Last week, the DPReview Editorial team hosted its first Ask Me Anything (AMA) event in the new forums. These AMA sessions are a great way to engage directly with our staff and pose those burning questions you've always wanted to ask.

We addressed a diverse range of topics, including the demand for compact cameras, the impact of AI on photography, articles we would change if we could go back in time, the near closure of DPReview in 2023, and more.

Staff participating in this AMA included:

• Mathew Anderson (Community Manager)
• Dale Baskin (Managing Editor)
• Richard Butler (Managing Editor, Reviews and Technical Standards)
• Mitchell Clark (Reviews Editor)

If you missed this initial AMA, don't worry; we plan to host AMAs regularly and will announce them on the homepage in advance, so you can have your questions ready when the event goes live.

In the 2010s, the big camera brands sold thousands of compact Type 1/2.3 sensor cameras. Judging by the prices of used compact cameras, these old models are in huge demand. Surely, the managers at Canon, Nikon, Sony, Fuji, etc, are aware of this.

Do you have any insight into why the camera companies seem so reluctant to bring them back? Are these compact models money losers?

Richard Butler:

We asked most of them this question at CP+ this year. All of them seemed to recognize that there is some market interest in compacts, but no one sounded that keen to cater to it.

Responses from execs at large corporations will always be presented in positive terms, so it's hard to be certain exactly what their concerns are: no one is going to say "it's just a fad" or "we just don't think it's a large enough market to be worth engaging with."

I suspect part of the problem is that these companies have spent decades and countless billions of Yen trying to make the best, most advanced cameras, and that's not what this demand for old cameras is chasing. Do any of the camera makers know how to make a compact camera that has outdated image quality, rather than doing their best and ending up making something that fails to match modern smartphone quality, rather than offering something flawed and quirky?

"Do any of the camera makers know how to make a compact camera that has outdated image quality?"

From where we sit, it's easy to assume that this is the same as the (I suspect much smaller) demand for good photographers' compacts: an updated G7X model or a new RX100 that was actually engaging to use, but it may not be.

OM System is the successor company to the maker of one of the nicest-to-use enthusiast compacts ever made, but they explicitly ruled themselves out. Fujifilm's attempt to address the market was the X Half (which some people wanted to be both a mad, fun retro compact AND a credible enthusiast compact), so there is some sort of response. I just don't think anyone knows what the right product to address the demand is: but no one seems to think it's simply firing up Type 1/2.3 compact production again.

If you could go back in time and make significant changes to a review or article you've written, which would it be and why?

Dale Baskin:

Am I allowed to say "All of them?"

The truth is, every time I go back and read something I wrote, I hit multiple points where I think to myself, "I should have explained that differently," or "Why didn't I mention X, Y or Z?" But to some degree, that's just me being self-critical as a writer. It's much less often that I look at an old article and think, "WTF? What was I thinking?" Broadly speaking, I don't know that there are many articles where I would make significant changes.

But there are some, and the one that really stands out to me is an opinion article I wrote in 2015 about the Canon XC10, a video camera that Canon pitched as being a true video/stills hybrid. (This was before most companies were making mirrorless cameras.) When Canon briefed us on the product, we were told that it could shoot both 4K video and Raw photos, in a body that was (kind of) designed for both use cases. I wrote an editorial explaining why this was a big deal and represented an important step for video/stills convergence.

"That article racked up over 700 comments, mainly from readers who thought I was an idiot."

Fast forward a couple of days to when the camera was announced, and my article went live [automatically]. However, when the final spec sheet eventually arrived from Canon, Raw photo capture was nowhere to be found. I think it was just an unfortunate case of miscommunication. However, the lack of Raw photo capture significantly undercut the central premise of my editorial.

I removed references to Raw capture, but that article racked up over 700 comments, mainly from readers who thought I was an idiot. At times, I've considered going back and heavily rewriting it, or even taking it down, because the whole thing felt like a disaster, but at this point, it's part of the historical record. To this day, however, that's the one article I've written that, in hindsight, I wish I had never even pitched due to all the grief it caused me.

Richard Butler:

Oh, absolutely. I have vague recollections of having deleted an older article when we significantly changed the way the site operated, eight or ten years ago. I can't remember; maybe I just thought about doing it. It was a well-intentioned idea based on a misunderstanding that, collectively within the team, we couldn't recognise.

There's also at least one opinion piece that I wrote where, looking back, I completely failed to explain my point coherently (in part because I don't think the idea stood up quite as well as I thought). It's not especially wrong, it's just not a very good article.

But I second-guess reviews constantly. I was disagreeing quite strongly with someone just this morning, over a camera he likes and I really don't, and another that I really like and he doesn't. He's a friend whose knowledge, insight and opinions I respect above most people's, and in putting forward my positions, I had to check whether what I've written for the site too narrowly represents my own tastes. (I don't think I realised how central to the target niche I am, and therefore may have misjudged how much broader a camera's appeal is to people who aren't me).

"Everything I write in reviews is based on the idea that people might choose to go out and spend their money based on what I've written."

I still stand by my overall assessment, but I might have expressed more strongly how specific your needs and preferences have to be for it to make sense, had I been able to step back a little further. But I constantly revisit "Should that have got a higher/lesser award?" and "Should I have put more/less emphasis on feature X/weakness Y?" in my head.

But, aside from the degree to which it will (quite rightly) be subject to scrutiny, everything I write in reviews is based on the idea that people might choose to go out and spend their money based on what I've written. And I'd like to think that meeting one of those people wouldn't be too awkward or uncomfortable an experience for either of us: that even if we didn't agree entirely, they would recognise that my review was a good-faith effort to give advice and provide the information for them to draw their own conclusions.

