Image: Laowa

Laowa has announced the 180mm F4.5 1.5X Ultra Macro APO, a full-frame telephoto macro lens that provides greater-than-life-size reproduction. The company says it's "one of the smallest and lightest options in its class," and is offering an autofocus version for Sony E, Nikon Z and Canon EF mounts.

The lens has a minimum focusing distance of 0.3m (11.8"), allowing for up to 1.5x magnification. Its optical formula uses 12 elements in 9 groups, and while the company doesn't mention whether it's using any kind of special glass types, it does say the lens has an apochromatic design to reduce chromatic aberrations. It has a nine-bladed aperture.

The E-mount version of the lens is 134mm long and weighs 522g. It can accept 62mm filters and has a function button and USB Type-C port for firmware updates.

Laowa doesn't specify what kind of autofocus motors the AF versions of the lens use, but the system is capable of focusing on subjects that are as close as 1.5m (4' 11") away; for closer subjects, you'll have to use manual focus. It has an internal focusing design.

The 180mm F4.5 1.5X Ultra Macro APO's specifications bear striking similarities to the company's Sword 180mm T4.6 1.5X Macro cinema lens, but it's nice to see this lens in a more photo-friendly package. For one, this option is much cheaper and lighter, and includes autofocus if you happen to have the right lens mount. While it's not particularly surprising that the RF mount version is manual-focus only, the fact that the L-mount version also lacks AF is a little confusing.

The lens will be available today, and costs $499.

Laowa 180mm F4.5 1.5X Ultra Macro APO specifications:

Image: Extreme-Photographer / E+ via Getty Images

Deciding the best timing to buy a new camera can be challenging when weighing the benefits of buying immediately versus waiting for the next model. It's a balancing act between getting the latest technology and having something in hand sooner. Making matters worse, cameras aren't like a lot of consumer electronics that follow fixed release timelines (like the iPhone coming out every September). Instead, they are more sporadic, and you can never know for sure when to expect an update.

Rumors typically fly before camera releases, speculating about details and timing. But those aren't always trustworthy or accurate, making the decision even harder. If you're on the fence about buying now or waiting, here are some key things you'll want to consider.

When you should buy now

Buying without waiting is smart in many situations. For starters, it may be necessary to purchase immediately if you have an upcoming project or event that requires a new camera. For example, if you're photographing a wedding in the coming months and need a backup camera, waiting for the updated model generally isn't possible. However, if you're pretty sure something new is coming soon that will better fit your needs, renting a camera until the new one is out may be the better move.

You'll also want to check when the lineup you are considering last had a release and what the typical release cadence is for that company (we have a handy timeline tool that can help you with that). If a camera just came out a handful of months ago, you'll have to wait a long time for the next model. In that case, you might as well make the purchase now if it fits your needs. Otherwise, you'll be left waiting for quite some time.

If the cameras currently available offer all your must-have features, then it doesn't hurt to purchase now.

Additionally, if the cameras currently available offer all your must-have features, then it doesn't hurt to purchase now. If you need high burst rates and the current cameras are fast enough, you might as well go ahead and buy. Of course, you never know what new features will be introduced, but if you've thought carefully about what is most important to you in a camera and there is one that currently meets those needs, there may not be a reason to wait.

Lastly, some companies only rarely offer steep sales or discounts, so if you come across a good deal, it may be worth jumping on it. Plus, not every older model is discounted when the new one comes out, so a good sale could save you more than waiting for the camera you want to be old news.

When you should wait to buy a new camera

There are certainly good reasons to buy immediately, but waiting may also be the better move. For those who currently have or are eying a camera that's getting rather old, it could be likely that a new version is imminent. In such cases, you may simply want to wait for the new version.

As mentioned, knowing the release cadence can also help you decide if you should wait. If you don't need a new camera urgently and you are getting close to the timeframe when a new model typically comes out, it may make the most sense to just wait a little longer. Even if you decide you don't need that latest camera, you may be able to save a little bit on the now older model.

It may also be worth paying attention to any rumors or teasers. Rumors, of course, aren't always accurate, but they could at least provide an idea of upcoming features. If you see hints that the next camera could have a feature that you would really enjoy or benefit from, it may make sense to hold off for a bit longer and wait for that camera.

Final thoughts

At the end of the day, whether you should wait for the latest device or buy a camera now comes down to your needs. Having a clear understanding of your must-have features and tools is critical and will put you in a better position to make a smart decision. Likewise, knowing when a company last released something and what cadence the product announcement tends to follow will help you decide if you'll be waiting for years or months. However, if there is a model available today that perfectly matches your needs, the benefits of waiting could be slim to none.

Photo: MPB

Buying and selling used gear online is a great way to find bargains and make sure that valuable equipment gets a second life, rather than ending up in a landfill. But trading online can be stressful. We've all had the experience of buying a camera or lens listed as "barely used" or "mint in box," only to discover on opening the parcel that the glowing description didn't match reality. Equally, selling used gear can be a hassle too. Time-wasters, flaky buyers and outright scammers are at best an inconvenience, and at worst, could present a serious risk to your online security.

But it doesn't need to be a headache. We've teamed up with the good folks at MPB to create a quick guide to buying and selling used camera gear online the smart way.

Tips for Buying Used Gear

Image: MPB

Always check the photos

When you're shopping for used gear online, whether from a private seller or a retailer, a picture is truly worth a thousand words. Make sure that the photos are in focus and high-resolution enough to check for any potential defects. Minor scuffs on the body of a camera or lens probably don't matter, but scratches on the optics of a lens, or significant dust or fungus between the elements is bad news.

When you browse used inventory on MPB, you'll see multiple high-res photos of the exact product you'll be buying. But if you opt to buy from a site that doesn't include photos, it's smart to do some additional research before you click "buy now." Check customer reviews to see what other buyers are saying, and make sure that you have the option of returning a product that doesn't meet your expectations without incurring a fee.

