There's a lot of rigging equipment in this GoPro video. Image: GoPro

GoPro has released an epic 7 minute long video to mark the launch of its next-gen Mission 1 and Mission 1 Pro action cameras, and to further tease the interchangeable lens model that's due out later this year. As you'd probably expect, it contains a lot of footage shot on the cameras, but it also has some behind the scenes shots that reveal exactly who its interchangeable lens camera is aimed at.

A quick refresher: the Mission 1 series cameras are built around a 50MP Type-1 (128mm²) sensor, and can shoot at 4K/120 open gate, and up to 960fps in FullHD. The Pro models can also shoot 8K open gate, while the standard Mission 1 is limited to 16:9 8K. While the Mission 1 and Mission 1 Pro have the integrated wide-angle lens we'd expect from an action camera, the Mission 1 Pro ILS instead has a Micro Four Thirds mount.

Back to the video. A lot of it is what you'd expect from GoPro: lots of slow-motion, people doing things that most of us would break our necks attempting, etc. And while the standard action cams are shown being used in a variety of ways, most of the Mission 1 Pro ILS' screen time is in a rig. Someone's either using it with a top handle an external monitor, flying it on a crane or wire, or holding it with a follow-focus.

There are a few fleeting shots of people using it as just a handheld camera with no accessories, but the message is pretty clear: the ILS is a camera mainly for professionals, and is designed to work on productions with a crew. It's not an action or vlogging camera, it's an inexpensive cinema tool that you can put anywhere to get decent-looking slow-mo, without being tied to the typical ultra-wide look that's been a staple of the company's previous products.

This is one of the few shots in the video where we see the Mission 1 Pro ILS being used without a ton of accessories, but it's still in the hands of a professional who seems to be shooting a commercial. Image: GoPro

Of course, it's not like companies never use pro-looking setups to market cameras to consumers. Apple famously shoots its events using iPhones (and thousands of dollars of accessories, grip and lighting equipment), and uses the fact that some directors shoot movies and TV with them in its marketing. But I don't think that's what's happening here, at least for the ILS.

For one, we've seen no indication that it'll include any sort of autofocus capability – the cameras in the video clearly don't have any pins for lens communication – which would exclude most of the audience looking to use it as a pocket cam. If that's the case, anyone seriously using it will also probably need to rig it out with at least an external monitor; try pulling focus using the built-in 2.59" display.

It was also launched at the NAB Show, an event put on by the National Association of Broadcasters that mainly focuses on pro video gear. GoPro's website also specifically calls out that the ILS is designed to provide "versatility for professionals."

It's exciting to see GoPro taking the cinema market really seriously

As a photography enthusiast, it's a bit of a disappointing message to receive. My last bits of hope about this being a workable tiny ILC for photography are pretty much dashed, though I'm sure there will still be people who will try using it for that purpose.

But as something of a videographer myself, it's exciting to see GoPro taking the cinema market really seriously. Sure, shots from its action cams have shown up in lots of movies already, but it seems like the Mission 1 Pro ILS will be much more capable for a wider variety of shots, rather than being relegated to the crash cam that captures a crucial half second of footage before being written off on the insurance.

The Mission 1 Pro ILS is due out in Q3 this year, so there's still a while to wait and see whether GoPro's bid to court professional videographers will be successful. If it is, the company may have just found a way to stay competitive in a market with an increasing number of very good options.

At the P&E show in China, Viltrox cut an AF 35mm F1.2 LAB FE N lens in half and took pictures with it. Unlike other cut lenses we have seen in the past from various brands, the Viltrox lens was actually functional, and the company published the pictures:

 

View this post on Instagram

 

A post shared by VILTROX (@viltrox.official)

All new lenses from the 2026 China P&E Imaging Show (update #3)

The post Viltrox cut a lens in half and took pictures with it – here are the results appeared first on Photo Rumors.

The latest OM System deals in the US, UK, and Germany

Micro Four Thirds organization: the YoloLiv 18mm f/1.4 lens does not operate properly on Micro Four Thirds cameras

Act fast: the Mandler 35mm f/2 “Seven Elements” lens is back in stock (limited quantities)

Leica Q camera appears in the new James Bond 007 video game as a “Shockwave Camera”

Thypoch released a new Simera-C 16mm T1.9 cine lens and a six-lens cinema kit for Leica M-mount

Sony a7IV 6.02 and a7SIII 5.01 Firmware Updates Released

Sigma Patent P2026079898: The Ultimate Prime Trio Unveiled – 85mm F1.2, 105mm F1.4, and 135mm F1.4

Canon EOS R1, EOS R5 II, EOS R50V, and Powershot V1 Firmware Updates Released

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

TJ Walton, Xiaomi's Senior Product Marketing Manager and Global Spokesperson (center) and Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division (right), answer questions from the press. Photo: Abby Ferguson

The best camera, as the saying goes, is the one that's always with you. For most of us, that's a smartphone, and it's been that way for years now. Smartphones haven't just made photography more accessible, but have fundamentally changed the way we communicate.

And, of course, we all want our smartphone cameras to get better – many of us fantasize about the day our phone will rival our dedicated camera – and the smartphone manufacturers know it. That's why every one of them dedicates an outsized portion of each product launch to camera upgrades.

