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Image: LK Samyang
LK Samyang's AF 14-24mm F2.8 is officially available for L-mount. The company previewed the lens at CP+ earlier this year, following the ultra-wide zoom's E-mount debut last year as LK Samyang's first co-branded lens with German optics specialist Schneider-Kreuznach.
The L-mount version of the AF 14-24mm keeps the same optical design and features of the E-mount model. It comprises 15 elements in 11 groups, with three aspherical lenses, five high-refractive elements, and three ED elements. It can focus as close as 0.18m, features a customizable control button and MF/AF switch, and promises fast and quiet autofocus driven by a linear stepping motor.
Like the E-mount version, it accepts front filters (77mm), making it the only L-mount 14-24mm F2.8 lens to do so. The Sigma and Leica equivalents use rear sheet filters due to the bulbous front elements. It's also noticeably more compact and lightweight than the other 14-24mm F2.8 lenses. It weighs just 441 g (15.5 oz) and is 87mm (3.4") long. For comparison, the Sigma take on the lens weighs 795 g (28 oz) and measures 131 mm (5.16") long.
We saw a preview of the lens at CP+ this year. It is quite compact compared to other lenses in its class.
Photo: Mitchell Clark
LK Samyang joined the L-Mount Alliance in 2023, but so far, its only L-mount release has been the AF 35-150mm F2-2.8. At CP+ this year, a representative told us that the company is looking to expand its mount offerings, though it isn't clear if that means more L-mount lenses specifically or additional mounts beyond that.
The company also teased an AF 60-180mm F2.8 FE at CP+, which will form a nice trio with its AF 24-60mm F2.8 and AF 14-24mm F2.8 offerings. Hopefully, both the standard zoom and the upcoming telephoto zoom lenses also make their way to L-mount sooner rather than later.
The LK Samyang 14-24mm F2.8 lens is available for purchase today. The company didn't provide pricing information, but the E-mount version costs $1200.
LK Samyang Expands Its Co-Developed Super-Wide Zoom AF 14-24mm F2.8 FE to L-Mount
Key Message
Co-developed ultra-wide zoom with Schneider-Kreuznach Combining German optical expertise with LK Samyang's advanced AF technology
A key lens in the expanding compact zoom lineup From 14-24mm to 24-60mm and the upcoming 60-180mm, completing a unified zoom system
Expanded to L-mount for broader user accessibility Delivering the same proven performance across more camera systems
April 30, 2026 - LK Samyang, a global optical solutions company, announces the expansion of its first compact zoom series product, co-developed with Schneider-Kreuznach, the AF 14-24mm F2.8 FE, now available in L-mount.
The AF 14-24mm F2.8 FE is a jointly developed product that combines Schneider-Kreuznach's renowned optical design expertise with LK Samyang's advanced manufacturing and autofocus technologies. Upon its release, the lens set a new benchmark in the ultra-wide zoom category, offering a compact and lightweight design along with a unique 77mm front filter capability.
Following its launch, the compact zoom series expanded with the introduction of the standard zoom AF 24-60mm F2.8 FE, delivering both portability and versatility. Furthermore, at CP+ this year, LK Samyang revealed its plan to complete the lineup with the upcoming telephoto zoom AF 60-180mm F2.8 FE.
Key Features
Co-developed optical design with Schneider-Kreuznach Combining German optical precision with LK Samyang's advanced AF technology
Ultra-wide 14-24mm zoom range Expansive field of view from 114.2º to 24mm for versatile shooting
Constant F2.8 aperture Reliable performance in low-light conditions with excellent depth control
Compact and lightweight design (441g) Exceptional portability compared to other ultra-wide zoom lenses
77mm front filter compatibility Rare feature in ultra-wide zoom lenses, enabling creative filter use
Minimum focusing distance of 0.18m Enables dynamic close-up shots with strong perspective
Fast and quiet autofocus performance Optimized for both stills and video with Linear STM
This new L-mount version of the AF 14-24mm F2.8 maintains the same optical performance and key specifications as the original FE mount version, while featuring a compact length of approximately 86.8mm, an ultra-lightweight design of just 441g, and a minimum focusing distance (MOD) of 0.18m. Through this expansion, LK Samyang aims to offer a broader range of options to global users across diverse camera systems.
This L-mount expansion goes beyond a simple mount addition. It represents a strategic move to make LK Samyang's optical technology accessible to a wider community of creators. LK Samyang will continue to develop and introduce products optimized for various systems and user environments, further strengthening its presence in the global market.
Availability
The LK SAMYANG AF 14-24mm F2.8 L lens will be available for purchase starting today, with sales gradually launching across global markets through LK SAMYANG's distribution network and authorized retailers. In addition, cashback promotions are set to launch in Japan and across Europe, with details varying by region. More information is available on the official website: https://www.lksamyang.com/ko/about/notice-list
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What are the best (and worst) photography-related gifts you've received?
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
Between delivering commercial work for clients and feeding the ever-voracious YouTube algorithm, Joshua Martin spends more time than most with a camera in his hands. Until recently, that camera was his trusty Fujifilm X-H2S.
But after upgrading to the GFX system for his commercial work, Martin realized it was time to part ways with the X-H2S in favor of a more compact camera that could meet his needs for both still photography and video.
In the third episode of ISO: Upgrades on a Budget, our series produced in partnership with MPB, Martin sets out to find a new daily driver.
Image: DPReview
After diving into our camera comparison tool, Martin narrowed his search to three contenders:
Martin then rented all three cameras to stage a three-way test before purchasing it from MPB, the leading platform for buying, selling, and trading camera equipment.
No spoilers here, so you'll have to watch the video above to find out which camera he chose. And let us know in the comments: which camera would you have picked?
If you have gear collecting dust on a shelf or you're simply looking for something new-to-you, head over to MPB to upgrade your kit today.
ProGrade announced a price increase on memory cards for May 1st. Memory prices are rising sharply because of a global shortage of NAND flash – the key material used in memory cards, SSDs, and similar storage. AI data centers are demanding huge amounts of special high-speed memory, so major chip makers like Samsung and SK Hynix have shifted production away from regular consumer flash. This has driven costs up dramatically across the industry and is the main reason companies like ProGrade Digital are increasing prices on memory cards starting May 1st. I am sure other brands will follow.
Three months ago, we wrote to you about the flash memory shortage driven by AI datacenter demand. Since then, the situation has intensified rather than stabilized, and we want to give you a clear update on what we’re seeing in the market.
Prices continue to rise, and we don’t expect memory prices to go down in 2026. While some industry analysts project this could extend into 2027, we’re focused on what we can see clearly: the pricing pressure and allocation constraints will persist through the remainder of this year.
We did not make any price increases in April. However, our costs are increasing significantly, and we will have to increase prices in May. We’re sharing this now not to drive urgency, but to give you the information you need to plan your own equipment decisions. Whatever timing works for your business, we wanted you to hear it directly from us.
