Removing backgrounds from images has always been one of the more time-consuming parts of photo editing. Fine hair, fur, feathers, and semi-transparent objects like glass or veils often require precise manual masking, which slows down the entire workflow.

Fortunately, recent advances in AI-powered image processing are making this task easier. One solution gaining attention among designers and photographers is Aiarty Image Matting, an AI-driven background removal tool designed to deliver precise cutouts while preserving intricate details.

Aiarty Image Matting: Precise Background Removal with AI

Aiarty Image Matting uses advanced AI algorithms to automatically detect subjects and separate them from backgrounds with minimal user input. You can batch export transparent cutouts, replace background color, or refine the matte to blend the subject with any new backgrounds.

Key advantages include:

• 1-click detection with AI for one or multiple subjects.
• Precise masking for transparent, fuzzy edges, or solid subjects.
• Preserve transparency variations in tricky edges, hair, lace, glass, etc.
• Quick auto masking and optional brush editing for refinements.
• atch export transparent cutouts, mattes, or custom backgrounds.

For product listings, portraits, custom stickers, and creative composites, Aiarty Image Matting makes background removal faster and more precise. It is particularly useful for portrait, wildlife, and commercial photographers dealing with challenging subjects that contain fine edge details.

Anniversary Offer: 43% OFF Lifetime License + Extra Saving

Aiarty is currently celebrating its anniversary with 43% OFF Aiarty Image Matting Lifetime License. For photographers and designers looking to streamline their workflow, it’s a nice chance to enjoy these benefits:

• Unlock full features and use on up to 3PCs/Macs.
• Free updates to all versions for a lifetime.
• 30-day money-back guarantee.

Besides, by entering the limited-time code “ANNIVERSARY” at checkout, you can also enjoy extra $5 OFF Aiarty Image Matting, or extra $10 OFF Bundle product purchase. The special offer ends June 21.

Below are some hands-on tests of this background remover and background replacement tool, from professional projects to family and hobbyist use cases.

Remove Backgrounds and Preserve Fine Hair, Fur, and Feathers

Traditional masking tools often require hours of manual tracing around complex edges, and they fail to preserve the natural edges in flowing hair or fuzzy fur.

AI models in Aiarty Image Matting are trained to recognize and preserve individual strands of hair, animal fur, and bird feathers, producing a clean result for both transparent output and blend in with new backgrounds.

Handle Transparent and Semi-Transparent Subjects

Glass, lace, veils, and transparent materials are notoriously difficult to mask accurately. Aiarty maintains gradual transparency values while separating the subject from the background, delivering realistic transitions.

This image background remover helps photographers maintain a professional look when working with product photography, event banners, and creative composites.

Separate Subjects from Complex Backgrounds

A complex environment often confuses traditional background remover tools, with background remnants sticking around a subject in cutouts.

To solve that, AI inference in Aiarty Image Matting helps distinguish subjects even when backgrounds contain complicated textures, branches, foliage, or overlapping elements.

Create Stickers for Journals and Creative Projects

For wildlife photographers, nature journal hobbyists, and school projects, Aiarty Image Matting makes it handy to create stickers in batches, which can be used in field journals, presentations, banners, infographics, posters, and other creative projects.

Flexible Auto Masking and Manual Refinement

Some background removal tools fall into one of two extremes: fully automatic tools that offer little control over the result, or manual masking features that require time-consuming tracing.

Aiarty Image Matting combines the strengths and flexibility of both approaches. With a single click, its AI models can auto-detect and isolate subjects, creating a high-quality mask as a strong starting point for most images.

For further refinement, it also provides editing tools to adjust masks, erase unwanted areas, or brush over to bring back details. The combination of the Mask alpha curve tool and erasing threshold is handy to handle challenging areas such as hair, fur, lace, and transparent objects.

Batch Processing for Large Projects

Editing and masking hundreds of images individually is inefficient. Aiarty supports batch processing, allowing designers and photographers to process large numbers of images automatically.

Whether handling event photography, wildlife shoots, or e-commerce catalogs, photographers can save editing time with precise masking and background removal.

Optionally, you can use the built-in 2X upscaling feature to enhance image quality, making the cutouts clear even at 4K and 8K displays.

Specialized AI Models for Different Scenarios and Subject Types

For clean cutouts and transparent PNGs, users might prefer a clear edge around the subjects. For background replacement, such as placing the person on a new canvas, a natural blend-in requires transparency transitions near the edges.

Instead of providing a one-size-fits-all tool, Aiarty Image Matting has 4 AI models optimized for different image types and masking scenarios.

Masking Model: AlphaStandard V2

It is designed for semi-transparent and translucent subjects such as wedding veils, glassware, water splashes, fine hair, and animal fur.

When you prefer to preserve natural transparency and smooth transitions, apply this model.

Masking Model: AlphaEdge V2

For those semi-transparent and translucent objects mentioned above, when you want to prioritize edge sharpness over soft transparency variations, then instead of using AlphaStandard, apply AlphaEdge.

Masking Model: EdgeClear V2

It is built for detailed solid objects such as vehicles, jewelry, sports equipment, and furniture. When you want to emphasize edge clarity while maintaining realistic detail, use this model for background removal and replacement.

Masking Model: SolidMat V2

It is trained for products and structured subjects with defined boundaries, including: buildings, consumer products, electronics, and commercial catalogs.

Besides the 4 AI models, Aiarty has an Alpha mask curve, brushes, and erasers, and more options to refine selection. With both auto masking and optional manual adjustment, it is versatile enough to tackle various subjects and scenarios, be it for semi-transparency variations, fuzzy edges, or solid subjects.

Final Thoughts

Background removal doesn’t have to be slow or tedious. With AI-powered subject isolation and optional manual refinement, Aiarty Image Matting offers photographers and designers a faster way to create clean cutouts while keeping full control over tricky edges.

For PhotoRumors readers, Aiarty Image Matting is currently available for $65 (43% off the regular price). The Lifetime License works on up to 3 Windows or Mac computers and includes free lifetime upgrades. Apply the code ANNIVERSARY at checkout to get an extra $5 off. The special offer ends June 21.

For those looking for a more creative toolkit, Aiarty also offers Anniversary bundles with image enhancement, upscaling, and video software – currently discounted up to 52%.

Learn more and grab the Anniversary offer here >

The post Quick AI Background Removal with Aiarty Image Matting (43% off Lifetime License + Extra Coupon) appeared first on Photo Rumors.

