Our favorite pictures from this year's Editors' photo challenges

One of the secret pleasures of being the Managing Editor of DPReview is that I get to run our monthly Editor's photo challenges. Each month, we challenge readers to show us their best photos that illustrate a new theme.

Don't tell the staff, but this is basically the best part of my job. We frequently share winning images from international photo competitions here on DPReview, but I'll put the photos submitted by members of our community up against any of them. DPReview readers may have a reputation for being pixel-peeping nerds, but behind that facade are some incredibly dedicated, master photographers.

On the pages that follow, you'll see two of the staff's favorite photos from each Editors' challenge over the past 12 months. To ensure a full year of fantastic photos, we're going all the way back to the winners of our December 2024 challenge (since the winners of our December 2025 challenge won't be announced until the very end of the year).

With that, we present our favorite Editors' challenge photos from 2025, presented in random order.

The empire of the midnight sun

Photographer: BasilG

Month: July

Challenge theme: Landscape photography

Photographer's description: Spectacular view of the midnight sun in Senja, Northern Norway. This region, with its mountains rising straight from the sea and the stunning midnight sun, is among my favourites for landscape photography. It took me two attempts to capture this photograph as I had imagined it, as I was caught in a thunderstorm on the first attempt.

Equipment: Nikon Z7 + Nikon Nikkor Z 14-24mm F2.8 S

Aletch Glacier, Switzerland

Photographer: mattalatta

Month: February

Challenge theme: Winter games

Photographer's description: The genre of Adventure Photography can be quite challenging. One has to have the stamina to manage the trip while expending extra energy to carry camera gear and capture photographs. This often requires anticipating shots, running ahead and photographing as your partners move through your frame. In this photo, safety was a primary concern as we skied along a crevassed glacier with seracs hanging above us. I was in the back, waiting for my friends to create a leading line to the peak framed in the picture. Moving quickly through this section of the glacier was important, so I only had a moment to capture the frame.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Colors, canal, cloud

Photographer: Anders A

Month: April

Challenge theme: Red, green and blue

Photographer's description: Mum spoke enthusiastically about the vivid colors of the tulip fields in Holland. I started to wonder what they might look like from above, from a drone. This was in 2015, and drone tech was still very new and far from something everyone had. So, my tulip-loving friend Ulf and I drove the 1,000 km down to Holland on a chilly day in April 2015 and started criss-crossing the landscape. And my god, it looked fantastic! This is probably the best shot from the trip, from outside Sassenheim. The canals are used to flood the fields after harvest, to kill off germs and parasites.

Equipment: Sony a7 + Sony FE 35mm F2.8 ZA Carl Zeiss Sonnar T* + HAB Paparazzo heavy lift drone

Driving through the highlands

Photographer: JohnnyBE

Month: August

Challenge theme: Road trip

Photographer's description: This photograph was taken around 1:00 AM during an all-night road trip through the Highlands of Iceland. Experiencing and photographing such a remote place with no one else around was truly unforgettable.

This photo was taken from a drone, with the main challenge being to find the right composition to capture this epic location, while at the same time including my car for scale and perspective. The blue light worked beautifully with my exposure settings, allowing me to convey the mood of the moment, from the dark volcanoes to the distant blue sky.

Equipment: Hasselblad L3D-100C

Kings of the street

Photographer: SFStreets

Month: January

Challenge theme: B&W street

Photographer's description: Every year, the San Francisco Low Rider Council holds the "King of the Streets" event, where lowriders cruise along Mission Street. This year I caught a skateboarder come riding by one of the entrants, between 17th and 18th Streets. We all survived the encounter.

Equipment: Sony Cyber-shot DSC-RX100 II

Riding on UFOs

Photographer: Dan da Lanci

Month: May

Challenge theme: Human-powered travel

Photographer's description: "Close Encounters of the Third Kind:" two bikers in their "spacy" vehicles meet in the middle of nowhere, and I found that the scene has something of the famous film directed by Steven Spielberg.

Equipment: Sony SLT-A55 + Tamron SP AF 17-50mm F/2.8 XR Di II LD Aspherical (IF)

Close encounters

Photographer: prahja

Month: November

Challenge theme: Compact camera bonanza

Photographer's description: Taken whilst on an exploratory caving expedition in Borneo in 2013 (to find, explore and survey new cave passages). The mist and formations were a good opportunity to try out a lightweight photography setup.

Equipment: Canon PowerShot G1 X

The underside of water

Photographer: Thorgnyr

Month: March

Challenge theme: Water

Photographer's description: Often during winter, Lake Thingvallarvatn freezes. The view of the ice from below can be spectacular, especially during the thaw period; the ice has broken into flakes and then froze again. This was the case when this picture was taken. I started taking pictures without the diver but felt the scale was missing. So I got my buddy to pose for me.

Equipment: Canon EOS 5D Mark III

Ho! Ho! Happy holiday little fella

Photographer: Hooyat

Month: December

Challenge theme: Happy holidays

Photographer's description: The boy was watching children lining up to take pictures with Santa Claus. Santa noticed the boy was watching him for quite a while. He was alone with his mom. Santa came over, peeked around the fence, and told them he would take a picture with the boy... free of charge and ahead of the queue. Happy holiday.

Equipment: Nikon Z6 II + Nikon Nikkor Z 24-70mm F4 S

Moonlight star trail over a wild tulip field, Blufi, Sicily

Photographer: astrodariogiannobile

Month: April

Challenge theme: Red, green and blue

Photographer's description: What is happening in Holland on this “day?" Nothing except that... we are not in the daytime, and we are not in Holland!!! Strange? Absolutely yes. We are in Sicily, of course, and what you see is a real field of wild tulips growing near the village of Blufi.

Equipment: Canon EOS 6D + Canon EF 8-15mm F4L Fisheye USM

Beach sprint

Photographer: LuMa

Month: June

Challenge theme: Chasing summer

Photographer's description: A great afternoon with the kids, family and some wonderful beach fun. I was just lying around in the shallow waters and snapping away at my kids fooling around with their games. It's always more fun when the camera is waterproof.

Equipment: Olympus Stylus Tough TG-860

Pretty big jump

Photographer: Gbeeston

Month: May

Challenge theme: Human-powered travel

Photographer's description: I built this jump with my friend over a week, and it turned out a little larger than we had imagined. The day we tried hitting it was a little muddy, so getting up to speed was a challenge. After a few run-ups, he pulled the trigger. Neither of us was expecting to get that much height off the lip!

