The long-rumored Sony a7 V camera will be announced next week on December 2nd. The first teasers are already listed at B&H Photo and Foto Erhardt.

Here is the list of upcoming/rumored Sony cameras and lenses:

• Sony A7 V
• Sony FX8
• New Sony lenses:

Sony is rumored to announce three new lenses, boring cameras expected in the next 2-3 years

The post The Sony a7 V camera will be announced on December 2nd appeared first on Photo Rumors.

The previously rumored Viltrox AF 9mm f/2.8 Air APS-C lens for Fujifilm X-mount is now officially released and available for purchase at:

• B&H Photo
• Amazon
• Viltrox

Additional information:

• 113.8° Ultra-Wide Angle
• 13 Elements in 11 Groups (3 ED, 3 HRI, 2 ASPH)
• 7-blade Aperture
• 0.13m MFD | 0.15× Magnification
• Eye & Face Detection AF
• 58mm Filter Thread
• 175g Lightweight
• Compact Size: Ø65 × 56.7 mm
• MSRP: 199 USD / 229 EUR / 190 GBP

The lens already exists for Nikon Z and Sony E mount:

Announced: Viltrox AF 9mm f/2.8 & AF 14mm f/4.0 Air lenses

The Viltrox Black Friday deals are now live – they are offering 20% off on everything they sell:

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

Additional information can be found here.

  
  
More Black Friday deals can be found here:

BLACK FRIDAY

The post Viltrox AF 9mm f/2.8 Air APS-C lens for Fujifilm X-Mount released appeared first on Photo Rumors.

DJI drones will be banned in the US next month. Here are the DJI Black Friday deals this year – probably the last chance to get a DJI drone in the US:

• Amazon – 20% off DJI Mini 3, Neo, Mini 4K
• B&H Photo – up to $2,600 off the DJI Mavic 3 Pro

Additional information on the DJI drone ban:

A federal ban on DJI drones in the US is set to trigger on December 23, 2025, unless a designated national security agency (such as the Office of the Director of National Intelligence) completes a mandated security audit beforehand. This deadline stems from Section 1709 of the Fiscal Year 2025 National Defense Authorization Act (NDAA), passed by Congress in December 2024. If the audit doesn’t happen, DJI (along with fellow Chinese manufacturer Autel Robotics) will be added to the FCC’s “Covered List,” prohibiting the import, sale, and FCC certification of new DJI products. Existing drones owned by consumers and businesses would likely remain usable, but repairs, parts, and software updates could become challenging.

State-level restrictions are already in place in some areas. For example, Florida implemented a ban on DJI drones for government use in 2024, leading to the seizure of equipment worth over $200 million and a switch to pricier US-made alternatives. Similar restrictions exist in states like Arkansas and Mississippi for public agencies, often driven by the same federal concerns.

Reasons for the Potential Ban

• Data Privacy and Espionage Risks: Fears that DJI drones could transmit sensitive flight data, images, or videos back to China via backdoors, enabling surveillance. This echoes restrictions on other Chinese tech companies, such as Huawei.
• Forced Labor and Subsidies: Accusations that DJI benefits from unfair state subsidies and supply chains involving forced labor in Xinjiang.
• Military/Combat Use: Claims that DJI tech could be repurposed for warfare, though DJI counters that it has never marketed military products and actively discourages combat applications.

DJI disputes these, emphasizing features like “Local Data Mode” (which disables internet connectivity) and offering full access for independent audits. The company argues the restrictions are politically motivated, benefiting U.S. competitors like Skydio (which holds only 5-10% market share) by creating a $1-2 billion domestic opportunity at the expense of innovation and affordability.

More Black Friday deals can be found here:

BLACK FRIDAY

The post DJI drones will be banned in the US next month – here is your last chance to get one (DJI Black Friday deals) appeared first on Photo Rumors.

A quick update on the previously reported rumors that the German manufacturer of professional motion picture cameras, lenses, and lighting ARRI was up for sale. Bloomberg now reports that ARRI is cutting jobs and closing two locations in Germany:

“Arri Group, a major Hollywood equipment supplier, is cutting jobs and closing two locations in Germany, the latest fallout from the continued decline in movie production. Operations at Arri’s lighting factory, repair and distribution centers in the municipalities of Stephanskirchen and Brannenburg will halt by the end of the year, resulting in the loss of 150 positions, Arri spokesman Kevin Schwutke said in an email.”

Who is going to buy ARRI?

BLACK FRIDAY

The post ARRI is cutting jobs and closing two locations in Germany appeared first on Photo Rumors.

Editor's note: This review is based on Panasonic's November 2025 v1.2 firmware update for the S1II, which was provided to DPReview ahead of its public release.

91%

Overall score

Jump to conclusion

The Panasonic Lumix DC-S1II is the company's second-generation, high-end 24MP full-frame mirrorless camera, now based around a partially stacked CMOS sensor, and the same body introduced as the S1RII.

Key specifications

• 24MP partially-stacked BSI CMOS sensor
• Up to 70fps shooting, including Raw
• 1.5 seconds pre-burst capture
• 96MP multi-shot mode with in-cam combination and motion correction
• 10-bit HLG HEIF still images
• In-body stabilization rated at up to 8.0EV of correction
• Open-gate 6K video up to 30p
• Full-width 5.9K or 4K up to 60p
• 4K/120p video with slight crop
• 6K Raw output over HDMI
• Built-in fan for extended recording
• External SSD output for video
• V-Log with 15-stops in DR Boost mode
• Arri C-Log3 paid upgrade option
• 4 channel and 32-bit float audio with XLR2 adapter
• Bluetooth timecode sync

The Panasonic S1II is available now at a recommended price of $3199. As with the launch of the original S1, this is around $400 more than the list price of its nearest competitors from Nikon or Canon.

Index:

• What's new
• How it compares
• Body and handling
• Image Quality
• Autofocus
• Video
• In use
• Conclusion
• Sample gallery
• Specifications
• Press release

What's new

Partially-stacked CMOS sensor

The S1II becomes the second camera we've encountered to promise a 'partially stacked' CMOS sensor. This is a conventional BSI sensor with more complex readout circuitry applied as an additional layer around the edges of the sensor. This allows faster readout than with a BSI chip with single-layer readout circuitry, but without the significantly higher manufacturing complexity and cost of a fully Stacked CMOS design.

Panasonic says the 24MP sensor it's using is 3.5x quicker to read out than the BSI chip used elsewhere in its range. It's unlikely to be a coincidence that this is the same figure Nikon gave the improvement it saw between the Z6 II and Z6III.

The sensor allows the S1II to shoot stills at up to 70fps (10fps with mechanical shutter). Panasonic highlights that this capability, combined with pre-shot capture, is designed to help capture key moments, not to make it an out-and-out sports camera. We found it could shoot for around 3 seconds at full speed which, despite those reservations, is likely to be more than enough for a wide range of photography, though afterwards it can take several seconds for the buffer to fully clear.

ISO and dual gain

The sensor's base ISO is 100, when using the camera's Standard Photo Style. Other response modes have higher base ISO ratings to encourage the use of lower exposures to capture additional highlight information. The sensor is a dual conversion gain design on which Panasonic lets you manually select which gain mode the camera is using.

HLG HEIF

The S1II gains the ability to shoot 10-bit HEIF files using the HLG high-dynamic range tone curve. You can shoot with the standard color response, a mono mode or with a custom LUT applied. This allows you to shoot true HDR photos in-camera and do so while still capturing a Raw file alongside.

You can convert the HEIF to an SDR JPEG or, alternatively, you can re-process the Raw in-camera and output an adjusted version as a HEIF. This only works for Raws taken with the camera in HEIF mode, though: Raws shot alongside JPEGs can only be re-processed as SDR HEIFs or JPEGs.

This brings us another step closer to cameras being able to exploit the increasing prevalence of HDR displays. The HEIF format still isn't widely, reliably supported, and HLG files don't always live up to the promise of working equally well on SDR and HDR displays, but with Panasonic, Sony and Nikon all offering HLG HEIFs as an HDR option, it looks like the industry is approaching the adoption of a common standard.

Urban sports AF

The S1II gains a new subject recognition mode, Urban Sports recognition. This is designed for the likes of breakdancing or skateboarding, essentially: situations in which humans are making shapes that the basic human recognition mode isn't necessarily trained to recognize.

Settings backup and transfer

The S1II gains the ability to back-up its settings to an SD card. These can then be used to reset the camera to your preferred settings or to quick-configure other cameras. Panasonic says this capability will be extended to other models, with mutually-supported settings carrying over from one model to another.

Video capabilities

It shouldn't come as a surprise to find the S1II's video feature set is extensive, building on the large array of options provided by the S1RII but underpinned by a much faster-reading sensor.

We detail the options as fully as possible, later in this article, but the headlines features are:

• Open gate recording
  The S1II can record 6K footage from its entire 6000 x 4000 sensor at up to 30p or 5.1K footage derived from the same region at up to 60p
• 4K up to 120p
  4K video can be captured in DCI or UHD 4K at up to 60p from the full width of the sensor or in 5.9/5.8K resolution from the same regions. Alternatively, with a small crop, the camera can capture 4K/120p
• Cinemascope 120p
  Another option is to shoot a very wide 'Cinemascope' style 2.4:1 region of the sensor in 4K resolution at up to 120p
• Anamorphic shooting
  Videographers using anamorphic lenses can capture 4.8K video from a 4:3 region the full height of the sensor at up to 60p
• ProRes RAW capture
  The S1II can also capture 1.89:1 ProRes RAW video from either the full sensor width at up to 30p or from a native DCI 4K region at up to 60p

Beyond this, the S1II offers highlight warnings set at two different thresholds (dual zebras), false color, the ability to specify exposure in terms of shutter angle (especially valuable on a camera that can so easily switch between frame rates), and the ability to preview corrected Log footage and record proxies.

