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Sony a7CR | Sigma 35mm F1.2 DG II Art | F1.2 | 1/125 sec | ISO 100 Photo: Mitchell Clark
Earlier this week, Sigma announced a second-generation version of its full-frame 35mm F1.2 lens, the 35mm F1.2 DG II Art. It promised not only improved optical quality and autofocus performance, but a much smaller and lighter package overall.
We had the chance to use the lens in a variety of conditions to get an idea of how it performs, and you can see our samples in the gallery below.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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This week, we've seen a slew of video and cinema news, timed alongside the International Broadcasting Conference trade show that's kicking off today. Perhaps two of the most notable were the Nikon ZR, a video-focused camera featuring the same sensor as the Nikon Z6III, and the Canon EOS C50, which uses a new 32MP full-frame sensor.
DPReview editors Dale Baskin, Richard Butler and Mitchell Clark sat down to discuss the cameras and the surprisingly different places they fit into the market. Fear not, photographers; they also discuss some of the new stills-focused lenses from Sigma.
As a wedding photographer and YouTube creator, Benj Haisch has a lot of gear. That's a benefit when he's gearing up to shoot an elopement. But when he's packing for a family trip to Hawaii? Turns out, too much gear can be a liability in that instance.
In the first episode of our new series produced in partnership with MPB, Haisch sets out to simplify his travel kit – without breaking the bank.
As a starting point, Haisch connected with DPReview staffer Mykim Dang to discuss his options. That conversation quickly led him to our Lens Feature Search and Lens Comparison Tool where he was able to quickly whittle the list of potential lenses down to just three.
From there, Haisch jumped over to MPB, the leading platform for buying, selling, and trading camera equipment, to check on pricing and inventory. Because MPB has the largest range of used digital cameras and lenses in the US – over 20,000 items – he was able to quickly find a Sony FE 24-50mm F2.8 G in the right condition and price point for his budget. Plus, he even traded in a macro lens that was collecting dust to further reduce the cost of his upgrade.
Got gear of your own collecting dust on a shelf, or simply looking for something new? Head over to MPB to upgrade your kit today.Buy, Sell, or Trade with MPB
Here is an updated list of what is coming next from Viltrox:
Viltrox is also teasing a new adapter with AI autofocus support called Nexus Focus: “Where Al autofocus meets the art of cinema“. The new adapter will give manual-focus lenses autofocus capability and will support the native phase-detection AF, AI subject recognition, eye + face detection, and more.
The Royal Observatory Greenwich has announced the winners of its ZWO Astronomy Photographer of the Year contest. This annual showcase highlights some of the world's best space photography, with winners, runners-up, and highly commended images selected across ten categories.
This year's overall winning image, Andromeda Core, was captured by Chinese photographers Weitang Liang, Qi Yan, and Chuhong Yu. The winning photograph "focused on revealing the intricate structure of the galaxy's central region and its surrounding stellar population." Additionally, contest organizers recognized NASA astronaut Don Pettit for a time-exposure image he captured from the International Space Station using a homemade sidereal star tracker.
We share the winning images from each of the contest's ten categories on the following pages. To see the complete collection of awarded images, visit the competition's website.
Winner: Galaxies
The Andromeda Core by Weitang Liang, Qi Yang, Chuhong Yu (China) Overall Competition Winner Winner: Galaxies
This image showcases the core of the Andromeda Galaxy (M31) in exceptional detail, captured using a long focal-length telescope. Taking advantage of the excellent seeing conditions at Nerpio, the photographers focused on revealing the intricate structure of the galaxy’s central region and its surrounding stellar population.
Taken with a PlaneWave Instruments CDK20 telescope, Baader LRGB and Chroma H-alpha filters, PlaneWave Instruments L500 mount, Moravian Instruments C3-61000 Pro camera, 3,450 mm focal length, 500 mm F6.8, multiple 900-second R, G and B exposures, multiple 1,800-second H-alpha exposures, 38 hours total exposure
Location: AstroCamp Observatory, Nerpio, Spain, 31 July, 2, 4–6, 14, 17, 20, 29, 31 August and 1 September 2024
Comet 12P/Pons−Brooks Taking a Final Bow by Dan Bartlett (USA) Winner: Planets, Comets & Asteroids
Comet 12P/Pons−Brooks reacted visibly to the intensified solar winds associated with the current solar maximum, creating a spectacle of tail dynamics and colorful hues expelled by its nuclear coma, the bright cloud of gas around the comet’s centre.
Taken with a Celestron C14Edge HD SCT telescope with HyperStar V4 lens, 10Micron GM 2000 HPS mount, ZWO ASI2600MC Pro camera, 712 mm F2, 25 x 30-second exposures
Location: June Lake, California, USA, 31 March 2024
Encounter Across Light Years by Yurui Gong, Xizhen Ruan (China) Winner: Sir Patrick Moore Prize for Best Newcomer
This photograph captures a serendipitous moment when a brilliant fireball from the Perseid meteor shower appears to graze M31, the Andromeda Galaxy. This photograph captures a serendipitous moment when a brilliant fireball from the Perseid meteor shower appears to graze M31, the Andromeda Galaxy.
Originally, the photographers had only planned to capture a close-up of the M31 galaxy. Retrieving the camera the next morning, they discovered this wonderful surprise.