I'm definitely not claiming to get everything right, but there are mercifully few things I believe I've got horribly wrong.

Cameras and lenses are so beyond good in 2025, why do we even need reviews?

Richard Butler:

First and foremost, even if most (not necessarily all) cameras and lenses are very good, that doesn't mean they're the same. One camera may still perform a particular task better than another, one may be more engaging to use, one may have a broader or more interesting range of lenses available.

Most modern cameras will do the job, if you believe photography is solely about acquiring a specific image, but in an age where deciding to take control over a dedicated camera is partly for the fun of doing so; where the sense of being involved in the process is part of the appeal and where enjoying your gear can still prompt you to experiment and try to grow, creatively, finding the right product for you is as important as ever.

And even then, there's still room for unexpected differences in performance. For instance, both the Sony a9 III and Nikon Z6III exhibit lower dynamic range than their peers, but for dramatically different reasons and with very different impact on their wider image quality.

"First and foremost, even if most cameras and lenses are very good, that doesn't mean they're the same."

Testing and reviewing is a chance to explore and explain those differences and the degree to which they might or might not matter for different types of photography. New features are still being added, and the degree to which they are and aren't useful is still worth exploring and discussing.

And, it's probably worth recognizing that some people are into photography and have little interest in the equipment they use, while others are as interested in the technology as the creative process. Just as the TV show Top Gear was initially a consumer-focused program about everyday cars that turned into a program about camaraderie and silliness that used exotic cars as a peg to hang things on, sometimes people just want to be entertained, reading about things they're interested in. I'm not necessarily saying we have gone or plan to go full Top Gear, but reviews aren't necessarily just about buying advice.

How did the experience of DPReview almost shutting down in 2023 affect how you view the industry and your role in it?

Dale Baskin:

That's a great question!

While we were obviously aware that DPReview played a significant role in the industry, I don't think we truly appreciated the depth of that role until Amazon announced its plans to close the site. Two things made that role very clear.

The first was the reaction from photographers worldwide, which created shockwaves. They didn't just tell us how upset they were; they told Amazon, loudly and powerfully. The fact that DPReview is still publishing today is a credit to the community's outpouring of support. Amazon doesn't reverse business decisions like that lightly, but the reaction was so powerful that they decided to sell the business rather than close it. That we're here today is a direct result of photographers telling Amazon how essential DPReview was, not just to Amazon's customers, but to the entire camera industry.

The second was the reaction from within the industry. Camera companies openly published letters and press releases lamenting the closure and speaking to DPReview's importance to the nascent camera industry of the early 2000s. That's the part the public saw. We also received private emails from CEOs and senior industry executives expressing their support and reflecting on why DPReview was so vital to the industry as a whole.

"Ultimately, we came to understand that we are stewards of that quarter-century of accumulated knowledge."

The experience also gave us a different perspective on our role. When closure loomed, the biggest concern for many photographers (and for the staff, who are all photographers and frequent users of the site) was the loss of DPReview as a resource: the accumulated knowledge in the forums, a quarter-century of technical explainers, camera reviews and the studio scene tool. More often than not, when I search for a camera-related question on Google, the answer is already in our own forums. As photographers, we didn't want to lose that knowledge base either.

Ultimately, we came to understand that we are stewards of that quarter-century of accumulated knowledge. Part of our job is to ensure it remains available to photographers globally. That's why we worked so hard to keep these forums viable. I realize the new software is missing a couple of popular features, but we chose the option that allowed us to preserve the forums, because we know how vital this treasure chest of information is to the photography community.

With the growing popularity and use of AI and other content creation tools that can produce photorealistic images, are you concerned that photography is at risk of becoming a lost art?

Richard Butler:

Personally, no.

I think it depends to what extent you think of the point of photography as being the end result or a combination of the process and the end result.

Obviously, part of my current motivation to take photos is this job (there's always another gallery that needs to be shot), but before that, I wasn't taking photos to achieve anything, particularly, I was doing it to push myself to learn and get better, and to enjoy the experience. There's a satisfaction in having taken a good shot that isn't replicated by seeing a generated image, no matter how photo-realistic it might be.

"I can't imagine finding myself thinking, 'This image looks great because I'm so good at prompting,'"

I can't imagine finding myself thinking, "This image looks great because I'm so good at prompting," and getting the same excitement as looking at the back of my camera and thinking, "That looks better than I was hoping," and knowing my actions and choices led to it.

I think AI will just further erode the ability of pro photographers to make a living (which raises the ethics/fairness of big tech ingesting millions of pieces of creative work without regard for copyright and then profiting from narrowing the market for further creativity), but I'm not sure how much impact it has on photography as a hobby or artistic endeavour. Though it'll probably wreak havoc on photo competitions at every level, too.

Mitchell Clark:

I actually had a pretty long think about this recently while covering Adobe Max, because they spent the entire conference hammering on the point that people and businesses need to use AI because people are demanding more and more content every day.*

You can read the article I wrote about it for my full thoughts, but they essentially boil down to: I do worry that commercial photography might be cooked (and not because AI is better, but because the people who make the decisions will think it's good enough). But for the people who take pictures for the love of doing it, I don't think AI will get to the point where it can replace... that.

"I do worry that commercial photography might be cooked."

External validation may be harder to find. If you're competing with AI images specifically tuned to jack into people's serotonin receptors on Instagram, you're probably going to lose that competition. But if it's the activity itself that makes you happy, rather than people's reaction to it, I'd agree with Richard that it's hard to imagine AI replacing that.

