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Photo: Richard Butler
When we wrote our review of the Panasonic L10, we tried to make sure we put the studio comparison into context. For mirrorless cameras and DSLRs we use good prime lenses, stopped-down to the point that their performance is reliably excellent: zoom lenses and, in particular, the downsized, retractable zoom lenses in compact cameras, can't match up to this standard. As a result, compacts don't look quite as impressive.
Our test scene lets you compare images in incredibly fine detail, revealing differences that you wouldn't see in most real-world situations: they exist but that doesn't mean they matter. That's exactly why we also post a gallery of real-world sample images so that you can relate the things you see in the studio scene to their photographic impact.
We'd gone through our usual processes for compact cameras: carefully align, shoot a series of images, compare to cameras we'd expect to perform similarly, then do it again at a different focal length, to make sure we were representing the camera fairly.
However, we still saw some concerns expressed that we were testing a "faulty" or sub-standard copy. Just to be certain, we requested another L10, to see whether we'd get a significantly different result.
Test and retest
Image Comparison
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It didn't. With the first copy, we found that the 75mm setting looked better than the 50mm we'd used on the LX100 cameras. The difference was much smaller on the second copy. Both copies could be a touch sharper at the center at 75mm whereas 50mm equiv was less sharp at the center, more consistent out to the corners, which is presumably why we chose it for the LX100s.
Multiple focus attempts, using both manual focus and autofocus, appear to suggest that a lot of the softness in the corners is a result of curvature of field: a non-flat focus field, meaning it's not possible to get the whole of the chart in focus at the same time. The images with the sharpest center focus had worse looking corners than the images with slightly miss-focused center.
Ultimately we were able to shoot some images that are sharper at the center than the ones displayed in our image comparison tool, but they have visibly less sharp corners. The second copy of the camera also appears less consistent, with what appears to be slight decentering sometimes affecting the top left corner.
The images between the two cameras are similar enough (decentering aside) that we don't think we can get consistently better images from the second copy than the ones already in the scene. Those images already exhibit aliasing – a sign that the lens is resolving detail beyond the level the sensor's resolution can accurately capture – suggesting the lens is doing a good job. You just need to consider the context of how finely you're scrutinizing them and how impossibly the high the standards set by good, prime lenses are.
We re-tested the L10 because we want to make sure our image comparison tool shows all the cameras in it in as fair a light as possible. And if that means re-doing some of the work and re-checking our assumptions to ensure our standards are maintained, then it's worth doing.
Photo from a Question of the week entry that didn't make it into the original article. This is a photo of community member, Blufftonian's memorable camera collection.
Photo: Blufftonian
A ton of great content and related photography is created by the DPReview community in our forums: lively discussions, sharing of gear and photography in spotlight articles, collaborative photo events and more. In this "What you missed" roundup for June, we highlight community forum activity from the past month, including some of the photography that didn't make it into articles.
Scroll down to the section of interest as previewed in this list:
Article of the month: Joining a local photography group
'What's in your bag?' community member spotlights
Question of the week
Join our collaborative photo chain
Discussion of the month: Why is it so difficult to buy a first camera today?
Article of the month: Joining a local photography group
"A group shot (excluding me) of that first meetup that I attended."
Photo: Abby Ferguson
DPReview's Features Editor, Abby Ferguson, wrote a great piece about the benefits of joining local photography groups. As a community manager, I naturally found this article fascinating and the kind of advice I feel all of you would find a great insight into photographers outside our forums. After reading her article, I even took it upon myself to look up some photography groups in my local corner of Texas, United States.
"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." - Abby
What's in your bag? A community member spotlight
Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series highlights a reader's favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.
"Soot-blackened steam traction engine driver – the youngest in the country. Seen at the Pickering traction engine rally in the north of England."
Photo: Mark Lamb
Mark Lamb shared his portrait photography in celebration of our week of portrait-themed community content. Below is an interesting excerpt from Mark's story about his fondness for portrait photography in Britain. The photo above is a new one he provided us that we couldn't fit into the article.
"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."
Every other week, we ask the community a question about their photography, usually on a specific topic, with the results spotlighted on DPReview's front page and in the forums the following week. There are often many great photos submitted that we don't get a chance to spotlight them all in a single article.
Here is a newly revealed reader's photo and excerpt of their story from the latest question.
What camera is your most memorable?