New: Wahei Optical Peace 35mm f/1.4 E41 classical silver chrome “Steel Rim” lens for Leica M-mount

Leica Summilux-M 50mm f/1.4 ASPH “Classic Line” glossy black lens review by Leica Images

Carl Zeiss Otus SLR Lenses Listed As Discontinued Abroad

Canon EOS R5 Mark II Firmware 1.31 Released

Notice and apology regarding the delay of the lens firmware update for Tarmon 35-150mm F/2-2.8 Di III VXD

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

Here is an updated list of upcoming/rumored Fujifilm cameras and lenses:

• Fujifilm X-T6 with new film simulation and redesigned dials
• Fujifilm X-Pro4
• Fujifilm compact fixed-lens camera with 1″ sensor
• New Fujifilm GFX camera
• Two new X-mount lenses in 2026

The latest Fujifilm news can be found here:

Advanced Optical Engineering Analysis: Fujifilm Patent P2026091132 and the GFX Eterna Medium Format Cinematic Ecosystem

PDR: Fujifilm GFX100II vs Sony a7RVI vs Sony a7RV vs Sony a7V – A Future GFX With DGO Could Capture 16 to 17 Stops of Dynamic Range

Fujifilm X-T30III, X-M5, and X-E5 Firmware Updates Released

The Fujifilm X-E5 Turns One: A Year of Sellouts, Awards, and Proof the X-E Line Is Here to Stay

The post Updated list of upcoming/rumored Fujifilm cameras and lenses appeared first on Photo Rumors.

I was somewhere way back at the end of this line of photographers on a photowalk. Photo: Zach Sawyer

Confession: I'm an introvert. I like – and often thrive on – my alone time. Putting myself in situations to meet people doesn't come naturally. That's especially true when it comes to meeting other photographers. And as someone who has moved every three to four years in my adult life and works from home, connecting with other photographers is even more difficult. While that solitude can be valuable in certain doses, it can become isolating, and it also may not be the best way to build a sustainable relationship with photography.

That's where community comes into play. The importance of community has become especially clear to me over the past year or so and has inadvertently become a recurring theme in my life. It's come up in various ways, but most notably, it's been a consistent theme as I've been taking part in some local photography clubs for the first time ever.

Taking the first step

The first meetup I attended was on a beach to photograph storm-damaged houses. Photos: Abby Ferguson

Last year, I connected with a local photographer via Instagram who invited me to a group chat filled with photographers of all levels who participated in photo walks through a handful of casual clubs in the area. I conversed in the chat, but I purposefully avoided joining the photowalks that were posted. To be honest, going on a group walk with people I didn't know was intimidating, and I was unsure if it was something I would enjoy. After all, photography is often a solitary endeavor for me.

Despite my reluctance, I knew meeting other photographers would only be a good thing. Plus, as this is a place my husband and I will be for the long term, I wanted to set down some roots and finally make some connections here. And so, last fall, I finally put aside my reservations and attended a meetup.

A group shot (excluding me) of that first meetup that I attended. Photo: Abby Ferguson

The walk was a smaller, more casual one than most; there were only five of us, which was part of what pushed me over the edge to attend. We met in the evening and grabbed some dinner before heading to a beach where some houses had been left abandoned or in disrepair after hurricanes a few years ago. Cameras ranged from 35mm point-and-shoots to full-frame DSLRs and even a 4x5 view camera, and conversation was easy as we all meandered and, at times, did our own thing.

Overall, the meetup hit the sweet spot of being with others while still allowing me to focus on my own images if I wanted to.

Shared interests matter

A group shot from the first larger photowalk I attended. Photo: Jeremy McGuire

That initial meetup left me feeling inspired and connected with new friends who also love photography. It also gave me the confidence to try something new and join larger photo walks on a somewhat regular basis. Knowing a few people makes it easier, of course, but I also now know I can still do my own thing to get images I'm excited about, without feeling trapped by the group.

I also take part in regular conversations about photography in the group chat, everything from answering questions to geeking out about something (especially new film). I've met some very good friends through the group chat and the meetups. It's through these groups that it's really hit home how important it is to build community, especially community around shared interests.

Another bonus of hanging out with fellow photographers is that no one cares when you stop to take photos. And you may even get photos of yourself in action. Photo: Marcelo Murillo

Like other hobbies or specialties, photography has highly specific jargon and gear. To someone who isn't interested in photography, it can be like a foreign language. It makes a significant difference being able to talk to people who understand why you care about cameras, composition, prints, editing, lenses or waking up early to catch the good light.

Even if you aren't a gearhead, having people who understand the specific joys and frustrations of photography can make the practice feel less lonely. Being able to share an image I worked hard to get with a fellow photographer is very different from sharing with someone who doesn't care about or understand photography.

Motivation and accountability

Photowalks give me the opportunity to scratch my portrait itch more often, too. Photo: Abby Ferguson

I've written a fair amount about working through creative droughts or doubts with photography, and community can be a significant factor in getting out of those times.

Knowing there are regular photo walks gives me a reason to get out with a camera, even when I might otherwise talk myself out of it. That said, it's not accountability in a strict sense. After all, no one is checking whether I show up or thinking less of me if I don't. But having a group of people making plans, sharing images and talking about photography keeps the medium more present in my everyday life, which can keep it fresh and interesting.

Don't forget about online communities

I met these two through Flickr (which they also met through). This image was taken in 2012, not long after we first met in person, on a Lomo LC-A borrowed from Tim, on the right. Photo: Abby Ferguson

I think there is real value in connecting with people face-to-face and building community locally. However, I'm also of the internet age and recognize the importance of online communities, too. Some of my best friends in real life are people I've met online first (shoutout to Flickr for being the start of this). I also found my local photography groups because I connected with someone on Instagram.

I also recognize that not everyone has access to local photography groups with in-person meetups. I'm extremely fortunate to have multiple groups that hold meetups within a few hours' drive, but that's not the reality for many. Online communities, such as ours here at DPReview, can be excellent stand-ins and supplements to in-person connection.

Solitude and community can coexist

To be clear, I still very much value the solitary aspects of photography. I don't want every outing with my camera to be a social event. But joining my local photography groups has reminded me that it doesn't have to be an isolating medium. Sometimes being around others who care about the same strange, oddly specific things can make photography feel more fun and energizing, and it's worth getting out there when possible.

Product renderings: Insta360 and DJI

DJI and Insta360 have filed patent infringement suits against each other in the U.S., just days after Insta360 launched its new Luna gimbal camera line and amid the buildup for the Osmo Pocket 4P. Indeed, the two devices are remarkably similar: they are both handheld vlogging cameras with two lenses and integrated gimbals, and a similar form-factor.

