Winners of the 2026 World Food Photography Awards sponsored by Bimi

The winners of this year's World Food Photography Awards sponsored by Bimi have been announced, celebrating food storytelling across the world. The winners of the 27 categories were unveiled by chef and food writer Gennaro Contaldo at the Mall Galleries in London this evening.

"These Awards highlight the power of photography to tell food stories from around the world," says Dave Samuels, Brand Director of Tenderstem Bimi Broccolini and headline sponsor of the Awards. "The remarkable images remind us of the essential role food plays in communities across the globe - through growing, harvesting, cooking, eating, celebrating and surviving. Whatever changes the world goes through, food remains central to our lives."

This year's edition of the contest saw nearly 9000 entries from over 50 countries. The judging panel was chaired by David Loftus, a legendary food photographer, and included Claire Reichenbach, CEO, James Beard Foundation; Tom Athron, CEO, Fortnum & Mason; Rein Skullerud, Senior Photographer & Photo Editor, World Food Program; Jamie Oliver, Chef, Restaurateur; and Olia Hercules, Food Campaigner, Activist, Author and Chef.

An exhibition of all 203 finalists will be on view at the Mall Galleries, London, from June 3 to June 7. We've included a selection of the category winners below, but you can see all of the 2026 finalists and category winners on the contest website.

Overall Winner and Fortnum & Mason Food at the Table

Title: A Woman Eats in the Canteen of the Soviet-era Sanatorium

Photo credit: Jo Kearney / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: The Khoja Obi Garm sanatorium (health hotel), Tajikistan, is a brutalist concrete monstrosity built on hot radon gas-infused springs in the mountains. During Soviet times, communist workers were given two weeks annual holiday here. Today, its low price - $28 per day including full board and treatments - attracts ordinary Tajiks plus tourists from the neighboring 'Stans' and the odd backpacker. Treatments include hot pools and steam rooms, wax wraps and tanning barrels, plus hearty, healthy meals.

Instagram: @jokearneyphotography

Cream of the Crop

Title: Ine Fishing Village, Kyoto, Japan

Photo credit: Albert González / World Food Photography Awards sponsored by Bimi

Nationality: Spanish

Description: Squids drying in the sun using the traditional Japanese technique of Himono in the fishing village of Ine, Kyoto Prefecture, Japan.

Technical details: Canon EOS 6D | EF 70-200mm F4L IS USM | 89mm | F6.3 | 1/3200 sec | ISO 125

Instagram: @leckerstudio

Cake Award

Title: A Mid-Century Man and His Cake

Photo credit: Claudia Anton / World Food Photography Awards sponsored by Bimi

Nationality: Australian

Description: This image creates a cinematic mid-century mood with high contrast, warm tones and textures. The cake is the centerpiece with symmetrical lines and buttercream swirls glowing in the firelight. The scene is filled with hidden vintage surprises, family heirlooms and trinkets. A nod to the era and a moment in time.

Instagram: @thesugarologist

Bring Home the Harvest

Title: Early Morning Catch, Hooghly River

Photo credit: Marco Rutten / World Food Photography Awards sponsored by Bimi

Nationality: Dutch

Description: At sunrise beneath Howrah Bridge, a small crew hauls in their nets on the Hooghly River. River fish remain everyday food and income here: catches from boats like this are sold in nearby markets and prepared that very morning in Bengali kitchens. A quiet, collective harvest beneath the city’s busiest crossing.

Technical details: Canon EOS 6D Mark II | EF 24-105mm F4L IS II USM | 35mm | F7.1 | 1/80 sec |ISO 100

Instagram: @marcophotoworld

Champagne Taittinger Wedding Food Photographer

Title: Twin Bridesmaids Enjoy Canapés, Devon, UK

Photo credit: Emma Stoner / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: May 2025. Twin bridesmaids enjoy canapés of 'Proper Crisps' at Jess & Tom's wedding. They are pictured in the gardens at The Grain Store in Devon, UK.

Technical details: Canon EOS 5D Mark IV | EF 24-70mm F2.8L II USM | 35mm | F3.5 | 1/1000 sec | ISO 500

Instagram: @emmastonerphotos

Food Influencer

Title: Noodles

Photo credit: Maja Lewicz / World Food Photography Awards sponsored by Bimi

Nationality: Polish

Description: Dark, moody noodles with texture that you can almost feel. Mysterious, bold and irresistible.