These cost increases are industry-wide, not specific to ProGrade Digital. We’re grateful to our retail partners—including our own site, Amazon globally, and our authorized resellers around the world—who are working with us to navigate these challenges and keep product available to you wherever you prefer to shop.
Our approach hasn’t changed: we build the same quality into every product, and we communicate openly about market conditions rather than leaving you to guess what’s happening. That’s been our commitment from day one.
Our goal is to keep you shooting and delivering for your clients. We recognize these increases create real budget pressures, especially for independent creators and small production companies. We’re navigating the same constraints on our side, and we’re committed to being as predictable as we can be in an unpredictable market.
If you have questions or concerns, we want to hear from you. Our support team is in San Jose, CA, and we are available at support@progradedigital.com or by phone at +1.408.708.9290.
Jeff Bridges and his SilverBridges team have been hard at work reviving his beloved panoramic, panning-lens film camera, the Widelux. Last month, they shared a video of Bridges and his wife unboxing two prototypes (which was pure joy), and now, they have announced that the WideluxX is officially available for pre-order.
The SilverBridges team is developing the WideluxX from the ground up, with manufacturing and hand-assembly taking place in Germany. The website states that this initial run of pre-orders is limited to 350 cameras. In case the camera alone isn't special enough as-is, each camera will also be personalized with two or three letters, which you can enter when ordering.
With pre-orders now open, SilverBridges has also shared more details about the camera itself. It features a 26mm lens with an aperture range of F2.8 to F11, and it produces 24×58mm images, with approximately 21 images per 36-image roll of 35mm film. It offers only three shutter speeds: 1/15, 1/125 and 1/250 sec. Focus is fixed from 1.5m (5 ft) to infinity, and the camera weighs 880g (1.9 lb).
The first pre-orders are expected to ship six to eight months after orders open, and the entire production run is expected to be completed in a year. For added peace of mind, the website also states that pre-order customers will receive a full refund if their camera isn't shipped within 12 months.
As you may have guessed from the above details, the price is steep. If you want one of the first WideluxX cameras, it will cost you $4400. Don't wait if you are interested, though. At the time of writing, there were only 244 remaining.
The limited-edition covers feature designs meant to stand out rather than blend in.
Image: DJI
DJI has announced the successor to its popular Mic Mini, but the Mic Mini 2 is a subtle iteration rather than a substantial upgrade. The most prominent changes are colorful magnetic covers for the transmitters, new bundles for mobile and solo creators and a lower price.
Most wireless microphones aim to be discreet, and as a result, they tend to stick to black or white colorways. DJI is bucking that trend, however. The Mic Mini 2 transmitters are compatible with optional magnetic covers, which let users better match colorful outfits or intentionally add a pop of color. Each cover still features a large white DJI logo, though.
DJI is offering a separate kit of solid colors for those who want something other than white or black.
Image: DJI
The Mic Mini 2 comes with black and translucent white covers; if you want the colorful options, you'll need to pick them up separately. A kit of eight solid colors, including teal, green, two blues, yellow, orange, purple and pink, costs £19.00. DJI is also offering a set of four limited-edition covers featuring colorful, painterly designs meant to "capture different stages of life" that were created by illustrator Victo Ngai. The special edition kit costs £35.00 for four covers.
Beyond the cosmetic changes, DJI added three voice tone presets. Users can choose from regular, rich and bright presets to tailor the sound to their recording environment. Otherwise, like the original Mic Mini, the Mic Mini 2 offers 24-bit audio, two-level noise cancellation and a transmission range up to 400m. It does not include internal recording, but DJI teased that a new version, called the Mic Mini 2S, will be released later this year with that feature.
A new bundle option includes the mobile receiver and only one transmitter.
Image: DJI
While the Mic Mini 2’s core specs are similar to those of its predecessor, DJI is offering additional bundles. One includes the standard receiver with a 3.5mm mic output for cameras, along with two transmitters and the charging case. The other includes all of the same items, except it features DJI's more compact mobile receiver with a USB-C port for easier connection to smartphones. Users who want the mobile receiver can choose between one- and two-transmitter kits, allowing solo creators to save some money.
Another big plus with this launch: the price. The Mic Mini 2 bundle with camera receiver costs £89, which is a substantial price cut from the £169 launch price of the original Mic Mini in 2024. The bundle with mobile receiver and two transmitters costs £69, while the solo mobile creator kit costs £49. As with other recent DJI releases, the Mic Mini 2 is not available in the US. It is, however, available elsewhere as of today.
The six Leitz Hektor full-frame prime cine lenses are now available for Fujifilm G mount, marking a significant expansion of Leitz Cine’s mirrorless prime series to Fujifilm’s GFX ecosystem, including the GFX ETERNA 55 cinema camera and GFX100 stills models. This new user-interchangeable G mount joins the existing lineup of Sony E, Leica L, Canon RF, and Nikon Z options. While the optics do not cover the full sensor area of the larger GFX ETERNA 55 format, most focal lengths deliver generous coverage suitable for most cine formats. Check the pricing at B&H Photo. Additional information on the Leitz Hektor T2.1 mirrorless cinema lenses can be found here:
Nikon has announced the ZR, a video-focused camera with Red co-branding. It features the same 24.5MP 'partially Stacked' sensor as the Z6III and inherits many capabilities from the more stills-oriented camera, but gains a new Raw video codec, video-focused UI and internal 32-bit float audio recording – a first in the industry.
Key Specs:
24.5MP full-frame 'partially Stacked' CMOS sensor
Nikon Z-mount
7.5EV IBIS
Up to 6K 60p
R3D (NE) Raw video codec
4" 3.07M dot (1280 x 800px) 1000 nit display
CFexpress Type B / microSD
Autofocus subject detection for people, animals, vehicles and planes
Internal 32-bit float
No mechanical shutter
The ZR retails for $2199 – $500 cheaper than the Z6III, and has been available since October 2025.
While the ZR's heart may be the same as the Z6III, less the mechanical shutter, it's not immediately obvious by looking at it. The camera has a boxy, EVF-less design with a minimal grip, making it easy to mount on a gimbal without having to worry about clearance.
On the back is a massive 4" 3.07M dot display. It's in a video-friendly 16:10 aspect ratio, with a 1280 x 800 pixel resolution. It has a peak brightness of 1000 nits. Nikon says it supports the P3 color gamut, giving you a more accurate preview of what your colors will look like, when working beyond the limits of sRGB.
On the back of the display are the Nikon and Red logos. The ZR is the first camera since Nikon's acquisition of Red to come with both companies' branding (unless you count the Z-mount Raptor's body cap).