Smartphone cameras have been getting better, but as any camera enthusiast knows, what you can eke out of these cameras is, to some degree, gated by physics. In recent years, the conventional wisdom has been that most improvements to smartphone cameras will come from software, including improved computational techniques, machine learning and AI.

It's certainly a topic we've covered here at DPReview on multiple occasions. But it's not just us: computational photography is widely understood to be the key to smartphone image quality.

In recent years, smartphone manufacturers have largely depended on computational photography and AI technologies to improve image quality. The diagram above illustrates how Google Pixel's Night Sight feature combines data from multiple images to create a single, higher-quality image. Image: Google

This week, a senior Leica engineer offered a counterpoint to that conventional wisdom: that lenses in smartphone cameras still have room to meaningfully improve.

At a joint Xiaomi/Leica launch event for the new Xiaomi 17T and 17T Pro smartphones, Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division, told DPReview:

"There's still a lot of room for improvement in smartphone optics. Of course, the miniaturization is always a challenge, not only in optics, but also in the rest of the components, like the sensor, the focusing motor, stuff like that. Leica will do its best to keep improving where we have the expertise, which is the design of lens elements, to produce the best image possible."

"There's still a lot of room for improvement in smartphone optics."

That's notable because one thing we don't often hear smartphone manufacturers talk about is optics or lenses. They love to talk about computational techniques like multi-frame stacking, scene detection and night modes, and they love to talk about sensors, including the fact that they're making them bigger, faster, and, most importantly (at least from a marketing perspective), at ridiculously high resolutions.

In fact, in most cases, the only thing we hear about lenses has to do with increasing zoom ranges, and those headline zoom numbers are often digitally derived rather than optical. (Smartphone manufacturers might also reliably predict that consumers' eyes will glaze over the moment someone starts talking about optical formulas in the middle of a keynote.)

Hearing Leica's head of engineering for mobile say optics is still a bottleneck cuts against that grain.

We spoke with Pablo Acevedo Noda (right), Head of Development and Engineering for Leica's mobile division, at a joint Xiaomi/Leica event in Vienna, Austria. Photo: Abby Ferguson

What makes the comment noteworthy is its source. Acevedo Noda isn't a marketer – he's the lead engineer for Leica's mobile business, the optical side of the Xiaomi/Leica partnership. And he's stating that there's "still a lot of room for improvement in smartphone optics" at a co-branded launch event focused on camera features.

Leica and Xiaomi began co-engineering smartphone cameras in 2022, with Xiaomi's flagship phones featuring Leica-branded cameras. So when Acevedo Noda suggests there's still room for improvement, he's talking about hardware his own team has been working on for four years.

To be clear, Acevedo Noda isn't claiming optics are the biggest limitation on smartphone image quality – he even highlighted the importance of computational photography in smartphones – but he's calling out that the optics still have meaningful room to improve. Of course, Leica is an optics company, so you might expect it to say that, but if any company has earned the right to say it cares about optical quality over the years, it's Leica.

"If any company has earned the right to say it cares about optical quality over the years, it's Leica."

But it's also true that smartphone lenses have to cope with some pretty brutal design constraints. Lenses can only be as deep as a phone's design allows, and we all know manufacturers love making thin devices (I'm looking at you, Apple). That's a real engineering problem: working within a few millimeters of space, engineers turn to things like aspheric elements and exotic coatings to squeeze more out of a lens formula.

One thing we took away from the Xiaomi/Leica event is that Leica definitely has an opinion on what photos should look like, and Acevedo Noda wasn't the only Leica executive to weigh in on the company's image quality philosophy. Marius Eschweiler, Vice President of Leica's mobile business unit, explained that the company had to have "a very tough conversation" with Xiaomi about the look of photos from its co-branded phones.

Although that comment was made in the context of the aggressive processing and tone curves typically applied to smartphone photos, it suggests that Leica isn't just stamping its logo on a phone as a marketing exercise, but has a real interest in making sure images hold up to its own vision of what a camera should produce, optically and aesthetically.

If Leica can leverage its century-plus of optical design experience to develop lenses or lens technologies that advance smartphone image quality, that's a win, not just for its own customers, but for customers of other brands that are trying to keep up with the Joneses. Or, in this case, the Leitzes.

Owlkrown released a new FlexGrip for Fujifilm X100VI cameras (the X100VI is still out of stock!) – here are the details:

• The Owlkrown FlexGrip for the Fujifilm X100VI was designed to integrate naturally with the camera body, extending the original form of the X100VI into a grip that feels unified, balanced, and complete in the hand. The design follows the geometry of the camera closely, preserving the compact nature of the system while significantly improving handling and stability during everyday shooting.
• Machined from solid aircraft grade aluminum, the FlexGrip maintains an extremely lightweight construction while delivering the rigidity and precision expected from a professionally machined component. Every surface, radius, and transition was engineered to feel seamless against the body of the camera.
• An integrated AirTag compartment adds discreet traceability without altering the external profile of the grip. Hidden within the structure, it allows photographers to keep track of their camera system without relying on external accessories or cases.
• The built in Arca-Swiss compatible profile allows direct tripod mounting without requiring additional plates or adapters. Two integrated 1/4”-20 threaded mounts provide additional flexibility for tripod positioning and accessory mounting depending on shooting style or setup.
• Inside the grip, a silicone padded interface protects the camera body while creating a secure, vibration resistant fit. The side integrated lug allows attachment of wrist straps or alternative carrying configurations including portrait carry setups.