Taken with a Nikon Z 30 camera, 56 mm F1.7, ISO 800, multiple 30-second exposures
Location: Zhucheng City, Shandong, China, 12 August 2024
The Trace of Refraction by Marcella Giulia Pace (Italy) Winner: Our Moon
This image captures the phenomenon of atmospheric refraction, where moonlight passes through dense layers of Earth’s atmosphere near the horizon, bending in a manner similar to light rays through a prism. Additionally, the redness of the Moon can be explained by a process known as Rayleigh scattering [smaller particles in the atmosphere scatter shorter wavelengths of light, resulting in longer wavelengths, namely red, being more predominant].
Taken with a Nikon D7100 camera, 600 mm F6.3, ISO 100, 1-second exposure
Location: Contrada Sant’Ippolito, Modica, Sicily, Italy, 7 April 2024
The image was taken during the G5 storm, the most extreme level of geomagnetic storm, in May. The reds were a level of intensity the photographer had never experienced.
Taken with a Nikon Z 7 astro-modified camera, Sky-Watcher Star Adventurer Pro 2i mount, Nikkor Z 14-24 mm F2.8S, 16 mm, Sky: F2.8, ISO 800, 5-second exposure; Foreground: F5.6, ISO 3,200, 30-second exposure
Location: Tumbledown Bay, Little River, Banks Peninsula Community, New Zealand, 10 May 2024
Active Region of the Sun's Chromosphere by James Sinclair (USA) Winner: Our Sun
The chromosphere is the most picturesque part of the Sun. Composed of hydrogen and helium plasma, it is manipulated by the intense and tangled magnetic fields of the Sun. The Sun’s chromosphere does not just change day by day; it changes second by second, which is why solar astrophotographers become obsessed with it.
Taken with a Lunt 130 mm telescope with double-stacked Etalons, Lunt Block Filter 3400 (34 mm), Sky-Watcher EQ6 R Pro mount, Player One Astronomy Apollo-M Max camera, 910 mm F28, Gain 310, 10-second exposure
Location: Cedar City, Utah, USA, 30 September 2024
ISS Lunar Flyby by Tom Williams (UK) Winner: People & Space
This image shows the International Space Station making a close pass of our Moon. The event was predicted to be a transit but ended up being a close flyby. However, the result is still dramatic, with the station’s solar arrays backlit by the rising Sun. Notably, the white radiators can also be seen and are illuminated by earthshine rather than direct sunlight.
Taken with a Sky-Watcher 400P GoTo Dobsonian telescope, Player Astronomy Uranus-C (IMX585) camera, 300 mm F15.5, 1.5-millisecond exposure
Location: Trowbridge, Wiltshire, England, 27 October 2024
The Ridge by Tom Rae (New Zealand) Winner: Skyscapes
This is the largest panorama Tom Rae has ever captured, with the full resolution image containing over a billion pixels from 62 images stitched together. The photograph captures the twin glacial rivers with the Milky Way core off to the left of the image, as well as the famous Southern Cross and other pointers high in the centre sky.
Taken with a Nikon Z 6a and Z 7 cameras, iOptron SkyGuider Pro mount, Sky: Nikon Z 6a camera, 40 mm F1.8, ISO 1,600, 49 x 30-second exposures; Foreground: Nikon Z 7 camera, 24 mm F10, ISO 125, 13 x 20-second exposures
Location: Aoraki/Mount Cook National Park, Mackenzie District, New Zealand, 8 April 2024
M13: An Ultra-Deep Exposure of the Popular Cluster by Distant Luminosity; Julian Zoller, Jan Beckmann, Lukas Eisert, Wolfgang Hummel (all Germany) Winner: Stars and Nebula
M13, or the Great Hercules Cluster, is one of the most prominent and well-studied globular clusters in the northern sky. Discovered by Edmond Halley in 1714, it is located in the constellation Hercules and lies about 22,200 light years from Earth. With an apparent magnitude (a measure of brightness) of 5.8, M13 is visible to the naked eye under dark skies and can be easily observed through binoculars or a small telescope. Our goal was to get the deepest possible image of the cluster, in which, to our surprise, even integrated flux nebula (IFN) clouds appeared.
At approximately 145 light years in diameter, M13 is one of the larger globular clusters associated with the Milky Way – a tightly packed sphere of hundreds of thousands of stars. At its core, some stars are as close as 0.05 light years apart, about one-tenth the distance between the Sun and its nearest stellar neighbour. Although M13 is one of the most photographed astronomical objects, there are only a few deep images that show the numerous small background galaxies in the field.
Taken with a TS-Optics 200 mm/8 ONTC F4 Newtonian telescope, iOptron CEM70G mount, ZWO ASI2600MM Pro camera, 800 mm F4, 300-second exposures, 29.25 hours total exposure
Winner: ZWO Young Astronomy Photographer of the Year
Orion, the Horsehead and the Flame in H-alpha by Daniele Borsari (Italy) Winner: ZWO Young Astronomy Photographer of the Year
This image was captured with an H-alpha filter to make a monochrome image highlighting the emission nebula. This image was captured with an H-alpha filter to make a monochrome image highlighting the emission nebula.
On the lower left lies the Horsehead Nebula, also known as Barnard 33. This dense dark cloud of gases hides the light coming from the emission nebula IC 434 and creates the apparent shape of a horse’s head.
