or enhancing high frequencies to improve clarity.
Simultaneously, two-level active noise cancelling reduces background sounds such as air conditioning to deliver crisp and clear audio. With the windscreen attached, wind noise can be further reduced. Finally, the Lossless Audio feature enables the transmitter to deliver uncompressed 48kHz 24-bit audio directly to the receiver, capturing audio in stunning, high-fidelity detail.
Flexibility Made for Collaboration, Versatility and Reliability
With its capacity of up to four transmitters and eight receivers at once (additional transmitters and receivers are sold separately), you'll get crystal-clear audio on every device whether it’s a group interview or multi-camera shoots, making post-production a breeze. When set to Quadraphonic mode, the DJI Mic 3 Receiver—paired with select Sony cameras or computer software—supports independent output of four audio tracks. This enables precise track separation and flexible mixing, giving you greater creative freedom in post-production.
For complex, large environments such as trade shows or sporting events, Mic 3 features an impressive range of 400 meters and strong resistance to interference*, with automatic frequency hopping between 2.4GHz and 5GHz bands ensuring rock-solid transmission*.
Offers Dual-File 32-bit Float Internal Recording and Timecode Support for Easier Post-production
Internal recording protects material from wireless interference or device issues, ensuring users never need to worry about lost audio. The Mic 3’s dual-file internal recording saves both the original track and the algorithm-enhanced version. This allows for creative flexibility and simplifies post-production processing. With two internal recording specifications - either 24-bit or 32-bit floating point - Mic 3 provides a dynamic range that adapts better to complex sound environments, able to capture every nuance of a voice from a whisper to a shout. The transmitter offers high-precision timecode functionality, embedding timecode data during internal recording. Within a 24 hour period, the timecode won’t deviate for more than one frame*, guaranteeing precise synchronization across multiple cameras and allowing effortless alignment of footage in post-production.
Powering All-Day Creation
A fully charged Mic 3 transmitter lasts up to eight hours*, and the receiver lasts up to 10 hours*. The charging case provides 2.4 full charges, achieving 28 hours of extended use. A five-minute quick-charge can power the DJI Mic 3 for two hours*, while just 50 minutes is needed for a full charge*. The Mic 3 also offers multiple power-saving features to prevent the need for recharging. For example, Auto Power-Savings puts the receiver and transmitter to sleep if not in use, while Auto Power-Off turns them off after a period of inactivity.
Simple, Straightforward Connection within DJI Ecosystem and Beyond
With a direct connection to the DJI OsmoAudio™ ecosystem, DJI Mic 3 pairs with Osmo 360, Osmo Action 5 Pro, Osmo Action 4, or Osmo Pocket 3 without a receiver, delivering premium audio while minimizing the amount of gear needed and simplifying a creator’s workflow. To connect with other devices, Mic 3 features a locking 3.5mm TRS output port, a 3.5mm TRRS monitoring port, and a USB-C port. It can also connect directly to smartphones via Bluetooth without a receiver.
For more information about DJI Mic 3 and its remarkable features, please visit:
https://www.dji.com/mic-3
* All data was measured using a production model in a controlled environment. For more information, visit: https://www.dji.com/mic-3
Reminder: New price increases for Fujifilm, Canon, and Nikon products are set to take effect in the US on September 1st, resulting from the Trump tariff.
If you are planning to buy any new gear before the price increase, consider doing so from one of our sponsors:
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Reminder: second Nikon USA price increase coming in a few days (September 1st)
The post Reminder: new Fujifilm, Canon, and Nikon price increase coming to the US on September 1st appeared first on Photo Rumors.
Google's newest smartphone, the Pixel 10, introduces a significant change to its camera configuration: unlike previous base model Pixels that featured a two-camera setup, including a main (wide) and an ultra-wide camera, the Pixel 10 adds a telephoto camera, matching the triple-camera setup of the more expensive Pixel 10 Pro models.
However, as we've reported previously, a higher number of cameras doesn't mean better cameras. There's a trade-off for that extra lens. To add the telephoto camera, Google downgraded the Pixel 10's main camera, giving it a smaller sensor than the one on the Pixel 9.
Similarly, the Pixel 10's ultra-wide camera has a smaller sensor, a slower aperture, and lower resolution than the one found on the Pixel 9. These changes result in a pair of cameras that are notably less capable than those found on its predecessor.