Cinelike A2

Like the S1RII, the S1II gains the new Cinelike A2 color profile. It's essentially a midway between the low-contrast Cinelike D2 profile and the punchier, ready-to-use Cinelike V2 one. The color response is designed to be a little more like that of a major cinema camera maker.

On a similar note, Panasonic says that the ability to natively shoot Arri's Log C3 profile will be offered as an extra cost firmware upgrade to the S1II. They say this uses Arri's Log response natively, not shooting V-Log and —trying to map across to an approximation of C3.

DR Boost

The S1II has a Dynamic Range Boost mode when shooting video, allowing it to capture up to 15 stops of dynamic range. While Panasonic hasn't shared exactly how it's being delivered, it has said it's not comparable to the GH7's DR Boost function, which combines parallel readout paths, shot simultaneously (but with no option to turn the function off). Nor is it the same as the DR Expansion function on the S1RII, which changes the readout bit-depth to gain DR at the expense of more rolling shutter.

There is a significant rolling shutter impact for DR Boost on the S1II, and the available video modes top out at 30p (24p for the full-height 6K, 5.1K and 4.8K modes). Base ISO in V-Log mode increases by 2/3EV to ISO 1000, when engaged.

Panasonic promises a DR increase from "14+ stops" to "15 stops" of dynamic range if you engage DR Boost mode, but its lower speed not only makes many of the camera's video modes impossible, it also means you should only use it in situations with very little motion in the scene.

32-bit Float capability

As with other recent Panasonic cameras, the S1II is compatible with the optional DMW-XLR2 adapter, making it one of the only cameras able to capture 32-bit Float audio. This uses two different gain levels and clever data encoding to allow very quiet and very loud signals to be captured simultaeously, meaning you don't have to worry about audio levels.

AI-AWB

As well as the ability to re-process Raws as HEIFs (so long as you were shooting HEIF at the point of capture), the S1II gains a new, "AI Auto White Balance" option if you re-process a Raw file in the camera.

The mode is too processor-intensive to use as you shoot but will try to analyse the scene to give the best white balance. Panasonic also says additional processing should allow it to cope better with shots taken under mixed lighting.

How it compares

The S1II comes in at something of a premium, compared with its apparent peers. Its $3200 price tag makes it more expensive than the likes of Nikon's Z6III, with which it very probably shares a sensor, or the Sony a7 IV and Canon EOS R6 III with which the Nikon competes.

Following tariffs in the US, much of the competition sits between the mass-market $2500 models and the high-end, high-res options, which run nearer $4000. This essentially means one of its only direct competitors is its own sibling, the S1RII, whose list price is just $100 more, giving a high speed or high-res choice of second-gen S1 cameras.

Here we're going to show it against the Nikon, the Canon and its less-expensive sister model, the S1IIE (the 'E' stands for "essentials," Panasonic tells us).

The Panasonic S1II is competitive on paper with all its immediate peers, even pulling ahead in terms of continuous shooting rate and its vast array of video modes. Its peers are starting to compete with the range of video support tools provided, but Panasonic still outshines them with specialist options such as full support for anamorphic shooting. The Panasonics are also the only cameras in this class to let you shoot multi-shot high-res images and have them automatically combined in camera (Raw and JPEG).

Only its price counts against it, with it commanding a premium compared with its immediate peers, though post-tariff adjustments have closed the gap since the S1II was launched.

Body and handling

The S1II's body is essentially identical to that of the S1RII: similar in size to the more basic S5 models but with a better grip design and a carefully-struck balance between being compact and giving an excellent level of direct control.

The camera is appreciably smaller and lighter than the original S1 model but still feels solidly built. It maintains an extensively environmentally-sealed design with gaskets at all the joins. It feels comfortable in the hand with a pleasant density to it.

The mic socket sits high up on the left hand side of the camera, comfortably clear of the rear monitor, which pulls out on a tilting cradle, as well as then flipping out and rotating, which lets you keep it clear of the headphone socket, further down its flank. A USB C socket with 10 Gbps transfer speeds sits below this, allowing charging, tethered shooting and video recording to SSD. A full-sized HDMI socket completes the left-side ports.

On the right-hand side of the camera is a 2.5mm remote socket. There's no flash sync socket on the S1II but anyone looking to sync timecode from the camera will find the S1 compatible with Atomos' Bluetooth timecode sync system.

Like the S1RII, and distinct from the S5 models, the S1II has one CFexpress Type B slot and one UHS-II SD card slot. It can also output video over its USB socket to an external SSD.

It has both the viewfinder and the adjacent cooling fans of the S1RII, meaning it has a 5.76M dot display (1600 x 1200 pixels). It has 0.78x magnification, making it pretty large. An eyepoint of 21mm means it can be a little difficult to see the extreme corners, if you wear glasses.

Battery

The S1II takes the same 15.8Wh DMW-BLK22 battery as most of the rest of Panasonic's range. This powers it to a CIPA rating of 360 shots per charge via the rear LCD or 320 shots using the viewfinder. Both figures are measured using an SD card, with both declining by 10 shots per charge if you use a CFexpress card. As always, these numbers are likely to significantly under-represent how many shots you're likely to achieve, but they provide a reasonably like-for-like comparison and these are reasonable numbers for this class of camera.

The S1II is compatible with the DMW-BG2, introduced alongside the S1RII. This adds a second battery and has a sensor on the battery door that switches the camera over to the internal battery when its open, allowing you to hot-swap batteries.

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.

The S1II performs well at shooting our test scene, providing great image quality. Looking at base ISO Raws, the S1II captures similar levels of detail to the other 24MP full-frame cameras on the market*, though Panasonic's JPEG engine doesn't seem to get rid of quite as much moiré artefacting as Nikon or Canon's.

Speaking of that JPEG engine, we've quite liked Panasonic's colors for a while now, and the S1II is no exception; like the rest of its competition and the company's previous cameras, its colors are solid.

At mid ISOs to high ISOs the S1II's noise levels are competitive. Its JPEG engine does an admirable job of reducing noise while still retaining detail.

* The S1II's price puts it in competition with much slower, but higher-resolution cameras like the Sony a7CR and Panasonic's own S1RII; if you care more about image quality than speed, that's worth noting.

Dynamic Range

Shadows boosted +3.5EV in ACR. Panasonic S1II | Panasonic S Pro 16-35mm F4 | F4 | 1/160 sec | ISO 100

The S1II provides a good amount of dynamic range, giving you room to pull your shadows up without the detail being overwhelmed by noise. Our tests showed that its shadows have less noise than the Nikon Z6III, which uses a similar 'partially stacked' sensor technology to improve readout speeds. However, the Panasonic doesn't show the read noise penalty that clips the usable shadows on the Nikon around a stop and a third earlier than its peers.

It appears that, in most modes, the S1II combines the output from a low and high-gain readout of its sensor, using the low-gain information to preserve highlights the high-gain output for cleaner shadows. This hypothesis is further backed up by PhotonsToPhotos' data, which doesn't show the expected dynamic range bump at the second gain step that exists with the Z6III (and other dual conversion gain sensors), which would make sense if it's already using the data from that second step in its output.

This readout mode is available in both mechanical and electronic first curtain modes, where the mechanical shutter ends the exposure and gives the camera time to use the slower readout mode required for this DR Boost mode. When using the electronic shutter, it produces shadows that are similarly noisy to the ones from the Nikon Z6III, suggesting it's using its faster, single readout mode.

Exposure Latitude | ISO Invariance

Autofocus

Autofocus Operation

Panasonic S1II | Lumix S 24-60mm F2.8 | 60mm | F2.8 | 1/60 sec | ISO 100 Photo: Richard Butler

The S1II adopts the same phase-detection autofocus system found on the S1RII, which itself was a refresh of the one found on the S5II. This means it has several AI-derived recognition modes for subjects like humans, animals, planes, trains, vehicles and bikes.

Most of the autofocus adjustments can be made from the menu that comes up when you press the AF Area button. This lets you choose the size and shape of your autofocus selection point, and turn subject recognition off or on, as well as choose what kind of subject you want the camera to recognize.

The S1II supports everything from pinpoint selection to analyzing the whole sensor, though the former is only accessible in single autofocus mode. There's also a tracking area mode, though, as with Panasonic's other cameras in this generation, it won't fall back to this generic tracking mode if you have subject recognition on, but it doesn't find a recognized subject.

This means that if you want to use the track and recompose style of focusing, you'll have to constantly engage and disengage subject recognition mode, depending on what you're shooting. The S1II lets you set a custom button to toggle subject recognition on and off, though, which helps make that easier, but it's an extra step that other cameras don't make you conduct.

Autofocus Performance

Following the v1.2 update that came out several months after the camera's release, the S1II's autofocus represents a step-up in reliability compared to what we've come to expect from Panasonic. Our testing with the initial firmware yielded relatively disappointing results, with the camera's generic tracking system struggling to keep track of subjects, and the subject detection mode misjudging distance relatively frequently. Now, though, it provides substantially better results that are closer to (though still not quite on par with) what we'd expect from companies like Canon, Nikon and Sony.