A little to the left, we find the Flame Nebula, NGC 2024. The star responsible for the illumination of this nebula, IRS2, is located behind dust and gases and is therefore not visible in the optical spectrum.
And finally, in the upper-right of the image, is M42, famously known as the Orion Nebula. This nebula is a huge cloud of dust and gas where a lot of new stars are born. The energy released by the four central stars (the Trapezium Cluster) shapes the nebula, ionising the gas components.
Taken with a Player One Astronomy Ares-M Pro camera, Sky-Watcher HEQ5 Pro mount, Samyang 135 mm F2.0 lens, 135 mm F2.8, 45 x 60-second exposures and 262 x 300-second exposures, 22 hours and 35 minutes total exposure
Earth From Orbit by Don Pettit (USA) Special feature
While the ZWO Astronomy Photographer of the Year competition showcases the best of Earth-bound astrophotography, this image demonstrates the immense potential of space-based imagery, revealing the cosmos in ways that would be impossible from the ground.
Captured between October 2024 and March 2025, during ISS Expedition 72
This is one of a number of star-field time exposures captured from the International Space Station (ISS) using a homemade sidereal star tracker. Rotating once every 90 minutes, the tracker counteracts the attitude motion of the orbiting ISS, allowing distant stars to be photographed as fixed pinpoints while the Earth continues to rotate below, previously an impossibility in orbital photography.
Taken with a Nikon Z9 camera, Sigma 14 mm F1.4 lens, F1.4, ISO 6400, with homemade orbital sidereal drive to compensate for orbital pitch rate (4 degrees/min), 15-second exposure.
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Sony a7CR | Sigma 20-200mm F3.5-6.3 DG Contemporary | 76mm | F7.1 | 1/250 sec | ISO 100 Photo: Mitchell Clark
Earlier this week, Sigma announced the 20-200mm F3.5-6.3 DG Contemporary, a full-frame lens that the company says is the first to have a 10x zoom ratio. We were able to test the lens out in a variety of scenarios to get an idea of how it performs throughout its wide range of focal lengths and at different apertures.
The sample gallery contains a few sequences with images taken at 20mm and 200mm, to help illustrate the range it provides.
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.
As I was covering the iPhone announcement earlier this week, there was a moment in Apple's presentation that made me double-take. Describing the new iPhone Air, the company said: "What might appear to be a single camera is actually our new, powerful, 48 megapixel fusion camera system, which works like multiple advanced cameras in one." It continued on to mention the phone's "2x telephoto," later calling it an "optical quality lens."
Reader: the iPhone Air has one camera. (And it's not new, by the way; it's the same main camera from the standard iPhone 16 and 17). The camera app may present you with a 2x option, but it will be using the exact same optics. It "might appear to be a single camera" because it literally just is.
The Air's "2x telephoto" is really just a crop. Image: Apple
The company pulls the same trick for the regular iPhone 17, calling its main lens "two cameras in one," and takes it even further with the iPhone 17 Pro. That phone has three cameras – a 13mm equiv. "0.5x" ultra-wide, 24mm equiv. "1x" main and 100mm equiv. "4x" telephoto which is an impressive amount to fit in such a small device. Yet Apple claims the phone is capable of "up to 8x optical-quality zoom," and that carrying it is "like having 8 pro lenses in your pocket."*
The iPhone 17 Pro's eight camera modes (produced by its three cameras). Image: Apple
It isn't, and these additional options are not "optical quality," an essentially meaningless phrase meant to evoke the idea of a lens capable of actually zooming in. In reality, it's a crop. Your phone is punching in on the pixels in the center of the sensor, only using a quarter of its resolution to capture the scene.
The phone may be processing it differently than it would a straight digital zoom, but at the heart of it, that is all these "optical zoom" modes are. It's also worth noting that, because of the sensor's Quad Bayer design, that center crop won't necessarily have the detail you might expect from a 12MP image taken on a standard Bayer sensor.
The "optical zoom" phrasing is all over Apple's website, including in the tool that lets you compare between models, which doesn't distinguish between the actual lenses and the crops.
Also, while I'm griping, this comparison tool may be one of the most obnoxious pieces of web design I've come across in a while.
This isn't a new trick by any means; Apple has been pretending that cropping is the same as optics for a while now, but that doesn't really make it better. People are still getting confused by it, likely in part because the tech press routinely parrots the "optical quality" phrasing without explaining what's actually happening under the hood.
While Apple's presentation was particularly egregious, it's far from the only phone manufacturer participating in this marketing sleight of hand. Describing the Pixel 10 Pro's capabilities, Google writes that the phone has "optical quality at 0.5x, 1x, 2x, 5x, 10x," despite it physically only having three cameras (the 2x and 10x modes are center crops).
Another example of "optical quality."
Samsung similarly boasts that the S25 has a 50MP wide-angle camera with "2x optical quality zoom," though it at least includes a footnote saying "Optical quality zoom is enabled by the Adaptive Pixel sensor. 3x distance is optical zoom. 2x distance is optical quality zoom." That could tip off attentive readers that there are some liberties being taken, but telling the truth in the footnotes isn't the same as being honest.
While these companies are (generally) careful to modify "optical" with "quality," I'd argue this is still misleading, though I'm sure they all have some convoluted reasoning as to why they call the crop modes that**. While consumers probably aren't buying phones thinking they have more cameras than they actually do, Apple & co's. marketing may trick them into thinking they're not giving up by pressing the button to punch in.