Equipment: Canon EOS R8 + Canon EF 50mm F1.8 STM

Summer love?

Photographer: softmarmotte

Month: June

Challenge theme: Chasing summer

Photographer's description: Taken during the alpine mountain summer at a swimming lake with views over the distant glaciers. A typical scene of young people flirting and maybe falling in love. Savoie, France.

Equipment: OM System OM-1 + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Day of the Dead

Photographer: JeffryzPhoto

Month: October

Challenge theme: Fall follies

Photographer's description: In Mexico, this time of year means preparations for Day of the Dead, or Día de Los Muertos: the time when departed souls can return to visit loved ones left behind. Marigolds feature prominently, their color and scent helping to guide them.

Equipment: Fujifilm X-T4 + Fujifilm XF 8-16mm F2.8 R LM WR

Under

Photographer: Cliff Connell

Month: March

Challenge theme: Water

Photographer's description: On one of the last hot days in autumn 2011, just before our southern Australian Easter swell kicked in, I had just finished a long session of surfing some pretty big, clean waves when I decided to get back in to capture some in-water shots of the rest of the crew. Most of the shots I got that morning were pretty average, except for this one of a young guy duck diving under the closed-out section of a 5-6 foot wave. It made my day!

Equipment: Canon EOS 20D + Tamron SP AF 17-50mm F/2.8 XR Di II VC LD

Spiral spiral

Photographer: fatplanediaries

Month: September

Challenge theme: Pixels in your pocket

Photographer's description: I spent a summer with family in Europe. At the time, I only brought a prime for my camera, so I ended up using my Samsung for all other focal lengths. My camera ended up becoming my B cam, as I enjoyed smartphone photography quite a bit that vacation.

Equipment: Samsung Galaxy S10 Plus

2023 New Mexico White Sands yucca

Photographer: garyphx

Month: July

Challenge theme: Landscape photography

Photographer's description: Taken late in the day on our way out of White Sands National Monument. I actually stopped to take a different photo. Then saw this lone Soaptree Yucca on top of a large dune. The grain of the "sand" and ripples on top are classic White Sands.

Equipment: Leica Q2 Monochrom

New Year's Eve, Mt. Hood, Oregon

Photographer: rainrunner

Month: December

Challenge theme: Happy holidays

Photographer's description: New Year's Eve at Mt Hood, Oregon, each year, if weather permits, we snow camp on New Year's Eve and watch the fireworks show at Timberline Lodge.

Equipment: Sony a7 IV + Tamron 70-180mm F2.8 Di III VXD

Curtain call

Photographer: findhenryb

Month: November

Challenge theme: Compact camera bonanza

Photographer's description: I would never grab a photo during a performance, but when the curtain call took place, I grabbed my camera and made this quick frame at the Paris Opera House.

Equipment: Leica D-Lux 8

On Iceland's ring road

Photographer: Phantogram

Month: August

Challenge theme: Road trip

Photographer's description: In spring this year, I was chasing the northern lights in Iceland. When the weather was not promising, I was hitting the road for a better location. However, bad weather often gives the nicest shots. This picture was made close to Djupivogur, a small town in the east fjords, with blistering winds and between rainstorms.

Equipment: Sony a7 III + Sony FE 24-105mm F4 G OSS

Balloons over Myanmar

Photographer: light_reaction

Month: September

Challenge theme: Pixels in your pocket

Photographer's description: This photo was taken while soaring above Bagan, Myanmar. This moment was guided by a UK army veteran piloting our balloon – a tradition in Bagan where British and international pilots work alongside local crews. Ballooning here is more than a visitor’s thrill: it’s a source of pride and support for the local community, with companies employing hundreds of locals and funding projects in education, health, and heritage conservation, ensuring that the ancient temples continue to inspire and sustain those who call Bagan home.

Equipment: Apple iPhone 8

Ryland Bell

Photographer: owenleve

Month: February

Challenge theme: Winter games

Photographer's description: Professional snowboarder Ryland Bell on location with Warren Miller Entertainment. This was shot in the Chugach Mountains with Points North Heli-Adventures, a heli-ski operation based out of Cordova, AK. This is a seldom-ridden line as conditions have to line up just perfectly.

Equipment: Nikon D800

Foggy fall in Norway

Photographer: hach

Month: October

Challenge theme: Fall follies

Photographer's description: This photo was taken from the roadside overlooking a small farm. Underneath is the Tyrifjorden lake, covered by fog. The location is at Sollihøgda (Sunny heights), just north of Oslo.

Equipment: OM System OM-1 + OM System 40-150mm F4.0 PRO

Monte Sant'Angelo di corsa

Photographer: Luigi Azzarone

Month: January

Challenge theme: B&W street

Photographer's description: While I was visiting a beautiful town in Italy, the Puglia region, I saw these works drawn on the wall. I waited for the right moment to immortalize the beauty of youth, the desire to live.

Equipment: Nikon D7100 + Nikon AF-S DX Nikkor 16-80mm F2.8-4E ED VR

Leica is rumored to announce a new SL camera model. Here is what we know so far:

• The new SL model will be positioned between the Leica SL3 (60MP) and the Leica SL2-S (24MP).
• 44.3MP sensor (based on the Panasinic S1RII)
• Improved AF (better than the SL3-S)
• Video capabilities could be lower than those of other SL3 models
• Rumored to be announced around May 2026

For reference, additional information on the Panasonic S1RII camera can be found here:

Panasonic Lumix S1R II camera officially announced

Comparing Panasonic S1R II vs Panasonic S5 IIx vs Panasonic S1R cameras

More Panasonic LUMIX S1RII leaks (full specs, pictures, and price)

Here are the leaked Panasonic Lumix S1R II camera pictures and specifications

Via LeicaRumors

The post Leica is rumored to announce a new SL camera based on the Panasonic S1RII appeared first on Photo Rumors.

I captured this night photo of the Kiggins Theatre in Vancouver, Washington, during the annual DB Cooper conference. Adobe's Project Indigo app did a great job of rendering the photo in a way I would have expected from a DSLR or mirrorless camera. Photo: Dale Baskin

Most years, my Gear of the Year shortlist writes itself. There are usually two or three products that clearly stand out, and the hardest part is simply narrowing it down to one.

2025 was different. We've seen some great products come through the DPReview office, and I've enjoyed using many of them, but none really inspired me in the way I expect to make the cut. In fact, I reached a point last month where I considered not even writing a Gear of the Year column this time around.