Technical details: Canon EOS 6D Mark II | EF 50mm F1.8 STM | F10 | 0.3 sec | ISO 100

Instagram: @veggie_intervention

Louis Jadot Wine Photographer of the Year - Overall Winner (and People)

Title: In the Depths of the Deposit

Photo credit: Juan Miguel Ortuño Martinez / World Food Photography Awards sponsored by Bimi

Nationality: Spanish

Description: During the cleaning of the underground tanks, Pedro goes down and cleans the walls and floor of the remains of the previous wine with pressurized water. Once clean, his partner lowers a small bucket with a sponge inside to collect the remains that are left in the lower corner.

Technical details: Canon EOS R5 | EF 24mm F1.4L II USM | F1.6 | 1/125 sec | ISO 6400

Instagram: @ortunojuanmiguel

Louis Jadot Wine Photographer of the Year - Places

Title: The Hidden Vineyard, Pokolbin NSW, Australia

Photo credit: Chris Elfes / World Food Photography Awards sponsored by Bimi

Description: This vineyard is just beside a main road, but you can't see it unless you stop. It is sort of hidden. This image was taken while Mount Pleasant Wines picked their Semillon grapes. I stopped to shoot the ground action, but the drone gave me a great perspective, and nature did its best to help me.

Technical details: DJI Air 2S | 22mm equiv. | F2.8 | 1/800 sec | ISO 200

Louis Jadot Wine Photographer of the Year - Produce

Title: In the Eye of the Kvevri

Photo credit: Luke Carver / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: Point-of-view shot from inside a traditional kvevri during the 2025 grape harvest in Georgia.

Technical details: Canon EOS 6D | EF 16-35mm F2.8L II USM | 16mm | F2.8 | 1/800 sec | ISO 12,800

Instagram: @lukecarverphoto

The James Beard Foundation Photography Award

Title: At the Register

Photo credit: Daniel D Kwak / World Food Photography Awards sponsored by Bimi

Nationality: American

Description: A moment of respite from the line at Hadja Marley, an authentic Senegalese eatery in Brooklyn. This portrait captures the daily rhythm of life on Fulton Street, focusing on the steady presence of the staff and the traditional West African flavors that bring the local community together. A study of neighborhood service.

Technical details: Canon EOS 5D Mark IV | 24-70mm F2.8 | 51mm | F3.2 | 1/500 sec | ISO 3200

Instagram: @foodcre8ive, @dkcre8ive

Hotel Art Group Food Stylist Award

Title: Raw Pairing No.2

Photo credit: Styling: Sarah Ghijselinck | Photo: Sandra Declercq / World Food Photography Awards sponsored by Bimi

Nationality: Belgian

Description: Instead of presenting a finished dish, this image focuses on the ingredients behind the pairing. Salt, fat and vegetal bitterness are arranged in balance, illustrating how wine pairing originates in the interaction of fundamental flavors rather than the final recipe.

Technical details: Canon EOS R | EF 100mm F2.8 Macro USM | F20 | 1/125 sec | ISO 100

Instagram: @sarahghijselinck.foodstyling

Food in the Field

Title: Dusty Journey

Photo credit: Serkan Dogus / World Food Photography Awards sponsored by Bimi

Description: Every morning, hundreds of sheep arrive in the village from the high pastures of Mount Nemrut for milking. After the milking is completed, at sunset, the sheep set out once again toward Mount Nemrut, and their dusty journey begins.

Technical details: Sony a7R III | FE 70-200mm F2.8 GM OSS | 164mm | F8 | 1/400 sec | ISO 100

Claire Aho Award for Women Photographers

Title: Granny's Welcoming Gift of Love

Photo credit: Kellie Carter / World Food Photography Awards sponsored by Bimi

Nationality: American

Description: This home affirms the true meaning of family. Where home is sustained by generosity, where love is expressed through making, sharing and showing up again and again. Where Granny's smile, fresh-baked cookies and a cold glass of milk can make even the bleakest of days bright again.

World of Drinks

Title: Campari Barmen, Milan

Photo credit: Marie-Louise Moutafchieva / World Food Photography Awards sponsored by Bimi

Nationality: Canadian/Bulgarian

Description: I happened by chance to turn my attention to the local bar on the corner of Galleria Vittorio Emanuele II, Camparino. The expression of the barman and the waiter dressed in white tuxedos instantly created a story I had to capture. It was one of those moments where I found myself in the right place at the right time.