Some Owlkrown are sold at B&H Photo.

More Fujifilm X100VI accessories can be found here:

The new Viltrox conversion lenses for Fuji X100 cameras are now in stock

New: IDSworks foldable thumb grip (thumb rest) for Fujifilm X100VI cameras

Freewell launched the “Real Lens Hood” designed for Leica Q3 43, Fujifilm X100VI/GFX100RF, and RicohGRIII/x cameras

New: Fujifilm X100VI “Slim Skin” case by Akaralabs

Screen covers, dial locks, and leatherette accessories for Fujifilm cameras

Just announced: IDSworks grip for the new Fuji X100VI camera

The post New: Owlkrown FlexGrip for Fujifilm X100VI cameras appeared first on Photo Rumors.

Another clickbait story is circulating the Internet:

“Sony is working on a new display technology for its Alpha cameras after 2026/Q3”
“New rumor suggests upcoming Sony cameras could have noticeably better battery life”

Editors are publishing made-up stories without even doing a simple Google search. The article in question is a 2011 research paper by Korean academics and has nothing to do with Sony or any upcoming Sony cameras. Here are the details:

The 2011 paper (“Full-Color LCD Microdisplay System Based on OLED Backlight Unit and Field-Sequential Color Driving Method”) was written by researchers from Daegu Gyeongbuk Institute of Science and Technology (DGIST) and Catholic University of Daegu in South Korea. It describes a prototype 0.7″ FSC (field-sequential color) LCD microdisplay using a custom 0.76″ patterned RGB OLED as the backlight unit (BLU), combined with a high-temperature polysilicon (HTPS) LCD panel supplied by ILJIN Display Co., Ltd. (a Korean company).

There is no mention of Sony anywhere in the paper (including the authors, acknowledgments, references, or experimental details). The work is independent academic/industrial research from Korean institutions focused on low-cost, high-efficiency microdisplays for potential use in viewfinders, projectors, HMDs, etc.

Sony does not appear to be implementing (or planning to implement) this specific technology. Sony’s actual microdisplay approach: Sony Semiconductor Solutions develops and uses direct-emissive OLED microdisplays (OLED-on-silicon/OLEDoS) for electronic viewfinders (EVFs) in its cameras. These are self-emissive panels with high resolution, contrast, and fast response – no separate backlight or color filters in the same way as the paper’s LCD + OLED BLU design. Sony has released multiple generations of these for Alpha cameras and AR/VR applications.

In short, the paper is unrelated to Sony, and while Sony is exploring FSC-based LCD improvements for efficiency in future cameras, there is no indication that it involves the specific OLED-backlit microdisplay approach described in the 2011 paper.

You can download the original PDF research paper from 2011 here.

The post No, Sony is not working on a new display technology that will noticeably improve battery life appeared first on Photo Rumors.

A quick update to my previous post: Panasonic now has one registered but not yet announced new camera under the code name P2503A:

• Panasonic P2409A: Wi-Fi 5 and Bluetooth. This could correspond to the new Lumix L10.
• Panasonic P2501A: Bluetooth only, no Wi-Fi. This could correspond to the Lumix ZS300/TZ300, which was announced on March 24th.
• Panasonic P2303A: Wi-Fi 5 and Bluetooth. It was registered on September 28th, 2023, so it may correspond to an abandoned project.
• Panasonic P2503A: Wi-Fi 5 and Bluetooth, not yet announced.

Panasonic still has four registered but not yet announced cameras

Thanks, Mistral75!

The post Update: Panasonic still has one registered but not yet announced new camera appeared first on Photo Rumors.

DPReview's Community Manager, Mathew Anderson, shamelessly presenting an ice cream cone as if it were part of Ikea's product lineup. Ice cream cone courtesy of Ikea's cafeteria. A symbol of his light-hearted but still serious attitude toward community development. Photo: Mathew Anderson

Greetings, DPReview community!

A lot happens across the community every month: lively discussions, feature articles spotlighting community members and their gear, photo events and more, and much of it naturally won't be seen by everyone. As DPReview's Community Manager, I want to change that as much as possible. In this "What you missed" roundup, I'll highlight some of the best community activity from the past month, including some of the things that didn't make it into articles.

Here's just a sampling of what happened in May.

What's in your bag? A community member spotlight

Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series tells the story of your trials and tribulations getting that perfect shot, and highlights their favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.

As with many of our other community initiatives, we often don't get a chance to cover every detail of a community member's story, so we're selecting an additional photo from each of the previous month's posts that you haven't seen yet. Check them out below.

Feeling artsy Photo: Roberto De Micheli (roby17269)

Roberto De Micheli, who goes by the username roby17269 in the forums, switched from wildlife photography to focus on his passion for fashion. He also dabbles in travel and kids' photography (mainly family outings). Roberto submitted a wide range of photography on these subjects to us for this article, but we focused on the fashion segment as it's his most recent work.

"Fashion shoots happen in studios or on location. In my heart, though, I still remember my two safaris in Africa (Kenya and South Africa) most fondly, which can be a magical place. The safaris were during my wildlife 'phase'. I was absolutely floored by how rich, colorful and amazing nature was in those places."