DJI fired first, filing two lawsuits on June 10, the same day the Luna Ultra went on sale, in the Eastern District of Texas. The complaints allege that the Luna Ultra, its accessories, and app "blatantly copy DJI's patented inventions," including its subject-tracking system, follow/lock gimbal modes, and overall physical design. DJI is seeking a permanent injunction that would ban the accused products from the U.S. market, along with damages.

Insta360 isn't backing down, though. It pushed back today with two countersuits of its own, asserting five patents against DJI. The company claims DJI's products, including the Osmo Pocket, Ronin/RS, Osmo Mobile and Osmo 360, infringe its patents covering gimbal stabilization and directional control, among other technologies.

The suits from both companies are ongoing

Insta360 CEO JK Liu rejected DJI's infringement claims, saying Luna Ultra development began in 2020 and is the result of "years of independent R&D, not a response to any competitor's product." He characterized DJI's decision to file on launch day as "exposing their fear of competition from a highly competitive product."

According to the complaints, DJI sent Insta360 a letter on May 26 putting the company on notice about the patents two weeks before the Luna Ultra launched. That suggests the lawsuits were not filed without warning. The suits from both companies are ongoing, and it remains to be seen how the courts will rule on the competing claims.

This book has been one of my prized possessions since I bought it nearly two decades ago. Photo: Abby Ferguson

Sitting on my bookshelf immediately behind my desk is a copy of Duane Michals' The House I Once Called Home, inscribed to me by the artist himself. I've had it for nearly two decades, and I still pick it up from time to time because it has had such a significant influence on me as an artist and photographer. And so, it was with deep sadness that I learned Michals passed away on June 9.

The DC Moore Gallery, which represented Michals, confirmed his death at the hospital following a short illness. He was 94.

For anyone who has spent serious time studying the art of photography, Michals is one of those artists who fundamentally changes how you think about what the medium can do. His influences were more literary and surrealist than photographic, including William Blake, René Magritte, Lewis Carroll and Joseph Cornell. He published more than forty books over his career and continued exhibiting well into his 90s.

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A post shared by Duane Michals (@theduanemichals)

He came to prominence in the early 1960s, when photography was largely defined by documentation and reportage, but he wanted no part of that. Instead, he built sequences of staged black-and-white images that played out like short films, frequently using multiple exposures. These were often accompanied by handwritten text that told you, as he put it, "what you can't see."

"You are either defined by the medium, or you're redefining the medium."

Michals was self-taught, never belonged to a movement, and didn't seem particularly interested in fitting in anywhere. As he once said, "You are either defined by the medium, or you're redefining the medium," and he truly lived that throughout his career.

I had the chance to see Michals lecture when I was in undergrad, and I distinctly remember his wit. It was there that he signed one of my favorite photography books. He was one of my very first photographic influences, inspiring me to explore concepts of memory more deeply and leading me to start employing multiple exposures in my work. In fact, those multiple exposures were part of what led to my acceptance into graduate school and became the basis for my graduate thesis work.

Photography lost one of its true originals this week. But his books, and the boundary-pushing ideas within them, aren't going anywhere.

Here is some additional information from Aliexpress on the upcoming Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 FE lens that will be announced on June 25th (the E-mount version will be announced first, the L-mount will follow at a later date):

The Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 FE lens will be announced on June 25th

Here is the rumored Schneider Kreuznach x LK Samyang AF 60-180mm f/2.8 lens

Updated Schneider Kreuznach × LK Samyang lens roadmap: two new lenses added (AF 60-180mm & 28-135mm f/2.8 FE)

The post Additional information on the upcoming Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 FE lens appeared first on Photo Rumors.

Photo: Richard Butler

Camera companion apps can unlock useful features such as remote camera control, wireless image transfers, GPS data and more, but that's only if they work well. Nikon's primary app, SnapBridge, has been around for roughly a decade, but that doesn't necessarily mean all the kinks are worked out.

It currently supports all Nikon Z-series cameras, though support for older DSLR and compact models is more limited. I've spent some time with the app to see how it performs and what features it offers. All of my testing was done on the Google Pixel 10a and iPhone 15 Pro with the Nikon Zf. Your specific smartphone and camera may change your experience and the features available.

Index:

• Connectivity and reliability
• Transfer, editing and sharing tools
• Remote control and live view
• GPS sharing
• Firmware updates

Connectivity and reliability

Bluetooth connection is just as simple as pairing other standard Bluetooth devices.

When initially setting up SnapBridge, you can choose to connect via Wi-Fi and Bluetooth or Wi-Fi only. Bluetooth establishes a constant connection between the camera and smart device, enabling automatic downloads of small files, along with remote control and location data. Wi-Fi is required for larger image transfers and remote live view functionality. I opted for that combination for my testing.

The initial Bluetooth connection is very straightforward and quick. The process requires a few steps on both the camera and app, but instructions are clear, and it paired quickly. Once connected, the Bluetooth connection was stable and reliable. I even have two phones paired, and while I had to manually select the phone I wanted at times, I had no issues with Bluetooth connecting quickly and staying connected.

Wi-Fi connectivity

To get my Wi-Fi connection to work, I needed to turn off encryption by navigating the following path: 'Network Menu' > 'Connect to smart device' > 'Wi-Fi connection'> 'Wi-Fi connection settings' > 'Authentication/encryption' > 'Open'

Wi-Fi pairing was a far different story. A colleague and I had the same difficulties connecting across multiple cameras using multiple phones. Unfortunately, these problems couldn't be easily solved through troubleshooting. A Nikon representative suggested changing from the default WPA2/WPA3 Wi-Fi encryption to open authentication. This solved the issue on the Zf that I was testing with, but it does mean that the connection is less secure.

STA mode changes what tools you have available in SnapBridge.

It's also worth noting that some Nikon cameras offer two Wi-Fi options: AP mode and STA mode*. AP mode is a direct Wi-Fi connection using the temporary network process as outlined above, while STA mode uses an existing network, such as your home Wi-Fi. STA mode is fast and easy to set up, with far fewer initial issues than AP mode during my testing.

While STA mode is quick to establish, reliable, and means your smart device remains connected to Wi-Fi, there are limits to what you can do in SnapBridge with it. You can't download firmware or use Bluetooth remote control, and automatic photo downloads are limited to 2MP, instead of the 8MP available in AP mode (though only some cameras support 8MP).