I also think (hope?) there are some photography applications that people just won't accept AI for. I'm thinking wedding photos, portraits of their children, etc.

*A premise I'm not sure I'm sold on. There are many worse things than opening your phone and finding nothing new for you there, provided you take the hint and then put it down.

A little guessing game. Just for fun, how many mirrorless interchangeable lens cameras do you predict will be released in 2026?

Mathew Anderson:

I'm the least expert in this space, but I'll say... 20

Mitchell Clark:

From 2015 to 2020 (inclusive), there were over 20 ILCs released by the major manufacturers each year, not counting primarily video models. Since then, there's been a pretty dramatic drop off; the closest we got to even reaching 20 was 2023, which saw 18 cameras released.

I'm going to go out on a limb and say that maybe it's time for another 20+ release year. I haven't done the math at all on which cameras I actually think might be coming, but the vibe feels right.

Several months ago, you mentioned the possibility of doing small articles on selected users and their interesting photo journeys. Has there been any more thought on this? It would be very nice to read and discover them.

Dale Baskin:

Yes! I'm glad you asked this, because it's something we still plan to do. In fact, we're hoping to start this in the next couple of weeks.

Question on the XenForo gallery: What is the purpose of the albums "Member Album (private)" and "Member Album (public)?" How can we use them effectively?

Mathew Anderson:

The public one is for the general public – anyone can view that album. You will want to use this option to showcase your work to its maximum degree.

The private one is there in case, say, a group of your friends wants to share bird-watching photos with each other and comment on those photos without others in the public commenting. Sometimes it's nice to discuss and debate within a small group, which we totally understand and support. With the private option, you can invite specific community members in.

"Sometimes it's nice to discuss and debate within a small group, which we totally understand and support."

Please note that regardless of the setting, our community guidelines and Code of Conduct still apply.

In the new forums, what are "views" and why are they so high? And, are links in signatures supposed to work? They don't.

Mathew Anderson:

"Views" are the number of individual accounts and non-accounts that have clicked into a thread and viewed its posts (same for photo albums and whatnot). They do seem on the high side, something we are taking a look at (it might be right, but we're investigating).

For the signature links, you may have to re-establish the link using the new interface (clear the code you had before, possibly HTML). The actual link may not have carried over from the old forums. Links, though, are possible (see my signature).

Is it (or will it be) possible to allow a user to display more than the default 20 posts in a thread on one page? I often use my browser to search the current page for occurrences of a particular word or phrase, and doing so on a single long page would be better than doing it page by page.

Mathew Anderson:

Yes! We can adjust this. The new forum software allows for many such tweaks we can make in this regard. Thanks for the suggestion!

Some questions and answers were lightly edited for clarity and flow.

Photo: Richard Butler

Leica recently released the Q3 Monochrom, a black-and-white-only version of its full-frame, fixed-lens camera. Like the color model, it features a 28mm F1.7 lens and a 60MP sensor, and can capture monochrome video up to 8K resolution. The camera offers an IP52 rating for dust and water resistance, along with embedded CAI Content Credentials for creative authenticity.

Richard Butler recently had the opportunity to spend a few days with the Leica Q3 Monochrom. Frustratingly, the camera couldn't capture the stunning reds and golds of Seattle's autumn leaves. meaning he instead had to focus on the slight and shade of the stark, low sunshine, on the rare breaks between overcast grays. Color didn't matter, but moments of sun glinting off glass buildings, long shadows and city lights at night proved well-suited to the monochrome format.

You can learn more about the Leica Q3 in our initial review.

Sample gallery

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

The Peak Design Pro Tripod, which raised $4.6 million earlier this year, is now available for purchase at:

• B&H Photo
• Amazon
• Peak Design website

Additional information (check also the Peak Design website):

The post The Peak Design Pro Tripod, which raised $4.6 million earlier this year, is now available for purchase appeared first on Photo Rumors.

The 2025 Nextorage Black Friday Sale has already started:

• B&H Photo
• Amazon

You can save up to $210 on Nextorage memory cards, card readers, and external SSDs (the sale ends on December 8th). Here are the details:

B&H Photo:

Amazon:

Nextorage developed the world’s first memory card supporting both VPG1600 and VPG400 standards

The Nextorage NX-A2PRO Series CFexpress Type A are the world’s first memory cards to get VPG800 certification

Nextorage announced the world’s first VPG800-compliant CFexpress Type A memory cards

BLACK FRIDAY

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Field Made has launched its Black Friday deals, offering 25% off its indicator labels for lenses and cameras with the coupon code BFCM25.

Additional information on the latest Field Made labels:

Field Made released new customizable labels for Sony, Canon, and Nikon batteries

New Fieldmade cinema indicator labels

New: FieldMade fully customizable vinyl indicator labels for any camera/lens

FieldMade is launching the next-generation camera indicator labels for Tamron, Sony, Nikon, Fuji, and Canon

BLACK FRIDAY

The post Field Made labels Black Friday offer: 25% off indicator labels for lenses and cameras (coupon code included) appeared first on Photo Rumors.

Next week marks the start of the gift-giving season in many parts of the world, so the DPReview team sat down to discuss the things people should keep in mind when shopping for the photographers and creators in their lives. We also shared personal stories of some of the best (and worst) photo-related gifts we've ever gotten.

Be sure to weigh in on our forums; have you received any great or terrible gifts, and is there anything in particular you're hoping to find this year?