1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

With firmware v1.2 the standard tracking AF did a good job of sticking to a subject, even as it changed the rate at which it approached the camera. During those moments, the camera struggled to judge the exact distance, resulting in strings of slightly soft, though still usable, photos. In our tests, we found that using AF Custom Setting 4, designed for "Situations where the speed of the subject changes significantly," earned us a better hit rate than the default Setting 1 did, with the camera more reliably staying with the subject, rather than losing track and snapping to infinity.

1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

The subject recognition mode performed similarly when the subject was further away from the camera, producing slightly soft images as the subject changed its rate of approach. As the subject got closer to the camera, though, the recognition appeared to improve; while there were still occasionally soft images, it was significantly faster to recover than with the generic tracking.

While we typically base our autofocus conclusions on both our day-to-day use and our autofocus tests, we also had the opportunity to get an opinion from Seattle-based sports photographer Aaron Benson. He had previously been using the original S1 and S5II, and was impressed by the S1II, saying he was able to rely on autofocus in situations where he would've previously only used manual focus. This was prior to firmware v1.2, which delivers even greater reliablility.

Video

As you'd expect from Panasonic, especially in a camera with a relatively quick sensor, the S1II has an extensive array of video features. In addition to its many, many recording modes, it has a considerable array of supporting features to help you get the best results and to give you more creative flexibility.

The S1II lets you control exposure in terms of shutter angle (handy for quick changes when using different frame rates), offers waveforms, false color and dual zebras for setting exposure, a vectorscope display for matching color and the ability to show a corrected view for Log, HLG or anamorphic shooting.

There's a tally lamp to make it clear when the camera is recording, the ability to record low-res proxy versions alongside your primary footage, a choice of mic gain levels. The list is near endless. On which note: the ability to add video modes to a custom list by pressing the 'Q' button, letting you quickly access just the modes you want to use, is hugely valuable on a camera with this many video modes.

Open gate and Anamorphic modes

Users wanting to crop or reframe in post or add digital stabilization during their edit are likely to appreciate the S1II's open gate recording mode, which captures the full area of the sensor.

As has become standard for Panasonic, the S1II can alternatively capture a full-height 4:3 region of the sensor for use with anamorphic lenses. It comes with the option to show a desqueezed preview when working with anamorphic lenses and, in a feature unique to Panasonic, lets you set the stabilization system to correct shake with anamorphic lenses, which require different corrections in their horizontal and vertical axes.

Widescreen modes

The S1II's partially stacked sensor reads out faster than any in previous S-series cameras, allowing it to offer full-width 60p capture or 4K/120 with a moderate crop.

There are also a host of 5.xK modes that capture most of the sensor width natively, rather than downsampling to 4K. The S1II, like its 'E' sister model, adds a very widescreen 2.41:1 mode, mimicking the CinemaScope movie aspect ratio of the 1960s. Conveniently, this also uses about the maximum height of the sensor that can be read fast enough for 120p output, without having to crop horizontally.

Video modes

Despite this table covering 166 different modes – without even delving into different compression levels or MP4 options – it's not quite complete, as there are instances of Pixel/Pixel and APS-C modes that have identical options and virtually identical crops existing alongside one another. For reasons of sanity, we've not tried to measure them all.

For similar reasons, we'd strongly suggest the use of the camera's 'My List' feature, which lets you quickly create a list of the modes you plan to use, preventing accidental use of a mode with the wrong frame rate, chroma subsampling method or crop factor and avoiding you needing to scroll through the whole list. We occasionally found ourselves wishing the company also let you filter by aspect ratio, but that option currently isn't available.

Raw options

The S1II can capture ProRes RAW footage, either in the Standard or HQ levels of compression. These are taken either from a 5760 x 3040 region of the sensor or a native 4096 x 2160 pixel region (imposing a 1.46x crop). In both instances, footage can be recorded either to the camera's CFexpress slot or to an external SSD.

Alternatively, if you have an Atomos or Blackmagic external recorder, the S1II can output a Raw stream over its HDMI port, which can be encoded into ProRes RAW or Blackmagic Raw.

While Raw recording may be useful for those on professional shoots who need the utmost control over their footage, Raw video isn't something that most shooters will likely find useful. In short, it doesn't offer the same benefits that stills shooters expect from Raw images versus JPEG ones, and it will require a lot of post-processing work, especially if you're using modern mirrorless lenses that have geometric distortion correction as part of their optical formula, as Panasonic's implementation of ProRes Raw doesn't embed them.

Video performance

With the S1II, Panasonic continues the tradition of offering "open gate" recording that uses the entire sensor area, which, like with the S5II, produces a roughly 6K 3:2 image (though the S1II's rolling shutter is substantially faster). This mode provides great levels of detail and more flexibility in post; if you're working on a 4K timeline, you have a fair amount of room to reframe a shot, and you can use the same footage for both landscape and vertical output.

The camera also has a 5.1K open gate mode with a little less resolution and detail. That cuts down on its flexibility, but allows for a first for full-frame Lumix cameras: open gate recording at 60p. The 5.1K 24p and 60p modes apparently have the same level of detail.

The camera's 4K modes are all oversampled from ∼6K capture, and have similar levels of detail to those of competitors like the Z6III and EOS R6 II, even at up to 60p, though its sharpening doesn't appear to be quite as aggressive. The S1II can't quite manage full-width 4K 120p in UHD or DCI, but the mode only requires a 1.24x crop, rather than a 1.5x crop like with the Z6III (or you can use the vertically cropped, full-width 'Cinemascope' 4K/120 mode). So while there's some reduction in detail compared to the slower framerates, it does capture a tad more detail than the Nikon, and will come with a smaller change to your field of view.

If you don't prefer oversampling, the S1II also offers a 16:9 5.9K capture mode and a 1.89:1 5.8K capture mode, both of which are available at up to 60p. The extra resolution offers a bit more detail and more flexibility in post, though not quite as much as the 6K open-gate mode.

Focus

In video, we found the S1II's autofocus to be quite reliable; for talking head footage, it did a good job of locking on to the presenter without getting distracted by other people walking by in the background, or hunting for focus. Its subject detection and tracking modes aren't available in its highest (>200fps) framerate modes, but for most shooting scenarios we found ourselves trusting them to get it right.

The S1II also provides the obvious suite of manual focusing tools, too, including focus peaking and the ability to magnify the preview, even while recording, to make sure you've achieved critical focus.

Rolling Shutter

In most of its S1II's standard dynamic range modes, it has excellent rolling shutter rates, so you likely won't see any artifacting unless you're moving the camera very quickly or shooting something that moves extremely fast. Its performance is competitive with the Nikon Z8 with its Stacked Sensor, though falls a little behind the EOS R5 II and, somewhat surprisingly, the Nikon Z6III.

As noted above, that story will change if you activate the DR Boost mode, so it's best to save that for scenes where you're prioritizing dynamic range capture over the capture of motion.

Overheating

The S1II is one of the few cameras in this class to have an internal fan, though it can still get quite hot, especially when recording to CFexpress cards. Panasonic is, however, quite transparent when it comes to providing estimates for how long you can expect to be able to record in the camera's most demanding modes.

In our use, we found that the camera was quite resilient as as long as we were shooting with sensible settings (Panasonic has directly told us that recording in open gate produces less heat than, say, DCI 4K at 60p). We were able to shoot for around forty minutes in direct sunlight, with an ambient temperature of around 30°C (86°F), without even getting an overheating warning, once we'd switched into the "High" recording max temperature mode.

Firmware v1.2 promises to make more use of the camera's ambient temperature sensors, so that the camera doesn't shut down until absolutely necessary, which can further boost recording times.

Stabilization

Panasonic has some of the best stabilization for video that we've seen, as it copes well with obviously intentional moves like pans and tilts, smoothing out any shakes without adding jarring ones of its own when you come to a stop. It also has a boost mode that will keep your footage as steady as possible, at the cost of not reacting as fluidly if you intentionally move the camera. In practice, we've been able to achieve great results with it, even when shooting in places where a tripod or gimbal would've been impractical.

As an example, we shot all the outdoor scenes in this video handheld with the S1II, and only had to stabilized a few shots in post.

New to the second-gen S1 series cameras is a cropless electronic stabilization mode, which Panasonic says utilizes pixels outside the standard region to gather information about the camera's movement. This means it only works with the company's own S-series lenses, rather than the full array of L-mount glass, but it gives you an option to cut down on peripheral distortion that happens from small shakes when you're using a wide-angle lens.

In use

By Mitchell Clark

We've already made known our feelings about how Panasonic's latest generation of autofocus interface separates subject recognition from generic tracking, but while testing the S1II, we found some ways to make it more agreeable. The first was to use the zone autofocus selection setting, and only switch to tracking or single point when trying to focus on smaller subjects. The second was to set a custom button to turn subject recognition on and off, which meant we didn't have to dive into the menu quite as frequently.

We still prefer the way that companies like Canon, Nikon, Sony and Fujifilm handle tracking (using the tracking AF point to select a subject if it recognizes one and then falling back to generic tracking if it doesn't), but we were able to find a way to work with Panasonic's new system.