* STA mode is available on newer Z-series bodies, but it isn't available on all Nikon cameras at the time of writing. You can see what SnapBridge features are compatible with your camera on the support website.

If you switch between connection types or connected devices, you'll need to access the camera menu quite frequently.

Frustratingly, there's a fair amount of manual selection required when switching between connection options. For example, connecting to Wi-Fi via STA mode automatically turns Bluetooth off on the camera. If you want to go back to Bluetooth, you'll need to navigate to the Network Menu on the camera, turn Bluetooth back on and also select 'Exit Wi-Fi STA mode' in SnapBridge.

Transfer, editing and sharing tools

Auto link uses Bluetooth connectivity to automatically transfer photos to your phone.

SnapBridge lets you wirelessly transfer images and videos from your camera to a smart device in two ways. One is 'Auto link,' which automatically downloads new photos to your connected phone or tablet. SnapBridge offers two Auto link options: in the background (transfers occur even when your phone is in sleep mode) or in the foreground (transfers only occur when you are in the app).

There are some pretty significant limitations to Auto link, though. First, it isn't available when the camera and phone are connected via Wi-Fi AP mode, so you'll have to use Bluetooth or STA mode. It also doesn't support Raw, TIFF or video files, and limits photos to 8MP on most newer Z-series cameras and 2MP on all others. Newer Z-series cameras support automatic transfer of HEIF images alongside JPEGs.

The auto-downloading of photos via Bluetooth is reliable, though with a caveat: you have to keep your phone and camera relatively close together. If I walked to another room in my house with my phone, the syncing would stop. My house isn't all that large, and the range would have been close enough for a speaker or headphones to keep working, but not so for syncing photos to SnapBridge.

The STA Wi-Fi mode also offers an auto download function, though only at 2MP. However, despite having this turned on, I was never able to get the app to sync new photos when connected via STA mode on both the iPhone and Pixel.

Downloading images manually allows you to sync Raw files.

If you want larger files, you'll need to transfer manually, which requires one of the two Wi-Fi connections. Manual transfers in SnapBridge support Raw files from all Z-series bodies, but not DSLRs or older compacts. That said, by default, the view for transferring images is filtered to JPEG only. If you shoot Raw or HEIF, it will appear as though you don't have any images to choose from until you change the display options via the top menu.

Manually saving files to my phone was also easy. Tapping on an individual image from the grid opens it larger with a 'Download' button at the bottom. You can then choose which size and file format you want to download. Raw files naturally take more time, but even when downloading a handful at once, it wasn't unreasonably slow. I never tried to download more than 10 at a time, but for that volume, it's a reasonably fast process.

You can share photos to various apps and sync images to Nikno's Image Space, that's the extent of the options in SnapBridge.

The SnapBridge app is quite limited in terms of what you can do with your photos beyond syncing them to your phone. You can share files to various apps such as Instagram, Facebook, email and more, but that's all.

There are no editing tools, so you'll need a different app if you want to edit on your phone. There's also no way to transfer Look Up Tables (LUTs) or color profiles from your phone to the camera via SnapBridge.

If you're looking for a more robust image transfer, Nikon's direct camera-to-cloud service, Imaging Cloud, is the better option. It offers automatic full resolution uploads to third-party services like Lightroom, Google Photos, Dropbox and OneDrive. Imaging Cloud also supports user-created image presets, which you can't access in SnapBridge.

Remote control and live view

The Bluetooth remote is as simple as it gets.

The SnapBridge app offers two remote options: one with live view and one without. Bluetooth connectivity is used for the remote trigger option, which lacks live view or any access to settings. It does support interval timer shooting, time-lapse video recording, and focus shift shooting, though. It also features a "Press halfway" button to focus, though you can't change your focus point, so you'll have to set that on the camera.

Oddly, the Bluetooth remote also lets you pull up the playback menu on the camera from afar, with the ability to zoom in and out, scroll forward and back, and show or hide information.

All of the features in the Bluetooth remote option work seamlessly. The autofocus is responsive when I tap to half-press, the shutter triggers right when I tap the button, and the small selection of additional modes also works well.

The Wi-Fi-based remote gives you more control over settings, but doesn't have some of the features found in the Bluetooth remote.

The other option, which is labeled 'Remote photography' in the app, adds much more control from your smart device. It requires a Wi-Fi connection, but once connected, you'll have access to live view and the ability to change the shutter speed, aperture, exposure compensation, ISO and white balance. You can also change between manual, shutter priority, aperture priority and program (there is no option for auto).

The Wi-Fi version of the remote also lets you choose if you want to automatically download the photos, and if you want those to be 2MP, 8MP or the original format. However, those files will be JPEGs or HEIFs, as Raw files are not supported here. This remote option also gives you the ability to use a self-timer, and you can change the focus point by tapping anywhere on your phone screen.

I found the 'Remote photography' feature to be highly responsive. The live view instantly adjusts to any reframing or exposure changes, and the autofocus is also very snappy. Having the instant image download option turned on slows down the process of taking photos a bit, since it loads for a split second after I tap the shutter, but that's the only slowdown when using the remote with live view.

It was also very stable, staying connected for long periods with no issues. Plus, as long as I didn't end the Wi-Fi connection, I could leave the remote to use other parts of the app and instantly jump right back into remote shooting.

GPS sharing

SnapBridge supports location data, meaning you can sync your phone's GPS data to the camera so that your images have a location tied to them. When using Bluetooth connectivity, the app lets you choose if you want high, medium or low accuracy. High accuracy will use more battery in both the camera and smart device, though with more precise location data, while low will use less battery with less precise data.

There's also a battery saving mode, which pauses the location data link to save battery if the camera isn't used after a period of inactivity (Nikon doesn't specify the time limit). Using the camera will automatically reconnect the feature.

I have the location data set to medium, and it is still incredibly precise. It did drain my phone's battery faster than usual, but I still wouldn't have any reservations about setting it to that unless I knew I wouldn't have access to power for a while.

Firmware updates

Firmware updates are simple through the SnapBridge app.

SnapBridge supports firmware updates, so you don't have to fuss with downloading firmware to your computer and transferring it to the camera. However, it's important to note that you must use the AP mode, not the STA or Bluetooth connections. I only had one firmware update to install, but the process was straightforward and quick, with the new version ready to use in a few minutes.

While firmware updates through SnapBridge are easy, they aren't automatic. If you want your firmware to stay updated without any input from you, Imaging Cloud is what you'll want to use.