R3D (NE) Codec
The ZR includes a new Raw video codec called R3D (NE), alongside Nikon's N-Raw format and ProRes Raw. While it's not exactly the same as the Redcode Raw that Red's cinema cameras shoot, it is made to be cut together with it and uses the same Log curve and color gamut.
Importantly, this means you can use the Look Up Tables, or LUTs, that already exist for Red cameras, making it much easier to cut footage from the ZR and Red's cinema cameras together.
When shooting in R3D (NE), the ZR can capture 6K and DCI 4K at up to 60p, and UHD 4K at up to 120p. These same options are available for N-Raw, though the red-flavored Raw doesn't have any compression settings like the ones available for N-Raw. We'll touch on the differences between the ZR's Raw formats later on in this review, but have covered them in more depth in a separate article.
Cine EI
R3D Raw also comes with a different approach to gain. Instead of applying it in-camera based on your ISO setting, the camera will lock it to either its low (ISO 800) or high (ISO 6400) gain step. If you adjust your ISO, the camera will note it as a metadata tag and adjust its metering to capture a different balance of highlights and shadows, but it won't change the amount of gain added to the footage. This approach is comparable to the Cine EI (exposure index) mode Sony includes on its video-focused cameras, and gives you more control over your video's lightness ("ISO") in post. By contrast, N-Raw is shot with variable gain, just like photo mode, so you can't adjust this after the fact.
Alongside R3D (NE), the ZR supports the two other Raw formats the Z6III could shoot: Nikon's own N-Raw codec, as well as Apple's ProRes Raw. Though, as has been the case in Nikon's previous cameras, the widely-supported ProRes Raw option isn't available at the camera's fastest resolutions and frame rates.
Internal 32-bit float recording
The ZR is the first mirrorless camera to include fully-internal 32-bit float recording for audio. If you're unfamiliar, 32-bit float encodes audio in an entirely different fashion than traditional 16 or 24-bit encoding, allowing it to record a much wider range of values. Typically it's combined with dual gain amplifiers to ensure both quiet and loud sounds can be captured.
The benefit is that you don't need to finely adjust gain and worry about clipping (other than the point at which your mic itself is overwhelmed). While we've seen other cameras, such as the Panasonic GH7, that support 32-bit float recording with an external XLR adapter, the ZR can do it without one, obviating the need for a costly accessory.
What's more, it can be used to record audio from the camera's internal microphone – using OZO directional technology from Nokia – as well as from the 3.5mm microphone jack, meaning you can use it all the time.
Digital hotshoe
While the ZR has a traditional 3.5mm microphone input, it also includes a digital hotshoe with support for audio. Nikon sells a compact microphone that uses it, and Tascam offers an XLR adapter.
Currently, it's unclear what abilities other third party companies have to create accessories for it. For example, some DJI wireless microphone receiver packs can plug directly into the digital hotshoes on Sony's cameras, making it so you don't have to connect them with a 3.5mm cable. Whether they'll make something comparable for Nikon's system remains to be seen.
How it compares
You only need to look at the ZR to recognize that it's a competitor to Sony's FX range of cameras for film makers. Its lack of viewfinder will draw immediate comparison with the FX3 and APS-C/Super35 FX30 models, but the price is more in line with the FX2. However, the Nikon has a sensor much better suited to video than the FX2, which uses the rather slow to read-out chip from the a7 IV.
Despite the apparent similarities (high res 60p Raw capture), it's not quite a like-for-like competitor to Canon's C50, which launched on the same day. That is an unstabilized, actively-cooled camera, rather than a hand-held model. The provision of capabilities such as a timecode socket, desqueeze preview modes for working with anamorphic lenses and the option of bolt-on mount adapters suggests a focus on industry use, rather than beginners and owner-operator outfits.
Nikon ZR
Sony FX2
Nikon Z6III
Canon C50
MSRP at launch
$2199
$2699
$2699
$3899
Sensor res
24MP
33MP
24MP
32MP
Sensor type
Partially Stacked CMOS
BSI CMOS
Partially Stacked CMOS
CMOS with dual pixel AF
IBIS rating (Center / Periphery)
7.5 /
5.0 / 5.0
8.0 /
N/A
Mechanical shutter
No
No
Yes
No
Media types
CFe B / XQD UHS-I Micro SD
CFe A / UHS-II SD UHS-II SD
CFe B / XQD UHS-II SD
CFe B UHS-II SD
Viewfinder
N/A
3.68M dots 0.7x mag tilting
5.76M dots 0.8x mag
N/A
Rear screen
4.0" 3.07M dots (1280 x 800 px) 1000 nits
3.0" 1.04M dots (720 x 480 px)
3.2" 2.09M dots (1024 x 680 px)
3.0" 1.62M dots
Maximum res/rate
6K/60
DCI 4K/30 60 with 1.5x crop
6K/60
7K/60 7K/30 open-gate
Proxy rec
To same card
Yes
To same card
Yes
Raw options
R3D, N-Raw, ProRes RAW
Output to Atomos Rec
N-Raw, ProRes RAW
Canon Raw Light
Cine EI option?
Yes
Yes
No
No
Audio capabilities
4ch 32-bit float / 24-bit
4ch 24-bit
4ch 24-bit
4ch 24-bit
LUT upload
10 Preview only
12 Preview, Embed, Apply
No
Apply only (Built-in Preview LUTs)
Anamorphic desqueeze
No
Yes (2.0 or 1.3x)
No
Yes (2.0, 1.8, 1,5 1.3x)
Active cooling?
No
Yes
No
Yes
Battery life (CIPA) Actual / Cont
90 / - min
155 / 100 min
100 / - min
Not specified
Dimensions
133 x 81 x 49mm
130 x 78 x 104mm
139 x 102 x 74mm
142 x 88 x 95
Weight
630g
679g
760g
670g
The Nikon ZR looks essentially like one of Sony's small FX models but without their active cooling. And, in the same way that the FX2 and FX3 share much of their hardware with the more photo-focused a7 IV and a7S III bodies, respectively, the ZR is essentially a video-ized Z6III. So, while you lose the viewfinder, photo-friendly body shape and mechanical shutter, you gain more Raw video options, a hotshoe with digital inputs and 32-bit float audio. Despite this, Nikon has brought the ZR in at a price significantly below that of the Z6III.
But, more significant is that it undercuts the price of the FX2, which isn't built around an especially video-adept sensor, and at nearly half the $4100 asking price of the FX3, which has comparable rolling shutter, but captures native 4K, rather than the Nikon's 6K. In most regards, the ZR looks like a bargain.
Body and handling
The ZR is a relatively compact body, immediately bringing to mind the original Sony FX3, but without the prevalence of 1/4-20 mounting points, and without the finned exhaust ports, as the ZR does not feature active cooling.