It's telling that Panasonic isn't marketing the S1II as a sports and action camera

While the S1II is capable of some extraordinarily high burst rates, it's telling that Panasonic isn't marketing it as a sports and action camera. The camera's buffer simply isn't large enough to support shooting at its highest framerates for very long, and it can take a while to clear. If you're not precise with your burst, you can wind up missing the shot altogether, though the inclusion of pre-burst capture helps a bit in this regard.

On release, the situation was made more difficult by the lack of more moderate burst settings, as there were no options between 10fps and 70fps. With the latest firmware, though, Panasonic has added a 30fps mode, providing a much-needed middle ground, letting you shoot for around five to six seconds while still capturing all but the fastest action. We still wish there was more room to customize the framerates for each mode, making it easier to manage your buffer, or a Sony-like option to temporarily bump up to a faster framerate for important moments.

The inclusion of a fan – something all its competitors lack – show how serious the S1II is about video.

While the length of this review's video section provides a good idea of how competent it is as a filmmaking tool, it's worth plainly stating just how capable it is. Panasonic has put in a lot of effort to make its cameras excellent at video, and it shows. That's not just in the dizzying array of resolutions and recording modes and top-of-class stabilization options, but in the built-in tools that just make your life a little easier.

The S1II has features that other companies simply don't offer, such as configurable frame-line guides, a hybrid zoom mode that adds an increasing amount of digital zoom as you optically zoom in with your lens, and the 'Focus Transition' tool that lets you do repeatable, configurable focus racks between two set distances. And as we've filmed several of our recent videos either in whole or in part with the S1II, we've found that it's these features that make that process just that bit easier (not to mention the combination tilting/fully articulating screen that's a massive benefit for video shooters).

The only real fly in the ointment is the fact that its ProRes RAW modes, for those that need them, don't currently support the lens corrections that many L-mount lenses require, making the option more awkward to use than it otherwise might be.

Conclusion

By Mitchell Clark

The S1II gives you the option of shooting with either maximum dynamic range, or at high speeds. Panasonic S1II | Lumix S Pro 16-35mm F4 | 35mm | F4.5 | 1/125 sec | ISO 100

The S1II might just be Panasonic's first great do-it-all full frame camera. While entries in the S series have always had something to recommend them, they always came with some asterisk, such as the depth-from-defocus system that couldn't really keep up with the phase detecting competition.

There aren't that many caveats with this camera. The baseline image quality is great and, thanks to whatever tricks Panasonic is pulling, you can get class-leading dynamic range or speed, as the situation requires. It also includes niche, but sometimes useful, features such as multi-shot high resolution and focus stacking, which it can process in-camera, that its competitors can't match.

The story is similar with video, but even more so. It has a borderline absurd range of features, assistance tools and recording modes, best-in-class stabilization and, again, support for niche types of shooting with things like its anamorphic desqueeze preview and stabilization.

The autofocus performs better than anything else the company's released up to this point

We may still not be the biggest fans of the direction Panasonic's taken its autofocus implementation, but as of the v1.2 firmware release, it performs better than anything else the company's released up to this point.* It might not be the very top of the pile, but it should be more than sufficient in most scenarios; Panasonic even included a special detection mode for humans in weird positions to make sure that's the case.

In many ways, the S1II is the most capable camera in this class; it lets you side-step the dynamic range concerns that the Z6III had with its partially stacked sensor, and it offers a suite of video features that no one else matches. However, it's also the most expensive in its class, and that just about keeps it to a Silver award. For people who mostly shoot stills, or just dabble in video, it'd be hard to justify the extra cost, unless you're really excited by the L-mount lens offerings. But you're a true video and stills shooter, we'd recommend starting – and maybe ending – your search with the S1II.

* The difference in our autofocus test results between the initial firmware and the update has me re-evaluating my ranking of which companies are best at putting out firmware updates for their existing cameras.

Scoring

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

Compared to its peers

Compared to Panasonic's own S1IIE (and, by extension, the very similarly-specced S5II/X), the S1II represents a big step forward in terms of video capabilities. While Panasonic has long provided a wide selection of video assistance tools and format options, this is the first time we've seen those features paired with such a fast sensor. For purely stills shooters who don't capture that much action, though, it'd be hard to argue that the extra cost the S1II commands couldn't be better spent on an additional lens.

The Nikon Z6III's big advantage over the S1II is its autofocus system, which we've found to be that bit more reliable and nicer to use in most situations, at least when shooting stills. To gain that, though, you have to accept less flexible Raws for some shooting scenarios (it'll only be noticeable if you're really stretching your shadows), the lack of open-gate video recording and a more tightly-controlled lens mount.

We've not finished testing the Canon EOS R6III, but our initial impression is that it's a relatively even match for the S1II, providing a 16% increase in linear resolution, better autofocus and similar open gate/internal Raw recording capabilities. But while Canon's made a lot of improvements in terms of video assistance tools, it still can't quite measure up to what Panasonic provides, especially when it comes to heat-limited recording times, and the RF mount is still much more tightly controlled than L mount.

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.

Pre-production sample gallery

Photo: DuckShots

We are officially entering the season of gift-giving, so it's only fitting that our most recent community-based Question of the Week was focused on presents. Last week, we asked you all what the best and worst photograph-related gifts you've received are. We wanted to know what you've loved receiving, as well as gifts that perhaps missed the mark.

Beloved first cameras

Photo: "Zenit 122" by Unknown Artists, Public Domain Dedication (CC0)

Many of you shared stories about receiving your first camera or your first serious camera. Most of these were loved and appreciated, with some of you detailing that you still have or even use those cameras to this day.

Mjlazo: The best photography gift I ever received was a Zenit 122 camera, from my aunt, when I was still in high school in the 90s. This was my first SLR, and it opened up new horizons for me. I still have this camera, and I still use the Helios 44M lens with my digital cameras.

Rafabozzolla: I have a kind of best and worst gift experience together. Tired of me using his venerable Nikon F with the expensive 50mm F1.4 lens, my father gave me a Russian-built Zenit 12TTL with a 50mm F1.8. Boy did I learn about compensating for wrong readings, flare and poor optical construction, but it did teach me a few things about picture taking, and how to overcome shortfalls in your equipment.

Julian: Best was when my father gave me a Nikon FE when I was 12, that camera really started my love for photography, I still have it and it's still fully functional (fun to shoot with occasionally).

bhollis: Around 1969, when I was 16 or so, my dad gave me a used Nikon F with a Nikkor 50mm F1.4 lens he picked up at a pawn shop. One of the greatest gifts I ever received--and I still have it. Meanwhile, my dad was content to just keep using his Argus C3.

Sergii Lakhno: The best photo gift I ever got was the camera. Actually, it was my first camera. I turned 5 years old, and my grandpa gave me a "Smena-8m" camera. You can Google for it. It was a pretty simple fixed lens non-SLR camera without any automated systems with the 40mm F4 lens, for the regular 135 films with the regular 24x36mm frames. It was too early, and the camera waited for me for 3 years. Then I started to use it, and for the next 8 years I took more than 200 film rolls with it. B/W mostly, but some color. With this camera, I learned how to select the right EV, how to work with the films. I developed b/w films since I was 10, and color films since I was 13. I got all the basic knowledge and skills with that camera. So this is what I started from. And that's why that gift was the best.

Less than loved cameras

Photo: "My Yashica Partner" by E Magnuson, CC BY 2.0

Not everyone had a great experience with their first camera, though. Some of you shared stories about receiving a camera that was disappointing in some way.

Saint 112: At the age of 14 or 15 I was presented a Kodak Brownie. I hated it. I was so ashamed to walk around with it that I soon stopped using it.

Reactive: My worst present: A Yashica Partner compact camera when I was 12. It didn't wind the film properly, leaked light, and didn't focus properly due to the wobbly pull-down flap. Total junk!

Cherry_F: As a young child, I loved to play with my mom’s Brownie. I was allowed to do so, only when there was no roll inside. So my folks – who were not very rich – offered me a camera.

Available through mail order only, and it’s easy to understand why: it was a cheap plastic, fully functional mock-up of a twin-lens. I was very happy and proud, until I got my first – and unique – film roll developed.

The body wasn’t lightproof, so the images looked like Niepce's famous “Point de vue du Gras” (I guess you see what I mean, the first photo in history); additionally, there was a large, diagonal white stripe right in the middle of each picture.

Note that this experiment did not put me off photography, but I warned family and friends: please never, ever gift me any photo-related item!

Practical is best

Image: Really Right Stuff

As we talked in our recent team discussion, practical gifts are often the best option. These are items that photographers will use constantly, like a tripod, a subscription or another type of accessory.

KevinDe: The best gift I received: A universal L-bracket from RRS. Not expensive or anything, but so useful on several of my camera bodies.

felix from the suburbs: Several decades back, my wife gave me a green Lowepro camera case for Christmas. I still have it and use it today. It's been many places on many different conveyances and in different weather conditions. It has served as my only carry-on on just about every flight. Great case. Great wife.

GinoSVK: The best, by far, was a decent Chinese tripod that still works after all these years and has proved perfectly sufficient for a phone (I even adapted it to Arca-Swiss).

Reactive: The best gift I received: A subscription to SLR Camera magazine when I was 14, from which I learned a great deal.