You are giving up something for that extra reach, no matter how hard manufacturers try to make you believe otherwise
But, to put it plainly: they are. All the computational tricks in the world won't make an image taken using a quarter of the sensor the same quality as one taken with the entirety of that same sensor. You are giving up something for that extra reach, no matter how hard the phone companies try to make you believe otherwise.
In all honesty, I don't expect the phone companies to stop using this kind of language, especially if thin phones with fewer cameras continue to be en vogue. What I can hope is that photography enthusiasts and the tech press will stop regurgitating their misleading labels, and instead start educating people on how the different modes actually work.
* - Apple's math: three real, physical lenses (ultra-wide, wide, telephoto), plus two main camera crops to emulate a 28 or 35mm focal length, the "2x" center crop of the main camera and "8x" center crop of the telephoto camera and the ultra-wide's macro mode equals eight options.
** - In its presentation, Apple says the crop modes have their own "dedicated image pipelines." This is almost certainly technically correct, the most annoying kind of correct
Over the past year, Fujifilm has been slowly trickling out information about the GFX Eterna, a cinema camera built around the same 100MP "large format" sensor (medium format in photography terms) found in its hybrid GFX 100 II. Today, the company has fully unveiled it, announcing the full specifications, price, release date and more.
The camera, which will officially be called the GFX Eterna 55, uses its massive 44 x 33mm sensor to provide compatibility with a wide array of lens types. It can, of course, be used with medium format lenses made for Fujifilm's GFX mount to record up to 8K footage. But it will also support Fujifilm's large format "Premista" lenses, full-frame lenses, several varieties of anamorphic lenses and even APS-C (Super35 in video terms) lenses.
The sensor has a dual-gain design, using ISO 800 as its low-gain step and 3200 as its high-gain step.
Recording modes and codecs
The camera's sensor size and resolution means you can crop down to an APS-C region and still get >4K footage. Image: Fujifilm / Timur Civan
Several of those modes are carried over from the GFX 100 II, but a few are new. For example, when paired with GFX lenses, the camera now has a 4:3 "open gate" mode that uses the whole sensor area, recording a 3840 x 2880 image at up to 48fps. The APS-C crop mode is also new, and in it, the camera supports recording up to 6.3K/24 or 4K/30.
The relatively low resolution is likely necessary to combat rolling shutter rates. The GFX 100 II takes a glacial 164ms to read out its entire sensor for stills, and has very slow ∼30ms rolling shutter rates in some of its recording modes, especially 8K.
While the GFX Eterna 55 doesn't support recording Raw internally, it can output it via its HDMI port to an external recorder. It supports recording ProRes 422 (in standard, HQ or LT), as well as H.265 and H.264.
Classic Fujifilm colors
When it comes to color, the camera can apply one of Fujifilm's 20 well-regarded "Film Simulation" color profiles to its recorded footage. It can also shoot in the more flexible F-Log 2 and F-Log 2 C and store up to 16 Look Up Tables (LUTs) that you can use to preview what your Log footage will look like after grading.
Fujifilm is releasing LUTs for 10 Film Simulations
In exciting news for Film Simulation fans, the company is also releasing F-Log 2 LUTs for 10 of its color profiles. In theory, that means you'll be able to grade footage from many of its other, more affordable cameras to match its Provia, Velvia, Astia, Reala Ace, Classic Chrome, Classic Neg, Acros and Eterna Bleach Bypass looks. A LUT was already available for the standard Eterna, but this move vastly expands the number of different aesthetics that are available straight from the company.
Cinema camera build
The GFX Eterna 55's design is typical for this class of camera. Image: Fujifilm / Coco Tolentino
In terms of ergonomics and ports, the GFX Eterna 55 is very much a production camera. It has a variable electronic ND filter that can cut down on light by 0.6-2.1EV, SDI, TimeCode and GenLock ports, 3.5mm audio input and output, and two displays: a 5", 6.22M dot one for preview, and a 3" color LCD for displaying settings. The camera also comes with a PL mount adapter, which means you'll be able to attach a wide array of existing cinema and broadcast lenses to it straight out of the box.
The GFX Eterna 55 has the same X-Processor 5 that you'll find in Fujifilm's recent hybrid cameras, which gives it similar autofocus capabilities, including the ability to recognize and track humans, animals, birds, cars, bikes, trains and planes.
Fujifilm says "initial shipments" are slated to begin in October, and that it will cost $16,500.
Fujifilm Introduces FUJIFILM GFX ETERNA 55 Filmmaking Camera
Fujifilm’s first digital camera dedicated to professional filmmaking
VALHALLA, N.Y. - September 10, 2025 - FUJIFILM North America Corporation, Electronic Imaging Division, announces the release of its FUJIFILM GFX ETERNA 55 Filmmaking Camera (“GFX ETERNA 55”), the company’s first camera designed primarily for professional digital filmmaking. With GFX ETERNA 55, Fujifilm is advancing its legacy of color and image science to create a product designed from the ground up as a tool for filmmakers and cinematic content creators.