If you're buying from a private seller and want to see more than their blurry smartphone photos reveal, look for an option to message them or leave a comment. A trustworthy seller should be happy to reshoot or supply additional photos on request. If they refuse or don't reply, that's your cue to walk away.

Photo: MPB

…and read the product description.

This one should go without saying, but we'll say it anyway – always read the item description and condition grade carefully. MPB uses a transparent, multi-tiered condition grading scale, including a description field that lists specific details about the item. No hard-to-spot "info" or "read description" button – it's all right there.

When it comes to private listings, watch out for sellers who bury bad news at the end of a listing or use minimizing terms like "very minor" or "unnoticeable" to describe flaws. Be particularly cautious if the description mentions cracks to a camera or lens housing, scratches on the front or (especially) rear glass element of a lens, or the dreaded fungus…

Remember: appearances can be deceptive

So you've examined the photos closely, and from appearances, the gear you're considering looks like it's never been used. That's a good thing, right? Well, maybe, but maybe not. Even if the exterior looks pristine, there may still be gremlins lurking inside.

If you're shopping for a vintage film camera or manual lens, especially, ask yourself – what has it been doing all these years? And how has it been stored? When mechanical cameras aren't used for extended periods of time, this can lead to hard-to-spot problems, including sticky shutters, light meter failure, corroded battery compartments and worse.

Meanwhile, lenses that have been sitting unused for years are susceptible to their own issues, including stiff focusing rings, haze, oily aperture blades and fungus.

When you buy gear from MPB, you can be sure that a trained technician has inspected it for exactly these kinds of issues and verified that everything checks out. So if it looks perfect, it should work perfectly too.

Tips for Selling Used Gear

Image: MPB

Get your priorities straight

If you want to get the most money possible for your used gear, selling privately will probably net you the best return, but it's risky. Anyone who has listed an item on a public forum or auction site knows what it's like to deal with time-wasters and scammers, not to mention the hassle and expense of managing payment and shipping. And be prepared for a potentially long wait until the right customer comes along.

Much easier is to sell your gear to an established, reputable dealer like MPB. Just describe your item for a free estimate, and if you want to move forward, MPB will send you a complimentary shipping label. Once they have it in their hands, MPB's trained inspectors will check your gear, provide a final quote, and if you agree, you'll get paid. The money will be sent directly to your bank account within days, and another photographer will get to enjoy your valuable gear for years to come.

Photo: MPB

Trade your way to an upgrade (and save time in the process)

Sure, there are instances where selling used gear is motivated by the desire to free up space in the camera bag or to generate a quick infusion of cash. But in our experience, more often than not, we sell gear to lessen the cost of upgrading a piece of our kit.

Instances like this are where the MPB platform shines brightest – by streamlining buying and selling into a single process, you get all of the benefits described above plus the time savings of only having to do it once. If you value your time, and would rather spend it shooting photos than haggling via email, the efficiency of MPB's trade process is hard to ignore.

Buy, Sell, or Trade with MPB

The previously reported 7Artisans AF 24mm f/1.8 full-frame lens for Nikon Z & Leica L-mount is now officially released (the lens already exists for Sony E-mount). The price of the lens is $329, and you can order one here. Additional information:

7Artisans AF 24mm f/1.8 lens additional information (E/L/Z)

New 7Artisans AF 24mm f/1.8 lens for Sony E-mount released

The post 7Artisans AF 24mm f/1.8 full-frame lens for Nikon Z & Leica L-mount officially released appeared first on Photo Rumors.

Here are some of the new accessories for the Sigma BF camera (now in stock at B&H Photo and WEX Photo):

SmallRig L-shaped mount plate with a handle for Sigma BF (also available on Amazon and the official SmallRig website).

Tilta mounting baseplate with wooden grip for Sigma BF cameras available at B&H Photo and Amazon.

IDSworks released a new grip set for Sigma BF cameras (additional informtion).

Owlkrown BF2 Grip for Sigma BF cameras.

Owlkrown WristLoop BF straps for Sigma BF cameras.

More Sigma BF grips are listed on Amazon.

The post New grip options for the Sigma BF camera appeared first on Photo Rumors.

After the 35mm f/1.4 and 85mm f/1.4, Sirui is planning to announce three additional Aurora f/1.4 full-frame autofocus lenses. The logical new focal lengths could be:

• Sirui Aurora 24mm f/1.4
• Sirui Aurora 50mm f/1.4
• The third lens could be a wide-angle or a telephoto f/1.4

New Sirui Aurora 35mm f/1.4 lens now available for pre-order (Z/E/X/L)

Sirui Aurora 85mm f/1.4 full-frame autofocus lens for Nikon, Sony and Fuji officially announced

The post Sirui to announce three additional Aurora f/1.4 lenses appeared first on Photo Rumors.

Here is the udpated Updated Schneider Kreuznach × LK Samyang lens roadmap:

• Already available: Schneider Kreuznach × LK Samyang 14-24mm f/2.8  FE lens
• Just released: Schneider Kreuznach × LK Samyang AF 24-60mm f/2.8 FE lens (order here)
• New: Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 FE lens
• New: Schneider Kreuznach × LK Samyang AF 28-135mm f/2.8 FE lens
• New line of LK Samyang “Prima Series” lenses:
  • Wide prime AF lens (already announced)
  • Tele prime AF lens (already announced)

Picture of the two new lenses from the IBC shows:

Samyang 28-135 f2.8 (?)
byu/TraditionalBee3848 inSonyAlpha

The post Updated Schneider Kreuznach × LK Samyang lens roadmap: two new lenses added (AF 60-180mm & 28-135mm f/2.8 FE) appeared first on Photo Rumors.