BigBen08: In 1972, while in high school, I received a tripod from my parents as a Christmas gift. It's a student version of a tripod, meaning it's basic and nothing fancy. But it served me well for many years. I still have it, and since my parents passed away many years ago, I can't part with it. Today it's never used, but when I look at it, I'm reminded of the Christmas when I received it and the great parents and family life I had. I'll keep it for as long as I live.

Stay away from novelty items

Image: Xenvo

Another common thread throughout your responses was that gift givers should stay away from novelty items. They often end up sitting on a shelf or going in the bin, so that money could be better used on something else in most situations.

SoCalAngler: The worst gift I've received was a Lensball crystal sphere. It's not a bad thing, just something that I didn't find useful. I have kept it, and though I don't find much use for it, I do take it out once or twice a year and capture a couple of images to give to the person who gifted it to me. They appreciate that.

Swerky: A cousin of mine had the sweet thought of gifting me a set of clip-on lenses for my mobile phone. It was a considerate gesture, being a hobbyist, but alas, me having no interest whatsoever in mobile phone photography, I tried the set as a curiosity and then stored it. And it finally ended up in the bin after a while.

KevinDE: The worst gift I've received was a green tie with cartoon cameras on it.

Lens mugs are controversial

Image: Deexito

There were quite a few of you who have received one of the rather infamous mugs that are made to look like a lens. Unfortunately, most of you are not fans, but one of you saw it as a very thoughtful gift.

Julian: The worst I was given was a lens mug that was a Canon clone. It seems Nikon lens mugs are totally impossible to find these days.

400TX: Worst: On more than one occasion, I received one of those confounded "zoom lens coffee mugs" that were designed to resemble EF 24–105L lenses. And each time I had to feign thanks as if I didn't have a cupboard full of them already. They were stupid as coffee mugs (way too big), but there was the double indignity of being a Nikon shooter. I even heard stories of people breaking into cars to steal what they thought was a camera lens, but it turned out to be one of these moronic mugs.

DuckShots: So, it's the first night of Hanukkah, a time to light the candles, sing a song, exchange gifts and eat latkes. Out comes this B&H box with a bow, not wrapped like they usually do, but who cares. I pick it up, it doesn't have the heft, but again, who cares? I open the box, and there is a Canon lens box. My heart pounds. My eyes water. "Sharon, you shouldn't have." When I open the box, the expected addition to my lens collection turns out to be a cup. No disappointment, lots of love and amazement. How did she come up with this MOST appropriate gift? I love her and my cup.

Be specific in your asks

Finally, some of you suggested being very specific in your gift requests as photographers. We can be a tricky lot to please, after all, and lots of gear is system-dependent. Providing specific links or product names, or even just asking for money or gift cards, could be the safest way to go to ensure a gift will actually be enjoyed and used.

Paul Pasco: In my family, everyone knows to only gift me photo gear I have hinted about, and by hinted, I mean they have the specific item and product numbers!

InkedMarie: Last year, I gave my husband a few links of Viltrox lenses, including the 35mm that I knew I wouldn’t get (but really wanted) because we don’t spend over $300 on gifts for each other. I’m now enjoying the lens.

sirhawkeye64: I haven't had any bad gift experiences because now I tell people if they want to get me something photography-related for Christmas, just give me a gift card. Partially because I'm picky when it comes to lenses and cameras (I like to try them out in person first before buying, and if they're used, then I definitely need to be involved in the process), but for the past 8 or so years, I've just gotten gift cards, which is really what I want anyway. That way, I can decide when to spend the money and on what.

The Aftershoot Black Friday Deals are now live:

• Get 20% off unlimited AI Culling, Editing, and Retouching starting at $7.99/month.
• BONUS: Get 6 months of AI Retouching free when you join with the Pro plan this Black Friday.

Additional information on Aftershoot:

AfterShoot is an AI-Powered Photo Workflow Tool for Photographers

AfterShoot is an all-in-one, AI-driven software platform designed specifically for photographers to automate and accelerate the post-production process. It handles culling (selecting the best shots from a shoot), editing (applying consistent adjustments like exposure and color grading), and retouching (subtle enhancements such as skin smoothing or blemish removal), allowing users to spend more time shooting and less on tedious desk work. The tool runs entirely offline on Windows or MacOS computers (requiring at least 8GB RAM and a modern CPU), supporting RAW and JPEG files from most major cameras—no internet upload or complex setup needed.

Here are some of the available Aftershoot features:

AI Culling 

Automatically sorts and ranks photos based on sharpness, composition, and duplicates, learning from your preferences to improve accuracy over time:

• AI analyzes 30+ factors to rank the best photos.
• Software continuously improves with updates.
• Options: manual, AI-assisted, or fully automated culling (customizable for user comfort).

AI Editing

Applies batch edits that match your style, such as white balance, lens corrections, and creative presets:

• Works offline.
• AI learns user style and improves with use.
• Pro profiles & instant profiles available.
• Lightroom + Capture One integration.
• Marketplace with pre-built paid and free profiles from well-known photographers (growing library).

AI Retouching

New feature for natural-looking touch-ups, including wrinkle/blemish removal, teeth whitening, and skin enhancements that mimic professional human retouching:

• Natural look, no plastic/polished skin.
• Skin smoothing, blemish & wrinkle removal, teeth whitening.
• Glasses glare & stray hair removal.
• Real-looking results, designed to keep skin texture without overdoing it.

Personalization

• The AI adapts to your individual editing style by observing your actions, ensuring outputs feel custom rather than generic.

Unlimited Processing

• Handles as many images as you want without per-image fees or storage limits.

More Black Friday deals can be found here:

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A new Kodak Snapic A1 film camera was released today with a double exposure function. You can get one for $99 at B&H Photo. Here are the details:

The Kodak Snapic A1 35mm film camera is a versatile full-frame film camera. Apart from the high-quality 3-element glass lens, it also features a range of automatic functions, including auto wind, rewind, and auto flash, ensuring ease of use. The 2-zone focus allows for quick adjustment between portrait and landscape shots, while the double exposure function invites creative expression by blending two images into one.

• Equipping a high-quality 3-Element Glass Lens: The Snapic A1 ensures stunning clarity and detail in every shot.
• Focus switching: Features 2-zone focus, allowing for a quick adjustment between landscape and close-up settings.
• Built-in Auto Flash: Users can select auto-flash function with red-eye reduction.
• Double Exposure: The unique double exposure function also invites creative expression by blending two scenes into one captivating image.

• 35mm Film Camera
• 25mm f/9.5 Lens
• Two-Zone Manual Focus
• Built-In Flash with Red-Eye Reduction
• Optical Viewfinder
• Auto Film Loading, Advance, and Rewind
• Accepts 2 x AAA Batteries

Technical specifications:

BLACK FRIDAY

The post New $99 Kodak Snapic A1 film camera released with a double exposure function appeared first on Photo Rumors.

The 2025 OM System Black Friday Deals can be found at:

• US: B&H Photo | Amazon
• UK: WEX Photo
• DE: Foto Erhardt
• CA: Camera Canada

BLACK FRIDAY

Via 43addict

The post 2025 OM System Black Friday Deals appeared first on Photo Rumors.

The previously reported Venus Optics Laowa 35mm f/2.8 Zero-D tilt-shift 0.5x macro lens (E/Z/RF/L/GFX/XCD) is now officially announed and available for order (coming soon to B&H Photo).

Additional information:

Designed for full-frame mirrorless cameras and also compatible with GFX/XCD medium-format systems, the Laowa 35mm f/2.8 Zero-D Tilt-Shift 0.5× Macro lens with 3-in-1 optic combines tilt, shift, and half-macro capabilities into a single, compact package (±12mm of shift on Full Frame and ±8mm on Medium Format). The Laowa 35mm f/2.8 Zero-D Tilt-Shift 0.5x Macro boasts the Zero-D (Zero Distortion) optical design, ensuring sharp, geometrically accurate images. The APO (Apochromatic) elements deliver impeccable color fidelity and edge-to-edge clarity, while a bright f/2.8 aperture excels in low-light conditions. The price is USD 1,249.

Specification:

Unrivaled Tilt & Shift Control

• Full Frame Systems: Offers an expansive ±10° of tilt for precise plane of focus manipulation and ±12mm of shift for advanced perspective correction.
• Medium Format Systems (GFX/XCD): Delivers ±10° of tilt and a robust ±8mm of shift, providing critical control without noticeable vignetting. These movements enable photographers to correct converging verticals in architecture, create stunning miniature effects, achieve extended depth of field across vast landscapes, and minimize reflections, all directly in-camera

Zero-D (Zero Distortion) Optical Design

• As part of Laowa’s renowned Zero-D line, the 35mm f/2.8 ensures virtually no optical distortion, delivering perfectly straight lines crucial for architectural and interior photography. Its APO (Apochromatic) design further eliminates chromatic aberration, guaranteeing superior image quality and edge-to-edge sharpness across its broad 87.5° angle of view.

Exceptional Macro Capabilities

• With an impressive 0.5x maximum magnification and a minimum focusing distance of just 22.8 cm (the closest in its class for tilt-shift lenses), this lens excels in macro photography. This close-focus ability, combined with tilt-shift movements, opens new avenues for detailed product shots, creative tabletop photography, and unique close-ups.

Versatile for Diverse Applications

• The fast f/2.8 aperture provides excellent low-light performance, making it ideal for night scenes, long exposures, and indoor shooting. Its unique combination of features makes it a versatile companion for architectural, landscape, product, and fine art photographers seeking to push creative boundaries.