Photo: Dale Baskin

Recently, Panasonic released firmware V2 for the Panasonic S9, which lets you use the camera with the latest version of the Lumix Lab app. That makes it a pretty exciting update, as Lumix Lab V3 adds a ton of new features, like the ability to edit Raws, download images via a wired connection, edit your custom color modes with the app and more. However, if you're trying to update your camera, you'll want to do so using a computer, rather than the app.

Panasonic posted a notice to its site saying it's "identified an issue with the DC-S9 version 2.0 firmware update released on June 9, 2026," specifically when updating via Lumix Lab. According to the warning, the ability to update using the app should be turned off, but if for some reason it still lets you do it, you should probably cancel the operation.

While there are several people who say they successfully updated their camera with Lumix Lab, there are also a few reports on social media from people experiencing major issues after doing so, with their cameras rendered essentially unusable.

Panasonic says you can still update the camera's firmware by using a computer to download the file, then copying it onto a memory card. It also says it's working to fix the issue so people will be able to update their camera's firmware with Lumix Lab in the future.

The Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 FE lens will be announced on June 25th (the E-mount version will be announced first, the L-mount will follow at a later date):

Here is the rumored Schneider Kreuznach x LK Samyang AF 60-180mm f/2.8 lens

Updated Schneider Kreuznach × LK Samyang lens roadmap: two new lenses added (AF 60-180mm & 28-135mm f/2.8 FE)

The post The Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 FE lens will be announced on June 25th appeared first on Photo Rumors.

Viltrox will announce a new AF 28mm f/4.5 pancake lens for L-mount on June 16th (previously reported here, the lens already exists for other mounts):

List of all new lenses that will debut at the 2026 China P&E Imaging Show in Beijing next week

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

Here is the list of new Viltrox products

The post Viltrox to announce a new AF 28mm f/4.5 pancake lens for L-mount on June 16th appeared first on Photo Rumors.

Photo: Mykim Dang

DJI has been teasing a new version of its gimbal vlogging camera, the Osmo Pocket 4P, with two cameras for a while now, and we've finally been able to go hands-on with one. DJI invited our Director of Video and Social, Mykim Dang, to an event in Toronto where she was able to use it and take some photos of it.

While DJI has said that members of the press are allowed to share images of the camera, the actual technical details about its sensors, lenses, and operation are embargoed for a later date. Stay tuned, as we'll be going in-depth on the additional 3x camera and how the package as a whole competes with a modern high-end smartphone as soon as we're able. For now, enjoy some product shots, then check out our coverage of the original Osmo Pocket 4.

Magliano, Tuscany, Italy "Same night as the church star trail, before leaving, I tried this photo, and then at home I discovered the amazing details of the external Milky Way visible in the roof hole, sometimes you get nice photos when you least expect them!" Sony a7R IV | Viltrox 16mm F1.8 FE | F1.8 | 13 sec | ISO 6400 Photo: Giacomo Farabegoli

Combining a love of hiking with a passion for photography, community member Giacomo Farabegoli ventures into the outdoors to capture landscapes at all times of day. His photos reflect a real passion for landscape and astrophotography, a perfect fit for our Nature Photography Day Question of the week, which we just published.

"I got started by finding my mom's old Nikon F601 in a cabinet at home. After a couple of film rolls, used to figure out various combinations of aperture and shutter speed, I decided to go full analog by buying an Olympus OM-1 (the '70s version, not the digital). After some years, I finally went digital with a Nikon D5000. At first, I was all for street photography since I was living in Milan. Then, in 2021, I moved to Trentino-Alto Adige, surrounded by mountains, and there I fell in love with Nature photography. I found the need to change systems and bought a used Sony a7R IV."

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.

Catinaccio range, Val di Fassa, Italy "It was in November, and I spent several hours hiking to this spot. I pitched the tent and waited. I've done the Milky Way shot with the tent blending three exposures (foreground, tent and sky), and two different sessions for the star trails (one with the tent and one only mountains). I stayed up till 3 am and didn't sleep because of the freezing night at 2600 meters!" Sony a7R IV | Viltrox 16mm F1.8 FE | F1.8 | 6 sec | ISO 3200 Photo: Giacomo Farabegoli

Meet Giacomo Farabegoli

Home base: Val di Fiemme, Trentino-Alto Adige, Italy

Favorite gear: "I think the Osprey Camera Chest Rig is my favorite item since it's really comfortable during long hikes, and I can have my camera ready quite fast, but at the same time well protected. The rig conveniently connects directly to just about any backpack's shoulder straps."

"While I was living in the city, I tended to focus more on portraits and street photography, but since I moved closer to nature, I started to do landscape photography. This resulted in a change of gear as well. I didn't need any more flashes or fast 85mm lenses, so I shifted more to wide-angle fast primes and lightweight zooms for day hikes. An expensive shift, but completely worth it."

What's in Giacomo's bag

Giacomo's camera bag Photo: Giacomo Farabegoli

Primary cameras: Sony a7R IV (primary), Sony a7C II (secondary)

• Lenses:
  • Sony 14mm F1.8 GM
  • Sony 24-105mm F4 G OSS
  • Sony 70-200mm F2.8 GM II
  • Sigma 105mm F2.8 Macro
  • Viltrox 85mm F1.4
• Support gear: "My new kit is built around landscape and astrophotography, with the need for it to be portable for hiking. I have a Heipi 3-in-1 carbon tripod that provides a sturdy support system for long treks. An intervalometer (auto-shutter trigger) is always packed for star trail photography, along with spare batteries for extended nights in the field. For more detailed deep-sky work, a star tracker is included (usually). A particularly useful addition is a tent string tensioner, which can be used to secure and stabilize the tripod against rocks during windy conditions. I'm not going to lose my equipment to a cliff face fall..."
• Camera bags: "I use different packs depending on the length and purpose of the trip. A Manfrotto Pro Light Backloader is reserved for paid shoots and travel, thanks to its gear capacity and airline-friendly dimensions. For hiking, I tend to an Osprey Talon 26L for day trips, a Millet Ubic 35L for overnight photography outings, and an Osprey Atmos AG 50L for multi-day adventures."

"I should note that camera gear is protected inside these packs using a Lowepro GearUp Box or, when minimizing weight is a priority, a Spinn Design Wrapper. For quick access on the trail, take a Peak Design Capture Clip or an Osprey Camera Chest Rig, as these keep the camera readily available."