Read more about Roberto's photography

The photographer who never stopped chasing the unique shot Photo: Josh S. Rose

Josh S. Rose has been capturing visceral reactions since the 1970s, when he wandered around a racetrack park as a kid to explore the event. He found himself hanging out at the photo booth and loved to watch a team develop film after each race, calling up the winners to the announcer upstairs, then hearing the crowd wildly react. His career kept him intrigued by those early moments of capturing scenes on film.

"In the beginning, I tried to minimize mistakes. Because I shoot dance and movement a lot, this is exacting work, especially when you're inside – low light and fast movement is a nightmare for a camera. So, I kind of treated dance as one would sports, reaching first and foremost for clarity, focus and split-second timing. It isn't all that hard, honestly. It just takes a certain number of reps."

Read more about Josh's photography

This photographer uses an 800mm lens to lock onto nature's special moments Photo: Alan Randle (AJRimages)

Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.

"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."

"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve been asked by docents if I want to check my ‘luggage’ to make life easier!"

Read more about Alan's photography

How this photographer sets up to capture life at the speed of the streets Photo: Kevin Zhang (fatplanediaries)

Kevin Zhang, known as fatplanediaries in the wider community, began photographing at a young age under his father's influence, a dedicated Leica street photographer. What started as a focus on street photography evolved over time, especially after a chance moment in Shanghai, when he experimented with panoramas using only a prime lens. Since then, his work has developed into a distinctive blend of candid street scenes and highly detailed panoramic images, each discipline informing the other.

"I like to shoot candid street subjects, but I'm often pretty shy about approaching people to get the right shot. The best alternative is to get hired for events instead; everyone's vying to have you shoot them in those kinds of situations. I've had a lot of good practice at my friends' parties before getting to events as a photographer."

Read more about Kevin's photography

Brian Ormerod, who goes by the username ikon44, has a love of architecture of all types and periods across northern Europe. Over the decades, he has traveled extensively, meticulously planning trips to capture selected projects in Vienna, Barcelona, Prague, Paris, Istanbul and beyond. His work has evolved from casual holiday snapshots to carefully composed architectural studies at the School of Architecture in Nottingham, UK.

"I went with an architect friend to Barcelona, which I found to be an architectural wonderland. We photographed works by Antoni Gaudi, but by pre-planning we were also able to visit a number of other projects, including the IMO Eye Hospital by Josep Llinas, The University of Pompeu Fabra Library, which is a spectacular arcaded masonry structure, the Santa Caterina Market, a neo-classical building refurbished by Enrique Miralles and the Fira de Belacaire flea market with a spectacular, fragmented mirrored canopy."

Read more about Brian's photography

Question of the week: we ask, you tell

Every other week, we ask the community a question about their photography, usually on a specific topic, with the results spotlighted on DPReview's front page and in the forums the following week. There are often many great photos submitted that we don't get a chance to spotlight them all in a single article.

Here is a newly revealed reader's photo from each of the previous two weeks' questions.

What accessories are must-haves in your kit?

From 'The surprise camera accessories our readers keep with them at all times' Photo: cbf_si

Featured quote: "Different accouterments. A chamois, a laptop, a notebook and a pen (sometimes two; private and business), tissues, paracetamol (just in case ;-)), and some small things I can't remember. A Wuchuan canvas messenger bag with a Billingham insert and lots of useful pockets. It serves me well, carrying a D850 with one prime (24, 35, 58 or 85, depending on mood and plan, if any)." - Michiel953

Share your answer to this question

What photo book or article has supercharged your photography?

From 'The photographer's eye: The books that changed your photography forever' Photo: Andreas Feininger

Featured quote: "The foundation came before I even owned a camera: Total Picture Control by Andreas Feininger. His main message is that the photographer transforms a moving, three-dimensional world of color into a frozen, 2D (and in the late 1950s) monochrome picture. To communicate what you saw, you need to translate the lost dimensions (depth, movement and color) into your photograph."- Klaus dk

Share your answer to this question

Photo threads of the month: new types of challenges

"May we never forget." Photo: BluesJake

Also every week, new photo thread discussions and mini-photo challenges pop up across the forums, generated by community members. Usually, these start as a discussion about a particular camera brand or type of photography. Our community has hundreds of topics to choose from, so there's no shortage of photography show-and-tell opportunities!

For the month of May, we wanted to highlight BluesJake's Post your Memorial Day photos thread, where community members have been contributing to pay their respects to veterans who lost their lives in conflicts and other events around the world.

Visit our Community photo threads index for all the latest opportunities to share an interesting photo from your collection. To contribute to most of these community initiatives, simply read the OP's (Original Poster) posting guidelines (if there are any) and then reply to the thread with your contribution.

We would also love for you to participate in DPReview's own photo initiatives: Photo exhibitions and the new Collaborative photo chain.

Discussion of the month: Sony's new a7R VI

On May 13, 2026, Sony announced the a7R VI full-frame mirrorless camera. The community was so excited about the news that they beat us to the punch and immediately started discussing the camera in the forums. Here is a peek at what they had to say:

PWPhotography: Nice! $4499, $500 'cheaper' than initially rumored, and it's slightly lighter than a7R V.