Seamless Photo Stitching and Panoramic Imaging

• Using the shift function, panoramas can be created with ease through photo stitching.

Photographer-Centric Design

• Built-in 77mm Filter Thread: Offers practical and cost-effective filter use without bulky adapters.
• Adjustable Tilt-Shift Direction: Provides flexible composition adjustments with 15° clicks for precise control.
• Integrated Arca-Swiss Lens Support: A detachable support allows for quick and secure mounting to tripods, crucial for precise tilt-shift work.
• Frog-Eye Coating: The front element features Laowa’s water and dirt-repellent coating for easy cleaning and reliable performance in challenging environments.

Venus Optics Laowa photo lenses Black Friday deals

Venus Optics Laowa cinema lenses Black Friday deals

More Black Friday deals are available here:

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The post Venus Optics Laowa 35mm f/2.8 Zero-D tilt-shift 0.5x macro lens officially announced (E/Z/RF/L/GFX/XCD) appeared first on Photo Rumors.

Image: Laowa

Venus Optics is expanding its tilt-shift lens lineup with the 35mm F2.8 Zero-D Tilt-Shift 0.5x Macro lens. The new manual focus offering is designed for full-frame cameras, with versions available for Z, E, RF and L mounts. It is also compatible with the GFX and XCD medium-format systems. As the name suggests, it offers a wide-angle perspective with tilt-shift control and macro capabilities.

Laowa's 35mm F2.8 Zero-D Tilt-Shift 0.5x Macro lens is part of its Zero-D line, which, according to the company, results in virtually no optical distortion. The lens also uses an apochromatic design to minimize chromatic aberration and provide improved edge-to-edge sharpness. The optical design comprises 14 elements in 12 groups, and it features a 15-blade aperture diaphragm.

While not a true macro lens by the standard definition (which requires 1x magnification), it offers a 0.5x maximum magnification. It can focus as close as 22.8 cm (9"), which Laowa says is the closest in its class for tilt-shift lenses. On full-frame cameras, the lens offers ±10° of tilt and ±12mm of shift, whereas on medium-format cameras, it is limited to ±8mm of shift, while maintaining the same level of tilt.

The lens also offers practical design features, such as a 77mm filter thread and integrated Arca-Swiss support. The tripod collar will be especially useful since it's by no means a lightweight lens, coming in at 1,350g (3lbs).

The Laowa 35mm F2.8 Zero-D Tilt-Shift 0.5x Macro lens is available for purchase starting today for $1249.

The Canon EOS R6 III promises 33MP resolution and decently fast readout speeds from an FSI CMOS sensor. Photo: Mitchell Clark

We've received a production standard Canon EOS R6 III and have put it through our standard studio tests. As we work on our final reviews of 2025, the Canon looks likely to be the last camera we'll be able to complete testing on.

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.

As you might hope, the Canon captures more detail than its 24MP rivals, and comparable amounts to its 33MP Sony peer, while also matching the color response of the EOS R6 II. The slightly richer, more yellowy pinks than the Sony and Nikon suggest it'll give the skin tone response that many Canon users have come to enjoy.

The detail difference is more apparent in the processed Raws, where the Canon and Sony present the horizontal lines in the doorway in a similar manner, whereas the R6 II and Nikon Z6III can't. Interestingly, the Nikon presents a convincing but completely spurious representation of the vertical lines above the door, while the EOS R6 II represents similar thick lines horizontally: both the result of aliasing.

At mid-to-high ISO there's little to choose between any of these cameras in terms of noise. As you creep towards the very highest ISOs the gap starts to open up, but it's only in the camera's extended 102,400 setting that the difference becomes clear. Even then, this is unlikely to be the difference between the images from some of these cameras being usable and others not: they're all going to be pretty hard to salvage.

Dynamic Range

In terms of dynamic range it peforms exactly as we might expect. There's plenty of scope to lift the shadows with all these cameras. There's a tiny bit more read noise coming from the Canon, which makes itself known if you delve really deep into the files.

It's also worth noting that the noise that is visible appears slightly smeared, rather than as individual points, which could be indicative of noise reduction. Our scene has plenty of fine detail, much of it with low contrast, if you want to download the files and see if you think it'll have any impact when processed with your preferred workflow.

Switching to electronic shutter mode sees the camera drop to 12-bit sensor readout, which has the predictable effect of curtailing the dynamic range of the Raws (the reduction in available values to encode the shadows presents as quantization noise).

Our ISO Invariance test suggests this is a dual gain sensor that switches to its higher gain step around ISO 800. There's very little benefit to raising ISO above that point, but opportunity to keep ISO down to protect highlights.

Overall, there's no sign of any nasty surprises to undermine the R6 III's performance promises.

Image: Panasonic

Panasonic has announced new firmware for its Lumix S1RII (Ver. 1.3), S1II (Ver. 1.2 ) and S1IIE (Ver. 1.2) cameras. The updated firmware promises an improved shooting experience and enhanced functionality with changes to autofocus performance, thermal control and more.

The most notable change Panasonic is bringing to its full-frame S1 series cameras is improved autofocus features. Panasonic states that the new firmware for all three models will provide enhanced autofocus tracking stability in their generic tracking modes due to algorithm improvements.

On the left is how Panasonic has handled the display for eye detection autofocus. On the right is the new option, which uses a rectangle over the eye. Screenshots: Mitchell Clark

The updates add an option to only display the autofocus frame on your selected subject, rather than on it and every other possible subject in the frame, providing a cleaner UI. Panasonic has also added an option to change how the autofocus frame is displayed when tracking a human eye, letting you choose to use a standard rectangle outline. Previously, the camera would place a square over the entire face with a target over the eye. That option is still available for those who like it, but the update makes the eye recognition AF display more similar to what other brands do.

Another important update comes from an improved thermal control algorithm. Panasonic says the update makes the camera react less to environmental factors, such as direct sunlight or a sudden swing in temperature, like you may see when moving from an indoor to an outdoor location. The company says the cameras should be able to achieve longer record times in their most demanding modes; for example, you can now expect double the record time when shooting DCI 4K in 120p, recording to a CFexpress card, and an even bigger increase when recording to an SD card.

The company has also made it so that the front-plate record button won't do anything in photo mode.

There's a healthy list of other changes, too. Panasonic added a lower-speed burst option to its electronic shutter burst mode (SH burst shooting) on the S1RII (20 fps) and S1II (30 fps). All three cameras get MP4(Lite), a low-bitrate video format that records 3:2 Open Gate at 30p or 25p with a 50 Mbps data rate. It promises to deliver files that are approximately 41% smaller than standard MP4 clips at similar settings. The company has also made it so that, by default, the front-plate record button won't do anything in photo mode, which should cut down on the number of accidental clips people take. (If you've already reassigned the button, don't worry; your setting should be preserved through the update.)

The company has also included a few new options to help manage your ISO. You can now set one of your dials to switch directly between manual and auto ISO mode, when previously you had to scroll through the entire range to get back to auto mode. If you prefer, you can also assign a button to toggle between auto and manual ISO as well. The ISO display for video mode also gets an update that makes it clear when your camera is using its sensor's low or high gain step, if you have it set to switch between them automatically.

If your ISO is in the blue region, it uses the low-gain step, and if it's in the red region, it uses the high-gain step. It's a useful indicator, given that different color modes, such as Log or Cinelike A2, will have different base ISOs.

Alongside the firmware updates, Panasonic has also released Version 1.4 of the Lumix Flow app, which is designed for creators shooting video and filmmakers. It brings changes that the company says have been requested by the app's users, including support for LUT live view within the app, the ability to carry over frame markers from the camera to the app and improved AF frame display.

All of the firmware updates are available for download as of November 25, 2025, at 8:00 pm EST / November 26, 2025, at 1:00 am UTC.

BrightinStar released a new MF 50mm f/0.95 II full-frame lens for E/Z/L/RF mount. Orders are now open at:

• Amazon
• Online store
• Aliexpress

Additional information:

 



Check out also the BrightinStar Black Friday deals:

More Black Friday deals are available here:

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The post New BrightinStar MF 50mm f/0.95 II full-frame lens announced (E/Z/L/RF) appeared first on Photo Rumors.

The previously reported Thypoch Eureka 28mm f/2.8 lens is now officially announced and available for pre-order at (this is the second Thypoch Eureka lens):

• B&H Photo
• Thypoch website

The lens is available for Leica M and Fujifilm X mount as well as M-mount with Fujix X-mount adapter:

Additional information can be found here and here:

• Crafted with a brass body and finished in pearl white infused with delicate gold powder
• Classic appearance design from the 1950s
• Ultra-lightweight: around 130 g
• Compact size: 19.5~21.9 mm height
• Outstanding sharpness from center to edge
• Accurate rendering: only 0.462% distortion
• Multi-layer coating
• Two colors available
• 0.4 m minimum focusing distance

New Thypoch Eureka 28mm f/2.8 lens for Leica M-mount officially announced

Check out also the Typoch Black Friday deals at Typoch’s website, B&H Photo, and Amazon:

More Black Friday deals can be found here:

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Press release:

Classic and Compact: Thypoch Eureka 28mm f/2.8 ASPH. Pre-order Available Now

Thypoch today announced the pre-order of the Eureka 28mm f/2.8 ASPH, the latest addition to its vintage line of compact, high-performance pancake lenses. Following the success of the series’ inaugural 50mm lens, the new 28mm model maintains the signature blend of classic aesthetic appeal and cutting-edge optical engineering, offering photographers a wider option.  