Discuss gifts in our forums

Here are some additional rumors on the Sony FX8 cinema line camera:

• The FX8 will be smaller than the Sony FX9 model.
• The rumored Sony FX8 cinema camera features a 12K sensor with a horizontal pixel count of 12,032.
• The Sony FX8 will support dual native ISO and enhanced sensitivity similar to the Sony FX6.
• 16 stops of dynamic range at three ISO settings: 500, 2000, and 8000.
• The Sony FX8 will support high-quality full-frame/S35 format 8K30p and 4K60p recording (17:9, 16:9), and supports 1.04x cropped 16:9 4K120p recording.
• Although the FX8’s sensor is marketed as an 81-megapixel effective sensor based on a 16:9 crop factor—in line with Cinema Line conventions—it is clearly a full-frame sensor with a total of 96 million pixels.
• Similar to the relationship between the Sony FX30 and Sony A6700. Sony appears to be planning to debut its new image sensor in the CineLine first. This implies that after the FX8’s release, the Sony A7S/A7R series may launch new Alpha cameras featuring a full 3:2 aspect ratio 96-megapixel sensor.
• Unfortunately, Sony has no plans to support Open Gate for cameras, including the FX8 and BURANO.

Additional information on the two upcoming Sony professional video cameras

BLACK FRIDAY

The post New Sony FX8 cinema camera rumors appeared first on Photo Rumors.

A screenshot from the Instagram Reel posted by Reto.

The Kodak name has been in the news a fair amount lately, and now a new film camera featuring the brand is in the works. Kodak brand licensee Reto Productions has shared three teasers on its Instagram, showing off the upcoming Snapic A1 camera, revealing a few details.

Reto's first post about the Snapic A1 featured a single shot of the camera, followed by sample photos claimed to be taken with the new device. In its most recent post, the company has shared a brief video of the camera, highlighting some of its features.

Screenshots of some of the features highlighted in the Reel.

The Snapic A1 looks like a plastic point-and-shoot film camera with a textured handgrip and integrated flash. Reto mentions in the caption that it offers "numerous automatic functions." The video also highlights a multiple exposure function. The camera features an LCD screen that shows battery life, focus range and flash settings. It relies on zone focusing, with a ring on the front that allows users to change the zone. Reto specifies that it uses a 25mm, 3-element glass lens.

It's important to note that although Eastman Kodak is regaining control over some of its film distribution, this camera is not produced by Eastman Kodak. Instead, it's made by Reto, a Hong Kong-based company that has been a brand licensee of Eastman Kodak since 2022. Reto is also the company behind the affordable yet entirely plastic Kodak Ektar H35 line of half-frame film cameras.

Two additional screenshots of the Snapic A1 video.

Reto didn't provide any details as to when the Snapic A1 might be available or how much it will cost, so we'll have to wait and see.

A promotional image for The Odyssey, which will feature Matt Damon as the titular Odysseus. Image: Universal

Director Christopher Nolan is no stranger to epic undertakings, and his latest project pushes the limits even more. In a recent interview with Empire, Nolan said that they shot more than two million feet of film while on the set of The Odyssey.

Much of the filming for The Odyssey took place on the ocean, too. "It’s pretty primal!" Nolan told Empire. "I’ve been out on it for the last four months. We got the cast who play the crew of Odysseus’ ship out there on the real waves, in the real places. And yeah, it’s vast and terrifying and wonderful and benevolent, as the conditions shift. We really wanted to capture how hard those journeys would have been for people."

It was clear from the outset that The Odyssey was going to be a massive project. Earlier this year, it was revealed that the movie would be the first commercial feature film to be shot entirely using Imax film cameras. While Nolan has frequently used the 65mm format, including on The Dark Knight, Interstellar and Oppenheimer, he's still had to rely on 35mm film because of the practical limitations of the bulky and noisy IMAX cameras.

Nolan reportedly convinced Imax to improve its cameras and workflow for The Odyssey, resulting in cameras that are lighter and 30% quieter, along with faster processing techniques. The updates made Imax cameras more feasible to use for an entire production, including one set mostly at sea. As a result, Nolan and his production team were able to use Imax cameras for the entire 91-day shoot, producing those 2 million feet of film.

All of that film won't make the final cut of the movie, of course. But it's not Nolan's first time producing extensive volumes of film for a movie. His dedication to the format also required innovation on the set of Oppenheimer. That movie resulted in 11 miles of film, which was unprecedented. It was so much film that Imax had to develop a custom platter just to hold it all.

The Odyssey is an adaptation of Homer's epic Greek poem, telling the tale of Odysseus (played by Matt Damon) making a decade-long journey home to his wife, Penelope, after the Trojan War. Nolan told Empire that he's been dreaming of making this film for decades. He said he grew up with mythological cinematic work, but he'd "never seen that done with the sort of weight and credibility that an A-budget and a big Hollywood, IMAX production could do."

"By embracing the physicality of the real world in the making of the film, you do inform the telling of the story in interesting ways"

Nolan added that the film format was especially important when telling this particular story. "By embracing the physicality of the real world in the making of the film, you do inform the telling of the story in interesting ways," he told Empire. "Because you’re confronted on a daily basis by the world pushing back at you."

There's surely plenty of work left on the production of the movie, which is slated for release in cinemas in July 2026. We'll be eagerly awaiting teasers and trailers as that date approaches.

Image: Sigma

Lens names can be complicated things. Companies often try to fit every detail of the lens into the name, resulting in a string of abbreviations. While Sigma isn't the worst offender, it tends to stack quite a few terms into the names of its lenses. In this article, we'll be breaking down terms specific to Sigma lenses so that you can more easily gather relevant features and technologies without having to be a Sigma engineer.