And then one day, it hit me. I picked up my iPhone to take a photo, opened Adobe's Project Indigo app, and… Shazam! I'd been racking my brain trying to think of what hardware I had enjoyed using most this year, and in a moment of mental clarity I wish I could achieve more often, the answer was staring me in the face. Literally, it was in my face as I held the phone up in front of me: the gear I enjoyed using most this year wasn't a piece of hardware, but an app.

Project Indigo is available for free (at least for now) on the iOS App Store. Adobe says it is considering an Android version as well.

We all know that smartphones can't compete with large sensor cameras when it comes to ultimate image quality or tactile experience. But they do have this sneaky ability to tag along with us wherever we go, always at the ready.

Autumn leaves cover the forest floor. Captured with Adobe's Project Indigo app. Photo: Dale Baskin

The thing that always frustrates me about smartphone cameras isn't that they can't compete with large sensor cameras in terms of image quality – I mean, who would ever expect that they could? – but "the look." You know exactly what look I'm talking about: that over-processed, over-sharpened look with shadows pushed to within an inch of their life. It's a signature that screams "smartphone photo."

This is where Adobe's Project Indigo comes into the picture. It's a free product from Adobe Labs that promises "SLR-like" quality from your iPhone. According to Adobe, it accomplishes this using a number of techniques, including underexposing highlights more aggressively and combining more frames (up to 32) than the iPhone's native camera app. In theory, this should result in fewer blown-out highlights and less noise.

In practice, Project Indigo delivers. To my eye, photos taken with the app usually look more like a well-processed image from a mirrorless camera. The aggressive tone mapping is gone, replaced by images where highlights roll off naturally, and shadows actually look like shadows.

To achieve this, the app uses profiles specifically calibrated for each phone and camera module. That specificity is great, though it can also introduce friction; one of my few frustrations was waiting a few weeks for the Project Indigo team to release an update calibrated for the new iPhone 17 Pro Max I've been testing.

"To my eye, photos taken with the app usually look more like a well-processed image from a mirrorless camera."

The main downside to the Project Indigo app is that all this computational processing requires computational power. The app works on iPhone Pro models as far back as the 12 (and regular iPhones back to the 14 series), but it's not a tool for rapid-fire photography, typically taking 1 to 5 seconds to process a single image, depending on the model. It can also generate some serious heat; my older iPhone 14 Pro gets hot to the touch after just a few photos, and I can practically see the battery indicator get shorter as it works.

The good news is that the iPhone 17 Pro Max, with its newer processor and better thermal management, barely seems to notice the load. It's frustrating that Project Indigo struggles on older hardware, but I appreciate that this is a proof-of-concept product; Adobe is engineering for the future, not the past.

There are also plenty of tools in the app that I haven't explored yet, including its own Night Mode, multi-frame super-resolution modes when using sensor-cropped "zoom" (such as the 2x and 8x modes on the iPhone 17 Pro), and AI noise reduction derived from Adobe Camera Raw.

This photo of a snowberry bush looks pretty close to what I would expect from a typical mirrorless camera. Photo: Dale Baskin

If it sounds like I haven't thoroughly tested Project Indigo, it's because I haven't. I've been using it for several months, not because I planned to review it, but because I genuinely love the natural-looking photos it produces.

It made me enjoy taking photos with my phone again, and that alone is enough to earn it my Gear of the Year.

Adobe says it's exploring future directions for Project Indigo, including an Android version, a high-quality portrait mode with more control and higher quality than native apps, and even video recording with computational video features. I'm excited to see where Adobe goes with this, but even if it just stays as it is – a tool that lets me take nicer, more natural photos on the device I already have in my pocket – I'm a fan.

Photo: Tristan Fewings / Stringer / Getty Images Entertainment via Getty Images

Martin Parr, a highly acclaimed British documentary photographer, passed away at the age of 73 on December 6. Parr was best known for his images that captured British life over a career spanning more than 50 years.

The Martin Parr Foundation posted a statement on its website on Sunday that he died at his home in Bristol, England. "He is survived by his wife Susie, his daughter Ellen, his sister Vivien and his grandson George. The family asks for privacy at this time," the statement added.

"I make serious photographs disguised as entertainment"

Parr, born in 1952 in Epsom, Surrey, England, was a member of Magnum Photos, an international cooperative of photojournalists. While his work was often filled with playfulness and satire, it also carried an underlying critique of contemporary life. "I make serious photographs disguised as entertainment," Parr told Architectural Review in 2020. He was known for using strong, highly saturated color, often with direct flash to exaggerate everyday scenes. His work captured ordinary people and objects, including British seaside resorts, shopping, parties, fairs and family outings.

A prolific photographer, Parr published more than 100 photobooks during his lifetime. Parr also edited 30 photobooks, including The Photobook: A History (2004–2014), a three-volume series that offered an in-depth examination of the photobook itself. His work has been featured in countless exhibitions, and he has been the recipient of numerous awards, including the Sony World Photography Award for Outstanding Contribution to Photography in 2017. In 2024, he was recognized as an inductee of The International Photography Hall of Fame.

"His humour, his clarity, and his vision shaped many discussions across the agency and within the wider photographic world."

He was also an educator and mentor, serving as Professor of Photography at The University of Wales Newport campus from 2004 to 2012. In a statement to Magnum photographers, staff and estates on Sunday, Magnum co-president, Lorenzo Meloni, wrote, "Martin played a significant role within Magnum and in our wider community. He supported younger photographers, he pushed conversations forward, and he stepped up when leadership was needed. His humour, his clarity, and his vision shaped many discussions across the agency and within the wider photographic world."

Tributes to Parr have been pouring in, with photographers of all levels sharing stories about his impact on the photographic community. On Instagram, photographer Joel Meyerowitz described Parr, his friend of 50 years, as a "legend in the world of photography," adding that "his wisdom and visual humor will be greatly missed."

Mt. Jefferson, a volcano in the Cascade Mountains, is illuminated at sunset near Sisters, Oregon, on November 18, 2025. I had my Olympus OM-1 with me when the sunset suddenly became very intense, and I managed to snap this photo in the brief time before the light faded away. Photo: Dale Baskin

Our year-end photo contest, "Your best photo of 2025," is now open for submissions.

What was your top shot this year? Share one image you captured in 2025 and tell us about it. Make sure to tell us the story behind the photo in the caption and why you chose it as your photo of the year. Pick carefully – you can only submit one photo!

Click here to read the full rules and submit your top photo from 2025.

Submissions will open on Monday, December 8th, and you have until Sunday, December 14 (GMT) to submit entries. You can read the full rules on the 'Your best photo of 2025' challenge page.