Inspired by the iconic British legend – the Dallmeyer 35mm f/3.5 Anastigmat mounted on the Ilford Advocate camera, the Eureka 28mm f/2.8 ASPH embodies a heritage design re-imagined for today. The creation of this lens was born from the Thypoch team’s passion for shooting reversal film during long-distance travels, using compact 28mm lenses. Dissatisfied with the market’s lack of options that were truly small, elegant, and exhibited minimal vignetting—a critical flaw for reversal film, where dark corners significantly impact viewing pleasure, unlike digitally adjustable files—they decided to develop their own.

Thypoch’s optical designers iterated through three distinct versions before arriving at the optimal result seen today, achieving outstanding resolution, minimal vignetting, and low distortion—all within an exceptionally compact form to meet the demands of fine reversal film. To match this optical excellence, countless hours were dedicated to refining the fine white paint finish and perfecting the surface texture of the black version. Although the black model does not use lacquer, the team employed a special method to achieve a tactile quality as pleasing as traditional black lacquer, making the Eureka 28mm a precision instrument for the artist, and a work of art in itself.

Besides the M mount version, Thypoch specially releases an X mount version and an M-X adapter to maintain the aesthetic consistency between the camera body and the lens based on the refined, vintage appearance of Eureka and the design of Fujifilm cameras. Even when adapted, its compact size remains lightweight and balanced, making it an ideal choice for those who appreciate classic aesthetics without compromising modern optical quality.

There are 3 options available for pre-order, all of them enjoy a 10% discount of the MSRP and a special gift of pre-order:

• Eureka 28mm M mount (Pearl White/Matte Black), pre-sale price at $413.
• Eureka 28mm X mount (Pearl White/Matte Black), pre-sale price at $413.
• Eureka 28mm mount (Pearl White/Matte Black) + M-X adapter (Silver/Black), pre-sale price at $431.

Via LeicaRumors

The post New Thypoch Eureka 28mm f/2.8 lens for Leica M and Fujifilm X mount officially announced inspired by the Dallmeyer 35mm f/3.5 Anastigmat appeared first on Photo Rumors.

Here is some additional information on the previously reported Viltrox 2.0x teleconverter (see patent):

Update – pre-orders now open at B&H Photo.

• 9 elements in 5 groups
• Weighing approximately 229 grams
• Features electronic contacts
• Supports EXIF ​​data transmission
• Lens-based image stabilization
• 120fps continuous shooting
• Dust and splash resistant.
• Expected price around $160

The first third-party teleconverter for Nikon Z-Mount is coming soon (from Viltrox)

  
  
The Viltrox Black Friday deals are now live – 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

Via SonyAddict

The post Additional information on the upcoming Viltrox 2.0x teleconverter appeared first on Photo Rumors.

Black Friday promo codes:

• FieldMade 10% off code: BFCM25
• DxO promo 5% off code: RUMORS
• Light Lens Lab lenses 5% code: RUMORS
• Gura Gear: RUMORS
• Viltrox 5% off code: NIKONRUMORS
• 7artisans 5% off code: RUMORS
• BrightinStar $5 off code: RUMORS
• Funleader 5% code: LEICARUMORS
• Oowlkrown 10% off code: LEICARUMORS10
• Thypoch 5% off code: THYPOCH
• IDSworks 10% off code: RUMORS
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• Oberwerth 10% off code: RUMORS
• SquareHood 20% off code: BF20
• Aftershoot 15% off code: RUMORS
• Artra CameraOne photography watch code: LEICARUMORS
• Akara 50% off SlimSkinNoGrip cases code: NonGripHalfPrice

Some of the above coupon codes may work on top of the already existing Balck Friday deals:

BLACK FRIDAY

The post Black Friday promo codes appeared first on Photo Rumors.

The new Leica M EV1 camera is now in stock in the US at B&H Photo:

You can see the previous coverage of the Leica M EV1 here:

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

Leica M EV1 camera with EVF officially announced

Leica M EV1 vs. Leica M11 vs. Leica M11-P vs. Leica M11-D

Confusion: Leica M11-V camera shows up at the FCC right before the Leica M EV1 is released in the US

The initial rumors were 100% correct: the Leica M EV1 camera was originally called Leica M11-V

Via LeicaRumors

The post The new Leica M EV1 camera is now in stock in the US appeared first on Photo Rumors.

Photos from left to right: Omar Victor Diop, Susan Derges HonFRPS and Jaskirt Dhaliwal-Boora

The Royal Photographic Society has announced the recipients of its 2025 Awards. The contest highlights significant contributions across both the art and science of photography, with awards for three pillars: The Art of Photography & Moving Images, The Science of Photography & Moving Images, and The Knowledge and Understanding of Photography & Moving Image.

The Royal Photographic Society Awards is the world's longest-running photography prize. This year marks its 147th anniversary, with the contest dating back to 1878. The Royal Photographic Society dates back even further, with a founding year of 1853.

The Royal Photographic Society (RPS) Awards recognize individuals working in both still and moving images, celebrating the photographers and recipients themselves rather than rewarding a single image. The contest celebrates significant achievements and showcases new and emerging talent across a range of genres, including moving image, new media, science and imaging, education, publishing and curation.

"While the 2025 RPS Awards recipients reflect the diversity and breadth of the international photographic community, they are all united in celebrating photography's unique capacity to challenge societal perceptions and make complex issues both relatable and urgent," said Sir Brian Pomeroy CBE ARPS, Chair of the judging panel.

You can see all of the RPS Awards recipients and learn more about the RPS Awards at the RPS website.

RPS Centenary Medal

Award recipient: Susan Derges HonFRPS

Award details: Awarded in recognition of an outstanding contribution to the art of photography or moving image.

Recipient details: Susan Derges studied painting in London and Berlin in the 1970s which informed a subsequent wide-ranging exploration of photographic image making, particularly through her large-scale camera-less photograms of some of the shorelines and rivers of Devon and Dartmoor. In the early 1980s she lived and worked in Japan for 6 years and this formative period has influenced much of her image making and thinking, particularly concerning the natural world and our relationship to it.

She has worked in residence at the Museum for the History of Science in, Oxford, (1999-2000) and Kingswood forest in Ashford, Kent (1999-2000); collaborated with the Royal Museums Greenwhich, exhibiting the Mortal Moon series at the Queen’s Palace Greenwich (2018 -2019) and informally with the Marine biology department at the University of Plymouth, who she consulted during the production of a body of work titled Tide Pools that were exhibited in Sea Gardens at the Royal Albert memorial Museum, Exeter (2019) and in Squaring the Circles at the Royal Photographic Society, Bristol, in 2022 including subsequent touring shows at Scarborough Museum (2023) and Dalkeith House, Edinburgh (2024).

More recent work has been concerned with recreated environments, combining imagery made on location with phenomena modelled within the spaces of her studio and dark room; collaborations with writers and poets include River Taw (Michael Hue Williams Fine Art, London 1997) ; Woman Thinking River (Fraenkel Gallery, San Fransisco and Danziger Gallery, New York 1999) ; Liquid -Form (Michael Hue Williams Fine Art, London 1999) ; Elemental (Steidl, Germany 2010) ; Shadow Catchers, (the V&A, London 2010) ; Squaring the Circles (RPS 2022).

Her works can be found in public and private collections world-wide. Susan was awarded an RPS Honorary Fellowship in 2014.

RPS Award for Photojournalism

Award recipient: Amak Mahmoodian

Award details: Awarded in recognition of sustained excellence or a notable achievement in photojournalism whether in photography or moving image.

Recipient details: Amak Mahmoodian is a multidisciplinary artist and educator. She began her career as a research-based photographer in Iran in 2003. Since 2010, she has been living in the UK, unable to return to her home country. She practices as a visual artist at the intersection of conceptual image-making and documentary photography, working with photographs, text, video, drawing, archives and sound. Her practice explores the presentation of gender, identity and displacement, bridging a space between personal and political across platforms and formats including installation, books and films.

Mahmoodian’s work has been shown internationally, including the Carnegie Museum of Art. Pittsburgh; Fototeca Latinoamericana, Buenos Aires; the Benaki Museum, Athens; Arnolfini, Bristol; Rencontres d’Arles, Arles; and Peckham 24, London.

Her works are held in collections such as the Tate, and the British Library in London. She has published two books, Shenasnameh (RRB- ICV Lab, 2016), and Zanjir (RRB, 2019) which was the winner of The Best Photo Text Book award at Rencontres Arles, 2020. Her work appears in key titles on photography such as Photography – A Feminist History (Tate Publishing, 2021), Photography Now: Fifty Pioneers Defining Photography for the Twenty-First Century (Octopus Publishing, 2021), and How We See: Photobooks by Women (10x10 Photobooks, 2019).

RPS Award for Editorial or Documentary Photography

Award recipient: Raghu Rai

Award details: Awarded in recognition of sustained excellence or a notable achievement in editorial or documentary photography or moving image.

Recipient details: Raghu Rai qualified as a civil engineer, but turned to photography when he was 23 years, in 1965. He joined The Statesman newspaper as their chief photographer between 1966 and 1976, and was then Picture Editor with Sunday - a weekly news magazine published in Calcutta between 1977 and 1980.