Corno Nero, Oclini, Alto Adige, Italy "I was trying to shoot a comet that night and while I was waiting I got this beautiful sunset with the low moon (it was a Supermoon the day after), I went back hiking during the night in the snow because I didn't want to pitch the tent in the cold." Sony a7R IV | Sony FE 70-200mm F2.8 GM II | F2.8 | 1/320 sec | ISO 320 Photo: Giacomo Farabegoli

How has your photography changed since you started?

"While I was living in the city, I focused more on portraits and street photography, but since I moved near nature, I have only been doing landscapes or nature-focused photography. This resulted in a change of gear as well. I didn't need any more flashes or fast 85mm lenses, so I shifted more to wide-angle fast primes and lightweight zooms for day hikes."

"I shoot usually in mountain scapes, away from people and urban areas. I often find myself surrounded by snow during winter shootings, freezing in the cold, but with a lot of clear skies to keep my attention on while I also try to keep warm."

How do you adapt your setup to different situations?

"In 2025, I went for a long hike in the Dolomites near where I live. I've done some pretty extreme climbs of 85 kilometers with 6000 meters of elevation gain in 5 days with a 20kg backpack full of camping and photography gear."

"Depending on what type of hike I'm doing, for a day hike I bring only my camera with the 24-105mm and a spare battery. On multi-day hikes, I bring more batteries and a couple of lenses (usually 24-105mm and 14mm). If it is a night shooting for star trails and Milky Way, I go with two camera bodies and even three lenses, depending on the subject (like the 70-200mm if I want to do moon or deep sky), an intervalometer and a star tracker."

Magliano, Tuscany, Italy "An abandoned church in Tuscany, saw the spot from the road and went the same night to try this photo, I was lucky to get a perfect, clear sky." Sony a7R IVA | Viltrox 16mm F1.8 FE | F8 | 61 sec | ISO 2000 Photo: Giacomo Farabegoli

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

"I like to go explore before actually going shooting, if possible. I don't bring the camera; I just go there and start exploring the surrounding area to find the perfect spot for the tripod and the tent. If I can't explore beforehand, like on a vacation trip, I use different apps, Photopills and ThePhotographerEphemeris, to virtually explore the area and find potential spots before I arrive. Once I have the spot in mind, it's then all in the hands of Mother Nature to give me the ideal conditions to shoot a perfect photo."

How can print photographers learn from digital photographers?

"As I'm organizing workshops, I often see that a lot of people starting digital photography lack those little details that I learned when I was shooting analog. Using the camera in Manual mode to achieve the desired exposure, rather than relying entirely on Auto mode. A good exercise is to turn off the camera's image preview and check what you have done when you go back home."

"A good exercise is to turn off the camera's image preview and check what you have done when you go back home."

"Another piece of advice is that every setup depends on what you want to shoot. I do landscapes and prints, so I need high image quality and a lot of megapixels. A street photographer, though, needs to focus more on portability, as a sports photographer does on a faster camera."

"And last but not least, you don't need to spend thousands of dollars to start. My first camera was 120€ with two lenses (unheard of these days, I know), start low and then improve your gear only when you've improved your technique!"

Karersee, Alto Adige, Italy "Sunset over Karersee Lake, waited 3 hours for the perfect light." Nikon D800E | Sigma 20mm F1.4 DG HSM Art | F13 | 1/15 sec | ISO 100 Photo: Giacomo Farabegoli

Giacomo really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Giacomo, 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?'

Apple says its new Raw processor offers much better denoising, even when dealing with images from cameras that have "non-traditional sensor patterns." Image: Apple

Apple had some splashy announcements at its Worldwide Developer Conference keynotes regarding AI and the future of its software, but, as is often the case, some of the most interesting developments were saved for later in the week, in the developer sessions. Case in point: Apple has apparently reworked the pipeline for processing Raw images that powers not just its own apps like Photos and Pixelmator Pro, but also third-party ones that choose to integrate Apple's tech.

In a video titled "WWDC26: Enhance RAW image processing with Core Image," the company not only walks through the changes it's making, but also provides a pretty good summary of how Raw data gets turned into a visible image through demosaicing, denoising, applying white balance and other adjustments, and more. But the meat of the video is the discussion around the 9th iteration of its Raw processor, which it characteristically calls its "biggest update yet."

The company says it's building machine-learning powered denoising straight into the demosaicing step, leading to sharper images in most situations, and dramatic improvements to rendering very noisy photos. That'll be especially important when, say, trying to process photos shot with the relatively small sensors found in the latest iPhones, though Raw 9 supports more than just Apple's cameras. The company says it can deal with Raw files from "hundreds" of cameras from "all major professional camera vendors," and promises that more will be added as time goes on.

AI-powered denoising has become a major part of photo editing these days. Major photo editing software like Photoshop and DxO are gaining built-in support for it, and even standalone denoising apps like Topaz Labs are getting some buzz. It's no surprise that Apple is building the tech into its own Raw processor, though it's interesting that it essentially seems to be baking it in, without offering a ton of control over how it's applied (though apps will still be able to offer sliders for luma noise reduction).

Raw 9 will be included on new operating systems like iOS, iPadOS and macOS 27

As for where Raw 9 will show up, you'll likely start seeing output from it in Apple's apps first, once its new operating systems like iOS 27 and macOS 27 "Golden Gate" are released this fall. It's used not only in editing apps like Photos, but to allow you to view Raw images in the file browser, and in Preview.

Third-party developers will also be able to use it in their apps when dealing with Raw files, though it apparently won't be the default, potentially thanks to the increased processing requirements versus Raw 8. And while we wouldn't expect companies like Adobe to ditch their custom-made Raw convertors for it anytime soon, many indie photo editing apps on Apple's platforms will likely use it, gaining better Raw output without requiring much extra work on the developers' part.

As a heavy user of Apple Photos – I have over 20,000 Raw images stored in it going back to 2012 – I'm excited for this change. As Apple points out, part of the beauty of shooting Raw is that you can breathe new life into old photos by reprocessing them, and I'll be very interested to see if I notice the difference in my strolls down memory lane.

Image: Insta360

The DJI Osmo Pocket has been the default choice for gimbal camera shooters for years, but Insta360 is now making a direct play for that market. The Luna Ultra is the company's first gimbal camera, and it features Leica branding, 8K video and a dedicated telephoto lens.

The launch appears to have been pulled forward after a creator purchased the camera from B&H before its official release date – while it was still under embargo – after retailer listings went live ahead of schedule.