Essential details: All entries must include a title and a caption that tells us the story behind the picture and why you chose it (minimum of 25 words). Please read the full rules before submitting your photo.

DPReview editors will review every photo you submit, and we'll publish our favorites in a slideshow on the DPReview homepage.

Enter the "Your best photo of 2025" challenge

PentaxRumors received a tip speculating that a new Pentax ESPIO 140 compact film camera could be the next addition to Pentax’s film lineup. This rumor arrives amid Pentax’s ongoing revival of analog photography, following their original Ricoh plan from 2022 for three new Pentax film cameras:

• First, they will develop a compact film camera (already released: Pentax 17)
• The second camera will be a high-end film model
• The third camera will be a single-lens reflex (SLR)

Here are the details on the original and very well-regarded Pentax Espio 140 point-and-shoot film camera (also sold as the IQZoom 140 in some markets), introduced in 1997:

• Lens: 38–140mm f/4.8–12.5 power zoom (8 elements in 7 groups)
• Zoom range: Roughly 4x optical zoom, one of the longest zooms on a compact at the time
• Autofocus: Active infrared autofocus (works well even in low light)
• Exposure: Fully automatic program AE, with slow-shutter warning
• Flash: Built-in pop-up flash with modes (auto, on, off, red-eye reduction, night portrait/slow-sync)
• Macro: Can focus down to 0.6 m (about 2 ft) at any focal length
• Self-timer: Yes (10 sec)
• DX coding: ISO 25–3200
• Power: One CR123A battery
• Other quirks: Panorama switch (crops top/bottom for wide prints), remote control compatible (with optional Pentax remote), date/time imprint option on some versions

Is this the next upcoming Pentax film camera: Pentax ESPIO 140?

Via PentaxRumors

The post Rumors: Pentax to release a new Pentax ESPIO 140 film camera appeared first on Photo Rumors.

Here are the latest Canon camera registrations that are not yet officially announced, courtesy of CanonAddict:

DS126936

• Wireless Spec: Wi-Fi 5 (802.11ac) + Bluetooth
• What it might be: Canon EOS R7 Mark II.
  • • Reasoning: Registered shortly after the R6 Mark III. The “DS” prefix denotes an interchangeable lens camera. Like the R6 III, it sticks to the robust but standard Wi-Fi 5 to differentiate it from the flagship R1/R5 series.
  Best cameras

ID0179

• Wireless Spec: Wi-Fi 5 (802.11ac)
• What it might be: Canon EOS C70 Mark II or XF605 Successor.
  • Reasoning: The “ID” prefix is historically used for Cinema EOS or professional camcorders. This registration has been active since early 2024, suggesting a long development cycle typical of pro video gear.

ID0174

• Wireless Spec: Wi-Fi 5 (802.11ac)
• What it might be: PowerShot V10 Successor or VR Camera.
  • Reasoning: Another video-centric “ID” code. Canon is aggressively expanding the V-series for vloggers, which often use non-standard naming conventions internally.

New Wireless Patent Found
US Patent 12,114,054: Communication Apparatus (Wi-Fi 6)

• Description: A patent describing a camera capable of connecting to IEEE 802.11ax (Wi-Fi 6) networks. It details methods for managing power consumption while maintaining high-speed dual-band (2.4GHz/5GHz) connections.
• What it might be: Canon EOS R5C Mark II or High-End Cinema EOS.
  • Reasoning: Since the R6 Mark III and R7 Mark II are limited to Wi-Fi 5, this patent points to a future high-bandwidth camera that requires Wi-Fi 6 for professional monitoring or massive video file transfers.

Canon is rumored to register a new high-end EOS camera

Via CanonAddict

The post The latest Canon camera registrations appeared first on Photo Rumors.

The Minolta MND35 promises 18x digital zoom and 64MP JPEGs. The manual says it has a 13MP sensor. There is no connection whatsoever between this camera and the original Minolta company. Image: Minolta Digital

It'd been going on for months before I knew about it, but in the space of a couple of days, I received a text from my former colleague and saw a post on Reddit highlighting it. Minolta cameras had hit the shelves at Costco.

That's odd, I thought, surely Sony, which absorbed the Konica Minolta camera business, hadn't launched a budget line without telling us. And, by the same logic, presumably Konica Minolta wasn't allowed to use the Minolta name on cameras, as part of the deal with Sony. So what was going on?

The answer was stranger than I'd expected. There is, it seems, a US company that hunts around for well-known brand names that have fallen out of use. Trademark rules are designed to protect the names and brands under which products are sold, so that third-parties can't sneakily benefit from the reputation and goodwill the original seller has built up. But you can only maintain a trademark that you're using to trade. It turns out that neither Sony nor Konica Minolta had continued to use its trademark for anything camera-related, so a Californian company had stepped in and claimed it.

"You can only maintain a trademark that you're using to trade"

This company is in the business of claiming orphaned trademarks and licensing them on to other companies. The result is that New York company Elite Brands can now sell cameras in the US under the Minolta name. Elite Brands also licenses the names (former cinema camera and projector maker) Bell + Howell and owns the Rokinon brand under which it sells Samyang-made lenses.

This situation, where the name is now owned and used by companies with absolutely no connection back to the original manufacturer, is, perhaps, one of the more extreme examples of how legacy names stumble on as zombie brands. More common is that the original company collapses and the rights to its name get bought out of receivership by a company with no intention of trying to continue the original business. Other times the original brand merges with another that has a different focus, so its name gets licensed out to someone wanting to operate in the consumer industry.

But whatever the specifics of each story, the licensing process allows brand names to rise from the dead and shuffle their way onto shops' shelves and websites.

Rollei

The Rollei name is used on a wide range of products, including this recently announced 85mm F1.8 that appears to share its specs with the one made by 7Artisans. Image: Rollei

Rollei appears to be an example of the former situation. The name was bought when the original company collapsed in 2004, and it sells a wide range of products under the name, though they are all photo related, at least. It also licenses the name to a German film marketing and distribution company that sells Rollei film. In addition to this, it's also licensed the name to Hong Kong's MiNT Camera, for use on its reproduction of the Rollei 35AF film compact.

Yashica

The FX-D cameras being sold via Kickstarter are only some of the products being sold under the Yashica name.

One of the most obvious instances is Yashica. Yashica was a pretty well-respected camera maker for much of the 20th century but was eventually bought by Kyocera, which ceased production of the last Yashica products in 2005. It subsequently sold the name to a company in Hong Kong, which is responsible for the recent products being sold under the name.