CanadianLongbowman: So the TL;DR is that it's a high-res version of the a7R V, in essence, with a similar readout speed and a few extra perks.

In response, PWPHotography said, "I hope so. However, the a7R V uses a partially stacked sensor, while the a7R VI uses a fully stacked sensor. Fully-stacked sensors, as in the A9 and A1 series, used to have a little DR penalty. Sony appears to have overcome this issue by combining the readouts of its low and high gain steps as in a7R V."

kbrkr: Sony announced the a7R VI today, and my mind automatically went to Nikon challenging it with a Z7 III. Some of the features of the Sony are quite impressive, such as 68MP, 30 fps Raw, pre-capture, and speed boost. I hate these leapfrog games, but I really wish Nikon had a high-megapixel camera to replace the Z7 II.

Discuss the Sony a7R VI

I'd like to consider writing an article like this one on a monthly basis. Future editions could include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.

For even more content posted directly by our readers, join the discussion forums and share your camera gear and photography curiosities!

Meike officially released two new previously reported lenses:

Meike AF 85mm f/1.4 Ⅱ MIX full-frame lens

• Pre-orders: Meike store (coming soon to B&H Photo)
• Previously reported here
• Additional information
• For L/E/Z mount

Meike AF 56mm f/1.7 Air APS-C lens

• Pre-orders: B&H Photo | Meike store
• Previously reported here
• Additional information
• For X/E/Z mount – the E-mount version was already released in April:

Meike announced a new AF 56mm f/1.7 Air APS-C lens for Sony E-mount ($169)

The post Meike officially released two new AF lenses: 85mm f/1.4 Ⅱ (L/E/Z) & 56mm f/1.7 (X/E/Z) appeared first on Photo Rumors.

When trying to capture this scene, most phones would probably try to brighten the shadows. The Xiaomi 17T Pro, shooting in the Leica Authentic color mode, didn't. Photo: Abby Ferguson

One of the big conversations around mobile photography relates to how images are processed, with many bemoaning the unnatural look that some phones produce by dramatically brightening shadows. Apparently, Leica isn't necessarily a huge fan of the look, either. According to Marius Eschweiler, Vice President of the company's mobile business unit, it had "a very tough conversation" with Xiaomi about how photos from its co-branded phones should look.

The comment was part of an interview at the launch event for Xiaomi's latest phones, the 17T and 17T Pro, which feature Leica's "Vibrant" and "Authentic" profiles. Eschweiler, responding to a question about what the company's goal was with the latter color mode, says it was meant to show the real colors and shadows of a scene.

Leica executives participated in a group interview with Xiaomi for the launch of the 17T. Photo: Abby Ferguson

The last part was apparently what prompted the discussions with Xiaomi. "That was a very tough discussion we had with the Xiaomi engineering team at the very beginning, because coming from the smartphone world, colorful, shiny images were seen as a benchmark," he says. "Then we came into play and said, 'yeah, but if you see it from the serious photographer's point of view, it's okay that some shadows are maybe not perfectly lightened up to let you see every detail.'"

"That computational imaging was getting too much in the picture for our taste"

Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division, adds: "Leica Authentic was made more for photographers coming from the photography world," explaining that phones need to do a lot of computational photography to make up for their smaller sensors and lenses. "That computational imaging was getting too much in the picture for our taste."

The solution, he says, was processing the images in a completely different way than the vibrant ones. "In the end, we had to do two different pipelines. The image signal processor (ISP) has two different processing pipelines. One is the authentic, one is the vibrant. They share some common blocks, but the base is different."

A photo taken in the Leica Vibrant mode on the Xiaomi 17T Pro. Photo: Abby Ferguson

He also says Leica had a hand in tuning the imaging pipeline for the phone's Live Moment feature, which captures a video before and after the shutter is pressed. The feature existed on Xiaomi products before, but now it includes the Leica color profile throughout. According to Noda, the company helped improve the resolution and HDR processing for the feature, as well as the exposure and white balancing for human subjects.

Eschweiler says Leica wants to give photographers a choice: they can go with the Leica Authentic for a more traditional photographic look, or the Vibrant for a more saturated aesthetic that mobile photographers will be familiar with. "It's a different philosophy, and I believe it's good that customers have the choice."

He echoes this sentiment about users having options when discussing the role of AI in mobile photography, after Xiaomi and Google touted the 17T's ability to use generative AI to transform images taken with the phone into videos, or to reimagine them. "Whether you take a serious image or whether you would like to create something with generative AI, I think that's a different use case," he says.

"It's a different philosophy, and I believe it's good that customers have the choice"

"You likely won't see that on a Leica M, but I think on the 17T series it makes sense," he says. Noda also adds that part of the point of features like Content Credentials, which Leica attaches to photos taken with its cameras, is to make it obvious when someone has tampered with a photo, using generative AI tools or otherwise.

The answers offer a look at some of the considerations traditional camera companies face when deciding to co-brand a phone. There are some fundamental differences in how those devices will produce images compared to a traditional camera, as well as different expectations from consumers, but the Leica name and branding come with their own set of expectations. Of course, not everything will come down to decisions around processing and software, but we'll cover the choices around hardware in a separate article.

Related: What's a 'real' Leica and is your brand just a badge?