Lens format and series designations

While many companies list some designations at the very beginning of a lens name, Sigma keeps all of its terms after the focal length and aperture. The first acronyms refer to the lens format and, when applicable, the lens series.

DG, DC and DN

Like other companies, Sigma has specific acronyms to identify whether a lens is designed for full-frame or APS-C cameras. DG is Sigma's designation for full-frame lenses, while DC is for APS-C (often called crop sensor) cameras.

DN is Sigma's term that indicates a lens is made for mirrorless cameras. Since Sigma produces mirrorless lenses for both full-frame and APS-C cameras, you may see DN in combination with either DG or DC. However, Sigma has dropped the DN on newly released mirrorless lenses, as it is no longer developing new DSLR lenses. As a result, you won't see DN on the latest Sigma lenses, even though they are mirrorless optics.

A, C, S and I

The silver 'A' on the lens body means it's part of the Art line of Sigma lenses. Image: Sigma

Sigma also offers four specific lens series that focus on different capabilities tailored to various types of photographers. If you see an 'S' in the lens name, it means the lens is part of the Sports line, which, as you may guess, is made for documenting action such as sports and wildlife. The Spots lineup consists of telephoto and super telephoto prime and zoom lenses made to handle rough conditions. They offer shock resistance and more advanced weather sealing, along with customization opportunities through on-lens controls.

An 'A' means the lens is part of the Art line, which prioritizes optical performance. These lenses typically feature fast apertures and are available in both prime and zoom lens formats. Sigma says that the Art line is for those who want creative outcomes over compactness and multifunction, so they aren't as compact or lightweight as its other lens lineups.

The 'C' stands for Contemporary, which prioritizes portability and convenience. The Contemporary lineup consists of a mix of prime and zoom lenses, covering just about every focal length. However, in every format, the focus remains on keeping the lenses compact and lightweight. As a result, they are ideal for travel, casual snapshots and other similar applications.

I series lenses come in both black and silver. Image: Sigma

Lastly, the I series is the company's smallest lens lineup, consisting of just nine lenses at the time of writing. It functions as a subset of the Contemporary lineup. Like the Contemporary line, the I series is a collection of compact, mid-price, medium-fast aperture lenses. However, it differs from the broader Contemporary lineup because all the I series lenses are primes designed for full-frame mirrorless cameras. They also all feature metal construction, manual aperture rings and high-end build quality. The lenses offer retro looks and come in both silver (to match the silver Sigma BF) and black.

Lens features and autofocus

While not always in the lens name, Sigma also has some specific terms related to autofocus and other lens features.

OS

The Sigma 70-200mm f/2.8 DG DN OS Sports lens offers optical stabilization, as indicated by the 'OS' in the name and on the lens. Image: Sigma

OS, which stands for Optical Stabilizer, is Sigma's optical stabilization technology. As with any stabilization feature, it aims to reduce blur associated with the motion of the camera. It helps obtain sharper images when using slower shutter speeds, which is especially helpful on telephoto lenses and when working in low-light conditions.

HSM and HLA

If you see 'HSM' in a Sigma lens name or description, it indicates that the lens uses the company's patented Hyper Sonic Motor for autofocus. This motor, as the name suggests, is an ultrasonic-type autofocus motor, which results in fast, quiet and accurate autofocus. It's commonly found in many of Sigma's Art, Sports and Contemporary lenses.

The Sigma 'HLA,' or High-response Linear Actuator, is its newest autofocus motor. It allows for faster autofocus performance, with more responsive subject acquisition and tracking to keep up with modern mirrorless cameras.

Lens technology

Finally, Sigma uses some proprietary lens elements that you may see mentioned in lens descriptions. Its FLD (F Low Dispersion) element mimics fluorite elements (which is what the 'F' stands for), though it is less expensive. Sigma says it is the "highest level low dispersion glass available," and it offers extra control of chromatic aberrations.

ELD (Extraordinary Low Dispersion) is another type of glass element that reduces chromatic aberrations for better clarity and color fidelity even in challenging lighting conditions. Finally, the oldest of the bunch: SLD (Special Low Dispersion). This element is yet another that reduces optical aberrations. It was first introduced on the Sigma 50-200mm F3.5-4.5 in 1984.

  
  
The new Viltrox Black Friday deals started today – they are offering 20% off on everything they sell:

• US: Amazon | B&H Photo
• International: Viltrox website

Additional information can be found here:

Viltrox Black Friday deals started today: 20% off everything they sell

BLACK FRIDAY

Via NikonRumors

The post Viltrox Black Friday deals: 20% off on all products appeared first on Photo Rumors.

Thypoch is teasing a new Eureka lens announcement for Monday:

BLACK FRIDAY

The post Thypoch is teasing a new Eureka lens announcement for Monday appeared first on Photo Rumors.

Malikie is suing Canon over Wi-Fi in cameras and printers. Here is the recap of the Malikie Innovations v. Canon Patent lawsuit:

Overview In mid-November 2025, Irish patent-holding company Malikie Innovations Ltd. (along with its investment partner and beneficiary Key Patent Innovations Ltd.) filed a patent infringement lawsuit against Canon Inc. and its U.S. subsidiary Canon USA Inc.. The case accuses Canon of using Wi-Fi-related technologies in its products without a license. These patents originated from BlackBerry Ltd., which sold a large portfolio of wireless communication patents to Malikie in 2023 as part of a deal worth up to $900 million.