We're not sure whether the Yashica / I'm Back co-branded version of the digital module ever existed, beyond this composite image. Image: I'm Back

New owner JNC Datum Tech appears to be responsible for the SLR-shaped, tiny-sensor cameras being sold on Kickstarter. Film cameras and basic compacts are also available with the name, and a tie-up was even announced to use Yashica branding on I'm Back's somewhat clunky digital film modules and a "micro mirrorless" camera called MiMi, though it's not entirely clear how much of that came to pass.

Vivitar

Vivitar branding appears on a lot of products, some of which still relate to photography. Image: Vivitar

Vivitar is a slightly more interesting case, because the originator of the brand was never itself a manufacturer: even at its height, it was a brand name being used to market and sell contract-manufactured products. It eventually collapsed and, the name having passed through various hands has, since 2008, been owned by a company headquartered in New Jersey, called Sakar International, of whom we'll hear more, later. The Vivitar name is now used on everything from bathroom scales and Peppa Pig-branded scooters.

As well as looking at whether a brand name is being used on original or innovative products, or items with any real relationship to the types of product on which the brand's reputation was built, I find it interesting to look at the About Us page on these legacy brands' websites, to see how much of a connection to the originating company's actions they imply they have. Rollei licensee Hans O. Mahn has the honesty to point out that it licensed the name in 2004, giving at least a hint that there's no particular connection back to the earlier events on the timelines that so often make an appearance.

Kodak

Personally I find the case of Kodak particularly fascinating, in part because of how stong people's feelings towards the brand still appear to be, despite some of the things that have been done with its name.

Kodak entered Chapter 11 bankruptcy protection in 2012, selling off many of its businesses, including its consumer film business, to settle its debts. The revived company was primarily focused on industrial print and packaging. However, recognizing how powerful a brand it had with consumers, it set out licensing its name for a wide variety of products.

The Kodak Charmera keyring camera, "inspired by the Kodak Fling" is available in seven styles, but you don't know which you'll get. It's been created by Reto Production, one of a range of licensees of the Kodak name. Image: Reto Production

The most visible are the PixPro series of compact digital cameras, along with the multiple companies it's let use its name on clothing. Its name is also used by companies making half-frame film cameras and the Charmera keyring digital cameras with their gatchapon / lucky-dip styling that, if not quite viral, appeared moderately contagious earlier this year.

Kodak's licensing efforts appear a little more restrained than they did back in 2018, and it's worth noting that the company licenses its name to different companies in different regions. For instance, the Kodak name in Europe is licensed by GT Company, a French company that has also licensed the Agfa brand for digital cameras.

Polaroid

Sakar tried to launch a modular system, where the sensor is a lens/sensor module, under the Polaroid name in 2013. Photo: Lars Rehm

Perhaps the most interesting example is Polaroid. As with Vivitar, the rights to its name changed hands several times following the collapse of the original company. Sakar International (which owns the Vivitar name) used the name for a while, using it to sell camera modules that connected to smartphones and attempted to launch a modular camera system (conceptually not unlike the Ricoh GXR system) where lens-like units with the sensor built into them could be attached to a camera unit. Unfortunately the styling of these was lawyer-excitingly similar to the design of Nikon's 1 system cameras and lenses, so were withdrawn.

In an unusual turn of events, a project to revive instant film manufacture, boldly called The Impossible Project, managed to take ownership of the Polaroid brand name, meaning that, just sometimes, zombie brands can be brought back to life.

The Polaroid name is back in the hands of an instant film maker based in one of the original company's last factories. Image: Polaroid

There are the seeds of something similar at Kodak, too, which has recently regained the ability to sell its photo film to the public, after over a decade out of the consumer market. The licensing will still continue, but you can again buy products made by Eastman Kodak from the continuation of the original company.

What's the value of a brand name?

Ultimately, brand licensing is something of a high-wire act. Companies understandably want to maximize the amount of money they make by licensing the brand name they own, but if you're not selective about who and what that name is associated with, you can undermine the public perception of the brand and risk reducing its value to both yourself and your licensees.

Licensing isn't inherently a bad thing, but the quality of the products you allow to wear the name then reflects on all the others. Which becomes important if, like Kodak, you want to also sell your own products under that brand. Image: Kodak

It's hard to imagine that many people buying a Vivitar-branded personal massager are making any connection back to the Series 1 lenses of the 1970s. Perhaps simply being a vaguely familiar name has some value in a time when dizzying number new brand names (both emerging and transient) are being plastered over the countless products being sold on sites like Amazon. But in the case of Kodak and Polaroid, there is some connection to the original products on which those names' reputations were built. Or, at least, there are for some of the products.

"It's hard to imagine people buying a Vivitar-branded personal massager are making a conscious connection back to Series 1 lenses"

The Minolta example, where there is no connection at all between the products being sold and the reputation that the name would seem to imply is an extreme case, but the closer you look at the world of brand licensing, the more it should make you question what, if anything, that brand name you have vague fond memories of, now represents.

Mt. Jefferson, a volcano in the Cascade Mountains, towers over the landscape of central Oregon. I captured this photo on an exceptionally clear day (through a spotless airplane window), and converted it to black and white using Exposure X6 software with the Ilford HP5 Plus film style. Photo: Dale Baskin

Our December Editors' photo challenge theme is "Shades of Gray."

This month, we're celebrating the art of black and white photography. Whether you're focused on the interplay between light and shadows, ethereal high-key images, or using darkness to create mood and mystery, we challenge you to show us the world in monochrome. Strip away the color and show us your best black and white images!

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

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

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see the full rules

This week, Sony announced a new enthusiast mirrorless camera, the a7 V. As is becoming tradition, members of the DPReview editorial team gathered to discuss it, going over what's new, how the camera fits into the market, and touching on why this kind of camera has gotten so expensive lately.

If you want to see how the a7 V performs, check out our sample gallery and review. We'd also love to hear from you; what do you think of the a7 V? Let us know in the comments below and on our forums.

What role do the shadows hold in this image? Canon 5D IV | Canon 70-300 F4-5.6 | 128mm | ISO 400 | 1/500 sec | F7.1 Sandwich Harbor, Namibia

Today, I'd like to dive into the use of shadows in landscape photography. Shadows are almost always part of nature: we often shoot using a (almost-)point light source (the sun or the moon), and even if the light is soft (like it is after sunset or during a cloudy day), the light is almost always directional, which means that some areas of the image are darker compared to others.