It's just as much a Z6III shorn of its viewfinder as anything else, and has a similarly solid-feeling build. It uses the same fibre-reinforced plastic that Nikon has been using for some years, which gives a good sense of solidity without adding excessive weight. This is likely to be a benefit if you choose to mount it on a gimbal.
Ports
The ZR has most of the ports you'd expect from a video camera: USB-C, running at 3.2 speeds and 3.5mm headphone and microphone jacks. The one surprise is the presence of micro, rather than full-size, HDMI. It does make sense given the camera's smaller form-factor, but those planning to routinely plug in monitors or external recorders to this camera will likely wish for a more robust connector.
Its storage mediums are also unconventional. While its CFexpress Type B slot is exactly what you'd expect on a high-end video camera, the secondary UHS-I microSD card slot isn't. It's not fast enough to support most of the formats that the camera can, so you can't use it to back up your recordings, nor can it be used to record proxies (though if you're shooting in R3D (NE) or N-Raw, proxy files will be recorded to the main card). Most people, then, will likely just use it for transferring settings and LUTs, or perhaps for shooting stills.
Battery
The Nikon ZR uses the same EN-EL15c battery as the Z6III. It's a 16Wh battery which powers the Z6III to a respectable 390 shots per charge when shooting photos and 100mins of "actual" video shooting, according to CIPA's standardized tests.
Nikon hasn't provided the rated values for the ZR, but they're pretty comparable: good, but not exceptionally so.
Video capabilities
As you might expect, Nikon is putting most emphasis on the ZR's Raw capabilities, but for many people, good 10-bit Log footage offers a less data-intensive workflow with plenty of editing flexibility (there's a much smaller difference in editing flexibility between 10-bit Log and 12-bit linear Raw than between JPEGs and Raw stills).
Encoded options
The ZR offers plenty of gamma-encoded video options, in a choice of All-I ProRes 422, 10- or 8-bit 4:2:0 H.265 or 8-bit, 4:2:0 H.264 MP4s.
As is often the case, the most data-intensive options aren't available in ProRes. And, like the Z6III, the ZR needs to crop in to an APS-C / Super35 region to shoot 4K/120 or 100.
Resolution
Framerates
Region
ProRes 422 10-bit MOV
H.265 (4:2:0) 10 or 8-bit MOV
H.264 (4:2:0) 8-bit MP4
5.4K
60 / 50
Full-width
No
Yes
No
30 / 25 / 24
Yes
Yes
No
4K (3840 x 2160)
60 / 50 / 30 / 25 / 24
Full-width or 1.5x crop
Yes
Yes
No
120 / 100
1.5x crop
No
Yes
No
Full HD (1920 x 1080)
120 / 100
Full-width or 1.5x crop
Yes
Yes
No
60 / 50
Full-width or 1.5x crop
Yes
Yes
Yes
30 / 25 / 24
Full-width or 1.5x crop
No
Yes
Yes
240 / 200
1.03x crop
No
Yes
No
Raw options
Even if they're not necessarily the easiest options to capture or work with, the ZR's Raw video modes are likely to be the most eye-catching.
The camera can capture either the Red-derived R3D NE Raw or the existing Nikon N-Raw at up to 6K/60. It has to drop to 30p to utilize the more widely-supported ProRes RAW codec.
Resolution
Region
Frame rates
R3D NE
N-Raw
ProRes RAW HQ
6.0K
6048 x 3402
Full-width
60/ 50
Yes
Yes
No
30/ 25/ 24
Yes
Yes
Yes
4.0K
4030 x 2268
Full-width
60/ 50/ 30/ 25/ 24
Yes
Yes
Yes
3984 x 2240
1.52x crop
120/100
Yes
Yes
No
60/ 50/ 30/ 25/ 24
Yes
Yes
Yes
It's worth noting the different ways the R3D and N-Raw modes handle ISO. Currently, most software doesn't support lens corrections for R3D NE, though the format itself does, and they can be added using Red's RedCine-X Pro transcoding software.
Shutter angle
The ZR is the first Nikon camera to let you set exposure in terms of shutter angle, out-of-the-box (it was added to the Z8 and Z6III in firmware, post-launch). This is especially valuable on a camera that can shoot 60 and 50 fps footage as readily as it can 30, 25 or 24p, as it means you can switch frame rates and have the exposure time respond accordingly, avoiding the risk of forgetting, and shooting footage with too high or low a shutter speed, after you switch.
Video image quality
Image Comparison
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As with the Z6III, the ZR's compressed footage is very detailed in both 4K and 5.4K. However, Nikon has clearly changed how it processes this footage, and it appears to be applying less, or more subtle, sharpening than the Z6III.
Compared to hybrid stills/video cameras, the ZR has similar levels of detail to the similar-pixel-count Panasonic S1II, as well as to the Canon EOS R6 III's oversampled 4K mode. However, the Canon's 7K open gate footage provides much more detail than the ZR's 5.4K capture, though it will take up more storage and has to be edited before delivery. The highest-resolution footage you can get from the ZR offers more detail than the Sony a7 V's oversampled 4K footage, though some of that is almost certainly aliasing. That's also the case if you compare the cameras' 4K output, with the ZR's having more aliasing, thus not necessarily representing the scene better. It's also worth noting that the ZR comes in at a substantially lower price point than those cameras (though with a corresponding decrease in stills capabilities).
While bumping up to 60p doesn't come with a cost to field of view or detail, if you want to shoot in 120p, the camera will have to crop down to a smaller APS-C region of the sensor. This results in less detail being captured, as is expected given the extra noise coming from using a smaller region of the sensor, and the higher shutter speeds required for shooting at higher frame rates, though it's the same amount as captured by the APS-C 24p mode.
Image Comparison Slider
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Crop of 5.3K 10-bit H.265 footage at frame 1 of a recording, and frame 21 (click to see full-resolution frames). LUT applied. Nikon ZR | 1/320 | F8 | ISO 800
The ZR shares a video IQ quirk with several of Nikon's other cameras, in that, for around the first second of an H.265 recording, the bitrate is substantially lower, resulting in noticeably softer and blockier footage. While it's certainly a ding against a hybrid camera, having to leave a second of lead time on each of your shots is borderline unacceptable for a video-focused camera.
Three flavors of Raw
The Nikon ZR supports internal Raw recording to three different formats: N-Raw, ProRes Raw, and R3D NE, a format currently unique to it. They all have the common caveats associated with Raw recording – using it will require post-processing (often using specific editing software), and the difference between Raw and Log isn't anything like as great as the difference between Raw and JPEG for stills – but for those that need it, it's available.
As you'd expect, the ZR's three flavors of Raw capture comparable amounts of detail at their 6K settings, though their default LUTs offer fairly different foundations to build your own grade on. Despite the similar image quality each version of Raw offers, there are substantial differences between what it's like to shoot them. You can read our in-depth comparison below.