Technical details: Sony a7 III | FE 24-70mm F4 ZA OSS | 70mm | F6.3 |1/160 sec | ISO 320

Instagram: @marielouphotography

Food for the Family supported by The Felix Project

Title: The Final Touch

Photo credit: Michela Balboni and Federico Borella / World Food Photography Awards sponsored by Bimi

Nationality: Italian

Description: Little Asilbek touching the hot bread, straight out of the family tandoor. In Samarkand (Uzbekistan), the 'non' is unlike any other: round, dense, with a thick, chewy crust, and always marked in its center with black sesame seeds.

Technical details: Leica SL2-S | Vario-Elmarit-SL 24-70mm f/2.8 ASPH. | 35mm | F5 | 1/320 sec | ISO 800

Instagram: @_michelabalboni_

Jamie Oliver Youth Prize 13 - 17

Title: Chhath Puja Offerings

Photo credit: Indigo Larmour / World Food Photography Awards sponsored by Bimi

Nationality: Irish

Description: During Chhath Puja, food offerings are held by devotees, who stand in bodies of water as they pray to the sun god, Surya. This Puja is predominantly performed by women, and is always vibrant and colorful, particularly when observed in a rural setting, such as this in West Bengal, India.

Technical details: Nikon D600 | AF-S Nikkor 24-120mm F4G ED VR | 24mm | F4 | 1/640 sec | ISO 250

Instagram: @i_larmour

Politics of Food

Title: Irebero Miller

Photo credit: Glenn Vanderbeke / World Food Photography Awards sponsored by Bimi

Description: Portrait of a female miller after processing grains into cornmeal. At Vocational Training Center Irebero, single women are trained as millers.

Technical details: Canon EOS 600D | Tokina atx-i 11-16mm F2.8 | 11mm | F3.2 | 1/40 sec | ISO 400

M&S Food Rising Star

Title: The Making of Granola Bars

Photo credit: Sarah-Vanessa Schneider / World Food Photography Awards sponsored by Bimi

Nationality: Swiss

Description: This image captures the process of making granola bars, highlighting the warm afternoon light spilling across a rustic setting dominated by browns and blues. The human element grounds the quiet mood of the scene. Sometimes a story isn't told in the finished dish, but in the act of making it.

Technical details: Canon EOS 5D Mark IV | EF 85mm F1.2L II USM | F3.5 | 1/10 sec | ISO 100

Instagram: @velvetandvinegar

unearthed Food for Sale

Title: Cabbage Market. Mohastangor, Bogura, Bangladesh

Photo credit: Kazi Mohammad Golam Quddus / World Food Photography Awards sponsored by Bimi

Nationality: Bangladeshi

Description: In Mahasthangarh, Bogra, a large vegetable market comes alive each morning. Farmers bring in their freshly harvested cabbages, usually transported by rickshaw vans, and gather for the daily cabbage market. Traders buy the produce here and supply it to Dhaka and other major cities.

Technical details: Hasselblad L2D-20c | 24mm F2.8 | F5.6 | 1/80 sec | ISO 400

Production Paradise Previously Published

Title: Poaching

Photo credit: Erik Lafontaine / World Food Photography Awards sponsored by Bimi

Nationality: Belgian

Description: A poached mackerel emerging from a deep, shadowed broth. Controlled lighting sculpts texture and surface tension. The image plays with darkness and stillness, turning humble preparation into a study of depth, contrast and restrained drama.

Technical details: Fujifilm GFX 100S II | GF 55mm F1.7 R WR | F4 | 1/125 sec | ISO 100

Instagram: @helloeriklafontaine

RPS Student Food Photographer of the Year

Title: Red Cocktail

Photo credit: Lara Zeh / World Food Photography Awards sponsored by Bimi

Nationality: German

Description: A sophisticated, monochromatic study of heat and elegance. This deep crimson composition uses a precise spotlight to highlight the glass’s silhouette and create depth. Featuring a hand-crafted chili-sugar rim, the image focuses on geometric symmetry and rich textures, translating the cocktail’s spicy character into a bold, artistic statement.

Technical details: Canon EOS R6 Mark III | RF 24-70mm F2.8 L IS USM | 70mm | F18 | 1/250 sec | ISO 640

Instagram: @_larazeh_

The Philip Harben Award for Food in Action

Title: Proven Recipe

Photo credit: Lehóczki Balázs / World Food Photography Awards sponsored by Bimi

Nationality: Hungarian

Description: I had planned this image for six to seven years, but kept postponing it, feeling unworthy of capturing them. Now, because of their age, I couldn’t wait. Grandma went to the hairdresser, Grandpa shaved, and I filled their kitchen with studio gear. When she saw the photograph, my grandmother called me an artist.