Featuring one of the tallest digital cinema sensors on the market1, GFX ETERNA 55 expands the angle of view with both spherical and anamorphic lenses, providing filmmakers with a more creative canvas. FUJIFILM Digital Film Science offers highly controllable color application, including 20 built-in Film Simulations, F-Log2 C’s expansive gamut and dynamic range, and the ability to create and load 3D LUTs (Look Up Tables). The resulting images remain cinematic no matter the scale of production. GFX ETERNA 55 is purpose-built for filmmaking, including an internal electronic variable ND, a flexible native lens mount, thoughtful design, and wide connectivity.
“GFX ETERNA 55 introduces the filmmaking community to the tallest digital filmmaking sensor that has ever been available for purchase on the open market,” said John Blackwood, director, Product Marketing, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “The native 4:3 Open Gate format echoes back to the filmmaking legacy of 4-perf Super 35mm, but with an approximately 3x larger imaging area. This sensor height brings a great range of format flexibility and opportunities to create larger than Full Frame images with spherical lenses, or images of epic cinematic scale when paired with anamorphic lenses. With the ability to import up to 16 3D LUTs, filmmakers can craft with their intended vision and mood, from production through post. The inclusion of our internal film simulations in GFX ETERNA 55 allows creatives to get the best color they can, straight out of camera, for beautiful images with intentional creative looks inspired by Fujifilm’s extensive color legacy in analog film. It is fantastic for content with quick turnaround times to delivery.”
GFX ETERNA 55 delivers rich tonal and true-to-life image quality unique to a large-format sensor, bringing new value to filmmaking across various genres such as independent and feature films, television, documentaries, weddings, commercials, and music videos. Its abundant image data also offers high editing resilience, supporting demanding production workflows.
"GFX ETERNA 55’s robust color science provides all the range I need to craft beautiful imagery that meets the intention behind my and the director’s creative vision,” said Oren Soffer, who served as the cinematographer on GFX ETERNA 55 launch film, OKAY , written and directed by Andrew Kightlinger. “The native 4:3 large format sensor is a massive and flexible canvas – fantastic for anything from landscapes to portraiture-style imagery and beyond.”
Product features
Innovative Image Expression enabled by a 44 x 33 large format sensor
GFX ETERNA 55 is equipped with a 102-megapixel large format sensor2 - GFX 102MP CMOS II HS. GFX ETERNA 55 features five main formats, which each hold further options for resolution selections. Those formats are “GF”, “Premista”, “35mm”, “ANAMORPHIC (35mm)”, and “Super35”. This diverse selection enables the opportunity for diverse visual expression through the use of a wide variety of lenses paired with specific formats. It also supports filming in a 4:3 open gate format at up to 48 fps, fully leveraging the large image circle3 sized 43.8mm wide, 32.9mm high, and 54.8mm diagonal, making it one of the world’s tallest sensors available to the open market.
The camera is optimized for its large format sensor, adopting a four-point Optical Low-Pass Filter to reduce the potential for optical anomalies
GFX ETERNA 55 incorporates “DUAL-BASE ISO” with two base sensitivities, ISO 800 and ISO 3200. Under extreme lighting conditions — whether very bright or very dark — filmmakers can rest assured that they can shape available light to match their story as they see fit.
F-Log and Film Simulation 3D-LUTs supporting production to post
GFX ETERNA 55 features “F-Log2” and “F-Log2 C” with dynamic range of 14+ stops. These allow capturing rich image tonality that takes full advantage of the large format sensor, providing greater flexibility in post-production.
GFX ETERNA 55 includes 20 of Fujifilm’s revered Film Simulations to enable diverse visual styles during content creation. Additionally, there are 10 Film Simulation conversion 3D-LUTs (compliant with ITU-R BT.709) for precise color and tone adjustment of footage filmed in Log (F-Log2/F-Log2 C). Along with the “ETERNA” and “ETERNA BLEACH BYPASS” LUTs announced at launch, users can download a total of 10 3D Film Simulation LUTs — including PROVIA/Standard, Velvia, and ACROS — from the web for use.
The camera includes up to 16 different 3D-LUTs, including 3D Film Simulation LUTs, which can be stored in-camera, enabling filming while previewing the desired look.
Workflow solutions supporting various codecs and improved efficiency
GFX ETERNA 55 supports three Apple ProRes codecs - Apple ProRes 422 HQ, Apple ProRes 422 and Apple ProRes 422 LT. When filming in Apple ProRes, the camera can use proxy video recording such as Apple ProRes 422 Proxy. Supporting a total of five codecs, it reduces video editing workload to streamline the overall workflow from filming to postproduction. It also supports recording of H.265/HEVC as a light-weight codec option.
GFX ETERNA 55 can output 4:2:2 10bit uncompressed data and up to 8K/30P 12-bit video in RAW data via HDMI.
The camera supports Frame.io Camera to Cloud functionality, so that content can be uploaded directly to a central location in Frame.io for expedited accessibility. Video files can be instantly shared with the larger production team, for anything from immediate review and approval to getting started in editorial right away with camera-created proxies.
Compact and lightweight body for functionality and operability
To support small crews and solo filming, the body weight is approximately 4.4 pounds (2.0 kg). Additionally, 3-inch side monitors have been placed on both sides to give both camera operators and camera assistants full access to the camera menu in most configurations.
The front of the camera and the included handle feature a multi-function dial that controls the focus, iris, and zoom of FUJIFILM GF lenses. When the dial is set to “ND,” it allows fine adjustment of the internal electronic variable ND filter density.