The ZR's N-Log mode for H.265 does more than just record in a different gamma; it also has a big impact on the amount of apparent detail in the footage compared to the camera's default H.265 color mode. Even with the LUT applied to roughly match color and lightness, the footage is substantially softer. When shooting in N-Log, the camera doesn't appear to apply any of the "Picture Control" adjustments, including sharpening, which may account for some of the visual differences; rather than doing it in-camera, it seems like Nikon is assuming that those shooting Log will want control over sharpening in post.
Despite sharing a sensor, Log footage recorded in H.265 from the ZR clearly has more noise reduction in the shadows than footage shot on the Z6III with the same settings. This noise reduction isn't applied to Raw footage, but for those who would prefer smaller file sizes will have to give up some control over how sharp the footage is straight out of camera. Given the controversy around the Z6III's relatively noisy and sometimes flickering shadows when recording Log, it's not surprising that Nikon has made some changes.
In use: a photographer's perspective
By Mitchell Clark
The Nikon ZR produces the same level of image quality as the Z6III. But the shooting experience is a world apart. Nikon ZR | Nikkor Z 24-120 F4 S | 90mm | F5.6 | 1/160 sec | ISO 200 Photo: Mitchell Clark
As with other video-focused cameras, there will be photographers who ignore the ZR's Red branding to focus purely on the sensor and the boxy shape, reminiscent of a rangefinder. If that's you, we implore you: do not buy this camera.
Of course, it can take stills, and it even has a switch on the top to go between its photo and video modes. But its lack of a mechanical shutter essentially rules out flash photography (it can only sync at 1/60 sec), and means you may have to deal with banding when shooting under artificial lighting. And while I'd welcome a rear display this large and bright on a hybrid camera, I still found myself missing an EVF when shooting pictures with the ZR.
While I, like many of you, would love it if Nikon (or anyone, for that matter) released a camera roughly this shape and size aimed at photographers, the ZR isn't it. It's a video camera that can shoot the occasional still when needed, and should be treated as such.
Conclusion
By Mitchell Clark
Pros
Cons
Great video quality across formats (with a few caveats)
Large, bright screen makes monitoring easy
32-bit float audio relieves stress of clipping audio
Video-specific controls and menus are easy to operate
Autofocus generally capable and controllable
Wide array of recording options with well-controlled rolling shutter
IBIS very capable for vertical shooting
Sensor not the best for Log/Raw workflow
Noise reduction reduces peak IQ in H.265
H.265 footage uses very low bitrate for first second
Card slots inaccessible when camera's mounted
Could use an extra button or two
Screen interferes with audio ports
Some video tools (zebras, focus peaking) need some work
microHDMI and microSD aren't wonderful
Open-gate would've been a nice option
As the Nikon ZR is a video camera, we thought it best to present the majority of our conclusion as a video, primarily shot using the ZR and with lots of sample footage.
To briefly summarize: on the vlogging to production workhorse spectrum, the ZR sits far closer to the Sony ZV-E1 and Panasonic S9 at the vlogging side of things, rather than on the S1H and FX3 side. But for those who are looking for that kind of camera, which will likely be the majority of shooters, it's remarkably capable at that job.
The ZR has a few first-gen quibbles, which isn't necessarily a surprise. As it stands, it feels like Nikon was able to incorporate some of Red's expertise as it finished up the ZR, rather than building it from the ground up with that knowledge. What's there is quite good, but it'd be interesting to see what a version of this camera would look like if that production-focused perspective were available earlier in the process.
Nikon also seems to already be taking some of the user feedback to heart. At the time of writing, the company is promising a firmware update to the ZR that will:
Allow users to record using the more sophisticated Log3G10 in H.265, instead of being stuck with N-Log
Bring "general quality improvements" to H.265
Let you use focus peaking and view assist concurrently when shooting in R3D NE
Add a further compressed version of R3D NE, as is available when shooting N-Log (a big help in the time of skyrocketing storage costs)
If all of that comes to fruition, the ZR will be further refined as everyday vlogging/video camera. And while it may not be the best pick if your intent is a multi-operator, budgeted production, its very competitive price certainly makes that easier to accept. This capability, combine with a price that makes the camera punch a fair bit above its weight, earn it our Gold award.
Scoring
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Nikon ZR
Category: Mid Range Full Frame Camera
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Optics
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The ZR is one of the best vlogging cameras we've seen, providing plenty of headroom for expanding your production values.
Good for
Vloggers and YouTubers
Owner/operator video producers
Not so good for
People who care about stills
Professional productions
90%
Overall score
Compared to its peers
Compared with Nikon's own Z6III, the ZR is the obvious choice for video-first shooters, thanks to its larger, brighter display with video-focused menu, 32-bit internal float, and the option of using the more sophisticated R3D NE format. By default, the ZR sharpens its footage less, which we find to provide a better starting point for editing, though it also has more aggressive noise reduction, which is especially noticeable when shooting H.265 in Log. That means you lose a touch of detail in the shadows, but we'd consider it a fair trade-off (and one that could be fixed with a firmware update). For anyone intending to regularly shoot stills, though, the Z6III will be a much better option.
Looking at the Panasonic S9, its lack of internal Raw, rock-solid IBIS and ability to burn LUTs into your footage signal its role as a more beginner vlogging camera focused on providing ready-to-output footage. If you do want to edit, though, it also provides open-gate shooting, a feature the ZR lacks. While the S9 is a relatively capable video camera, especially given its price, the ZR is more well-rounded with its faster sensor with better rolling shutter rates and full-width 4K/60, 32-bit float audio and large screen. We also prefer its autofocus and controls, and the fact that it has a headphone jack for monitoring.
While we haven't tested the Sony FX2, we are familiar with its sensor, which has much slower readout speeds and requires a crop to an APS-C region to do 4K/60, which the ZR does not. Unless you have a very specific need for a production-focused camera, the ZR is a much better choice, thanks to its faster sensor, 32-bit float audio, choice of Raw and Log workflows, and larger screen. The FX2 will likely have cleaner footage in the deep shadows, and has a mechanical shutter and EVF for stills, but those qualities can also be had in cameras much better suited to both stills and video than it.
Adobe has rolled out a handful of updates to Photoshop and Lightroom aimed at smoothing out common editing bottlenecks. The latest additions include tools for composite photos, organizing complex files, finding images with natural-language search and managing work from large shoots.
In Lightroom, Adobe is delivering on some features it showed off at its Adobe Max conference in October of last year. One is the improved search functionality, which allows users to search with natural language, much as they may be accustomed to in cloud-based photo management tools from the likes of Apple and Google. It was previously available in Lightroom for the Web, but is now available in the desktop version as well.
The AI Filters in the Assisted Culling tool allow users to quickly sort out images that are in focus.