Technical details: Fujifilm GFX 100 | GF 45mm F2.8 R WR | F4.5 | 1/125 sec | ISO 640

Instagram: @lehoczkistudio

World Food Program Food for Life

Title: The Open Air Hotel

Photo credit: Mithail Afrige Chowdhury / World Food Photography Awards sponsored by Bimi

Nationality: Bangladeshi

Description: An open-air restaurant owner serves food to her customers. She sells at a low price so that daily laborers who work at the Gabtoli coal station can afford it. The photograph was taken in Dhaka, Bangladesh.

Technical details: iPhone 12 Pro Max | 26mm equiv. | F1.6 | 1/120 sec | ISO 50

Instagram: @mithail_afrige

Street Food

Title: Kyoto Street Vendor

Photo credit: Kara Baird / World Food Photography Awards sponsored by Bimi

Nationality: Australian

Description: Shot in Kyoto, Japan in September 2025, this image was taken in a split second as I moved through the packed, sweaty crowd at Nishiki Market. With barely any space to stop, I raised the camera and captured a brief, unfiltered moment of the energy and intensity of the market at its busiest.

Instagram: @karabairdphotography

The Bimi Prize

Title: Candied Pear

Photo credit: Anne Mason-Hoerter / World Food Photography Awards sponsored by Bimi

Nationality: Canadian

Description: I wanted to create a unique image of candied fruit, and I have always been fascinated by the transparency of colors revealed through the process. I began by slicing a pear very thinly and boiling the slices in a mixture of sugar and water. Once the slices became transparent, I laid them out to dry on paper. The image was created using sugar water and a pear slice placed on a glass sheet, along with coloured plastic in front of a table lamp. I photographed the setup multiple times from different angles, and finally, I used Photoshop to combine the various images.

Instagram: @annehoerter

Zeniko (Godox sub-brand) launched a new RF12 M round-head mini flash with a universal hot shoe, compatible with Canon, Sony, Nikon, Fujifilm, Olympus, and Pentax cameras.

Additional information:

• Price: $49.90
• Design: Round head with proprietary optics + included dome diffuser. Tilts up to 90° and swivels 270°. Ultra-light at 90g and pocketable.
• Power: 6 manual levels (1/32 to 1/1). Recycle time ~2.5s at full power. Modest but capable output for its size.
• Battery: Built-in 350mAh Li-ion. Up to 500 full-power flashes per charge. USB-C charging (~1h 10m).
• Triggering: Manual flash only. Built-in photocell with S1/S2 optical slave modes (S2 works with TTL cameras). No TTL or wireless radio.

New: Zeniko ZA12 mini retro flash

The post New: Zeniko RF12 M round head mini flash for Canon, Sony, Nikon, Fujifilm, Olympus, and Pentax cameras appeared first on Photo Rumors.

GoPro has disclosed “substantial doubt” about its ability to continue as a going concern in amended financial filings released June 1, 2026. The company and its auditor cited ongoing losses, negative cash flow, looming debt covenant breaches, and “unprecedented” spikes in memory costs – up as much as 115% — driven by AI demand.

The warning comes on top of weak Q1 2026 results: revenue fell 26% year-over-year to $99 million, while GAAP gross margin collapsed to 4.3% from 32.1% a year earlier. GoPro expects continued losses and negative cash flow in the near term.

GoPro is up for sale again

Just three weeks earlier, the company launched its new MISSION series cameras and announced a strategic review that could lead to a sale or merger. Shares dropped sharply on the going-concern news.

New GoPro Mission 1 Pro camera unveiled with 50MP 1″ sensor and a model with MFT mount

Here is the quote from the financial filings:

Substantial Doubt About the Company’s Ability to Continue as a Going Concern

The accompanying consolidated financial statements have been prepared assuming that the Company will continue as a going concern. As discussed in Note 1 to the consolidated financial statements, the Company has incurred operating losses and negative operating cash flows, and has obligations under its financing arrangements which become due within the next twelve months if certain covenants are not met, that raise substantial doubt about its ability to continue as a going concern. Management’s plans in regard to these matters are also described in Note 1. The consolidated financial statements do not include any adjustments that might result from the outcome of this uncertainty. (source)

Update on the GoPro vs. Insta360 lawsuit

The post GoPro warns of “Substantial Doubt” about its future appeared first on Photo Rumors.