After completing a Thomson fellowship in England, he worked with The Times in London. In 1972, impressed by Rai’s exhibition at Gallery Delpire, Paris, Henri Cartier-Bresson nominated him to Magnum Photos, the world’s most prestigious agency. Rai continues to be a part of Magnum.

Rai took over as Picture Editor-Visualiser-Photographer of India Today, India’s leading news magazine, contributing trailblazing picture essays from 1982-1991.

He was awarded the ‘Padmashree’ in 1972, a civilian award, the first to a photographer for the body of works he produced on Bangladesh refugees and the war. In 1992 he was awarded Photographer of the Year in the United States for the story ‘Human Management of Wildlife in India’ published in National Geographic. In 2009 he was conferred Officer des Arts et des Letters by French Government and received a lifetime achievement award in 2016 in India.

His photo essays have appeared in many of the world’s leading magazines and newspapers. He has done extensive documentation of 1984 Bhopal tragedy and its continuing effects on the lives of gas victims under a special assignment from Greenpeace International, compiled into a book and three exhibitions travelling in Europe, American and Southeast Asia.

In 2012, Raghu Rai with his son Nitin Rai initiated the Raghu Rai Center for Photography to share his fifty years of knowledge and experience with the young generations.

Rai has done more than 60 picture books on different themes of India including some of the world heritage sites in context to the socio-cultural landscape of his homeland. And there are more than a dozen books in the pipeline.

Raghu Rai lives in New Delhi with his family.

RPS Award for Achievement in the Art of Photography

Award recipient: Omar Victor Diop

Award details: Awarded to a photographer in recognition of a notable personal achievement in the art of photography or moving image.

Recipient details: Regarded as one of the most important Senegalese photographers of his generation, Omar Victor Diop was born in Dakar in 1980 and was brought up there. He now divides his time between his birthplace and Paris.

From an early age, Diop cultivated his vivid imagination as much through photography as through literature and history, leading him to hone his talent in several art forms, from collage and creative writing to fashion and textile design. His influences include the major African portrait artists Mama Casset, Seydou Keïta and Malick Sidibé, the French creator Jean-Paul Goude, as well as several Flemish and Spanish painters of the Renaissance.

Diop’s work is part of major institutions collections — such as the Fondation Louis Vuitton in Paris, the Brooklyn Museum in the United States, the Musée de la Photographie de Saint-Louis in Senegal — and has been shown in exhibitions at high-profile international events, such as Paris Photo and the Rencontres d’Arles in France, the New York edition of 1-54 Contemporary African Art Fair and Kyotographie in Japan. His images also appear regularly in magazines around the world.

His first monograph, Omar Victor Diop, was published by 5 Continents Editions in 2021.

RPS Award for Achievement in the Art of Photography (under 30 years)

Award recipient: Tami Aftab

Award details: Awarded to a photographer under the age of 30 (at the time of nomination) in recognition of a notable personal achievement in the art of photography or moving image.

Recipient details: Tami Aftab is an English-Pakistani photographer based in London. Her work explores intimacy, family, identity, and play, often approaching sensitive subjects with warmth and lightness.

She first developed her practice through personal projects, including a collaboration with her father that examined his short-term memory loss through humour and staged portraiture. This series later became her debut book, The Rice is on the Hob, photographed in Lahore, which explored food, heritage, and the ties between memory and family, incorporating her father’s recipes. The work was exhibited at Have a Butcher’s gallery in London.

Working across fashion, portraiture, lifestyle, and personal work, Aftab’s photography is distinguished by vibrant colour and a playful, spontaneous quality. She continues to hand-print much of her work, maintaining a strong connection to film and darkroom processes.

Aftab has collaborated with clients including WePresent, Adidas, Apple, Burberry, Net-a-Porter, Stella McCartney, National Theatre, Atmos, and British Vogue. Her work has been exhibited at the National Portrait Gallery, the ICA, Peckham24 and The Photographer’s Gallery.

RPS Award for Social Impact

Award recipient: Jaskirt Dhaliwal-Boora

Award details: Awarded in recognition of sustained excellence or a notable use of stills photography or moving image that highlights or contributes to demonstrable improvement in public awareness of social issues.

Recipient details: Jaskirt Dhaliwal-Boora who describes herself a ‘panjabi, brummie, artist, mother, educator’ is a multi-disciplinary artist with a socially engaged practice, working with local communities on global issues. She is interested in celebrating untold stories while exploring visual representations of gender, ethnicity and place.

Jaskirt creates work with the aim to empower and give voice to marginalised communities. She is a multiple award-winning artist, including winning the British Journal of Photography's Portrait of Britain award for three consecutive years, and the LensCulture Photo Art award.

Recent Highlights include a place called home being exhibited at Peckham24 in 2025, under the theme Come Together and currently Jaskirt is working on Fractured Landscapes and how we heal which will be a major solo exhibition at The New Art Gallery Walsall, before touring to Open Eye Gallery in 2026. This work has been made possible through a 2½ year Arts Council England Project Grant.

Her work has been exhibited nationally and internationally, including at Wembley Stadium, UN Headquarters New York, Peckham24, New Art Exchange Nottingham and Manchester’s People Museum. Her work Birmingham Lockdown Stories (2020) is held in the permanent archive and collection of the Birmingham Museums Trust.

Jaskirt is also the founder of @womeninphotobham, a bi-monthly social event for women photographers in the W.Midlands and a Senior Lecturer at Birmingham City University.

RPS Award for Environmental Responsibility

Award recipient: Ragnar Guðni Axelsson

Award details: Awarded in recognition of sustained excellence or a notable use of stills photography or moving image that highlights or contributes to demonstrable improvement in public awareness of environmental issues.

Recipient details: For over 40 years Ragnar Axelsson has been photographing the people, animals and landscape of the most remote regions of the Arctic, including Iceland, Siberia and Greenland.

In stark black-and-white images, he captures the elemental, human experience of nature at the edge of the liveable world, making visible the extraordinary relationships between the people of the Arctic and their extreme environment - relationships now being altered in profound and complex ways by unprecedented climate changes.

A photojournalist at Morgunblaðið (1976 - 2020), Ragnar has also worked on freelance assignments in Latvia, Lithuania, Mozambique, South Africa, China and Ukraine. His photographs have been featured in LIFE, Newsweek, Stern, GEO, National Geographic, Time, and Polka, and have been exhibited widely.

Ragnar has published eight books in various international editions. His most recent book, Arctic Heroes published in 2020, Jökull (Glacier) published in 2018, with a foreword by Ólafur Elíasson. Andlit Nordursins (Faces of The North), was published in 2016, with a foreword by Mary Ellen Mark, and won the 2016 Icelandic Literary Prize for non-fiction. Other awards for Ragnar's work include numerous Icelandic photojournalist awards; The Leica Oskar Barnack Award (Honorable Mention); the Grand Prize, Photo de Mer, Vannes; and Iceland's highest honour, the Order of the Falcon, Knight's Cross.

Ragnar is currently working on a three-year project documenting people's lives in all eight countries of the Arctic. At this pivotal time, as climate change irrevocably disrupts the physical and traditional realities of their world, Ragnar is bearing witness to the immediate and direct threat that changes in the climate poses to their survival.

RPS Honorary Fellowship

Award recipient: Richard Billingham

Award details: Awarded in recognition of a significant personal achievement in any of the three areas of: the art of photography and moving image; the science of photography and knowledge of photography which includes curatorship, education or publishing.

Recipient details:

Richard Billingham is a photographer and artist, film-maker and educator. His work has often focused on his family and the West Midlands, where he grew up. He now lives in South Wales and holds professorships at Middlesex University and the University of Gloucestershire.

Richard was the first recipient of the1997 Citibank Private Bank Photography Prize, now the Deutsche Börse Photography Prize, and was shortlisted for the 2001 Turner Prize for his photographic work Ray’s a Laugh and his TV and gallery film Fishtank 1998, shot with an amateur camcorder.

Other bodies of work include Zoo, Black Country and extensive photography made in the British Landscape.

His work is held in various public collections including MoMA New York, Metropolitan Museum New York, MoMA San Francisco, The Government Art Collection and the Victoria and Albert Museum and Tate Galleries London.

He wrote and directed the BAFTA nominated feature film, Ray & Liz in 2019. It holds 96% on Rotten Tomatoes and 81% on Metacritic (based on 16 reviews) indicating ‘Universal Acclaim.’

Richard currently has a second feature film in development with the BFI - an adaptation of the contemporary novel At Hawthorn Time by Mellissa Harrison. He is also developing another idea about climate change with Media Cymru and Ffilm Cymru Wales.

He is represented by the Anthony Wilkinson, Gallery London and Casarotto Ramsey and Associates London.

The Leica watches are out of reach for many photography fans. Artra Designs (the same company that makes the Artra lenses, sold at B&H Photo and Amazon ) just released a new “Camera One” photography-inspired limited edition watch that is available in five different configurations (two of them are sold out already):

Use the coupon code LEICARUMORS to get a small discount if you order from their official website:

Additional information on the watch can be found here:

The ultimate Leica watch alternative just dropped: meet the new “Camera One” photography inspired watch by Artra Designs you can get for under $1,000 (coupon code included)

Via Leica Rumors

The post Too broke for the Leica watch? This stunning new Artra “Camera One” photography inspired watch is a fraction of the price (coupon code included) appeared first on Photo Rumors.