A 2000-nit 5” LCD displays footage even when filming outdoors in bright sunlight. The touch-enabled LCD monitor features multiple adjustable angles, allowing flexible positioning to suit various filming environments and support comfortable filming.
GFX ETERNA 55’s body is equipped with an internal battery slot that holds a high-capacity NP-W235 battery. This allows for up to 30 minutes of filming without external power. Additionally, when replacing an external battery, power is supplied from the NP-W235 battery, enabling “hot swap”4 functionality that allows external battery changes without restarting the camera.
The camera features CFExpress™ Type B and SD card media. By using high-speed CFexpress™ Type B cards, GFX ETERNA 55 supports recording various video formats and bitrates during filming5
Pricing and Availability
Initial shipments of FUJIFILM GFX ETERNA 55 are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of $16,499.95 USD. Select dealers will be accepting pre-orders beginning September 15, 2025 at 12:00 a.m. Those interested in being notified about participating dealers when they are announced can sign up at https://shopusa.fujifilm-x.com/gfx-eterna-55-pre-orders.
1 Based on comparison of commercially available filmmaking cameras for cinema use (as of September 11, 2025, research conducted by FUJIFILM of publicly available product specifications, research data on file).
2 An image sensor that measures 54.8mm diagonally (43.8mm x 32.9mm) and is approximately 1.7 times larger than a 35mm full-frame sensor.
3 The circular area where light passing through the lens is focused.
4 Not supported while recording.
5 Please check our website for a list of confirmed compatible cards.
Alongside the final launch of the GFX Eterna 55, Fujifilm has announced the GF 32-90mm T3.5 PZ OIS WR, a stabilized autofocus power zoom designed for video work.
The 32-90mm offers a 25-70mm equivalent range (in photographic full-frame terms) and covers the entire 55mm diameter of the GFX Eterna's sensor, allowing its use with the new camera's open-gate shooting mode.
The lens features geared zoom, focus and iris (aperture) rings for manual operation and use with follow-focuses and servo motor contol, but can also autofocus and be used as a power zoom for run-and-gun operation. The company says the use of high-speed motors and high precision position indicators ensures a high level of responsiveness when using the manual control rings.
The provision of a stabilized, autofocus lens, both of which are unusual in the cinema sphere, is in keeping with the company's attempt to provide shooting options that don't already exist.
The focus, zoom and iris rings are all geared but the lens can also be autofocused and operated as a power zoom from the GFX Eterna 55 body on via the switch near the back of the lens.
Photo: Coco Tolentino / Fujifilm
The $6,000, 2.1kg (4.6lb) lens is the first in Fujifilm's lineup to use 13 aperture blades, to ensure point light sources in the back of shots are rendered as circles. The lens takes a 111mm filter, though we suspect it'll be more often used with a matte box.
A complex design utilizes 25 elements in 19 groups, including three aspheric elements and three extra-low dispersion (ED) elements, that the company says will deliver high resolution while "effectively suppressing aberrations." Fujifilm has not specified what type of autofocus motors the lens uses.
The Fujinon GF32-90mm T3.5 PZ OIS WR will be available for pre-order from September 15th, with lenses shipping in October. It will have a recommended price of $5996.
Fujifilm’s first motorized power zoom lens for the GFX System
VALHALLA, N.Y. – September 10, 2025 - FUJIFILM North America Corporation, Electronic Imaging Division, today announced the release of its FUJINON GF32-90mmT3.5 PZ OIS WR filmmaking lens (“GF32-90mmT3.5 PZ OIS WR”). The first FUJINON motorized power zoom lens for the GFX System, GF32-90mmT3.5 PZ OIS WR offers serious filmmakers cinematic versatility and exceptional optical performance in a compact, lightweight design.
“This lens combines Fujinon’s legacy in optical design with our latest G Mount lens technology to create the perfect companion for filmmakers using GFX ETERNA 55 or GFX100 II,” said John Blackwood, director, Product Marketing, FUJIFILM North America Corporation, Electronic Imaging Division. “With its native G Mount, the ability to cover Open Gate recording on GFX ETERNA 55, and its approximate 3:1 focal range, GF32-90mmT3.5 PZ OIS WR is a flexible tool that visual creatives can get a lot out of, especially if they’re used to using traditional cinema lenses. ”
In recent years, filmmakers have sought to balance efficiency with high quality. Covering a wide to standard focal range in a single lens, GF32-90mmT3.5 PZ OIS WR offers a versatile focal range with great compositional flexibility, speeding up production by reducing the need to change lenses. Similar advantages come from the constant T3.5 aperture throughout the range, so once a scene is lit, users can zoom in and out without the need for exposure adjustments. Focus breathing is also tightly controlled, maintaining framing consistency and minimizing distractions for the audience.
GF32-90mmT3.5 PZ OIS WR minimizes optical aberrations to an extreme degree, delivering resolution comparable to prime lenses. Compatible with FUJIFILM GFX100 II and GFX ETERNA 55 digital cameras, the lens enables refined, high-quality visuals that maximize its wide tonal range and fine detail — whether capturing soft morning light through a window or highlighting a subject with shallow depth of field.