The Zeiss teaser from two weeks ago was for a new line of Horizon full-frame 2x anamorphic cinema prime lenses:

• Seven focal lengths: 35mm, 40mm, 50mm, 75mm, 100mm, 150mm, 200mm
• Fast T2.3 aperture (T2.9 on the 200mm)
• Built-in focus and iris motors integrated into the lens body (no external motors needed)
• Swappable look-tuning rear element for adjustable character while keeping calibration
• Consistent 114mm front diameter and LPL mount across the set
• Classic 2x look with pronounced oval bokeh and stretched depth/scale
• Neutral, low-aberration baseline optimized for VFX and creative tuning
• Initial shipping (40/50/75mm) starts in September 2026; full set rolls out through 2027
• Pricing not yet announced (check availability at B&H Photo
• Product page
• Additional information

ZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology Platform

ZEISS unveils the Horizon Anamorphic series, a new lineup of full frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that brings the speed and precision demanded by contemporary production workflows. Spanning 35 mm to 200 mm across seven focal lengths, Horizon lenses combine their anamorphic look with pronounced oval bokeh and a stretched sense of spatial depth with a lightweight, fully integrated motor system that eliminates the need for external focus or iris motors.

“With Horizon Anamorphics we bring the next chapter of ZEISS cinema optics to life by combining cutting‑edge technology with a refined image that preserves the human, cinematic feel”, explains Christophe Casenave, Head of Business Unit Cinematography at ZEISS.

One lens, multiple looks

The Horizon series is engineered with a neutral baseline look designed to encourage versatility, accepting filtration, LUTs, and diverse lighting approaches without imposing a baked-in feel. Instead, ZEISS introduces an optional interchangeable look tuning back element — a proprietary optical integration that allows crew to dial-in a nuanced individual lens look. Mounted via the ZEISS Interchangeable Mount System (IMS), it alters sharpness, contrast, and overall character with a simple eight-screw swap, while preserving scale accuracy and calibration.

Seamless integration

Whisper-quiet and ultra-reliable focus and iris motors are built directly into the lens body, offering compatibility with ARRI and Preston LCS systems via serial or LBUS connections. Factory-calibrated absolute encoders store all lens scales within the lens. This creates a single consistent source for metadata, eliminating the need for re-mapping scales or re-rigging motors between setups. Dual displays and touch panels directly on the lens barrel allow quick focus or iris checks.

“Horizon marks a new reference platform for us that integrates lens motors, data and ecosystem compatibility and by that enables faster, end‑to‑end production workflows,” Casenave adds.

Low distortion, stable color, and minimized aberrations make the Horizon lenses well-suited to VFX-intensive productions requiring clean keying, tracking, and CG integration. All seven lenses come with LPL mount and share a consistent 114mm front diameter to support balanced handheld, gimbal, drone, crane, and car-rig operation. A fast T2.3 stop across the full frame coverage set (T2.9 at 200 mm) provides shallow-depth-of-field anamorphic even in challenging lighting conditions. Built-in processing and on-board memory are designed to support future expansions including broader ecosystem compatibility, extended metadata capabilities, and potential autofocus integration.

Availability

The 40mm, 50mm, and 75mm Horizon Anamorphic lenses are scheduled to ship in September 2026 through authorized ZEISS cinema dealers, with 35mm, 100mm, 150mm, and 200mm focal lengths following in 2026 and 2027.

New Cooke, Thypoch, Blazar, and Zeiss cinema lenses

The post Zeiss announced new Horizon anamorphic lenses appeared first on Photo Rumors.

Here are the latest/updated Leica SL3-P camera rumors:

• 44.3MP sensor (based on the Panasonic S1RII that was announced in February 2025, see previous coverage)
• Improved AF (better than the SL3-S)
• Video capabilities could be lower than those of other SL3 models
• Rumored to be announced around May-June 2026
• The new Leica SL3-P model will be positioned between the current Leica SL3 (60MP) and the Leica SL2-S (24MP)
• Approximately 800 autofocus points
• The body and operating concept are very similar to the new Panasonic generation
• Expected retail price around €5,900
• There is also some talk about Leica introducing a new SL 100mm APO macro lens
• The Leica SL3-P camera is rumored to be announced at the end of June (around June 22-25th)

This just in: Chinese HSG reportedly in advanced talks to acquire Blackstone’s and, potentially, Kaufmann’s stakes in Leica Camera.