Image: Lecia

Leica has announced a new finish option available for the M11-P, Q3 and D-Lux 8: "Metal Gray." (Calling it a new color would be a touch generous; it's no Safari green or burgundy.) The company says the new paint was "specially developed at the Leica factory," and will be available as an option alongside the existing finishes for each of the products.

The Metal Gray M11-P will be the first camera available with the finish, but the changes aren't limited to just a coat of paint. Rather than the leatherette-style wrap, it has what Leica calls "diamond-patterned leather," which has a pattern similar to the one found on the Q3.

Given that it's an interchangeable lens camera, it makes sense that Leica is also launching a color-matched lens: the APO-Summicron-M 50 F2 ASPH. Like the silver version of that lens, its focal length and the feet distance markings will be red. It will also have a gray front lens cap.

Image: Leica

The Q3, meanwhile, basically looks like an inverted image of the original, which had a black body with a gray wrap. The Metal Gray version, meanwhile, has a gray body with a black wrap. The control dials and lens remain black, but the yellow accents on the lens are now a deep red, instead. The D-Lux 8's design is very similar to the Q3's: gray body, black grip and lens, though the company also says its function buttons will be gray as well.

Of course, Leica doesn't expect people to buy a gray camera and then use accessories that don't match. A gray battery will be available for the M11-P (since it has a plate that's visible from the bottom of the camera), and there are dark brown protective cases for the M11 and Q3, and a "cognac" one for the D-Lux 8. There will also be a variety of black and brown straps available.

The Metal Gray M11-P, and its corresponding lens and accessories, will be available starting today, while the Q3, D-Lux 8 and their accessories are coming on July 16th. In the US, the cameras cost the same as their black counterparts – silver typically comes with a bit of an up-charge – while the lens will cost $45 more than the black version. Given that both lenses are around $10,000, though, that only represents a 0.45% increase.

Leica M11-P Metal Gray

Several new cinema lenses were introduced recently:

New Cooke Anamorphic 35mm/50mm/85mm lenses with a 1.5x squeeze factor (additional information).

Thypoch releases a new Simera-C 16mm T1.9 cine lens and a six-lens kit (additional information).

Thypoch also released a new six-lens kit.

 
Blazar announced a new Talon 35mm T2.1 1.5X anamorphic lens.

Zeiss will announce new Panoptes 65 cinema lenses at the Cine Gear Expo Los Angeles (June 5-6, 2026).

Zeiss is teasing “The next major advancement in lens technology” coming on June 2nd

The post New Cooke, Thypoch, Blazar, and Zeiss cinema lenses appeared first on Photo Rumors.

Leica announced the previously rumored M11-P, D-Lux 8, Q3 cameras, and APO-Summicron-M 50 lens in Metal Gray finish. As already reported, the different models will be released a few weeks apart.

• Pre-orders: B&H Photo | WEX Photo | Foto Koch | Calumet
• New Leica accessories
• Additional information:

Officially announced: new Leica M11-P, D-Lux 8, Q3 cameras and APO-Summicron-M 50 lens in Metal Gray

Leica announced new accessories for the Metal Gray cameras

New: Leica M-mount body and lens caps with AirTag

Used Leica gear savings at WEX Photo UK

The post Leica announced new M11-P, D-Lux 8, Q3 cameras and APO-Summicron-M 50 lens in Metal Gray appeared first on Photo Rumors.

"This may look like we were directly on the beach, but actually quite a distance away." Phase One IQ180 | 50mm | F11 | 1/500 sec | ISO 35 Photo: Roberto De Micheli

Roberto De Micheli, who goes by the username roby17269 in the forums, switched from wildlife photography to more recently focusing on his passion for fashion. He also dabbles in travel and kids' photography (mainly family outings). Roberto submitted a wide range of photography on these subjects to us for this article, but we focused on the fashion segment as it's his most recent work.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

"I love the mood and color of this one, which was shot in the attic of an old building." Canon EOS-1D X | Canon TS-E 24mm f/3.5L II | F3.5 | 1/50 sec | ISO 1600 Photo: Roberto De Micheli

Meet Roberto De Micheli (roby17269)

Home base: Jersey City, USA

Favorite camera and lens: Roberto’s current favorite setup is the Hasselblad X2D II 100C paired with the XCD 90mm f/2.5. For fashion work, he also regularly uses the XCD 35–100mm, appreciating the look and rendering that medium format delivers.

I am a sucker for big sensors, so currently the X2D II is my favorite tool. Plus, it is undoubtedly the most gourgeous camera on sale right now.

What's in Roberto's bag

Roberto's camera bag Photo: Roberto De Micheli

• Primary cameras: Hasselblad X2D II 100C, and Canon EOS R5 for travel
• Lenses:
  • Hasselblad XCD 50mm f/2.5 (primary fashion and editorial lens)
  • Hasselblad XCD 20-35mm f/3.2-4.5
  • Hasselblad XCD 35–100mm f/2.8–4
  • Canon RF 50mm f/1.2
  • Canon RF 85mm f/1.2
  • Canon RF 100–500mm
  • Canon RF 35mm f/1.4 (travel)
• Support gear: Roberto’s fashion setup includes a heavy Manfrotto tripod with a geared head for catalog and studio work. For lighting, he uses Broncolor Siros L 800 strobes and a Profoto B1 500, paired with a variety of modifiers for both studio and location shoots. When traveling, he’ll often pack a drone, typically either a DJI Mavic 4 Pro or Mini 5 Pro, to complement his still photography.
• Camera bags: Roberto currently uses an older backpack that has stayed with him through years of shoots and travel. While he appreciates beautifully designed, high-end gear, he values intentional shooting and adaptability far more than carrying excessive equipment.