Combined with the newly announced FUJIFILM GFX ETERNA 55 filmmaking camera, GF32- 90mmT3.5 PZ OIS WR opens new possibilities in filmmaking, which has traditionally been dominated by prime lenses. GF32-90mmT3.5 PZ OIS WR introduces a more efficient filming style, significantly expanding creative freedom for filmmakers.
Product Features
Fujifilm’s first motorized power zoom lens1 designed for filmmaking with a constant T3.5 aperture
This motorized zoom covers 32-90mm focal length (equivalent to 25-71mm in 35mm film format), from near wide-angle to standard. Paired with the newly announced FUJIFILM GFX ETERNA 55 filmmaking camera, it enables motorized zoom control via the camera.
The lens consists of 25 lens elements in 19 groups including three extra-low dispersion (ED) lenses and three aspherical lenses, effectively suppressing aberrations, achieving a compact size while maintaining bright T3.5 and high resolution throughout the zoom range.
Combines cinema lens operability with compact, lightweight design
Inheriting the operability and design of the widely praised FUJINON Premista Series2 zoom lenses for cinema cameras, GF32-90mmT3.5 PZ OIS WR measures just about 8.7 inches (222mm) in length and achieves a lightweight design at approximately 4.6 pounds (2.1 kg) by adopting an optical design and DC motor optimized for motorized power zoom.
Equipped with a three-ring system that allows independent manual control of focus, zoom, and aperture (iris), all operating rings use the same 0.8M gear pitch3 as the existing FUJINON Cine lenses. This standard gear pitch enables compatibility with essential filmmaking accessories such as follow focus systems and lens motors.
The focus ring features a wide 200-degree rotation angle, allowing precise focusing with smooth torque even in shallow depth-of-field scenes.
Outstanding image quality supported by advanced optical design technologies
Equipped with Nano GI coating to suppress flare and ghosting caused by light entering at oblique angles, reducing reflection loss and improving light transmission for clear, sharp images.
By optimally positioning our proprietary optical design and the internal lens barrel components, the lens suppresses sudden angle-of-view changes during focusing (breathing), enhancing framing stability.
A 13-blade iris diaphragm achieves a nearly circular aperture shape for the first time in the GF Series lens lineup. This improves the roundness of bokeh even when slightly stopped down, allowing for beautiful background bokeh using point light sources in dim indoor and outdoor scenes.
Powerful image stabilization and fast, smooth, high precision autofocus
Powerful image stabilization is achieved through improved shake sensing accuracy and optimized stabilization mechanism design. This is especially effective in the situations such as documentaries and run-and-gun4 style filming that require high mobility.
By directly driving the motors at high speed in response to focus, zoom, and aperture (iris) ring operations, the lens achieves both excellent responsiveness and high accuracy of indicator position.
Pricing and Availability
Initial shipments of FUJINON GF32-90mmT3.5 PZ OIS WR are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of $5,995.95 USD. Select dealers will be accepting pre-orders beginning September 15, 2025 at 12:00 a.m. Those interested in being notified about participating dealers when they are announced can sign up at https://shopusa.fujifilm-x.com/gfx-eterna-55-pre-orders.
1 At the time of release, motorized power zoom control is supported only on the “GFX ETERNA 55“ . Support for other GFX series mirrorless digital cameras will be added sequentially through firmware updates. 2 The “Premista” Series is a lineup of zoom lenses designed for high-quality filmmaking, compatible with cinema cameras featuring large-format sensors. The series includes wide-angle, standard, and telephoto types. 3 The distance between the teeth on the gear engraved on the control rings. 4 A shooting technique where the filmmaker moves around holding the camera, quickly adjusting framing and positioning according to the situation.
The iPhone 17 Pro and Pro Max come in three colors.
Image: Apple
September is already upon us. In much of the world, that means kids are back to school, fall colors are on the horizon, and it’s time for Apple to unveil its newest iPhones. Apple delivered, announcing the iPhone 17, iPhone 17 Pro and Pro Max, and the new iPhone Air, an extra-thin model for minimalists.
While all models received camera updates, photography aficionados will be most interested in the iPhone 17 Pro series, Apple’s flagship models with the company’s best cameras. Here, we compare the iPhone 17 Pro and Pro Max to the iPhone 16 Pro series to see what’s changed.
Going all-in on 48MP cameras
Image: Apple
Like prior Pro models, the iPhone 17 Pro series uses a triple camera array, with main, ultra-wide, and telephoto modules. The most obvious visual change is a wider camera bump: Apple’s so‑called "forged plateau." I can’t wait to casually drop that gem into my next conversation about iPhone cameras.
The headline news is that all three rear cameras now use 48MP "Fusion" sensors. In Apple parlance, a Fusion sensor is a Quad Bayer design that computationally fuses pixel-binned data with per‑photosite data to create a more detailed image, and also enables cropped virtual lenses like the 2x mode. (Apple claims these virtual lenses are "optical quality," but they're essentially digital zoom with some machine learning based upsampling.) These techniques aren’t unique to Apple; for example, Google uses similar technology on its Pixel phones.