New Leica SL camera model based on the Panasonic S1RII rumored to be announced next year

Leica SL3-P camera rumors

What’s next for Leica? (May 2026 update)

The post The latest Leica SL3-P camera rumors appeared first on Photo Rumors.

PhotonsToPhotos released the photographic dynamic range data and other sensor measurements for the OM System OM-3 camera

Leatherettes for Ricoh vintage film cameras

Chinese HSG reportedly in advanced talks to acquire Blackstone’s and potentially Kaufmann’s stake in Leica Camera

A new Light Lens Lab 75mm f/1.5 Z21 lens for Leica M-mount will be announced on June 5th

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

Image: GoPro

GoPro is coming off of what may be one of its most exciting product announcements in years, but its most recent communication to investors and regulators could cast a shadow over the launch. In it, the company says that new market forces "raise substantial doubt about the Company’s ability to continue as a going concern," citing "unprecedented increases and volatility in memory costs" that have seen price increases of up to 115%.

There's a fair amount of nuance and complexity to the situation, most of which is pretty deep in the financial weeds. The upshot is that the company's management is taking several steps to try and avoid defaulting on loans, including exploring a sale or merger, investigating "opportunities within the defense and aerospace sector," selling "certain non-critical assets" and negotiating with lenders. It also says that it's "reducing operating expenses through disciplined cost management," citing its recently announced layoff of 23% of its workforce.

Despite this, GoPro says that some of its plans "are dependent upon factors outside" its control, and that there are no assurances it'll be able to continue as a going concern. If it can't, the company says it "may be required to significantly reduce, restructure,
cease operations, or seek protection under the Federal bankruptcy laws," though it points out that it hasn't started on any specific bankruptcy plans.

In the document, GoPro says it "expects to continue to incur operating losses and negative operating cash flows" due to lower-than-expected sale throughout the first few months of 2026. Hopefully, the company can find a way to turn things around soon, though if memory pricing is a major factor, it may be a while before things really improve.

Viltrox will announce two new lenses on June 8th:

• Viltrox AF 90mm f/2.2 EVO APS-C  (already listed on Amazon)
• Viltrox AF 75mm f/1.8 EVO APS-C

Check the official Viltrox website for updates.

Additional pictures:

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

Viltrox cut a lens in half and took pictures with it – here are the results

Via Fujiaddict

The post Viltrox to announce two new AF APS-C EVO lenses on June 8th: 90mm f/2.2 & 75mm f/1.8 appeared first on Photo Rumors.

Image: Really Right Stuff

Really Right Stuff (RRS), known for its premium camera support systems, has announced its most affordable carbon fiber tripod lineup yet. The Core Line includes two tripods to start, the Benchmark and the Benchmark Inverted, with RRS promising more in the future.

Both the Benchmark and Benchmark Inverted use the company's in-house carbon fiber technology. RRS says the entire carbon manufacturing process is now done in its facilities in Lehi, Utah, from raw fiber selection to finished tubes. It says that bringing production in-house allowed for significantly reduced costs while maintaining its high quality standards, resulting in what RRS says is a 32% lower price than the most comparable RRS substitutes.

The Benchmark Inverted features an inverted leg design that aims to make leg adjustments faster. Image: Really Right Stuff

The Benchmark Inverted is a three-section carbon fiber tripod with an inverted leg design, which allows users to extend or collapse the legs from the top without needing to reposition or bend down. It uses the company's twist lock system (Tacti-Stop), which provides tactile feedback when they are loosened enough, preventing users from twisting the locks too far. Those locks are also weather-sealed.

The inverted model offers four leg angle selections (24, 44, 64 and 84 degrees), which is up from three on previous models, making it easier to level the tripod on uneven terrain. It features magnetic pull tabs that are easy to adjust, even when wearing gloves.

The tripod weighs 1.6 kg (3.6 lbs) and has a working load capacity of 40 lb. It offers a minimum height of 11.8 cm (4.6") and a maximum height of 155.2 cm (61.1"), and measures 67.3 cm (26.5") when folded down. While it has a similar weight to some travel options, its folded size means you probably won't be able to fit it in a backpack, so you'll need to consider how to attach it to your bag.