So, if shadow is an almost integral part of photography, we ought to at least give it some attention and understand how it works in comparison to other components of the image, and perhaps see how we can use its characteristics to enrich our photography, which is what I intend to do here.

I would say that the first function of shadows is to promote separation and thus depth. As I've mentioned in the past, separation of the different image layers is important to help viewers discern the actual distance between the subjects, thus helping them perceive the scene's depth, which is present in 3D reality but can be absent in the 2D image.

This image of dunes in Sandwich Harbor, Namibia, would be absolutely flat without the shadows. The dunes are the same exact color, and without the dark areas, it would be impossible to understand the shapes in the scene and its depth, rendering it flat and boring. Canon 5D IV | Canon 70-300 F4-5.6 | 70mm | ISO 400 | 1/1250 sec | F8

Below are two aerial images of Cono Arita, Argentina. One was taken before sunrise, with flat light, and the other after sunrise. I'm not trying to claim that one is better than the other, but I'd like to urge you to see how different they are, and why. There is some difference in color, sure, but the main source of change is most definitely the cone's shadow. What role does the shadow serve here?

DJI Mavic II Pro | 1/15 sec | F3.2 | ISO 400	DJI Mavic II Pro | 1/60 sec | F8 | ISO 100

There is a similarity and a difference between the roles I mentioned above. The shadow creates depth. Clearly, it stretches from the cone to the very edge of the salt pan, thus making it easier to perceive the distance between them. But it isn't really the factor separating the different layers – it's the difference in color and texture which does that in this example. By the way, can you understand what problem I have with the composition in the second image?

The second image above leads us to a second use of shadows: extending the subject and changing its shape. If used correctly, the shadow of a subject can help the photographer manipulate the shapes in an image to better fit the composition and the photographer's vision. Take, for example, the following image, which I took a long, long time ago in Jerusalem.

Ultra-orthodox Jews walking back from the temple in the early morning. You could say that the shadow is the main part of the subject, being larger and more prominent (different from its surroundings). In any case, it helped me balance the compositional masses in the image. Without the shadow, there would be nothing to counterbalance the person's compositional weight, and the image would be right-heavy. (Jerusalem, Israel) Canon 7D | Canon 70-200mm f/4 | ISO 200 | 1/1000 sec | F4

In this image from Deadvlei, Namibia, the shadow again extends the subject and allows me to have a good foreground element. It also parallels the tree itself (which is a bit obvious since their shapes are naturally similar), but moreover, it parallels the sunstar flare on the top part of the image. In addition, the dune's shadow on the horizon adds a layer and enhances depth. It also prevents the background trees from grabbing too much attention and overlapping the main tree. Canon 5D IV | Canon 16-35mm f/2.8L III | 31mm | ISO 100 | 1/80 sec | F16

I'd like to divert now and talk about the use of shadows to create and enhance the atmosphere in a landscape image. Shadows have a tendency to interfere and appear inside lit parts of an image, thus enhancing the texture and diversifying the light, which may appear minor but is, at least in my opinion, not so at all.

Trees' shadows enrich the lighting and add texture to this image, balancing the viewer's attention between the different compositional elements. (Jargant River, Mongolia) DJI Mavic III Classic | 1/400 sec | F10

Again, the shadows add texture to the light, making the image more interesting. (Jargant River, Mongolia) Canon R5II | Canon RF 24-105mm f/4 | 80mm | ISO 100 | 1/320 sec | F11

This can also appear in much, MUCH larger scale:

The gradient of light on the top right shows us that the total solar eclipse is, in fact, just a huge shadow cast on Earth by the moon. I claim that the image wouldn't be half as good without this gradient, since it's not only a compositional element but also an extension of the subject, drawing a link between the faraway eclipsed sun and the Earth's sky. As homework, take a good, long look at this image and try to understand the roles of the different subjects, how they counterbalance each other, and how they contribute to the overall composition. (Lake Cuesta Del Viento, Argentina) DJI Mavic II Pro | 1/10 sec | F2.8 | ISO 100

Lastly, I'd like to present the rare case of the shadow being the actual subject. This is hardly common, but if you use it right, it could be very interesting and curious to the viewer. Take a look at the image below.

In order to take this shot without my shadow appearing in it, I had to hide in the shadow of the tree on the right. Canon R5II | Canon RF 24-105mm f/4 | 58mm | ISO 100 | 1/80 sec | F14

Instead of including both the tree and its shadow in the image, I chose only to include the shadow. By doing this, I selected a totally different subject in terms of shape, compositional weight, color, and, most importantly, in essence. This subject could be viewed as a negative of the other trees in the frame.

Firstly, the shadow is almost perpendicular to the other trees. Moreover, it's dark on a light surface, whereas the background trees are light on a somewhat-darker surface. These harsh differences enhance the image and cause it to be much more interesting. The fact that you usually don't see a shadow as a subject draws the viewers' eyes and makes them try to understand what exactly it is they're seeing. All this can take a very simple composition and elevate it into something greater.

Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, Greenland (solar eclipse), Colombia and more.

Erez has recently published his first e-book, "Solving the Puzzle," thoroughly explaining his views about composition in landscape photography and beyond.

Selected Articles by Erez Marom:

• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Behind the Shot: Tambora Sandwich
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Demon of the Deep: Shooting Kawah Ijen Volcano
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

7Artisans is teasing a new large-aperture lens that will be officially announced later this month:

The post 7Artisans is teasing a new large-aperture lens appeared first on Photo Rumors.

Here are the top 10 most viewed PhotoRumors posts for November 2025:

Canon EOS R6 Mark III camera rumored specifications

New Sony FX8 cinema camera rumors

The Sony a7 V camera will be announced on December 2nd

Additional information on the upcoming Viltrox 2.0x teleconverter

Panasonic is closing down its Lumix Pro Services in the UK and Europe

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

DJI Osmo Action 6 camera rumored specifications, announcement on November 18

The latest DJI leaks and rumors: Osmo Action 6 camera and Avata 360 drone coming next

Blackmagic Design is rumored to announce a new URSA Cine 6K LF camera

Updated list of latest/upcoming/rumored Chinese lenses

The post Top 10 most viewed PhotoRumors posts for November 2025 appeared first on Photo Rumors.