Are these trade-offs worth it? The answer might be yes for casual camera users who aren't concerned about critical image quality. More advanced photographers, however, will find more reason than ever to spend extra money on Google's Pixel Pro models to get the improved camera performance they desire.
What do you think of these trade-offs? Check out our sample gallery and let us know in the comments.
View our Google Pixel 10 sample gallery
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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| Photo: Abby Ferguson |
Last week, Google announced its Pixel 10 phone lineup, which includes the Pixel 10, 10 Pro, 10 Pro XL and 10 Pro Fold. The standard Pixel 10 saw the most significant camera changes, while the three Pro models kept the same camera hardware as the previous generation. You can see more details of the four phones and how the Pixel 10 stacks up next to the Pixel 9 on paper in our detailed comparison.
While the hardware remains consistent in the Pro phones, Google said it made other improvements. Those promised upgrades take the form of largely AI-based software changes and a Tensor G5 chip. We've had the opportunity to take the Pixel 10 Pro XL around for a few days, testing the cameras to share a sample gallery with you all.
We shot the phone in Raw + JPG mode for most of the testing period so that you can check out the Raw files as well. However, for those looking forward to picking up a Pixel phone to use Raw files, be aware that accessing them on anything other than your phone isn't very straightforward.
One of the features that differentiates the Pro and Pro XL models from the other devices in the lineup is Pro Res Zoom up to 100x instead of 20x. Google says this feature uses a combination of cropping and generative AI. We made sure to test out the Pro Res Zoom feature, and included the processed and unprocessed versions so you can compare. The generative AI results are often very lackluster, but given how intense the crop is, it doesn't have much information to work with.
Google's latest flagship lineup is now available for preorder. The Pixel 10, Pixel 10 Pro and Pixel 10 Pro XL will be fully released on August 28, though the Pixel 10 Pro Fold won't be widely available until October 9.
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.
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| Image: Nothing |
Nothing, a British tech brand, was caught trying to pass off stock images taken by professional photographers as samples taken by the Phone 3. The Verge reports that five sample images were licensed photos taken with different cameras.
The photographs were used on in-store demo units of the Nothing 3. One of the photographers anonymously confirmed to The Verge that they didn't use the company's latest smartphone to create the image. Instead, the photo was licensed by Nothing through the Stills stock photo marketplace. The Verge says it looked at the EXIF data for the image and confirmed it wasn't taken with the Phone 3 and was taken in 2023, two years before the release of the phone.
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| Nothing used this car image available through Stills on its live demo unit, even though it was taken with the Fujifilm XH2s in 2023. Screenshot: Abby Ferguson |
Five other photographs were also licensed by Nothing through Stills. Roman Fox confirmed to Android Authority that they photographed one of the other images. That photograph was also taken in 2023 using a Fujifilm XH2s, a far different camera from the Nothing Phone 3.
Nothing's founder Akis Evangelidis responded to the incident on X. He claims that the stock photos on the live demo units (LDU) were meant to be placeholders that should have been updated and replaced. "An initial version of the LDU needs to be submitted with placeholders around 4 months before launch, to be implemented and tested as we ramp up towards mass production," Evangelidis said. "Once we enter mass production, those placeholder images are replaced with photo samples through a new version of the LDU."
Re the Phone (3) live demo units (LDU) in some stores using stock imagery - let me explain. An initial version of the LDU needs to be submitted with placeholders around 4 months before launch, to be implemented and tested as we ramp up towards mass production. Once we enter mass…
— Akis Evangelidis 🦞 (@AkisEvangelidis) August 27, 2025
Evangelidis went on to say that it was "an unfortunate oversight" and "that there was no ill intent." Nevertheless, paying for stock photos that were not intended for public use seems odd. It seems it would be much easier to simply use some of those cat photos that are likely on someone's phone. Evangelidis says that used to be the process, in fact. In the past, it used photos taken using the company's older phones on the live demo units. It's unclear why it changed to using licensed stock photos instead.
This isn't the first time a company has tried to pass off dedicated camera photographs as sample images. For example, Huawei has done the same thing a few times, and Nokia famously released a commercial supposedly featuring video from one of its phones in which you could see a reflection showing a professional video rig. Yet, companies don't seem to learn that consumers do catch on.
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