Photo: thorstenwulff
Featured quote: "My first love was the F3. In the summer of 1987, she went to New York with me and a box of T-Max 400. Paired with a 24mm F2.8 lens, it was my perfect combo for street photography, even if you had to get a bit closer. The other lens was the 105mm F2.5. In early May this year, I took them back to Manhattan, but was put off a bit by the flood of gimbal-toting influencers everywhere Instagram deems worthy of a shot. This couple is one of my favorite pictures from 39 years ago. I love the tenderness between them." - thorstenwulff
Discussion of the month: Why is it so difficult to buy a first camera today?
Photo: FrancoD
Community member, BernardoSC, asked a great question in the forums that has gained quite a bit of traction. He asked everyone, "Why is it so difficult to buy a first camera today?" This is an excellent question, BernardoSC! I have asked this question of myself recently about various purchase interests, from cameras to computer equipment.
Here is a peek at what others had to say:
JT26: It's hard as there are so many options now. New cameras and new versions of the above are using new tech and are not sold in millions like they used to be, so they are naturally more expensive.
ahaslett: The optical viewfinder is what limits your choice. Apart from retro designs, cameras these days are nearly all mirrorless. There isn’t much between a phone and a camera for £1,000, given how fast phones have improved.
Plankowner110: In the 1960s, you simply adjusted aperture, shutter speed, and focus ring, and it didn't matter if you were using an inexpensive Sears Tower (camera) or a rugged pro-body Nikon F. The major variable was selecting which film to use. Cameras all operated basically the same way, and one could easily pick up any brand of camera and begin shooting. We didn't have to peruse a myriad of menu settings or press tiny re-programmable buttons all over the camera body.
What community content did you enjoy reading, and what more would you like to see in these regular updates? Let us know in the comments below.
For even more content directly from our readers, join the discussion forums and share your camera gear and photography curiosities!
Editor's note: Future editions of this article may include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.
Hasselblad has announced the winners of the Hasselblad Masters 2026 photography competition. The contest awarded 7 photographers from 70 finalists, chosen from more than 108,000 submissions across 160 countries.
Winners were selected across seven categories: Landscape, Architecture, Portrait, Art, Street, Wildlife, and Project//21. The winning photographers were selected by the Hasselblad Masters Grand Jury, which included representatives from National Geographic, Magnum Photos, Aperture Magazine, Getty Images, Foam, The Metropolitan Museum of Art and the Three Shadows Photography Art Centre. Images were chosen based on their conceptual strength, originality, creativity and technical excellence.
The competition drew some attention earlier this year when Hasselblad confirmed it had disqualified one shortlisted photographer for including AI-generated elements in violation of competition rules, replacing them with a new finalist. It's worth noting that the finalists were selected through an internal selection process at Hasselblad, not by the acclaimed photographers on the Grand Jury. A representative has confirmed that all of the winning images were "thoroughly vetted, and EXIF data was confirmed," and that they are all authentic photographs.
Each winner receives the title of Hasselblad Master, a Hasselblad medium format camera, two XCD lenses, and a €5,000 creative fund. Their work will also be featured in the commemorative Hasselblad Masters book.
We're showing one image per winner below, but you can view all three selected images for each photographer on the Hasselblad Masters website. Traditional captions and EXIF data were not available, and the descriptions and jury quotes accompanying each image are taken directly from Hasselblad's competition materials.
Art winner: Yudha Kusuma Putera
Yudha Kusuma Putera | Waste Colonialism (Sapi-Sapi Piyungan) | Indonesia
Rooted in everyday life and inspired by its complexity, Yudha Kusuma Putera turns a keen eye toward the social issues that hide in plain sight, exploring the tensions between humans, nature, and the systems we build around us.
The winning images are part of a project examining how developed nations export their waste to developing countries, where labor and costs are lower. This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Yogyakarta's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill.
He photographed the backs of these cows stacked together, with their forms mirroring the landscape of trash around them. The work does not seek to assign blame, but to invite collective reflection on the waste we produce, and the futures we are building from it.
"On the surface, the images appear direct and unambiguous, and yet they consistently resist easy reading, generating a sense of visual uncertainty that keeps the viewer engaged and questioning. The images do not announce themselves loudly, but reward sustained attention with a slow-building sense of strangeness that is both intellectually stimulating and visually striking," says Kalle Sanner, Executive Director at the Hasselblad Foundation.