AI Background Removal: Professional Applications for Photographers

Capturing the picture is just half the job for professional photographers, and the rest comes when the camera shutter closes. Behind every professional photograph, there is plenty of time spent on editing, removing the background, and more. Traditionally, this meant spending long sessions in editing software, carefully cutting around subjects pixel by pixel.

Now, an AI background remover for photographers changes the process completely. Instead of manual effort, a photo can be cleaned up in seconds, with the subject isolated and ready for any professional use. 

AI has made product photoshoots, marketing visuals, and other shoots a lot easier. AI Background Remover for Photographers helps make the process simple, faster, and effortless. Let us understand how it works and why it has become an essential tool for photographers.

The Role of Background Editing in Professional Photography

Professional photographers are expected to deliver polished images, especially when the projects are fast-paced. For projects like E-commerce and marketing, every minute counts as they require quick photo delivery. Meeting the expectations can be somewhat challenging for the photographers. AI background remover helps resolve it by automating the tasks in photo editing, as it allows them to:

• Save Ample Time: What earlier took hours for the photographers to complete can now be seamlessly done within seconds. All credits to the X-Design AI-generated photo editing tool.

• Maintains Consistency: AI ensures that you can maintain consistency across all edits. It helps you deliver clean and accurate cutouts, no matter how many images you are editing.

• Boosts Productivity: The quick way of editing the pictures and removing background reduces the burden on the photographers, and they dont need to work for hours. The extra time can be used to plan shoots, communicate, and perform other vital and productive tasks.

• Meet Deadlines: For the client, both speed and quality matter, and with X-Design Free Background Remover Online, there is a quick turnaround that allows you to deliver refined images for commercial shoots, portraits, and more right on time. 

Photography Scenarios That Need Background Editing

Saving time on repetitive tasks and quality matter the most when it comes to professional photography. There are countless uses offered by AI background cleanup. The tool is not only limited to creative work, but also supports the practical and business needs. Here are a few key applications of the AI background removal tool.

1. Product Photography for Online Stores and Catalogs

Selling products online is all about how they look. If the background is busy or messy, people often skip over the item without even noticing it. A simple white or transparent background maker does the opposite; it puts the focus on the product and makes the details pop. For photographers, cleaning up hundreds of photos by hand is tiring, and that’s where background tools help. They cut down the work, keep the look consistent across a whole catalog, and make the final images more trustworthy for shoppers.

2. Passport and ID Photos with Strict Background Standards

Passport photos, visas, or other government-approved documents have strict rules. In most of these documents, the background has to be plain. Manually removing the background can be time-consuming. Moreover, it can be prone to errors, which means a high chance of application rejection. With a background remover, the process is streamlined. A normal portrait can be turned into a photo that fits the requirements in seconds, which saves the photographer time and helps clients avoid rejections.

3. Marketing and Advertising Visuals for Brands and Campaigns

Marketing campaigns rely on strong and clear visuals. Banners, or social media ads, all need images that look professional. By removing a background or making the background white, the main subject can be dropped onto any design without extra effort. Photographers can hand over flexible images that brands can use across different platforms without repeating the editing work.

4. Social Media Content Creation

Social media feeds need to be updated regularly, and for a constant flow of engaging content, AI X-Design’s Free Background Remover comes to the rescue. It helps creators and photographers to give a clean and uniform look to the images and improve the brand identity. Maintaining neat and aesthetic photos helps the feed stand out, whether you are an influencer or using it for business promotion.

5. Event and Portrait Photography

Think about wedding albums or company heads hot. People don’t want clutter in the background; they want to see faces clearly. Taking out distractions helps the photo feel sharper, more personal. Background removal helps with image refinement, removes unwanted distractions, and more for a clear image focus. Pictures that look professional but still natural are something clients are proud to share or hang on a wall.

X-Design Background Remover: How to Use It

There are many editing tools available online, but X-Design AI Background Remover stands out as it is quite simple and efficient to use. Moreover, it is a web-based tool, which simply means you don’t need to install it. With basic skills, you can get started and navigate through the tool. The design is simple yet intuitive, which makes background removal and editing simple in a few clicks. Let us quickly understand how it works.

1. Upload Photo 

Upload or simply drag and drop the image to the tool. The tool supports formats like JPG and PNG. It is a versatile platform for professional photographers.

2. Automatic Background Cutout 

Once the image is uploaded, the tool identifies the subject, and AI removes the background from it. The tool also allows you to customize the background as per your choice. Also, you don’t need to trace the outlines manually or spend time on corrections. Within a few clicks, you get a clean cutout. 

3. Download or Edit Further

Because it’s lightweight and web-based, photographers can edit on the go and no longer install or configure complicated settings. It’s a practical option whether you’re handling a few images or a full project. The users can also use its AI background editor to create stunning background images.

Final Words 

Cleaning the background requires hours of hard work and manual effort. Whether it’s product photography, passport images, or more, background removal has become an essential part of professional editing. With the AI background remover for photographers, the process is streamlined.

The X-Design photo editing tool helps professional photographers to deliver consistent visuals and unlock opportunities to focus on creativity and client satisfaction.

The post AI Background Removal: Professional Applications for Photographers appeared first on Photo Rumors.

90%

Overall score

Jump to conclusion

The Hasselblad X2D II 100C is a medium format mirrorless camera, built around a 44mm x 33mm, 100MP BSI CMOS sensor. It's designed to deliver a high-dynamic range image workflow, and gains continuous autofocus supported by Light Detection and Ranging (LiDAR) sensors and more effective image stabilization.