The Luna Ultra features a dual-camera system, competing against the Osmo Pocket 4's single camera. That said, DJI is gearing up to launch its own version with two cameras, so this won't be an edge for long. The main camera uses a Type 1 (128 mm²) CMOS sensor with a 20mm equivalent focal length and F1.8 aperture. The dedicated telephoto camera provides a 60mm equivalent focal length and uses a smaller, Type 1/1.3 (69 mm²) sensor and F2.0 aperture. Beyond those two focal lengths, Insta360 says it offers 6x lossless and 12x hybrid zoom.

Insta360 sells various accessories for the Luna Ultra. Image: Insta360

The camera records 8K/30p videos with Dolby Vision and 10-bit I-Log for greater flexibility while editing. The 8K resolution could appeal to those after extra quality, as the Osmo Pocket 4 tops out at 4K, albeit at 240 fps. The Luna Ultra also offers a 'PureVideo Mode,' which Insta360 says reduces noise and improves brightness for low light shooting up to 4K/60p.

On the stills side, the camera can capture up to 37MP, though that's in Insta360's "UltraPhoto" mode. Insta360 doesn't specify what this mode is, but we suspect it's a computational multi-frame capture mode. Standard photos max out at 9MP. It also offers 200MP panoramic shots.

Stabilization comes from a 3-axis gimbal combined with electronic image stabilization, promising smooth footage even while moving. It also uses Insta360's Deep Track 5.0 for subject tracking, which includes various specific tracking features, such as modes for groups, zooming, auto framing and more.

The touchscreen is detachable and able to function as a remote for the camera gimbal. Image: Insta360

The Luna Ultra features a detachable 2-inch OLED touchscreen, which Insta360 says is an industry first. The touchscreen can then function as a remote that works up to 20m (65') away. It certainly adds some convenience for solo creators. The company also offers a separate POV Head Tracker that can automatically move the camera based on your head movements.

Insta360 says the camera gimbal is co-engineered with Leica, and it features Leica-branded Summicron lenses. It also brings Leica's color profiles to the tiny camera gimbal, including Leica Natural, Leica Vivid and Leica Chrome. The company says that it's compatible with professional color workflows, including ACES (Academy Color Encoding System). It also features built-in time code for syncing multiple devices and a QR code system for sharing color settings between devices.

Image: Insta360

The camera includes 47GB of internal storage and is compatible with microSD cards up to 1TB. Insta360 promises four hours of battery life.

Beyond some camera benefits over the Osmo Pocket 4, the Luna Ultra has one other key lead over DJI's camera gimbal in the US market: it's available. New DJI products have not been officially available in the US since the FCC blocked the company from receiving equipment authorization in December 2025.

The Luna Ultra starts at $770 and comes in white or black. For comparison, the Osmo Pocket 4 launched at £445 (roughly $596) in the UK, though DJI has not set a US price. A close competitor, the dual-lens Pocket 4 Pro, is also expected, and although we don't know the official price yet, Chinese retail listings suggest it will sit in a similar range to the Luna Ultra.

Buy now

The previously reported  Insta360 Luna Ultra camera is now officially announced and available for order at:

• US: B&H Photo
• DE: Foto Erhardt
• Worldwide: Insta360

Insta360 Launches Luna Ultra: Leica Co-Engineered Gimbal Camera Built for Next-Generation Mobile Filmmaking

Insta360 today announced Luna Ultra, its flagship gimbal camera co-engineered with Leica, built to combine professional imaging, 3-axis stabilization, and flexible creative tools in one portable device.

Featuring a dual-lens design with a pro-grade telephoto lens, it’s built for everyday creators and mobile filmmakers. With 1″ 8K imaging, Leica Summicron lenses, a detachable OLED touchscreen, and advanced AI-powered tracking, Luna Ultra brings Insta360’s imaging expertise into a new category for creators who want smooth, high-quality video and photos wherever they go.

Advanced Imaging and Optics

Luna Ultra features a Leica Summicron lens paired with a 1″ 8K sensor for high-resolution video and photo capture, and a secondary telephoto lens system with a 1/1.3″ sensor and F2.0 aperture, enabling natural bokeh across five focal lengths, with up to 12× zoom, including 6× lossless zoom.

“Luna Ultra marks Insta360’s arrival in the gimbal camera space, backed by the full strength of our imaging expertise. We believe this category is ready for a new standard, defined by smarter technology, stronger performance, and a more intuitive user experience. Luna reflects our vision for the future of gimbal imaging, built to help people capture what matters with greater ease, confidence, and authenticity.” — Max Richter, VP of Marketing and Co-Founder of Insta360.

Video capabilities include 8K30fps recording with Dolby Vision and support for 10-bit I-Log capture for greater color information and flexibility in post-production. With up to 14 stops of dynamic range, the system preserves rich detail in both highlights and shadows. For photography, Luna Ultra supports 37MP UltraPhotos and 200MP Scenic Panorama photos.

Low-light performance is enhanced by PureVideo Mode, which reduces noise and improves brightness and detail up to 4K60fps. Luna Ultra also features a Triple AI Chip to support advanced image processing and overall performance.

Design and Stabilization

• Luna Ultra features a compact, lightweight design at just over 200g, making it as easy to carry as a modern smartphone.
• An industry-first detachable 2″ OLED touchscreen enables remote monitoring and control with HD transmission up to 20 meters, for more flexible shooting angles and solo capture.
• It also features a 1550mAh battery for up to four hours of use, with fast charging to 80% in approximately 23 minutes. Built-in storage provides 47GB of usable space, with support for up to 1TB via microSD.
• A 3-axis stabilization system, combined with electronic image stabilization, ensures smooth footage during movement. Deep Track 5.0 enables precise subject tracking, with features including Auto Tracking, Active Zoom Tracking, Group Tracking, and Smart Framing to help keep subjects in frame and in focus.

Creative Tools and Professional Workflow

• Luna Ultra incorporates Leica color profiles, including Leica Natural, Leica Vivid, and Leica Chrome, alongside a range of cinematic filters for flexible in-camera looks. It also supports professional color workflows, including ACES (Academy Color Encoding System).
• Built-in timecode enables multi-camera synchronization and supports editing in software such as Final Cut Pro and Adobe Premiere Pro. Additional tools include QR Color Share for sharing color settings between devices and AI-assisted editing within the Insta360 app, which identifies key moments and generates ready-to-share edits.
• For audio, Luna Ultra features a built-in wind guard for clearer outdoor recording, along with direct compatibility with Insta360 Mic systems for single or dual-transmitter setups.
• A dedicated accessory lineup further expands creative options, including a POV Head Tracker for hands-free capture, Black Mist filters for cinematic diffusion, a Wide-Angle Lens that expands the field of view to 108°, and ND Filters for exposure control and motion blur.