Architecture winner: Kevin Boyle
Kevin Boyle | DaySleeper | Movieland | Canada
Kevin Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear. For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.
The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal 'portrait' of once important gathering places. Through his lens, these forgotten spaces become vibrant, glowing symbols of community heritage and shared human connection.
"The composition, and the fact that the images are empty of people, triggers our imaginations, taking us back to a time when these buildings would have thrived with the community meeting for evening entertainment. By making this series, the photographer invites us to consider the myriad of small venues that make up the social fabric of small communities," says Sonia Jeunet, Photography Consultant and Education at Magnum Photos.
Portrait winner: Svetlana Jovanovic
Svetlana Jovanovic | Otherness | The Netherlands
With a psychology background, Svetlana Jovanovic's portraiture is driven by a deep curiosity about identity – how we experience the world, construct our sense of self, and see ourselves through the eyes of others. Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning.
The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work. Each portrait is a collaboration, shaped as much by the relationship between the twins as by the photographer's own vision, inviting viewers to reflect on how we define ourselves both apart from, and through, one another.
"Through precise use of light and composition, this portrait series explores the themes of mirroring and duality. Whether capturing two sides of the same face or the closeness of two kindred souls, the images reveal subtle layers of emotion with quiet precision," says RongRong, Co-founder and Artistic Director at The Three Shadows Photography Art Center.
Landscape winner: Rohan Reilly
Rohan Reilly | Ephemeral Visions | Ireland
Rooted in the discipline of a composer, Rohan Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness. His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation. The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned.
This winning series captures a row of poplar trees planted along the banks of the River Po in Italy, which are natural guardians against flooding, now standing immersed in perfectly still water beneath soft, diffused light. What was once a purely functional landscape transforms into something surreal and dreamlike. In this quietly breathtaking scene, the photographer's vision can find its fullest expression: nature distilled to its core, and time momentarily held still.
"A forest of birch trees could be a monotonous subject. But these photographs are hypnotic objects of meditation, creating something expansive through repetition and ostensible sameness," says Zack Hatfield, Managing Editor at Aperture Magazine.
Project//21 winner: Panitbhand Paribatra Na Ayudhya
Panitbhand Paribatra Na Ayudhya | Dwellers of the Night | Thailand
Panitbhand Paribatra Na Ayudhya is a young underwater photographer and scuba diver from Thailand. His work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.
His winning series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness. Using slow shutter speeds to capture the elegant motion of his subjects, and carefully chosen coloured lighting to reveal their form and beauty, he illuminates a world rarely seen. For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject – crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.
"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating. There’s a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction," says Alex Pollack, Director of Photography at National Geographic.'
Street winner: Gosse Bouma
Gosse Bouma | Morning Ritual | The Netherlands
Gosse Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather. Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.
His winning series, taken across the Netherlands, turns to the street market as its subject, a space where people of all ages and backgrounds meet, exchange a few words, share warmth, and move on. In capturing these small, unhurried encounters, Bouma preserves something increasingly rare in contemporary life: a genuine sense of togetherness.
"The photographer understands atmosphere, scale and timing. The small lit kiosks within the vast blue urban emptiness create images that feel both intimate and monumental. Here, genuine photographic tension emerges. The series uses color structurally, not decoratively. Mist, artificial light and architecture form one coherent world," says Aya Musa, Senior Curator at Foam.
Wildlife winner: Alfred Minnaar
Alfred Minnaar | The Forest I Roam | South Africa
Alfred Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behavior, environment, and relationship with the surrounding ecosystem. Over a decade of global exploration, his fine-art philosophy has evolved from a traveler's passion into a powerful voice for conservation, capturing fleeting deep-sea and wildlife narratives to inspire the preservation of our planet.
The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer. Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.
"The vibrancy of the palette immediately draws you in, and the way the small fish are framed against their environments creates a sense of scale that almost reads as landscape. There’s a nice balance here between detail and composition, with the micro subjects holding their own within a larger, almost abstracted environment," says Alex Pollack, Director of Photography at National Geographic.
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Image: Panasonic
When I reviewed the Panasonic S1II, one of my biggest complaints about it was the price. It's a very capable camera, but it was also competing against other very capable cameras that were several hundred dollars cheaper, and which didn't ask you to give up much in return.