Key Specifications

• 100MP 44x33mm BSI CMOS sensor
• HDR output (HEIF or Ultra HDR JPEG) by default
• IBIS up to 10EV
• Continuous autofocus
• 3.6", 2.36M dot tilting rear OLED display w/ 1400 nit peak brightness
• 5.76M dot 0.79x EVF
• Human, animal and vehicle AF subject detection
• LiDAR for autofocus
• 1TB internal SSD + CFexpress Type B slot

Despite the significant upgrades, the X2D II 100C sees the body-only price fall to $7399 / €7200 / £6400, an $800 reduction, compared with the existing X2D 100C.

Index:

• What's new
• How it compares?
• Body and handling
• In use
• Initial impressions
• Image Quality
• Autofocus
• Conclusion
• Sample gallery
• Specifications
• Press Release

What's New

"End-to-end" HDR

This image, captured as an Ultra HDR JPEG, makes the chrome of the car's wire wheels shine much more convincingly when viewed on an HDR display. Hasselblad X2D 35-100mm F2.8-4.0 @ 60mm | F3.5 | 1/500 sec | ISO 100 Photo: Mitchell Clark

Hasselblad claims to be the first company to make a medium format camera with "end-to-end" HDR and has equipped the X2D II with a high-brightness viewfinder and rear screen, so that you can see some of the wider brightness range as you shoot. Its default output is in the HEIF format but it can also create 'Ultra HDR JPEGs' which have an embedded brightness map to let them convey a wider tonal range on compatible devices, while still maintaining backward compatibility. The company says this gives images with up to three additional stops of dynamic range compared to standard sRGB JPEGs, using a technique adopted by Google in its Pixel phones, and by Sigma in its BF Mirrorless camera.

The camera supports the P3 color gamut throughout the shooting and editing experience, in addition to making fuller use of the wide color range, as well as the wider tonal range, of its large sensor. It says it doesn't use either the HLG or PQ response curves used by other brands, and instead uses gain maps with linear response and a roll-off in the highlights to give a natural look. The system appears to be utilizing the highlight data that's usually clipped in the JPEG output, rather than reducing exposure to capture any additional highlight information.

HDR images are only captured in P, S or A modes, where the camera has some control over exposure. The company says it assumes people setting exposure manually may be trying to capture a very specific look that may not lend itself to HDR, so disengages the feature, rather than producing a potentially unnatural-looking image that the photographer didn't want.

Embedded in the above image is this 1/4 resolution brightness map, which tells compatible devices which parts of the image to display with addtional brightness.

The X2D II's rear display has also been substantially upgraded to support HDR, going from a TFT LCD to an OLED panel that can display up to 1400 nit peak brightness. That lets it provide the HDR experience when you're reviewing your images, giving you a better idea of what you've captured.

Hasselblad has also updated its Phocus Mobile 2 app to allow for editing the X2D II's HDR files, and even reprocessing Raws from some of its other cameras, such as the original X2D and the CFV 100C, into HDR output files.

Continuous autofocus

While the original X2D was limited to single autofocus and manual focus, the II gains continuous autofocus, making it easier to capture moving subjects. Like many modern cameras, the system also includes AI-derived subject recognition for humans, animals and vehicles, and support for tracking arbitrary subjects.

At first seven of the company's more recent lenses will support continuous autofocus, and each will require a firmware update before they can access the feature.

The supported lenses are the XCD 35-100mm F2.8-4.0E zoom, launched alongside the camera, along with the 25mm, 38mm, 55mm and 90mm V-series lenses, and the 28mm and 75mm P lenses.

Even more AF improvements

To feed the autofocus system with information, Hasselblad has not only increased the number of phase detect autofocus points – 425 versus 294 on the original X2D – but added an entirely new type of sensor as well. The X2D II also uses Light Distance and Ranging (LiDAR) to judge how far away a subject is, with this input fully integrated into the AF system.

It's reasonable to assume this technology comes from DJI, which owns a majority stake in Hasselblad, as the company already uses the technology in several of its cinema tools. The camera also now has an AF illuminator lamp on the front, which doubles as a self-timer countdown indicator.

Improved IBIS

The camera's in-body stabilization allows the capture of images at slow shutter speeds, and boosts the frequency with which you'll get the full resolution out of the camera. Hasselblad XCD 35-100E @ 35mm | 0.3 sec | F8 | ISO 800 Photo: Richard Butler

The original X2D had an IBIS system rated for up to 7 stops of stabilization, but the X2D II takes it even further, with Hasselblad promising up to 10 stops. In real-world use, your results will depend on how still your subject is and how steady you can hold the camera, but in the right conditions, you can definitely use it to push your exposure times past where you'd be able to with an unstabilized system.

Updated controls

Hasselblad has updated the controls, adding a joystick that can be used for controlling the autofocus selection point or scrolling through menus and a customizable button on the back plate. Additionally, the front control dial can now be pressed in to access yet another custom function.

The camera also gains a vibration motor to provide haptic feedback for certain operations, such as confirming that the camera has acquired focus or that you have both your spirit levels centered.

How it compares

While medium format cameras are most often associated with high-end studio work (a task the X2D II is fully capable of), the X2D series has always clearly been designed to be taken outdoors and used in a wider variety of conditions. The company suggests that the addition of C-AF expands its audience to include subjects such as "landscapes, daily, portraits and street photography."

Fujifilm targets a very similar audience with the GFX 100S II, which uses a very similar sensor and also comes complete with IBIS and continuous autofocus. (The higher-end GFX 100 II is also comparable, but has faster burst rates, more video features and nicer ergonomics.) We've also included the Sony a7R V, since its full-frame sensor uses the same 3.8µm pixels, just fewer of them.

*Cannot shoot Raw and HLG HEIFs simultaneously

Fujifilm and Sony don't have the same focus on HDR that Hasselblad does; while the a7R V can shoot HDR HEIFs, doing so comes at the cost of your ability to save Raw files, which is a serious downside for high-end work. The Fujifilm can shoot HEIF images and HLG video, but can't combine the two to offer HDR stills.