The Benchmark is the more traditional tripod without an inverted leg design. Image: Really Right Stuff

The Benchmark is similar in most ways, though it features four-section legs instead of three, and doesn't have the inverted design. It features the same Tacti-Stop twist locks with weather sealing, four leg angles to choose from and magnetic pull tabs for easy leg angle adjustments.

Those with heavier rigs or who want a bit more reach will benefit from the non-inverted Benchmark. It offers a 34 kg (75 lb) maximum capacity, a minimum height of 10.7 cm (4.2") and tops out at 177 cm (69.7"). Of course, that comes with added bulk, too. It weighs 1.7 kg (3.8 lbs) and folds down to 60 cm (23.6"). Like the inverted model, the weight isn't out of the question for hiking and travel, but it isn't very compact when folded.

The Benchmark tripod starts at $945 without a head. It can also be bundled with RRS's Anvil-30 ARC ballhead for $1290, or with the BH-40-LR-II ballhead for $1360. The Benchmark Inverted starts at $795 for the tripod, or can be bundled with the same ballheads for $1150 and $1215, respectively.

Image: Microsoft

Microsoft has made a few attempts to compete with the Apple Silicon-powered MacBook Pros that many photographers know and love, but its latest effort may be the most tempting option yet. It features a 15-inch mini-LED display that can achieve up to 2000 nits peak brightness in HDR mode, an SD card slot for offloading images from cameras, and a chip from a surprising partner: Nvidia.

It's called the Surface Laptop Ultra*, and, from the outside, it seems to continue a lot of Microsoft traditions. It has a hypermodern design with a rectangular metal build, a large trackpad and a 3:2 display that gives you plenty of vertical real estate. It also has a good selection of I/O, with several USB-C ports, a USB-A port for older devices, HDMI output, a headphone jack and an SD card slot, though there aren't currently any details on what speeds you can expect from any of them.

It's under the hood that things start to look a little different. Rather than using a processor from one of the usual suspects – AMD, Intel or even Snapdragon – Microsoft has partnered with Nvidia to use its new RTX Spark system on a chip. While the company is a big player in the graphics card industry and has dabbled in CPUs in the past, it's been a long time since we've seen it make something designed for a consumer PC.

According to Nvidia, the CPU portion of Spark was made in collaboration with MediaTek and features 20 cores, which use the same ARM base as Apple's custom silicon. The GPU is a more familiar affair, though both parts of the chip share a pool of memory – up to 128GB in the Surface Laptop Ultra – which can help if you're trying to render giant photo or video projects. (Of course, it's also useful for running local AI models, a use case Microsoft and Nvidia both give ample time to in their press releases.)

Adobe says it will "rearchitect" Photoshop and Premiere to deliver better performance on the chip, especially when doing tasks that can be accelerated by the graphics processor, like color correction, compositing, using "live filters," and working in HDR. That's not just relevant for people interested in the Surface Laptop Ultra, though, as Nvidia says other manufacturers like Asus, Dell, HP, Lenovo, MSI, Acer and Gigabyte will be using the Spark chips in some of their laptops, too, when it launches in the fall.

Part of Microsoft's pitch for the Surface Laptop Ultra as a tool for creatives is its ability to accelerate AI tasks like "noise reduction, intelligent masking, video upscaling, and AI-assisted code completion directly on-device." Image: Microsoft

There are only a few other details currently available about the Surface Laptop Ultra. Microsoft says it will weigh less than 2kg (4.5 lb), and features a new cooling system to help keep the Nvidia Spark running at peak performance. And, unlike Apple's laptops, it features a replaceable SSD. The company also promises "all-day" battery life.

The big question, of course, is price, especially in the age of ultra-expensive memory. It's also not clear what the base specs will be; sure, the Laptop Ultra can be optioned with 128GB of memory, but what will it start with?

The Surface Laptop Ultra will be available "later this year"

It'll also be interesting to see how the RTX Spark's performance stacks up against the options from more traditional manufacturers. While it'll likely have a leg up when it comes to AI tasks, how will it perform in everyday computing, or while editing large batches of high-resolution photos or rendering a video? We've seen other ARM chips designed for Windows computers, like the Snapdragon X Elite, compete with Apple's base-level M chips, but so far, there hasn't been any real competition for its Pro or Max chips until you get to more traditional x86 designs from AMD and Intel.

We may have to wait a bit to find out. Microsoft says the Surface Laptop Ultra will be available "later this year," and Nvidia says the RTX Spark will start arriving in systems this fall.