Filing Details

• Date filed: November 12, 2025
• Court: U.S. District Court for the Western District of Texas (Waco division, a popular venue for patent cases)
• Case number: 1:25-cv-01826

Patents Asserted (all formerly owned by BlackBerry):

• U.S. Patent No. 7,747,934
• U.S. Patent No. 9,218,434
• U.S. Patent No. 10,484,870
• U.S. Patent No. 10,003,730
• U.S. Patent No. 9,143,323 (The article mentions “half a dozen,” but sources consistently list five; the complaint may clarify six total.)

These patents generally cover aspects of wireless communication protocols, such as how devices connect to Wi-Fi networks, share data wirelessly (e.g., photos from a camera to a phone), and related functionalities in client-server Wi-Fi setups.

Accused Products

• Canon’s digital cameras with built-in Wi-Fi (e.g., models that allow wireless image transfer)
• Wi-Fi-enabled printers
• Canon’s mobile apps (e.g., Canon Camera Connect app) that facilitate wireless connections

The core allegation is that these products infringe by implementing standard Wi-Fi features for networking, file transfer, and remote control — features now common in most modern cameras and printers.

Background and Pre-Lawsuit Efforts Malikie first contacted Canon in March 2024 to offer a license for its Wi-Fi patent portfolio. Despite multiple letters, emails, and requests for meetings over the following 18+ months, no licensing agreement was reached, leading to the lawsuit.

Relief Sought As is standard in these cases, Malikie is seeking:

• Monetary damages (including potentially enhanced damages for willful infringement)
• A permanent injunction (though rarely granted in patent cases post-eBay)
• Attorneys’ fees and costs

Current Status (as of November 19, 2025) The lawsuit is brand new — filed just one week ago. Canon has not yet publicly responded or filed an answer. No hearings or rulings have occurred yet. Given the venue and the nature of the claims, the case could take 1–3 years to resolve, potentially ending in a settlement (common in patent litigation involving former BlackBerry patents).

Context on Malikie Malikie is not a practicing company but a patent assertion entity (often called a “non-practicing entity” or NPE) focused on monetizing the old BlackBerry wireless patent portfolio. It has filed similar Wi-Fi and wireless communication lawsuits against companies like Nintendo, Acer, Toast, Vantiva, and others in 2024–2025. Some of Malikie’s patents have faced challenges (e.g., ex parte reexaminations by groups like Unified Patents questioning validity), but none directly affect this Canon case yet.

In short: This is a fresh patent troll-style suit targeting standard Wi-Fi implementation in Canon’s imaging products. It likely won’t immediately impact consumers or product availability, but it adds to the ongoing wave of litigation around legacy BlackBerry wireless patents. If you’re a Canon user, no immediate action is needed — these cases rarely disrupt the market directly.

BLACK FRIDAY

The post Malikie is suing Canon over Wi-Fi in cameras and printers appeared first on Photo Rumors.

The previously rumored Leica Q3 Monochrom camera is now officially announced:

• Pre-orders: B&H Photo | WEX Photo | Calumet
• Leica Q3 Monochrom compared to Leica Q2 Monochrom
• New Leica Q3 Monochrom camera accessories
• Press release
• Additional information
• Additional pictures:

Leica Q3 Monochrom camera officially announced

New Leica Q3 Monochrom camera accessories

Leica Q3 Monochrom compared to Leica Q2 Monochrom

The post New Leica Q3 Monochrom camera announced appeared first on Photo Rumors.

The Leica Q3 Monochrom is a black-and-white only version of the company's 61MP full-frame fixed 28mm lens camera.

Key specifications

• 61MP BSI CMOS sensor with no color filter
• Reduced res JPEGs or Raws at 36MP or 18MP
• 28mm F1.7 lens
• 5.76M dot OLED EVF with 0.79x magnification
• 3" tilt touchscreen LCD with 1.84 million dots
• 8K video capture in UHD or DCI ratios up to 30p (H.265)
• Apple ProRes 422HQ support for 1080p video capture up to 60p
• AI-assisted perspective control mode
• IP52-rated dust and water resistant
• Wi-Fi and Bluetooth

The Leica Q3 Monochrom will be available from today at a recommended price of $7790.

Index:

• What is it
• How it compares
• Body and handling
• Initial assessment
• Sample gallery
• Specifications
• Press release

What is it?

The Q3 Monochrom is an updated version of the Q2 Monochrom based, as the name implies, on the newer Q3 camera. This means it has the same lens as the Q2 but with the excellent 61MP BSI CMOS sensor and Maestro IV processor from the newer camera, bringing features such as perspective correction.

However, unlike the color Q3, it does not gain phase-detection AF, instead relying on contrast detection (presumably the version of Panasonic's Depth-from-Defocus) system that Leica used for some years.

New interface

The Q3 Mono also gains the updated interface from the SL3 cameras, which separates stills and video features into red and yellow-accented displays, switched between by swiping left and right on the settings display screen.

Leica says that, in addition to the reworked display logic, every single icon on the camera has been redesigned. The updated interface will be available for Leica Q3 and Leica Q3 43 users via a free firmware update, shortly.

Content credentials

The Q3 Monochrom also joins the list of Leica cameras that can embed CAI Content Credentials in its images. Leica's implementation relies on specific hardware, so this feature will not be extended to existing Q3 and Q3 43 owners.

Why B&W?

From a technical perspective, there are a couple of benefits to using a camera with no color filter array, assuming you're not interested in capturing color. The first is that, because you're not demosaicing to interpolate the missing colors at each pixel location, you aren't softening your output.

A monochrome camera makes you think in terms of light and shade, rather than color. If anything, this shot would have be overwhelming and confused in color, and probably more objectionably noisy.