"I am a sucker for big sensors, so currently the X2D II is my favorite tool. Plus, it is undoubtedly the most gorgeous camera on sale right now."

"A lot of work went into setting up the table and the style of all four models. Group shots are tricky to make all the models look good at the same time." Photo: Roberto De Micheli

What types of scenes do you like to focus on (pun intended)?

"My father was a film photography hobbyist, but somehow his passion never rubbed off on me. With the advent of digital photography, something clicked in my engineer brain and I bought a Sony DSC-F717 around 2003. I started with opportunistic travel photography and the compliments I received went straight to my head. From there, things started snowballing onwards with more professional opportunities every year."

"Fashion shoots happen in studios or on location. In my heart, though, I still remember my two safaris in Africa (Kenya and South Africa) most fondly, which can be a magical place. The safaris were during my wildlife 'phase'. I was absolutely floored by how rich, colorful and amazing nature was in those places."

"Experimental" Phase One IQ180 | 300mm | F9.5 | 1/350 sec | ISO 35 Photo: Roberto De Micheli

When capturing that perfect shot, what techniques come to mind?

"For fashion, I do not have a preferred recipe. The best 'technique' I know is to work with great talent and to create a good atmosphere on set. I will also be bold and try different angles, poses and light setups. For travel, I like taking panoramas with a long lens (RF 100-500). For kids, I like to 'disappear' and take photos while they play for the best expressions. For drones, practice those flying maneuvers!"

Should photographers spend what they can to get the best shot?

"I'd say two things: don't spend too much until you find your niche and decide to be serious about it, and learn to take control of your photography!"

Roberto really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. You can also visit his work at rdmfashionphoto.com. Thanks, Roberto, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Left: Xiaomi 17T Pro. Right: Xiaomi 17T Photo: Abby Ferguson

Xiaomi has announced the latest entries in its extensive phone lineup: The 17T and 17T Pro. The updates are overall fairly incremental over the 15T series of phones (Xiaomi skipped 16 in its lineup), but brings its 5x Leica co-branded telephoto camera to the base model for the first time.

The main change on the 17T in regard to cameras is the telephoto lens. The 15T featured a 46mm equivalent (2x) telephoto camera, which doesn't offer a true telephoto view. Now, like the Pro model of the T lineup, the base phone features a 5x, or 115mm equivalent lens. That comes with a bit of a tradeoff, though, as the aperture is now F3.0 compared to the F1.9 of the wider lens. Otherwise, the 17T keeps the same main and ultrawide cameras as the previous generation.

The 17T Pro has even more subtle changes to its camera system. Xiaomi upgraded the sensor in the main camera from its Light Fusion 900 to Light Fusion 950, though it isn't clear what the practical implications of that are. The aperture of the main camera has also been ever-so-slightly changed, moving from F1.62 on the 15T Pro to F1.67 on the new model. Otherwise, the telephoto and ultrawide cameras remain the same as the last generation.

Beyond camera hardware, Xiaomi has added what it's dubbed "Leica Live Moment" to both of the new T-series phones. While the previous generation supported live photos (which capture a short video clip around a still image), those did not have specific Leica color profiles associated with them. Now, users can select between the Leica Authentic and Leica Vibrant profiles even when Live Moment is turned on.

The 17T Pro gets a new chip, the MediaTek Dimensity 9500, which also features an updated image signal processor (ISP). The new chip and ISP promise to bring some processing and autofocus improvements to the table, in addition to providing general speed and efficiency gains. The 17T also gets a new chip, though it's more of a modest refresh. Xiaomi also updated the batteries on both phones, promising slightly longer battery life. The 17T still lacks wireless charging, though.

The Xiaomi 17T will be available in blue, purple and black at a starting price of €749, while the 17T Pro comes in purple, white, blue and black for a starting price of €899. These prices represent a move up-market for the T series, as the previous versions started at €649 and €799, respectively.

Sample Gallery

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Image: 7artisans

Earlier this year at CP+, 7artisans showed off a full-frame autofocusing 135mm F1.8 lens. Now, the company is launching it for Nikon's Z mount, and has fully unveiled the specs and price.

The AF 135mm F1.8 (7artisans occasionally adds "Max" to the end of the name, but not consistently) has 16 elements in 13 groups, with six extra-low dispersion lenses and five high refractive index elements. It has a 0.68m (2' 3") minimum focusing distance, and can achieve up to 0.25x magnification. Its aperture has 12 blades, which the company says will provide "naturally circular bokeh" and 12-point starbursts.

Autofocus duties are handled by a stepper motor, and the lens has a switch for going between manual and auto focus. It also has two function function buttons, though it's not entirely clear whether they can be programmed to do different things, or if it's the same function but easy to access whether you're shooting in portrait or landscape. It also has a customizable control ring.

Image: 7artisans

At 1014g (35.8oz), it's relatively hefty, though a touch lighter than Viltrox's AF 135mm F1.8 Lab. Part of that is likely down to its aluminum construction. It's 130mm (5.1") long, and accepts 82mm filters. The company says the mount has a gasket to keep out dust, and that the front element has a coating to repel fingerprints, moisture and oils.