* - No, it's not lost on us that Apple has famously helped pioneer the use of the word "Ultra" in its branding.

Field Made released new customizable indicator labels for Canon LP-E6P batteries.

You can get 10% off your next FieldMade order with coupon code “Rumors10“:

• 10% off the entire order
• Minimum purchase of $20 CAD
• Cannot be combined with other discounts

Additional information:

MATERIALS: Outdoor-rated premium vinyl from the USA with permanent adhesive.

ORIGIN: Tax-Free for US Customers > Printed in Canada using premium US-made vinyl. As a USMCA-compliant product (Category C), all orders shipping to the USA are exempt from taxes and import duties.

SHIPPING DETAILS: No duties or tariffs for US customers. Free shipping on orders over:

• $60 CAD in Canada
• $60 USD in the USA
• 100$ CAD for Australia, Europe & Japan

USA: All orders ship duty-free. As our products are made in Canada with US materials, they are USMCA compliant, so you will not be charged any additional tariffs or customs fees. The price you see at checkout is your final price.

EU: Under 150€ (before taxes and shipping): VAT is charged at checkout. Customers are still responsible for paying any applicable duties upon arrival of the package. Over 150€ (before taxes and shipping): Taxes and duties must be paid when the package arrives.

New FieldMade stealth blackout decals kits for Sony, Canon, Nikon, and Leica cameras (coupon code included)

The post FieldMade released new customizable indicator labels for Canon LP-E6P batteries appeared first on Photo Rumors.

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Sony a7R VI
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which, while excellent, don't come cheap.

The GFX 100S II has improved autofocus and burst rates compared to its predecessor, but its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Smaller, less expensive options

While the GFX100S II's image quality is unassailable, it's also relatively large, heavy and expensive. If you mostly shoot landscapes, but don't want quite as much bulk or cost, consider Sony's a7R V and a7CR. The cameras share a 61MP full-frame sensor, are much cheaper than the GFX, and use less expensive full-frame lenses. The a7CR is smaller than the a7R V, but uses a less flexible fully-articulating screen (versus the larger camera's tilting/fully-articulating), has a smaller, lower-res viewfinder, and doesn't have a mechanical front-curtain shutter.

Best camera for landscapes and more: Sony a7R VI

66MP Stacked CMOS sensor | >30fps with e-shutter, 10fps mech | >4K/120p video

The Sony a7R VI is a high-resolution full-frame camera with a stabilized 66.8MP stacked CMOS sensor.

Like previous a7Rs, it has strong landscape credentials as the highest resolution full-frame camera on the market, with the ability to read out both of its gain steps to let you exploit the deepest shadows. It's not just limited to static scenery, though; its sensor and autofocus are fast enough that it's capable of shooting faster-moving subjects and video, too.

The a7R VI captures tons of detail and dynamic range, especially when shooting with its mechanical shutter. Its autofocus is also some of the best out there, and is heavily customizable, with the ability to fine-tune the auto subject recognition modes and more. It also offers features like pre-capture and Speed Boost, which lets you temporarily increase or decrease your burst rate, to help make sure you get the shot without filling your memory cards too quickly.

It's a landscape camera that can stretch to other uses

Its electronic shutter modes don’t have the fastest rolling shutter speeds, but they’re controlled enough that you should be able to capture all but the fastest subjects without distortion. This is true in its video modes as well, even the 8K capture, which is oversampled from an 8.2K region.

While other cameras outperform the a7R VI in things like video or action shooting, it’s one of the most capable landscape cameras we’ve seen that can also stretch to those uses without too much effort.

Click here to read our initial review of the Sony a7R VI

Click here to see the Sony a7R VI studio scene

Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II studio scene

Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II studio scene

The compact option: Fujifilm X-T5

Photo: Richard Butler

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 studio scene

Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

The popular Mandler 35mm f/2 “Seven Elements” lens for M/LTM mount is now back in stock in limited quantities. The last few batches sold in a day or less, so act fast if you want one.

The Mandler 35mm f/2 is a complete reproduction of the original Leica Summicron 35mm f/2 seven-element optical lens formula. The name “Mandler” is a tribute to Walter Mandler, who designed many legendary Leica lenses.

Additional information on the Mandler 35mm f/2 “Seven Elements” lens for M/LTM mount can be found here:

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

Via LeicaRumors

The post The popular Mandler 35mm f/2 “Seven Elements” lens is back in stock in limited quantities appeared first on Photo Rumors.

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.