Another big difference is that the GFX 100S II and a7R V both have focal plane shutters, while the X2D II uses leaf shutters built into each lens. This comes with the benefit of being able to sync flash at any speed, but means that Hasselblad lenses will be significantly more complex and expensive than similarly-speced counterparts from Fujifilm and Sony. Another side effect: if you want to use a third-party lens with the X2D II, you'll be stuck with the very slow electronic shutter.

While high-resolution cameras have always been more suited to stills, the GFX100S II and a7R V both have relatively complete suites of video features as well, with Log profiles, 10 bit video and headphone and microphone jacks. By contrast, the X2D II doesn't shoot video at all; something to consider if your work ever requires motion pictures.

Body and Handling

The X2D II feels extremely sturdy and well-crafted in the hand, and the grip instills confidence, even when you're using a relatively large zoom lens. The controls are laid out well, with the essential buttons and dials within easy reach.

The camera has two top plate control dials and several customizable buttons. Two – one on the back and one on the front – are unlabeled, while another two can be accessed by pressing down on the joystick and the front dial. The top-plate M and WB/ISO buttons can also be reassigned if you choose, with a choice of 35 options.

The joystick is a four-direction control and can be used for moving your autofocus point (though we found it somewhat slow, and often significantly quicker to just tap on the screen) and to navigate through the menus. Both tasks can also be achieved directly using the touchscreen, which has its own selection of buttons for controlling playback and accessing the menu.

Viewfinder and Screens

The camera's rear screen tilts out, and there's a sensor to ensure the camera doesn't switch to using the viewfinder when the screen is extended.

The X2D II's viewfinder is large, bright and responsive, providing an excellent preview for composing and exposure. The low-profile rubber eyecup doesn't do the best job of sealing out light, but it'll be sufficient in most cases, and less likely to snag when you're taking it in and out of a bag than some other designs.

While the screen's 1400-nit peak brightness allows it to properly display HDR images, you won't get the full effect until after you've taken a photo and the camera has generated your HDR output file. It is, however, still very effective for composing your images and is easy to see, even in direct sunlight. Its hinge allows you to pull it out and position it at a 90° angle for waist-level shooting unobstructed by the viewfinder.

While shooting, the screen provides plenty of resolution for the camera's excellent punch-in manual focusing experience.

The X2D II also has a 1" color display on the top plate, which shows your battery life, exposure settings, and a light meter when the camera is on. It's typically blank while the camera is turned off, though a quick tap of the power button will get it to display your remaining charge.

Ports

The X2D II's minimal selection of ports is hidden behind magnetically latching doors, which feel great to open and close. It has a 10Gbps USB-C port for charging and offloading data, and a 3.5mm for use with Hasselblad's somewhat eccentric cable shutter release.

It also has an CFexpress Type B slot, which can be used for backup or as an overflow, should you fill the internal storage. It's worth noting that the internal storage has capacity for over 4000 16-bit Raw and JPEG/HEIF pairs.

Battery

The battery is rated as delivering 327 shots per charge, if tested to CIPA's standards. This can be increased, depending on the camera's configuration. These numbers tend to underestimate how many shots you'll actually get, with double the rated figure not being unusual, depending on how you shoot.

In practice, a rating of over 300 shots per charge will let you shoot for a good period of time, especially if you're shooting occasional, considered shots, rather than rattling off hundreds of snaps at a time. We suspect it's few enough to start to be of concern for professional wedding shooters, who'll definitely want to develop a system for ensuring they have spare batteries charged and ready to go. But with the option to charge over USB-C, the X2D II should be relatively comfortable, away from the studio.

In Use

The X2D II can seem a little daunting at first, with four buttons marked with potentially unfamiliar glyphs down the right-hand side of the screen, PlayStation style. Their functions turn out to be pretty self-evident once you start using the camera: Play, Ok, Cancel/Delete and Menu.

Most other functions can be assigned to one of four customizable buttons (one on the front of the camera, one on the rear and the Mode and WB/ISO buttons on the top plate), or to a press of the front command dial, rear command dial or press of the AF joystick.

Press the Menu button once and you are presented with a settings panel. Some settings, including drive mode, AF mode and ISO can be set by tapping on the screen or using the joystick. Some exposure parameters can be changed from this screen, but not exposure comp, which tells you to use the dial instead.

The camera offers Auto ISO, including in manual exposure mode. You can set the threshold shutter speed that the system will try to maintain, either by selecting a specific shutter speed or by choosing a relationship to the current focal length, with the choice of: 4f, 3f, 2f, 1.5f, f or f/2, if you're very steady.

Press the Menu button a second time, or swipe your finger left across the screen and you reach the main menus. It's a simple and well-arranged system with eleven named icons arrayed around the screen. Within each category (exposure, focus, connection...) are a handful of settings, often with explanatory text if their function isn't obvious. Swipe upward from this menu page or the settings page and you'll find yourself back in live view, ready to shoot.

It's a quick and easy-to-learn system that lets you just get on and shoot.

Our experience of the autofocus has left us impressed. There are occasions where it would erroneously confirm focus, but most of the time it focused quickly and accurately, with eye detection in particular giving us a level of performance we'd associate with some of the better mass-market cameras. Combined with the up-rated image stabilization, the X2D II is one of the easiest-to-shoot medium format cameras we've encountered.

Initial impressions

By Richard Butler

The X2D II 100C in many ways still looks a lot like the original X1D launched back in 2016, but the reality of using the two cameras couldn't be more different. The original camera looked great, and was capable of delivering excellent images, but its short battery life and lack of responsiveness meant that it wasn't nearly as comfortable untethered from the studio as its small body would imply.