Image: Adobe
Another Max-previewed feature that is now fully available is Assisted Culling, which makes it easier to sort through large quantities of images. The tool is an AI-powered filter that allows users to quickly narrow down images by sorting out those that are properly exposed and in focus. It gives users control over how picky they want to be, and still lets them select or reject images that the system would have done the opposite.
Speaking of speed, Adobe says that interactive slider performance will be five times faster in this update. It's also added support for all Sony a7 V formats, since it previously didn't support the new compressed Raw format Sony introduced with that camera. Lastly, there are new film-inspired presets for those interested in editing to create a more retro look.
The Rotate Object tool is found in the Contextual Task Bar, making it faster to access transformation tools.
In Photoshop, Adobe has made its Rotate Object tool widely available, following the feature's public beta release in March. Rotate Object makes it much easier to refine composite images, saving users from the traditional multi-step process of adjusting an object's position with separate Transform tools. It essentially turns a 2D object into a rotatable 3D image, allowing users to adjust its angle and perspective in real time to make it fit more naturally into a scene.
Adobe also added a Layer Cleanup tool to Photoshop, which can streamline and declutter files by renaming layers and automatically removing empty ones. Plus, Firefly Boards are now integrated with Photoshop, making it easier for creatives to move from concept phases to final execution.
All of the new features are available in Photoshop and Lightroom as of today.
NASA astronaut and Artemis II commander, Reid Wiseman (foreground), and CSA (Canadian Space Agency) astronaut and Artemis II mission specialist, practice lunar photography at NASA's Johnson Space Center in Houston.
Photo: NASA / Kelsey Young
The Artemis II mission came to a successful end a few weeks ago, but excitement over the historic journey remains high, thanks in part to the remarkable photographs the four-person crew captured aboard Orion. It turns out those images were successful because the astronauts were doing more than pointing a camera out the window and hoping for the best. Before launch, they received dedicated photography training to help them document the Moon, Earth and the spacecraft’s journey between them.
In an Instagram video from Reuters, NASA flight operations imagery instructor Paul Reichert explains the photography training process for astronauts. He says that when individuals are first brought on as astronauts or astronaut candidates, they receive about four to six hours of training from him and his fellow instructor, Katrina Willoughby. The goal at that point is to bring them to a basic level.
Before astronauts are assigned to a specific mission, Reichert says they may take some classes and have the opportunity to check out gear to get familiar with it. Then, once an astronaut is assigned to a mission, they have about 10 classes, which he says amounts to about 20 hours of training.
The crew practiced for the mission using an Orion mock-up and a large, inflatable moon.
Photo: NASA / James Blair
According to the Rochester Institute of Technology (RIT), Willoughby and Reichert, who are both alumni of the RIT photographic sciences program, worked with the Artemis II crew for two years to ensure they were fully prepared. Mission pilot Victor Glover said their training included on-the-ground drills that involved taking pictures inside a mock-up of the Orion capsule, according to Reuters.
"Most people can use a camera and get a photo that is good enough, but good enough isn't what we're after scientifically. We’re really teaching the astronauts how to go beyond the basics," Willoughby says in the RIT article. "Being able to understand how to use the equipment, and what the options are, gives us a lot more capability."
Artemis II Pilot Victor Glover and Mission Specialist Christina Koch gather images and observations of the lunar surface to share with the world during the lunar flyby on the sixth day of the mission. The crew spent approximately seven hours taking turns at the windows of the Orion spacecraft as they flew around the far side of the Moon.
Photo: NASA
Images taken on such missions play an important role in research, but their importance goes beyond that, too. "There are pictures we want to get, and then there are pictures that the team is depending on. The imagery is their data," says Willoughby. "If something breaks, for example, we need a picture or video to show us on the ground what's going on. Sometimes, the imagery is what is needed to move forward, so it is important that the crew can get it right the first time."
A Reuters article also details the camera gear chosen for the mission and why those particular devices were selected. We've seen lots of questions here at DPReview about why NASA opted for the Nikon D5, a decade-old camera. The answer appears to come down to what was tried and tested. "We had a lot of flight experience with it," Reichert told Reuters. "We knew it could handle radiation, at least several years of radiation dosage on the ISS, and it didn't have any problems with it."
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The Thypoch's first autofocus lens is an F2.8 for full-frame.
Photo: Mitchell Clark
Over the past few weeks, lens maker Thypoch has been teasing the release of its first autofocus lens. But rather than entering the world of autofocus with a prime, as many of its peers have done, it's introducing the first China-designed and developed zoom for full-frame. And it's an F2.8 zoom, at that.
How has the company gone from making M-mount manual-focus primes to an F2.8 zoom for full-frame? Quickly, says the company's Go-to-Market manager, Xavier Luo. "The project began at the end of 2024," he tells me: "and it's taken almost a whole year to make the lens ready for large-scale manufacturing."
"In China, this would be considered quite a long time," he says, when I express surprise at the short timescale.
I ask him to expand on why the company decided to jump straight to zoom lenses, and why this particular specification. "We are very good at making zoom lenses," he tells me: "we have a cinema lens background and already make dozens of [manual focus] zooms. Two times, three times, even ten times zooms for full-frame, APS-C and Micro Four Thirds, so we have a lot of experience."
"It's taken almost a whole year to make the lens ready for large-scale manufacturing"
And, there's a degree of pride at stake, too, he suggests: “There’s strong anticipation across Asian markets, with Chinese users in particular eager to gain a wider choice of lenses, because the Chinese brands’ prime lenses have become more and more competitive both in terms of price and optic performance. These people are hoping to get a some kind of zoom product in the market so that maybe people can buy a zoom lens with a prime lens price."
Why 24-50mm?
The company settled on a 24-50mm as its first product for a number of reasons, Luo tells us:
"We know it has a lot of controversial points." he says: "The core value of the zoom lens is zoom, right? So people are arguing [about] that in the Sony 24-50mm comments. But we noticed that people are getting more and more focused on a lightweight lifestyle in recent years. People are trying to get more lightweight cameras, lightweight bags and lightweight everything. A 24-50mm can cover the daily use, or for your travel."
Thypoch's, Go-To-Market Manager, Xavier Luo
Photo: Thypoch
The other critical factor was that they believed this range would let them make a better lens. "[we didn't want to be] too ambitious, and make a 24-70, that kind of zoom lens," Luo tells us.
"When making zoom lenses, the biggest difficulties is to have a well-controlled distortion and at the same time have a really good sharpness," he says: "We think making a 24-50 means we can control it really well both in terms of sharpness and other [factors, such as] spherical aberration and distortion."
Some of this comes from it taking a different approach: "If you shoot with the Sony 24-50mm original lens with in Raw you may notice that it has in-body distortion correction," he says: "Third-party zoom lenses can be limited by the body communication protocol."