At CP+, the company said the lens would also be coming to L and Sony E mount, and there are references to those versions in recent Instagram posts and product photos. However, at time of writing those don't appear to be available for sale yet. Those versions will have a dedicated aperture ring, rather than the Z mount version's customizable control ring.

The Z mount version of the lens is available now for $690. That's quite an aggressive price point, as Samyang's 135mm F1.8 retails for around $800, with the Viltrox option selling for $100 more.

7artisans AF 135mm F1.8 specifications:

Image: Lux Camera

Lux Camera, the company behind the Halide camera app for iPhones, has announced Halide Mark III, the third generation of the popular app. The new version includes several upgrades and new features, including one that caught us by surprise: the ability to process Raw files from several popular camera brands.

Photo looks

According to CEO Ben Sandofsky, the company put significant effort into developing the app's photo processing capabilities. As part of that effort, it teamed up with a Hollywood colorist to build a custom photo processing pipeline designed around the specific dynamic range and color gamut of the iPhone camera. The result is a new set of Halide Looks.

Halide Mark III ships with five: Valencia, which features saturated colors and heavier contrast, designed for landscapes and cityscapes; Rembrandt, a portrait look with extra mid-tone contrast that "emphasizes bone structure and lighting," along with uniform skin tones; Nova, a colorful look with strong contrast and "smooth, peachy highlights," also intended for landscapes and cityscapes; Zephyr, a more neutral look designed to mimic the subtle contrast of film with the character of a traditional print; and Chroma Noir, a black-and-white look with medium contrast.

The new looks join Halide's existing Process Zero, which bypasses the computational processing typically applied to smartphone photos, resulting in a grittier, more retro photo look.

Camera design

Sandofsky says the camera interface has been redesigned to keep the most important controls within thumb's reach. This includes a tile in the lower right corner representing your currently selected look – inspired by the windows on film cameras that allowed you to see what film was loaded in your camera.

Other new tools include aspect ratio options to match popular camera formats: 3:2, 1:1, and a 65:24 panoramic format, plus a dynamic aspect ratio for Instagram that adjusts depending on whether you're shooting landscape or portrait. New composition overlays add a uniform grid, the golden ratio and the rabatment of the rectangle to the existing rule-of-thirds grid.

Halide Mark III's new camera interface. Image: Lux Camera

Additional controls are accessible via a three-dot "More" menu. In a nod to photographers more comfortable with the previous layout, there's an option to revert to the Halide Mark II interface.

The Photo Lab

The updated app also includes a new Photo Lab module for reprocessing Raw files. It's designed to let you quickly try different looks, adjust exposure, toggle HDR, and make other basic adjustments.

The new Photo Lab module is designed to quickly try out different looks Image: Lux Camera

Photo Lab also supports Raw files from several camera brands. Sandofsky says that during development, the team felt Halide Mark III's output was beginning to rival their dedicated cameras, and wanted a way to bring that processing to files shot on those cameras.

The result: Halide Mark III can process Raw files from Canon, Sony, Nikon, Fujifilm, Leica, and Hasselblad. The company currently classifies this as a beta feature.

Pricing and availability

Halide Mark III is available on the iOS App Store as a one-time purchase for $60, or via a $20/year subscription. Users who purchased Halide Mark II will receive a free upgrade.

Image: Westend61 / Westend61 via Getty Images

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.

Click here to answer the Question of the week

Sandisk and Lexar announced new memory cards:

Sandisk Extreme PRO CFexpress 4.0 Type B memory cards up to 4TB:

• Sequential read performance: up to 3700MB/s
• Sequential write performance: up to 3500MB/s

Lexar Silver Plus Series 2TB microSDXC UHS-I Card (coming to B&H soon):

• Up to 205MB/s read transfer, write speeds lower

Major 25% Lexar price increase coming on June 1st

LaCie just increased prices in the US by around 9-12%

OWC announced a memory card price increase, while B&H is running a sale on Lexar memory cards

ProGrade memory cards price increase coming on May 1st, others will follow

The post New: Sandisk Extreme PRO CFexpress 4.0 Type B and Lexar Silver Plus microSDXC UHS-I memory cards announced appeared first on Photo Rumors.

Here are the latest Pentax/Ricoh news and rumors

Kimio Tanaka confirms again that Pentax is developing a new DSLR camera

Ricoh: “We will not abandon SLRs”

Asahiman: new Pentax DSLR camera is coming in 2026

The Ricoh GR IV Monochrome camera is now in stock

October 2026 will mark the 30th anniversary of the Ricoh GR camera line

The Ricoh GR IV Monochrome camera won the 2026 Camera GP Editors’ Choice Technology Award

Ricoh GR IV wins “Best APS-C compact camera” at 2026 TIPA Photo & Imaging Awards

Photons to Photos published their Ricoh GR IV Monochrome camera’s photographic dynamic range sensor measurements

Pentax KF camera marked as discontinued in Japanese retailers

Ricoh FY2025 financial results (for the year ending May 12, 2026)

Pentax Spring Savings

The post The latest Pentax/Ricoh news and rumors appeared first on Photo Rumors.