It's worth noting, though, that the original X1D was launched just a few months after DJI first took a stake in the company, so its development would have started long before. The X2D II can perhaps be seen as what happens when a well-established photography company and an ambitious, advanced tech company come together. The X2D may still resemble the original camera but it's worlds away in terms of performance and usability.

The introduction of LiDAR (already used in products such as the Ronin 4D gimbal camera) is the most overt sign of input from DJI, but it's hard to imagine Hasselblad's cameras would have developed so far, so fast, without DJI's contributions. Continuous autofocus with highly effective eye detection autofocus was not on the cards for the contrast-detect X1D, yet here, and in conjunction with in-body image stabilization it allows you to use medium format like it was a point-and-shoot.

The X2D II will shoot HDR unless you go out of your way to stop it

Then there's the decision to lean into HDR photography, something that's becoming increasingly common in modern cameras but poorly supported and even more poorly communicated or promoted to photographers. Most modern mirrorless cameras can capture HDR HEIFs that can make use of the wide dynamic range and wide color gamut of modern displays, but very few cameras give you a good preview of its impact or make much effort to encourage its use. The X2D II will shoot HDR unless you go out of your way to stop it.

The X2D II has an excellent screen that can give an impression of how much more vibrant and lifelike your images can look. And, in addition to HEIF files, which can still be awkward to share and view reliably, the Hasselblad can capture JPEGs with brightness map embedded in them: giving full backward compatibility with just about every viewing device imaginable, but giving HDR vibrancy on devices that support it.

In the right conditions, HDR can make it feel less like you're looking at a photo, and more like you're looking through a window to the world, with much more realistic representation of the way light reflects from objects. To get the effect, open the photo in a supported browser. Hasselblad XCD 35-100mm F2.8-4 E @ 100mm | F10 | 1/160 sec | ISO 50 Photo: Richard Butler

By letting you see the benefits of well-judged HDR as you shoot the images, the X2D II encourages you to make use of the capability and start thinking about how to ensure your customers and viewers are able to see those results. We regularly found ourselves as impressed by the way the camera uses its greater DR output as we were by the stunning amounts of detail it captures.

What's all the more impressive is that Hasselblad is launching the X2D II 100C at a lower price than the previous model. In fact, it's at a lower price in money terms than the original X1D 50c, despite the vast improvements that have been made in the intervening nine years. The XCD lenses, with their leaf-shutter designs, tend to be more expensive, and often slower, than the rival Fujifilm system, but the X2D II 100c brings a level of performance and usability that makes the system as a whole look more competitive than it's ever been.

Image quality

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Unsurprisingly, the X2D II's Raws provide superb amounts of detail at low ISOs, besting the single-shot performance of the a7R V's 61MP sensor and matching the GFX 100S II. At its base ISO of 50, it provides the cleanest image of the bunch; the GFX 100S II has slightly more noise, but still outperforms the a7R V thanks to its larger sensor.

Its JPEGs, however, don't seem to quite do that level of detail capture justice, with the finest parts of the image looking a little softer than they do with the GFX 100S II. The details are generally still present in the JPEG, but they don't stand out as much, at least when viewed 1:1 (though that's likely to be a very unusual use-case for images taken on this camera).

The X2D II's Raws continue to look good even at higher ISOs, though its chroma noise is more noticeable than Fujifilm's. And while the JPEG engine doesn't reduce noise as aggressively, that means it does a better job at preserving details.

The X2D II only has one color mode, but we found it strikes a really good balance between accuracy an attractive level of saturation. Click here to view the original file, which will display in HDR if you have a compatible device. Hasselblad XCD 35-100mm E | 60mm | F3.5 | 1/500 sec | ISO 100

Back at lower ISOs, the Hasselblad's colors are generally less saturated than Fujifilm's or Sony's, though in our use outside the studio, we found that it still produced pleasing skin tones for portrait work. We also didn't have any issues with getting images that popped with vibrant colors, especially with HDR switched on.

Dynamic Range

As we've come to expect from this sensor, the X2D II has excellent dynamic range at its base ISO, with very little read noise. This means you won't face much penalty for taking an image at ISO 50 to get the maximum DR, then boosting it in post, compared to taking an image at a higher ISO to achieve your desired lightness.

Its files also hold up well when you're boosting shadows, which is helpful if you're shooting at lower ISOs to protect your highlights with plans to brighten the image in post.

Exposure Latitude | ISO Invariance

Note about studio scene Raws: Leaf shutters tend to become less accurate at high shutter speeds. We got lighter results than expected for our higher ISO images. To ensure the images are comparable, we shot the high ISO Raws using exposures that gave consistent Raw values across different ISO settings.

HDR consequences

By default, the camera shoots HDR images (in either the HEIF or JPEG format). It appears to assess the level of brightness and contrast in the scene and adjust its exposure strategy accordingly: not just in terms of selecting the exposure values and ISO setting but deciding how much highlight headroom it needs. In high contrast settings you may see it select a reduced exposure (reflected as a higher ISO value), to capture the additional highlights. The higher ISO value doesn't mean more analog gain is being applied, but it does mean you pay whatever noise cost comes from the reduced exposure. In theory, then, there might be a slight IQ benefit to turning HDR off and letting the extra highlights clip, if you don't intend to use the HDR output.

Autofocus

The LiDAR sensors augment the camera's improved phase detection system.

Autofocus is one of the X2D II's biggest areas of improvement over previous models. It adds LiDAR to its on-sensor phase detection system and gains a range of subject-recognition modes, based on algorithms developed by machine learning. When used with the latest handful of lenses that have suitably fast motors, the X2D II becomes the first XCD camera to be able to continuously autofocus.

The results are really quite impressive. We weren't about to race down to our local sporting venue with the X2D II but in its responsiveness and reliability, we found the X2D II's autofocus made it a much easier to use camera that could adapt to a much broader range of shooting situations.