iPhone 17 Pro / Pro Max
iPhone 16 Pro / Pro Max
Main camera
24mm (equiv.) F1.78 lens
24mm (equiv.) F1.78 lens
Main camera sensor
48MP sensor Type 1/1.28 (71.5mm²)
48MP sensor Type 1/1.28 (71.5mm²)
Ultra-wide camera
13mm (equiv.) F2.2 lens
13mm (equiv.) F2.2 lens
Ultra-wide camera sensor
48MP sensor Type 1/2.55 (23.5mm²)
48MP sensor Type 1/2.55 (23.5mm²)
Telephoto camera
100mm (equiv.) F2.8 lens
120mm (equiv.) F2.8 lens
Telephoto camera sensor
48MP sensor Type 1/2.55 (23.5mm²)
12MP sensor Type 1/3.2 (15.3mm²)
Front camera
F1.9 lens*
F1.9 lens*
Front camera sensor
18MP Center Stage front camera** (square multi-aspect ratio sensor)
12MP TrueDepth camera
Video features
ProRes RAW
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log
ACES color
Dolby Vision HDR
4K/120p video
ProRes Log
ACES color
*Focal length not specified **Apple claims the sensor is "almost twice as large" as the front camera sensors found in iPhone 16 series models
The big hardware upgrade is the new telephoto camera, which features a 4x / 100mm (equiv.) F2.8 lens. This is a notable change from the 5x / 120mm (equiv.) F2.8 lens on the iPhone 16 Pro.
At first glance, this might look like a downgrade, but one criticism some users leveled at the previous model was that the gap between the main and telephoto cameras on the iPhone 16 Pro was too large. As a result, mid‑range zoom relied heavily on cropped regions of the iPhone's main sensor, along with some computational magic, to capture photos. The 4x telephoto narrows that gap, allowing the iPhone 17 Pro to switch to the telephoto module and the full area of its sensor sooner.
"The big hardware upgrade is the new telephoto camera."
Equally important, the new telephoto camera gets a significant sensor upgrade: a 48MP sensor that’s 56% larger than the 12MP telephoto sensor in the iPhone 16 Pro. This should deliver better image quality at the camera's native focal length. It also offers a new 8x "telephoto" capability (200mm equiv.), but it's essentially a virtual camera that uses the central 12MP resolution of the sensor, with the caveat that those 12 million photosites are arranged behind a Quad Bayer filter array, and won't necessarily deliver the same level of detail as a standard 12MP Bayer sensor.
The iPhone 17 Pro's telephoto camera module gains a new 48MP sensor that's more than 50% larger than the 12MP sensor in the iPhone 16 Pro series. Note that the 8x telephoto lens in the image above is essentially a virtual lens that uses the central 12MP of the telephoto sensor, with the caveat that those photosites are behind an oversampled Quad Bayer filter, and won't necessarily deliver the same detail as a standard 12MP Bayer sensor.
Image: Apple
The other two cameras are unchanged: a 24mm (equiv.) F1.78 main camera and a 13mm (equiv.) F2.2 ultra‑wide camera, both with 48MP sensors
Apple says the imaging pipeline has also been improved for better results at all zoom ranges and light levels, and uses machine learning models for demosaicing to preserve natural detail better, reduce noise, and improve color, especially in low light. We haven’t had a chance to verify these claims independently
Video: more "pro" than ever
The iPhone 17 Pro series gains ProRes RAW to an already impressive set of video features.
Image: Apple
Apple has a track record of integrating advanced video features into flagship iPhones, which have been used for everything from your cat’s Instagram channel to Hollywood motion pictures. The iPhone 17 Pro series has two more: ProRes RAW recording and Genlock.
"Apple has a track record of integrating advanced video features into flagship iPhones."
ProRes Log debuted on iPhone 15 Pro as a high-quality, editing-friendly codec with wide latitude for color grading. ProRes RAW goes further, delivering Raw video with even greater flexibility in post, including the ability to change white balance and "ISO" adjustments (in effect, metadata adjustments that control how linear data from the sensor is displayed).
Genlock synchronization is supported by the Blackmagic Camera ProDock.
Image: Apple
Genlock is a synchronization tool that locks cameras at the frame level, which is critical for multi‑camera arrays and techniques like "bullet time." It’s supported when using the new Blackmagic Camera ProDock, and as with ProRes RAW, Apple is providing APIs to allow broader developer support. These additions join Dolby Vision HDR, 4K/120p, ProRes Log, and ACES, already available on recent Pro models.
Front camera: it’s hip to be square
The iPhone 17 series' new front-facing camera.
Image: Apple
Huey Lewis and the News knew it was hip to be square in the ’80s; now Apple joins the party. Across the iPhone 17 lineup (and iPhone Air), there’s a new 18MP front module built around a square multi‑aspect sensor instead of the prior 4:3 aspect sensor.
Apple calls it the Center Stage front camera, and while not providing exact specifications, it says the sensor is almost twice the size of previous modules. The square sensor means there’s no need to rotate the phone to capture landscape or vertical photos and videos, as the camera selectively reads the appropriate region of the sensor regardless of phone position. Apple claims it also allows for improved image stabilization when shooting video.
The Center Stage camera uses a square sensor to capture photos and videos in either horizontal or vertical orientation.
Image: Apple
New on-screen controls allow you to switch between landscape and portrait orientation with a tap. Apple’s Center Stage AI can automatically adjust the field of view or rotate the frame for group shots.
Although Apple boasts about the increased size of the sensor, keep in mind that you’re not benefitting from all that extra surface area in each photo, because it operates in a multi-aspect fashion, there will always be some letterboxed areas of the sensor not being captured.
Connexion