A Six-Year Partnership in Imaging Innovation

Insta360’s partnership with Leica spans six years and five co-developed products, combining Leica’s optical heritage and iconic color science with Insta360’s Emmy Award-winning imaging technology. With Luna Ultra, the two companies bring that collaboration into a new category, pairing professional optics with compact, AI-powered gimbal camera design.

Luna Ultra was unveiled at Leica’s Headquarters in Wetzlar, underscoring the close partnership behind Insta360’s first Leica co-engineered gimbal camera.

“This launch represents more than a new product announcement. It reflects the shared vision and long-term collaboration between Insta360 and Leica, combining optical heritage with a new generation of intelligent imaging technology.” — Marius Eschweiler, VP of Business Unit Mobile at Leica Camera AG.

Availability & Pricing

Luna Ultra will be available starting June 10 via the Insta360 Store, Amazon, Best Buy, and select retailers worldwide, with availability in some markets to follow at a later date.

• Luna Ultra – US$ 769.99
• It will be available in Cosmic Black and Stellar White.

The post Insta360 Luna Ultra camera officially announced appeared first on Photo Rumors.

Image: Insta360

The DJI Osmo Pocket has been the default choice for gimbal camera shooters for years, but Insta360 is now making a direct play for that market. The Luna Ultra is the company's first gimbal camera, and it features Leica branding, 8K video and a dedicated telephoto lens.

The launch appears to have been pulled forward after a creator purchased the camera from B&H before its official release date – while it was still under embargo – after retailer listings went live ahead of schedule.

The Luna Ultra features a dual-lens system, competing against the Osmo Pocket's single lens. That said, DJI is gearing up to launch its own two-lens camera gimbal, so this won't be an edge for long. The main camera uses a Type 1 CMOS sensor with a 20mm equivalent focal length and F1.8 aperture. The dedicated telephoto camera provides a 60mm equivalent focal length and uses a smaller, Type 1/1.3 sensor and F2.0 aperture. Beyond those two focal lengths, Insta360 says it offers 6x lossless and 12x hybrid zoom.

Insta360 sells various accessories for the Luna Ultra. Image: Insta360

The camera records 8K/30p videos with Dolby Vision and 10-bit I-Log for greater flexibility while editing. The 8K resolution could appeal to those after extra quality, as the Osmo Pocket 4 tops out at 4K, albeit at 240 fps. The Luna Ultra also offers a 'PureVideo Mode,' which Insta360 says reduces noise and improves brightness for low light shooting up to 4K/60p.

On the stills side, the camera can capture up to 37MP, though that's in Insta360's "UltraPhoto" mode. Insta360 doesn't specify what this mode is, but we suspect it's a computational multi-frame capture mode. Standard photos max out at 9MP. It also offers 200MP panoramic shots.

Stabilization comes from a 3-axis gimbal combined with electronic image stabilization, promising smooth footage even while moving. It also uses Insta360's Deep Track 5.0 for subject tracking, which includes various specific tracking features, such as modes for groups, zooming, auto framing and more.

The touchscreen is detachable and able to function as a remote for the camera gimbal. Image: Insta360

The Luna Ultra features a detachable 2-inch OLED touchscreen, which Insta360 says is an industry first. The touchscreen can then function as a remote that works up to 20m (65') away. It certainly adds some convenience for solo creators. The company also offers a separate POV Head Tracker that can automatically move the camera based on your head movements.

Insta360 says the camera gimbal is co-engineered with Leica, and it features Leica-branded Summicron lenses. It also brings Leica's color profiles to the tiny camera gimbal, including Leica Natural, Leica Vivid and Leica Chrome. The company says that it's compatible with professional color workflows, including ACES (Academy Color Encoding System). It also features built-in time code for syncing multiple devices and a QR code system for sharing color settings between devices.

Image: Insta360

The camera includes 47GB of internal storage and is compatible with microSD cards up to 1TB. Insta360 promises four hours of battery life.

Beyond some camera benefits over the Osmo Pocket 4, the Luna Ultra has one other key lead over DJI's camera gimbal in the US market: it's available. New DJI products have not been officially available in the US since the FCC blocked the company from receiving equipment authorization in December 2025.

The Luna Ultra starts at $770 and comes in white or black. For comparison, the Osmo Pocket 4 launched at £445 (roughly $596) in the UK, though DJI has not set a US price. A close competitor, the dual-lens Pocket 4 Pro, is also expected, and although we don't know the official price yet, Chinese retail listings suggest it will sit in a similar range to the Luna Ultra.

Buy now

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

The Insta360 Luna Ultra camera is not officially announced yet, but you can already order it at B&H Photo:

You can also already reserve the upcoming Insta360 Luna in Germany

Here are the details:

• Capture up to 8K30 Action Footage
• Dual Lenses, 1″ & 1/1.3″ CMOS Sensors
• Detachable 2″ OLED Screen
• 3-Axis Stabilization, AI Tracking
• Built-In Leica Color Profiles

Additional information on the new camera can be found here (check the Insta360 website for more information):

You can already reserve the upcoming Insta360 Luna camera in Germany

The latest Insta360 Luna camera rumors

Coming soon: Insta360 Luna pocket handheld gimbal camera

The post The Insta360 Luna Ultra camera is not officially announced yet, but you can order one at B&H Photo appeared first on Photo Rumors.

Here are the latest Leica news and rumors:

The next-generation Pixii digital rangefinder camera with Leica M-mount is essentially complete, the company is now looking for investors, partners, and collaborations with other camera manufacturers

Cosina to bring back the Voigtlander ULTRON Vintage Line 28mm f/2 & 35mm f/2 Aspherical Type II lenses for Leica M-mount

Announced and available for order: 7Artisans × Seagull M 35mm f/1.7 limited edition lens for Leica M-mount

Coming soon: new limited edition 7Artisans × Seagull M 35mm f/1.7 silver lens for Leica M-mount

You can now attach a smartphone to Leica Geovid binoculars with this new Ollin snapshot adapter

Leica announced a new Cine Compact 1 projector

The latest accessories for Leica cameras from Owlkrown

Rumors: corporate-owned Leica stores can carry third-party accessories only from those eight brands

The post The latest Leica news and rumors appeared first on Photo Rumors.