Its generic tracking (of non-recognized subjects) is pretty sticky and its human detection, which we used most extensively, is very dependable in terms of finding an eye to focus on. There are a few instances of eye-lash, rather than iris focus, but given the level of scrutiny a 100MP medium format camera allows, we were impressed by how reliably the camera focused perfectly. We'd consider the X2D II 100C paired with the 35-100mm F2.8-4 to be more dependable for capturing people quickly than the Fujifilm GFX paired with the 110mm F2 lens. The Fujifilm does a very good job but hasn't historically given us as high a hit rate as we saw from the Hasselblad, thanks to its sticky eye detection and high focusing speed.

Conclusion

By Richard Butler

Our review is primarily focused on the use of the camera out in the field, rather than sitting comfortably tethered in a studio, where these cameras have already proven themselves.

We found it striking how usable the X2D II 100C is, not just in comparison to the rather slow experiences we had with the X1D cameras, but even when held up against modern, more mainstream cameras.

The improvements in autofocus and stabilization, in particular, mean you can comfortably shoot 100MP medium format every bit as easily as you could a high-end full-frame camera. You don't have to adapt your shooting or give extra consideration to what you're doing to gain the camera's extra capability over those cameras.

This, as much as the price, makes the X2D II a much more credible rival to Fujifilm's GFX range. If anything, with the latest lenses, the X2D II is a little more dependable when shooting impromptu people pictures, in terms of both focus speed and consistency. This isn't necessarily true of all lenses, and there's still the fundamental decision to be made about the pros (full-power flash at any shutter speed) and cons (lens cost and occasionally odd bokeh) of whether you want a system built around leaf or focal-plane shutters. But the Fujifilm system no longer has the advantage in out-and-about flexibility it previously had.

Whether you see any benefit from the X2D II's HDR capabilities will depend on what you use it for

Whether you see any benefit from the X2D II's HDR capabilities will depend on what you use the camera for. If you plan to produce prints or work from Raw, it isn't really going to make much difference to you, and you'll probably benefit from explicitly disengaging the function. But if you, for instance, want to be able to share images with a client that have a bit of an extra 'wow' factor, particularly if viewed on their phones, it can deliver results that show off more of the underlying capability of the camera's hardware. The option to output JPEGs that will work as SDR or HDR, as available, makes them especially valuable.

In the past, Fujifilm's GFX cameras had a distinct advantage in this regard: outputting attractive, shareable images immediately, with a choice of creative looks. The Hasselblad only offers a single color mode (there's not even so much as a mono option), but the HDR output can be easily shared via, say, a Google Photos album, letting people immediately see strikingly good-looking results. If this is valuable to you, it's worth ceding a little control over exposure logic and risking a little extra noise to let it handle the highlights.

It's still a medium format camera, so there is additional size and weight to carry around, vs a full-frame camera, and even though you may find the IQ boost you get worth it, for better or worse, this is a camera people will notice. There are a couple of areas in which it lags. Startup time is still a little slow, for instance. And, despite having a super-fast internal SSD, we found the X2D II could sometimes be rather slow to record images, showing a spinning icon on the screen: something we haven't encountered in a while on more mass market systems.

The X2D II feels like a system really hitting its stride

Overall, the X2D II feels like a system really hitting its stride. The fact that you can shoot it as if it were any other mirrorless camera (hell, almost as if it were a point and shoot), feels like a major step forward in terms of practicality. It's still a lot of money, but the X2D II makes it almost unbelievably easy to capture some of the highest image quality currently available.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

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.

All out-of-camera JPEGs in this gallery are Ultra HDR JPEGs: please click "Original" link on the right of the preview to download the original file, if you're viewing on an HDR-capable device.

Several of the previously reported Chinese lenses were already officially announced:

• TTartisan 75mm f/2
• TTartisan 40mm f/2
• TTArtisan 14mm f/2.8
• 7Artisans 14mm f/2.8 & 75mm f/1.4
• Sirui Aurora 35mm f/1.4
• Meike 24mm f/1.4
• Brightin Star 35mm f/1.8
• Viltrox 56mm f/1.2 Pro
• AstrHori 6mm f/2.8
• 7Artisans AF 35mm f/1.8
• Brightin Star 50mm f/1.4 III
• AstrHori 18mm f/5.6

Here is an updated list of what else is coming:

Upcoming Viltrox lenses:

• Viltrox adapter with AI autofocus support called Nexus Focus
• Viltrox AF 9mm f/2.8 Air APS-C lens coming on September 19
• Viltrox AF 14mm f/4 Air full-frame lens coming on September 19
• Viltrox AF 50mm f/1.4 Pro full-frame lens
• New: Viltrox AF 85mm f/2 EVO (new EVO series of lenses)
• Viltrox AF 16mm f/1.8
• Viltrox AF 28mm f/4.5

New 7Artisans lenses (check website for updates):

• 7Artisans AF 24mm f/1.8 (L/Z): coming on Septmber 16th
• 7Artisans 10mm f/2.8 (to be announced next week at the 2025 IBC show)

SG-Image 7.5mm f/2.8 APS-C fisheye lens – already listed for sale on eBay.

Songraw 85mm f/1.2 lens.

Venus Optics Laowa AF 200mm f/2 lens.

Venus Optics Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens.

New Yongnuo 18mm f/2.8 full-frame autofocus lens.

New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.

SG-Image AF 85mm f/1.8 full frame lens coming next week.

New Lee Works 28mm/2.8 lens for Leica M mount is coming (minimum focusing distance less than 0.4m).

New Yongnuo YN 56mm f/1.4R DA DSM lens.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design.

ZY Optics is expected to announce a new autofocus full-frame lens in the second half of the year.