Here is what else is new:

How is NIKKOR Z gear made (videos)

Rumors: the silver Leica Noctilux-M 1:0.95/50 ASPH lens will be discontinued soon

The new Leica Summilux-M 50mm f/1.4 ASPH Glossy Black lens

Ricoh GR IV camera now in stock at Amazon

How to get the Realme GT 8 Pro with Ricoh GR photo modes in the US

New firmware updates version 2.51 released for the Pentax K1 & K1-II cameras

Fujifilm X-H2, X-H2S, and FT-XH Firmware Updates Released

Tamron 150-500mm F/5-6.7 Di III VC VXD Firmware 4 Released

Canon EF70-200mm f/4L IS II USM Discontinued Abroad

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

Canon's recently announced EOS R6 III is aimed at hybrid shooters and has a strong suite of features for both stills and video shooting. We've already analyzed its still image quality, but now let's take a look at how its video modes perform in front of our studio test scene.

As a reminder, the EOS R6 III can do full-width DCI or UHD 4K* video up to 120p. At 60p and below, you have the option of using Canon's "Fine" mode, which delivers oversampled footage from 7K capture, though the company adds the intriguing caveat that the 60p fine mode won't be quite as detailed as the lower framerate ones. The R6 III can also shoot open-gate footage using the entire sensor, and supports internal Raw recording using Canon's C-Raw format.

* - The camera performs the same in its UHD and DCI modes, so whenever you read about the EOS R6 III's "4K" performance in this article, know it applies to both.

Starting with the open gate mode, the 6912 x 4608 image the EOS R6 III produces captures lots of detail, appreciably more than the 5952 x 3968 open gate image from the Panasonic S1II. The difference will almost certainly be less noticeable in motion, but the EOS R6 III's higher resolution allows for a bit more room to crop in if you're delivering a vertical or horizontal 4K video (or if you shot a bit too wide, and are trying to take a 9:16 vertical crop without using the full height).

The increased detail versus the S1II is still there, though slightly less obvious, when you're using the oversampled 4K mode. The Z6III offers similar levels of detail, though at default settings, it appears to apply more, or less subtle, sharpening than Canon does.

However, the EOS R6 III loses its edge in detail when you bump up to 4K/60. The oversampled fine setting is massively more detailed than the line-skipped standard mode, but, as Canon said, it's less detailed than the oversampled footage from 24p mode. Interestingly, the rolling shutter figure is the same, so its perhaps a processing difference, rather than a readout one, presumably for reasons of heat.

The Nikon Z6III's output is again sharper (and more sharpened), but it's not far off the output of the Panasonic S1II. This isn't because Nikon and Panasonic's 60p modes are more detailed than the 24p ones; it's because Canon's oversampled 60p mode isn't as detailed as its 24p one. Perhaps most painfully, though, is that even the EOS R6 II's 4K/60 footage has a slight edge in detail over its successor's.

The sensor isn't fast enough to offer an oversampled 4K/120 mode, but the EOS R6 III's is at least full-width, so switching to it won't change your field of view like it will with the S1II, which has a 1.24x crop for UHD, or the Z6III, which has a 1.5x crop. The 4K/120 capture is as detailed as the EOS R6 III's other line-skipped modes, but this leaves it a long way behind the S1II's 4K/120 footage, and even the Z6III's. Despite those being derived from a smaller area of the sensor, it's very likely they're derived from more pixels that aren't spread as far apart as they are on the EOS R6 III.

Raw Video

As always, when discussing Raw video options, it's worth keeping in mind that the difference between Raw video and Log video is nowhere near as stark as the difference between Raw and JPEG for stills when it comes to editing flexibility. While shooting in Raw for video gives you control over noise reduction, sharpening* and white balance, it doesn't offer substantially more latitude to adjust your footage's lightness than Log footage does.

With that in mind, the EOS R6 III's Raw footage looks good, capturing a lot of detail from either the entire sensor in open gate mode, or from a 7K 1.89:1 crop derived from that footage. The latter can be shot in up to 60p, though going above 30p will require switching to Canon's Raw Lite format, which compresses the footage more. If there are compromises to detail that come from that, they're not evident in our test scene.

It's also worth pointing out that, unlike with the S1II's Raw modes, Canon applies lens distortion corrections to its Raw footage. That arguably makes them a bit less Raw, but means you won't have to manually apply them after the fact, which is especially important for those RF-mount lenses that heavily rely on those corrections as part of their optical formulas.

* - Put another way, shooting in Raw puts the onus of noise reduction and sharpening on you.

Summary

The EOS R6 III's higher resolution sensor has its benefits, but its slower readout speeds hurt its full-width slow-motion performance.

The EOS R6 III's open gate mode provides exceptional amounts of detail for this class of camera, as does its oversampled 4K/24 mode. Its 4K/60 mode isn't quite as strong as those of its competitors with faster, lower resolution sensors, though, and you'll pay a significant detail cost to gain full-width 4K/120. The convenience of maintaining your field of view is definitely a benefit, but its partially stacked sensor rivals will maintain more consistent detail levels for your slow-mo shots.

Still, it's hard to complain about the quality of the video we've been able to capture with the EOS R6 III outside of the studio. Annecdotally, when I sent Mykim, our director of video and platforms, a cut of a video we'd shot using the EOS R6 III, she asked which camera we had used, saying the footage had a "really nice visual quality to it, distinct from other videos we have done." (It is worth noting that we shot it at golden hour on a beach, so it was quite literally being shown in its best light.)

We'll cover other aspects of the video shooting experience in our full review, but in terms of image quality, the EOS R6 III has a lot to offer.

Sony a7 V | Sony FE 24-70mm F2.8 GM II | 70mm | F2.8 | 1/80 sec | ISO 250 Photo: Mitchell Clark

This week, Sony announced the a7 V, its latest hybrid camera which uses a 33MP 'partially stacked' sensor to achieve high burst rates. We got the chance to use a pre-production model, which luckily coincided with what may have been the last few sunny days of the year in the Pacific Northwest. We used the opportunity to take some street portraits, action shots of animals, and more.

We've just got access to a build of Adobe Camera Raw that supports the camera's losslessly compressed Raw files and have added a couple of conversions of images shot in that format.

If you want to read more on the a7 V, you can check out our review of it here, or watch our video on it below. It contains a few sample videos shot with the a7 V, though look forward to seeing more footage from it in the future.

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.

Check out the latest used gear at B&H Photo:

• Photo | Video | Lighting | Audio | Drones + action cams
• The store inside the SuperStore: the B&H Used Department
• You can also sell your used camera gear to B&H Photo
• All B&H used items come with a 90-day warranty
• The returns are now extended until January 31st, 2026
• Here is the B&H used equipment rating system:

Check out the used Leica cameras and lenses at B&H Photo

Check out the latest used Pentax and Ricoh gear at B&H Photo

Check out the latest used Nikon gear at B&H Photo

Check out the latest used Micro Four Thirds cameras and lenses at B&H Photo

The post Check out the latest used gear at B&H Photo appeared first on Photo Rumors.