"We think [Sony] has a more open attitude towards third parties"
"In-body distortion correction means you have a perfect JPEG file but you don't have that in the Raw file. So for optical designers, it gives convenience: they don't have to worry too much about distortion, and that's a big deal, because they have only focus on the sharpness side. But for us, it's totally different: our designers have to look at both factors."
Shenzhen Dongzheng Optical Technology has already made a range of manual focus cinema zooms under its DZOFilm brand name.
Image: DZOFilm
"We asked Sony, but we didn't get any official confirmation," he tells us: "we actually want to pay the protocol license fee, but we couldn't get any official reply. We think they have a more open attitude towards third parties."
Challenges
We asked what the biggest challenge was of developing an autofocus zoom for the first time: the optical design or the mechanical design. "It's the physical design," Luo tells us: " more specifically, it's the software and electronic parts because in the autofocus lens domain, the level of the electronic and software decides the maximum optic performance in the lens."
"It's totally reversed, compared with manual lenses," he says: "with manual lenses, the optic performance leads the mechanical design. But, you know, [for autofocus] it's totally different: it depends on how much weight the lens motor can drive and the precision it can deliver."
The company developed its own STM motors for the task. "I think still 90% of lenses use STM focus motor," he says. The company spent a lot of time working on making sure focus speed was competitive, and that focus is precise and doesn't hunt in video. "we tested the autofocus precision in a lot of scenarios and to make sure [it performed well] whether people are using it for photography or video."
Internal zoom
Unlike the Sony 24-50mm F2.8, Thypoch's design features internal zoom and does not requre any software distortion correction.
Photo: Mitchell Clark
As well as a design with no software distortion correction, there's another obvious difference between Sony's 24-50mm F2.8 and Thypoch's lens, despite the similar dimensions and weight: the Voyager 24-50mm is an internal zoom design.
This has a benefit beyond just retaining the lenses' compact dimensions, says Luo: "it's better for people who are trying to make vlogs or short video, when they are using the lens on gimbals or even if they are [working] handheld."
The logic of E-mount
For now, the company is focused on the E mount for two reasons, we're told: "We think Sony E-mount has the biggest user group, and [we think] this lens fits the Sony Alpha users' interests. But we are still waiting to see what's happening in this industry, but our focus is just on E-mount right now."
"Our focus is just on E-mount right now"
But also, given the recent history of other manufacturers taking non-licensees to court, "Sony has a more open mind for third-party lenses."
Thypoch hasn't revealed all the details of the 24-50mm F2.8 yet. It's already publicly teased that the lens is coming, and shown it at the NAB trade show in Las Vegas. We're hoping this means we don't have to wait too long for the rest of the details, including the price, to be made public.
"I think when we reveal the price, people will be surprised by the high quality performance ratio of this product."
Thypoch Voyager 24-50mm F2.8 Sample gallery
We've been shooting with the Thypoch 24-50mm F2.8 and have produced this gallery of sample images. As always, you can download the Raw files, to see how it performs.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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This month, we returned to the analog roots of photography: film. DPReview photographers made every grain count, with photos ranging from the serious to the whimsical. What made this challenge even more interesting was the fantastic variety of cameras used to capture this month's images!
As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.
Photographer's statement: I found a box of color slides I shot back in 2006. It was never digitized, and it was basically just an experiment as I was getting into photography. I decided to try to digitize them using a DIY method. The race was an American Le Mans race at Mosport, Canada.
The camera was a Minolta Maxxum 7, probably with a Minolta AF 300 F4 G APO. The "scanning" was done with a Sony a7 IV and a Minolta 50mm F2.8 Macro, using an LED light to backlight the slide, then post-processed in DxO PhotoLab.
Film: Fujifilm Velvia 100
Equipment: Minolta Maxxum 7 + Minolta AF 300mm F4 G APO
Photographer's statement: While traveling in the old Soviet Union with a small group, I was able to visit a small ballet school in St. Petersburg. The young dancers were very excited to perform for us.
Photographer's statement: A long exposure of city traffic on Rue de la Loi, Brussels, at blue hour. The saturation from the Kodak Ektar film makes the cool blues and vibrant reds pop. This is the heart of Brussels' European Quarter, with veins of light running to the horizon.
Shot with a medium-format Altissa Box camera made in the early 1950's that I inherited from my grandfather, with an ND filter duct-taped on. I developed the film at home.
Photographer's statement: Shooting at ringside in Roanoke, Virginia, I experienced my first and only professional wrestling match, shooting for a long-gone local magazine. I had to dodge several wrestlers flying over the ropes.
I used an on-camera flash. The negative was scanned using an iPhone 13 Pro with a homemade negative holder/camera mount.
Photographer's statement: Best concert of my life. Led Zeppelin, April 30, 1977, at the Pontiac Silverdome in Michigan. A shot of Robert Plant singing one of their iconic songs, "Stairway to Heaven." One of the frames from that photo shoot was chosen by the band and published in their only book. I was paid for the shot and given a photo credit; my name appears in the book.
Shot handheld, fully manual, I guessed on the focus and exposure since I could not see the performer due to the large crowd at the front of the stage. I made the shot by shooting overhead without looking through the viewfinder and got lucky.
Photographer's statement: Although this photo was taken only last year, I did my best to create it in the "period-correct" fashion. The location was Zagreb-Fair, with Yugoslav-era brutalist architecture, to suit the French hot hatchback from the '80s.
Photographer's statement: This was my first rodeo, both as photographer and spectator. The thing about this rodeo was the location, a purposely picturesque arena built at the Old Tucson Studios, a movie set for westerns popular in the '50 and '60s. Having played and watched sports, I knew what to expect, plus the arena was not large, meaning with the Canon EOS 300mm f2.8 lens, the events were easy to focus on. Walking around with a big white lens, everyone assumed I was a pro, which I was not, but faked it. The camera was a Canon EOS 10s.
Photographer's statement: A son of mine in the French Alps in 1992. It was difficult at that time to shoot quickly! I had someone telling me when the jumper (my son) reached the top of the small hill.
Photographer's statement: I believe this is one of the best photos I have ever taken. This was taken in 1985 in Venice, on a Pentax ME Super with, I think, a 50mm F1.7 lens. I saw these guys having a chat as I was crossing the bridge. I framed the shot, then shouted "Hey" and took the photo. Scanned on my Nikon Coolscan LS9000.
Film: Ilford XP1 400 Chromogenic B&W
Equipment: Pentax ME Super + SMC Pentax M 50mm F1.7
Photographer's statement: Film is an "antiquated," finicky, and less flexible medium when compared to digital. But as someone who enjoys photography for the process itself more than the end result, those restrictions, uncertainties, and quirks are exactly what draw me to film in the first place. This photo, which is my favorite I have shot on film to date, is a perfect example of all of the above.