The absence of a filter sapping around a stop of light also means the Q3 Mono should prove a stop less noisy and have a stop's improved tonal quality at every ISO (with the caveat that the standard Q3's base ISO is a stop lower, so in good light, it'll catch up, if you can give it enough light). On top of this, many people find noise less distracting if it's rendered as the wrong brightness, rather than the wrong color, so the perceived advantage is likely to be even more than a stop, in low light.

There's no safety net on a mono camera

However, along with these benefits comes an increased exposure challenge. The ability to recover the highlights comes primarily from the fact that a camera with a CFA's color channels don't all clip at the same point, so there's often enough further information about brightness being captured above what appears to be the clipping point, in the Raws. This lets you reconstruct and approximate the detail in the highlights, well beyond the point that you can capture accurate color. There's no such safety net on a mono camera: if an area is clipped, then there's no way for processing software to tell what's 'just' clipped from what's spectacularly clipped: it's just unrecoverably white.

The temptation is to err on the side of underexposure and cut into that one-stop advantage.

How it compares:

When Leica launched the original Q2 Monochrom back in 2019, there was no direct competition, as Leica was the only major brand making black and white cameras. Since then, Ricoh has joined the fray with its Pentax K-3 III Monochrome and the forthcoming GR IV Monochrome. The GR IV makes an interesting comparison to the Leica. It uses a smaller sensor and has a slower lens, so it's not going to compete for peak image quality, but it's a lot smaller and, we have to assume, a lot less expensive. We've included the details we know so far and those we can infer from the specs of the color GR IV.

In many respects, the Leica Q3 remains peerless; it's a substantial upgrade over the Q2, primarily by dint of a much better sensor. We can't know exactly how much better the image quality of the Q3 Monochrome will be than that of the as-yet-unreleased Ricoh GR IV Monochrome but given the fact that the Ricoh is being built around a sensor that uses the same pixels on a chip with 42% of the light-capturing area, we can make an estimate with pretty high precision. We can also get a very good idea of the impact of the slower maximum aperture.

As is so often the case with Leica products, if you want what the Q3 Mono offers, then this is pretty much the only option available.

Body and handling

The camera's primary exposure settings are controlled via a dedicated aperture ring around the front of the lens and a shutter speed dial on the top plate. There's also a command dial on the camera's rear right shoulder that lets you adjust exposure compensation or ISO, or fine-tune the shutter speed.

The body is an exact match for the Q3, with the same solid-feeling build and IP52 environmental sealing rating. The only difference is the word Monochrom embossed in the top plate and the complete absence of color on the body.

As with the Q3, the camera is environmentally sealed to the point of earning an IP52 rating. This isn't especially strenuous but means that there should be limited dust ingress, to a degree that shouldn't interfere with operation and that it can withstand water droplets falling on the camera at up to 15 degree angles from vertical. This isn't much, but the fact that it's been designed and built to repeatably withstand such a test is more of a commitment than you get from most cameras.

The Q3 Monochrom has a 5.76M dot viewfinder and a tilt up/down rear touchscreen. Just next to the viewfinder is a diopter adjuster, which pops out when you press it. Here it's shown in its extended position.

The handling is fairly straightforward with a dedicated aperture ring and shutter speed dial, each of which has an auto position. There's also a customizable command dial on the top rear corner, which has a function button at its center. This gives direct access to the camera's principle exposure parameters, fairly easily.

There's a thumb rest on the camera's focus ring that has a tiny button on its edge, which engages and disengages manual focus mode. The lens is focus-by-wire but has a linear response and a distance scale, so it gives a very good impression of a physically connected focus ring. Set behind this is a ring that shunts the lens between its standard focus range (0.3m – Infinity) and the camera's Macro range (0.17m – 0.3m).

A ring next to the camera's body lets you shift the lens into its Macro range.

Press the menu button and you get a settings display that you can touch to change any of the camera's core settings. Swipe left and the display switches to a yellow-accented version that shows the video settings. Hit Menu again and you enter the short, well-organized camera menu. It's not dramatically different to the version in the existing Q3 and Q3 43 but it's that bit cleaner and neater. We'd definitely advise users of those cameras to update their firmware when this version of the UI becomes available.

Battery

The base of the battery forms the bottom of the camera, rather than sitting behind a door. The sliver lever to its left releases the first of two catches to eject the battery.

The camera's battery embeds into its baseplate and is released with a large silver lever. Once you've pushed the lever, you have to then push the battery in a little to release a second catch within the body.

The BP-SCL6 battery is a relatively large 16Wh unit from which the camera delivers a battery life of 350 shots per charge. These numbers always significantly understate the amount of shots most people will actually get, and a rating of 350 shots per charge is pretty solid for a day's committed shooting. It can be recharged over the USB slot on the camera's slide.

Initial assessment

A compact camera with a prime lens is something of a niche proposition. Add to that Leica's premium pricing, and that niche becomes smaller still. Take the color filter away, and its appeal narrows to the point that you wonder whether the company already knows the photographers and collectors who'll buy one by name.

I like shooting with prime lens cameras, but tend more towards normal lenses than wide angles. So the prospect of shooting a wide-angle camera with added restrictions was daunting, to say the least. In practice, I found the challenge fascinating.

Autumn has well and truly molded Seattle to its fleeting fashion, leaves red and golden, glistening in low, stark sunshine between the rain and wind storms that will sweep us on into winter, all too soon. In those breaks in the cloud, some of the color is spectacular, and of no interest whatsoever to a monochrome camera.