The previously reported Viltrox front lens converters designed for Fuji X100 cameras will be officially announced on December 10th (see the original Fuji conversion lenses; more X100VI accessories can be found here):

• Viltrox WCL-X100VI 0.8x front lens converter
• Viltrox TCL-X100VI 1.4x front lens converter

Additional pictures of the new lens converters can be found here:

First pictures of the Viltrox conversion lens designed for Fuji X100 cameras

What’s coming next from Viltrox?

The post The new Viltrox front lens converters for Fuji X100 cameras will be officially announced on December 10th appeared first on Photo Rumors.

The new 249g Antigravity A1 drone by Insta360 with 8K 360 video is now officially released (see previous coverage), just weeks before DJI drones are banned in the US (December 23rd):

DJI drones will be banned in the US next month – here is your last chance to get one (DJI Black Friday deals)

The new Antigravity A1 drone is priced between $1,600 – $2,000 in the US.

Additional pictures, information, and complete specifications (see also this page):

Immersive Flight Like No Other

A1 defines a new class of drone: the 360 Drone. Unlike traditional quadcopters, A1 relies on a headset-first configuration. where the Vision Goggles are a vital component of the experience, rather than just being an accessory.

This system is designed to be intuitive from the first takeoff. The Grip controller’s FreeMotion Mode translates hand movements into precise flight paths, allowing users to steer simply by pointing the controller.

This “point-to-fly” simplicity makes A1 significantly easier to master than traditional dual-stick drones, removing the steep learning curve that often prevents people from experiencing flight. However, A1 grows with you; FPV Mode remains fully accessible for pilots who demand classic control dynamics.

The experience is fully realized when the Grip is paired with the Vision Goggles. Powered by industry-leading Pancake optics and dual 1-inch Micro-OLED (2560×2560) displays, the goggles mirror the pilot’s head movements in real-time. Together, these three elements combine to create a seamless interface that allows users to have a truly immersive experience of the sensation of flight, rather than simply piloting a drone.

8K 360 Capture Made Simple

At the heart of A1 lies a dual-lens 1/1.28-inch sensor system capable of recording 8K30fps, 5.2K60fps, or 4K100fps in full 360 degrees. Every flight captures the entire environment in one pass. No gimbal adjustments, no missed angles. The “fly first, frame later” workflow lets users choose perspectives in post, from cinematic pans to creative effects like Tiny Planets or deep subject tracking. FlowState Stabilization ensures the footage remains smooth and steady, even in windy conditions.

Compact, Compliant, and Ready for Travel

Weighing just 249g with the standard included battery, A1 fits in the palm of your hand and complies with EU C0 class and similar sub-250 g regulations worldwide. It offers up to 24 minutes of flight time, or up to an extended 39 minutes of flight time via an optional high-capacity battery, combining portability with performance.

A retractable landing gear system protects the bottom lens during takeoff while maintaining an unobstructed view for invisible-drone shots.

Share the Adventure with Sky Path

The new Sky Path system gives you ultimate control over your flight. It allows pilots to design, save, and automate complex flight routes. Once you’ve configured the perfect path, you can let A1 fly itself. This frees you to sit back and simply enjoy the immersive journey without touching the controls, or focus purely on creative direction. Creators can execute precise, repeatable flight paths to stitch together the same route at different times for stunning transitions and effects.

Sky Path also transforms the A1 into something that can be shared. As the drone flies its route autonomously, hand over the Vision goggles to friends or family. It allows anyone, regardless of skill level, to instantly access the joy and immersion of 360 drone flight, turning a solo passion into a group adventure.

Intelligent Flight, Limitless Creativity

A1 comes packed with intelligent tools that make professional results accessible to everyone.

• Sky Genie: Sky Genie takes what professional pilots usually master in years, and offers it in seconds. With a single tap, A1 executes complex 360 maneuvers like Orbit, Spiral, and Comet, delivering instant, cinematic results.
• Deep Track: Powered by Insta360’s renowned tracking technology, Deep Track locks onto your subject with unwavering precision, handling framing of your shot, keeping a target centered with superior accuracy.
• Virtual Cockpit: Flight meets fantasy. Through an immersive overlay, take flight in real-time with a dragon, turning a standard flight into a mythical journey. Expect more skins over the coming weeks as A1 releases.

Built for Longevity and Responsibility

A1’s user-replaceable lenses and propellers make the drone easy to repair, cutting down on return shipping and material waste. For added peace of mind, Antigravity Care offers affordable replacement and flyaway protection, keeping everyone flying with confidence.

A core part of this design is the payload detection system, a first for consumer drones in this class. This smart safeguard actively detects excess weight or unsafe modifications, preventing the drone from being used for purposes it was not designed for. This technology ensures the A1 remains a force for fun, creativity, and exploration, never the opposite.

A Creative Ecosystem Across Mobile and Desktop

A1 integrates seamlessly with the Antigravity app and Antigravity Studio desktop software. The software supports quick transfers, automatic reframing, color correction, and auto editing tools. From instant social-ready clips to professional-grade exports, creators can manage their 360 workflow in one connected ecosystem.

The editing process is designed to be powerful yet easy to use. The software’s automatic highlight editing finds the best moments from your flight, allowing creators to get polished, ready-to-share videos with just a single tap.

Recognized Worldwide

Since its unveiling, Antigravity A1 has received some of the industry’s highest honors, including the Red Dot Award: Design Concept 2025, TIME’s Best Inventions 2025, the Good Design Award 2025, and the ‘Best of Innovation’ title in the CES Innovation Awards 2026. A1 was also the recipient of 20 awards from top media outlets at the recent IFA 2025.

Specifications

The post Antigravity A1 drone officially released with 8K 360 video, just weeks before DJI drones are banned in the US appeared first on Photo Rumors.

The previously rumored Leica M Safari lenses are now officially announced, together with a new Glossy Black version of the Leica Summilux-M 50 f/1.4 lens:

• Pre-orders: B&H Photo + Glossy Black | Calumet Photo | WEX Photo
• Additional information
• Additional pictures:

Leica released four new M-mount lenses with different design variants (Safari & Glossy Black)

The new Leica Summilux-M 50mm f/1.4 ASPH Glossy Black lens

Via LeicaRumors

The post Leica released four new Safari & Glossy Black M-mount lenses appeared first on Photo Rumors.