Shot near Times Square, my Canon A-1 experienced a film advance fault for the first time, resulting in an unintended partial double exposure of two shots meant to be separate. The end result is far more interesting than either of the shots would have been on their own, and never would have been possible if I hadn't fallen in love with a 47-year-old camera that costs me $1 every time I press the shutter. But hey, who's counting when they sometimes turn out like this?
Photographer's statement: This waterscape was taken on a photo tour trip in 2017 to the southern region of Iceland. Our participants all shot digital, while I made it a challenge to shoot only medium format film on this trip. I went with 30 rolls of Ilford Delta 400 120 film and used a Hasselblad 501c and 80mm lens. I also used a Sekonic meter and spot metered on the highlights, mid-tones, and shadows, then calculated with a 10-stop filter attached. I don't remember the exposure time now, but it was a couple of minutes.
Photographer's statement: This black-and-white analog photograph captures the interior staircase of the Rostiger Nagel, or "Rusty Nail," a landmark viewing tower in Lauchhammer, Germany. It symbolizes the transformation of a former industrial mining region. From a low angle, the structure dissolves into an abstract interplay of lines, shadows, and geometry. The repeating steps and intersecting beams create a disorienting spatial rhythm, reminiscent of M.C. Escher's impossible architectures.
Film: Kentmere 100
Equipment: Pentax ME Super + Pentax SMC M 28mm F2.8
Photographer's statement: I was driving in Glacier National Park when I came across this scene of Jacob's Ladder over Lake Sherburne. I thought at the time that this would be the most spectacular scene that I would ever encounter. I told myself that I had to get this picture right. I think that I did. To this day, I have never come across a view that was this dramatic.
Photographer's statement: I was strolling through the old town of Annecy, France, when I spotted this spot high up. But something was missing, so I waited until this man appeared. This photo is an 11x14 print from the '70s that I have hanging on a wall. Since I couldn't scan it, I took a picture of it with my Nikon D90. At that time, I had a black Nikon F, which I was very proud of, with a micro Nikkor 55mm and a 24mm Nikon lens.
Photographer's statement: While visiting my paternal grandfather at his home in Arlington, Massachusetts, in late May of 1981, I asked to take a photograph of him. He was pleased with my request and sat in his reading chair with the portrait of his mother on the wall behind his right shoulder. She died in 1910 when the first automobile in Huntingdon, Tennessee, scared the horse that was pulling her carriage, and it bolted, throwing her to the ground. A few months after this photo was taken, he moved to a retirement home and lived until the age of 95.
I took this photo with my trusty Canon FTb and probably a Canon 50mm F1.8 lens. No flash; light from a large window to Floyd's left provided fill light. I used slide film, probably Kodachrome, speed unknown. To produce this digital file, I photographed the slide with a Sony a7R III and a Tamron 24mm F2.8 lens as a backlight. I made color balance and highlight/shadow adjustments to the file to correct for a purplish hue and to normalize contrast.
Photographer's statement: I live in the south of France. And not far from my place are a bunch of open submarine caves where you can paddle inside and ride through them. This time I carried my mostly waterproof Nikonos V with me, and my black and white film to go. It's quite dark inside, and the silhouette effect makes it look like a drawing.
Photographer's statement: For the 1986 centennial and restoration celebration of the Statue of Liberty, I set up on the roof of my apartment in Brooklyn, NY.
Shot using Bulb mode at F8. A Black card was raised and lowered while the shutter was open. About two, three or four bursts were recorded without bumping the camera.
Photographer's statement: Milkweed pods are one of my favorite subjects for still life. Shot on my back deck to allow the fluff to fly where it will. Wind helps to create an interesting and dynamic composition.
Photographer's statement: This photo was shot back in 2013, when film was out of fashion and buying a Hasselblad 500CM with an 80mm lens was quite cheap. I remember that I paid 500 Euros for the set and went out to Prague to capture the beauty of the city. I decided to use slide film because I wanted to be able to hold these colorful little 6x6 slides in my hands and look at them against the light.
Digitized with a Sony a7 IV and a Cinestill CS Light source.
Photographer's statement: Last December, I was in Florence. Crossing one of the bridges, I noticed a young woman gazing out over the river. Quietly, I stood behind her and caught this moody frame.
Insta360 is partnering with Leica on the development of the upcoming Luna gimbal cameras (previously reported here). Here is a recap of rumored/leaked Insta360 Luna camera specifications:
Leica co-engineering: Optics, color science, and full-chain calibration tuned by Leica for premium image quality and “Leica look.”
Sensor and lens (main/wide on both models): 1-inch CMOS sensor, f/1.8 aperture (some hands-on reports specify ~18–20mm equivalent focal length), 14 stops of dynamic range.
Luna Ultra only: Dual-lens design with a secondary telephoto lens (1/1.3-inch sensor, ~70mm equivalent, f/2.8 aperture) for enhanced zoom performance.
Zoom: Variable focal length with 1–6× lossless zoom (optical component reportedly up to ~3.9×); early leaked footage shows a 12× zoom toggle in use.
Video capabilities: 10-bit color (hands-on mentions 10-bit iLog), smoother transitions in highlights/shadows; rumored 4K up to 240 fps slow-motion and Dolby Vision HDR support.
Design and features: Pocket gimbal form factor (Osmo Pocket-style); possible modular/detachable gimbal head; Insta360’s AI stabilization and Deep Track 3.0 subject tracking; physical controls, flip-out/rotating touchscreen.
Colors and variants: Two distinct color options per model
Battery: reportedly around 1,550 mAh
Other: Pairs seamlessly with the new Insta360 Mic Pro
Update: the two lenses are 20mm/1.8 and 60mm/2.0 (see the added picture at the top). The 20mm lens module has a 1” sensor; the sensor in the 60mm module is unknown for now.
Here is the official statement from Insta 360 on the new Luna camera from the 2026 NAB show:
Members of the media and NAB attendees were among the first globally to preview the upcoming Insta360 Luna Series, co-engineered with Leica, which includes Luna Pro and Luna Ultra. The series features a large 1-inch sensor, a bright F1.8 aperture, a variable focal length, and support for 10-bit color for smoother, more natural transitions in light and shadow, capturing more nuanced and detailed color straight from the camera. Luna Pro features a single-lens design, while Luna Ultra features a dual-lens design and enhanced telephoto performance. Luna Ultra and Luna Pro were both being teased at the booth, and will be available in two distinct color options.
An Insta360 Luna gimbal camera sample video was posted by the CEO and can be found here. He said the following:
Previewing Luna 1-6x shooting results, highest resolution can be chosen includes 4k Dolby Vision. Of course 6x and 4k are not the end, we hope we can do more in “let users have more choices”. Repost and comment the Luna function you expect the most, May 15 will chose three people to buy the new product at 69 RMB.
Here is another Insta360 Luna Ultra sample footage:
Connexion