At I first I wandered through this scene, constantly frustrated that the Q3 Mono couldn't see any of the things I saw to capture. But, just as the restriction of a single focal length makes you see the world through its specific lens, so the inability to capture color forced me to focus instead on light and shade.

The downside of the camera embedding Content Credentials is you might inadvertently credit your photos to the previous user of the camera.

Of course, it didn't suddenly make me an expert black and white photographer in the handful of days during which I had the camera and the sky wasn't just overcast, but it was enough to make me recognize what the Q3 Monochrom is for.

There are a couple of technical benefits to the lack of a color filter (sharper images and better quality when you're light-limited), but for me, the strongest case for the Q3 Mono is the creative restriction. And, just as I argued a camera with a fixed prime is not the same thing as an ILC with a prime lens on it, I'll argue vehemently that a mono camera isn't the same as switching your existing camera to black and white mode, even if you put the technical benefits to one side. There's a difference between seeing a colorful autumnal scene and knowing in the back of your mind that you could just shoot it in color, and knowing that you have to move on, because your camera is literally incapable of capturing it.

As ever, Leica's pricing seems to defy rational analysis (that's arguably partly by intent), so it's senseless to ask whether the Q3 Mono is 'worth it.' No, of course it's not. Unless, for you, it is. For the rest of us, it's quite exciting to know that the smaller, much more affordable Ricoh GR IV Monochrome is on its way. It won't come close to the Leica in terms of image quality or, perhaps, desirability, but it'll let more of us explore the fascinating restrictions of black and white digital.

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.

Photo: Mitchell Clark

Peak Design has announced that its Pro line of tripods is now available for sale, following a Kickstarter campaign in June, which raised around $4.6 million. The tripods build upon the company's well-regarded Travel Tripod, but are made to hold more gear and to be more capable for videographers.

There are three models: the Pro Lite, Pro and Pro Tall, with maximum heights of 162.5cm (64.0"), 168.4cm (66.3") and 197.4cm (77.7"), respectively. The two larger models can carry payloads of up to 18.1kg (40lb), while the Lite model can hold 15.9kg (35lb).

Compared to the Travel Tripod, the Pro tripod's biggest upgrade is the ball head. While it's not as compact, it has an automatic locking mechanism, as well as a secondary lock to keep you from accidentally ejecting your camera. It also has a fluid mechanism for getting smooth, steady pans.

The Pro Tripod with the Tilt Mod. Photo: Mitchell Clark

There are also several accessories for the Pro Tripods, but the most interesting is the Tilt Mod. Like its name implies, it adds a fluid tilting mechanism; combine it with the tripod, and you get something close to the tilt/pan models videographers generally choose.

As with many of Peak Design's products, none of this comes cheap. The Pro Lite costs $799, with the Pro and Pro Tall going for $899 and $999. The Tilt Mod costs $149 on top of that. The company says it's offering 5% off the tripods and their accessories until December 1st as part of its Black Friday sale (though the discounts on its other products are more substantial).

If you want to read more about the Pro Tripods, you can check out the article we wrote when they were initially announced.

Pro Lite

Pro

Pro Tall

SmallRig Black Friday deals are now live with up to 30% off discounts on selected gear, running from November 20th until December 1st:

• Amazon
• SmallRig website

Here are some of the discounted items:

More early Black Friday deals can be found here:

BLACK FRIDAY

The post Now live: SmallRig Black Friday deals appeared first on Photo Rumors.

The Topaz Black Friday deals are here – from November 19th to December 3rd, you can save on Topaz Studio and all single apps:

For new customers:

• 43% off Topaz Studio and Topaz Studio Pro (from $399 → $229)
• 15% off all single apps

For existing customers:

• If you already own Topaz Studio: 43% off Studio Pro (from $799 → $455)
• If you have 1+ active licenses or all apps have expired: upgrade to Studio or Studio Pro for 43% off
• 15% off all single apps

Use this link when purchasing to get the discounts.

More early Black Friday deals can be found here:

BLACK FRIDAY

The post Topaz Labs Black Friday deals started appeared first on Photo Rumors.

Venus Optics will announce two new Laowa lenses on November 24:

• Laowa 17mm f/4 FFII TS/S C-Dreamer
• Laowa 35mm f/2.8 FFII TS/S C-Dreamer Macro 0.5X

Updated list of latest/upcoming/rumored Chinese lenses

The post Venus Optics will announce two new Laowa lenses on November 24th: 17mm f/4 FFII TS/S C-Dreamer & 35mm f/2.8 FFII TS/S C-Dreamer Macro 0.5X appeared first on Photo Rumors.

Here is what else is new:

The TTartisan AF 23mm f/1.8 APS-C lens for Nikon Z-mount is now available for order at B&H Photo

AkaraLabs released new “Slim Skin” cases for the Nikon Zf and Zfc cameras

The 3 Legged Thing Zadie QD L-Bracket for Nikon Z6 III is now back in stock (black+copper)

New: Komaru Art Deco Centenary Limited Edition soft release button

The Leica M EV1 camera will be officially released in the US in the next few days

Subscribe to Rock n Roll Straps and Bags & shop Black Friday prices

Sony a7C R, a7C II, ZV-E10M2, and ZV-E1 Firmware Updates Released

Tamron 17-28mm f/2.8 Di III RXD FE Discontinued Abroad and On Sale In The US

PDR: Canon PowerShot V1 vs Fujifilm X100VI vs Leica Q3 vs Sony RX1R Mark II vs Canon RX10 Mark IV

PDR: Hasselblad X2D II 100C vs Fujifilm GFX100II

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