New Dulens lens coming soon.

Sirui to announce three additional Aurora f/1.4 lenses.

The post Updated list of latest/upcoming/rumored Chinese lenses appeared first on Photo Rumors.

Here is what else is new:

New Nikon rebates for September started in the US

Comparing the Nikon ZR camera with the RED Komodo X, V Raptor Z-mount models

New state-of-the-art, top-of-the-line Oberwerth Signature Line of camera bags launched

Check out the latest rare Leica gear at Leica Store Lisse

The next Tamarkin auction will take place on November 15, 2025

Owlkrown released new “Shutter Toppers” soft release buttons (10% off coupon included)

Ricoh GR IV camera FAQ

Sigma 20-200mm F3.5-6.3 DG | Contemporary and Sigma 135mm F1.4 DG | Art Shortages

IBC 2025 News Shooter Coverage: Viltrox NEXUS PL to E Pro Adapter, New Viltrox Air EVO & LAB Series Lenses, and Laowa 200mm f/2 $1999!

Fujifilm Dominates MapCamera Sales Ranking Again

The post What else is new? appeared first on Photo Rumors.

This month's photo challenge celebrates the camera that's always with you: the smartphone. Photo: Dale Baskin

Our September Editors' photo challenge theme is "Pixels in Your Pocket."

This month, we’re celebrating the camera that’s always with you: the smartphone. As we all know, sometimes the best camera is the one you have with you. Wow us with your best smartphone* photos to show us how small sensors can tell big stories, anywhere, anytime.

Photos can be submitted between Sunday, September 14, and Saturday, September 20 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to enter your photo in this month's Editors' photo challenge.

Click here to enter your photo in our smartphone photo challenge.

*We'll also accept photos taken with tablets that share the same cameras and computational tools as smartphones.

OM System OM-1 II | OM System 50-200mm F2.8 IS Pro w/ MC-20 2x teleconverter | 400mm | F5.6 | 1/400 sec | ISO 200 Photo: Mitchell Clark

This week, OM System announced its long-awaited telephoto zoom, the 50-200mm F2.8 IS Pro. It's designed to give photographers a fair amount of reach with its standard 100-400mm equiv. focal range, and even more if they pair it with a teleconverter, which it's compatible with.

We were able to test it out both with and without a 2x teleconverter; the images taken with it are labeled as such in the gallery below.

See the 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; we do so in good faith, so please don't abuse it.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design. The new lens will be able to cover medium-format sensors. Here is the MTF chart of the upcoming lens:

Previous coverage of Light Lens Lab lenses can be found here.

Light Lens Lab to start producing photographic and cinematic films

The post Light Lens Lab is working on an insane 300mm f/1.9 lens with APO design appeared first on Photo Rumors.

The Maven Wave 3 filters Kickstarter funding is ending today:

• Ending today: Maven Wave 3 filters
• New: SPINN.DESIGN ProWrapp weatherproof gear wrapper
• New: AXIS by 3 Legged Thing
• Late ledges: Peak Design Pro Tripod
• Late ledges:Lit Duo 1 lightmeter

New on Kickstarter: 3 Legged Thing quick-release camera strap system & SPINN.DESIGN ProWrapp weatherproof gear wrapper

The post The Maven Wave 3 filters Kickstarter funding is ending today appeared first on Photo Rumors.

The Russian Krasnogorsk S. A. Zverev Plant (KMZ) has launched a new Russar 5.6/20 lens for E-mount. The old version of this lens was available only for the L39 mount (see previous Zenit coverage). Here are the details:

• Focal length: 20mm
• Maximum aperture: 5.6
• Minimum aperture: 22
• Number of aperture blades: 7
• Field of view angle: 95°
• Focus: Manual
• Minimum focusing distance: 0.5 m
• Optical design Groups/elements: 4/6
• Filter thread diameter: 49 mm
• Weight: 100 g.
• Price: 43,710 rubles

The post New Zenit Russar 5.6/20 lens for E-mount announced appeared first on Photo Rumors.

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.

See the 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; we do so in good faith, so please don't abuse it.

Additional information on the upcoming Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens by Venus Optics (see the latest updated roadmap):

• 180mm telephoto lens, powerful spatial compression capabilities
• Autofocus from 1.5m to infinity
• Manual magnification up to 1.5x
• 14.8cm minimum working distance
• APO apochromatic lens effectively reduces color scattering in images
• Customizable FN button for one-touch access to commonly used functions
• Lens designL 12 elements in 9 groups
• AF/MF switch
• Full frame lens
• Autofocus: EF/E/Z mount
• Manual focus: RF/L mount
• Weight: 400g
• Announcement on September 15th
• Sample photos:

The latest Venus Optics Laowa lens roadmap

The post Additional information on the upcoming Venus Optics Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens appeared first on Photo Rumors.

The black Fujifilm X100VI camera is now in stock at B&H Photo (sold out already). Act fast, they will sell out pretty quickly.

Check out also the latest Fujifilm X100VI camera accessories:

New: Fujifilm X100VI “Slim Skin” case by Akaralabs

Just announced: IDSworks grip for the new Fuji X100VI camera

The post Act fast: Fujifilm X100VI camera (black) is now in stock appeared first on Photo Rumors.

The new Ricoh GR IV camera starts shipping today – check availability at:

• B&H Photo
• Adorama
• Amazon
• Foto Erhardt
• Foto Koch
• WEX Photo
• Camea Canada

The new Ricoh GR IV camera starts shipping today

Here is a nice new strap for your new Ricoh GR IV camera

Ricoh GR IV camera accessories

The new Ricoh GF-2 flash is exclusively designed for the GR IV camera

Via PentaxRumors

The post The Ricoh GR IV camera is now shipping appeared first on Photo Rumors.