Now, though, things have changed a bit. Instead of selling for $3200 in the US, it's currently listed as $2900, an approximately 9% reduction. That makes it the same price as the Sony a7 V, and only $100 more than the Canon EOS R6 III. While Panasonic's website lists this as a sale, there's no clear indication of an end date. B&H's website, meanwhile, implies that this is just the new price, and, indeed, price tracking site CamelCamelCamel reports that it's been selling at this price for about a month.
The same has happened to the S1II's higher-resolution sibling, the S1RII. When that camera launched in February 2025, a few months before the S1II, it was listed at $3300. It's now an even $3000, putting more distance between it and cameras like the Nikon Z8 and Canon EOS R5 II (though those cameras' benefits over the S1RII are more obvious than with the S1II's competitors).
Cameras frequently get cheaper as they age
In some ways, this isn't unusual. The S1II and S1RII are over a year old now, and cameras frequently get cheaper as they age. The Nikon Z6 III is a perfect example; it launched at $2500, and is currently available for just under $2000 (which, despite its few minor flaws, is a screaming deal). This will happen to the EOS R6 III and a7 V, too, and at that time the S1II may go back to seeming like not as great a value, unless you specifically need the relatively niche features it offers that the others don't.
This is why we typically base our pricing analysis around MSRPs; it's not because the street price of the camera won't change over its life, but that they typically tend to change by around the same amount, relative to the camera's launch price and age. Still, it means that if you need to buy a camera right this moment and aren't currently wedded to a system, the S1II makes a lot more sense than it did before. And if this truly is a change to its MSRP, and it'll at some point go on sale even further, that could make it a very interesting option indeed.
Godox released its digital camera, the C100, with a transparent viewfinder. The C100 is a plastic frame that helps the photographer gauge the approximate shooting area. Godox describes the device as a metering aid for film photography.
Weight: Reported as ~65 g in Chinese sources (one retailer lists 655 g — almost certainly a typo/copy-paste error)
Storage: TF/microSD card support up to 128 GB (card not included)
Battery: Built-in rechargeable battery; claims >1.5 hours of continuous video recording
Charging/Data: USB-C (5V ⎓ 1A) for charging and OTG direct transfer to phones or computers
Exposure Controls: Center-weighted metering with linked aperture/shutter adjustment (semi-auto style — adjust one and the camera handles the other). Adjustable ISO.
Other: Portable for travel/street/lifestyle shooting; minimalist design.
Happy World Camera Day! In honor of the day, we are sharing your responses to last week's Question of the week. We asked you which camera was (or is) your most memorable, and to share a photo of the camera and an interesting story about it. This is a spin-off of another question asked a couple of months ago about which camera brand was your favorite, but this time, it may not have been your favorite camera brand that took the spotlight.
Several of you, as expected, mentioned more prominent brands like Canon, Nikon and Sony, but others made unique selections dating back to brands that no longer exist. While the technology of those cameras is now dated, dusty and rusty, the photographs and the memories they conjure up are forever, as they say. With our community over 25 years old and its members' collective experience spanning well beyond that, there were plenty of memories shared.
Keep reading to see which cameras our readers chose as their most memorable.
Your most memorable camera
Leonp: "In the late 1970s, my nephew bought a Pentax camera. My father was jealous, so he bought one for himself, too. My father wasn’t really into high-tech stuff and never made it through the manual, so I must have sneaked into his bedroom to take the above photo in the mirror using a diving lamp as a light source, which, if you look closely, is also a selfie of me. It took years for it to become my camera, and it changed the way I looked at the world forever."
Daithi: "The Nikon D850. It was a troubling time for the birth of mirrorless cameras. They were all basically the ugly litter of the well-established DSLR world. For me, this camera kept on truckin' for many years. The D850 had peerless resolution/image quality, and still does to a large degree."
GruberSrb: "Minolta Dynax 9xi (with booster). It was hated in photography circles, but its tech and fabulous design remind me of a ballerina in 'Swan Lake'. It still works flawlessly with a carbon shutter 1/12000sec like new, despite very heavy usage over the last 30 years in some of the worst conditions on Earth, from Patagonia to Kamchatka."
Thorstenwulff: "My first love was the F3. In the summer of 1987 she went to New York with me, and a box of T-Max 400. Paired with the 24/2,8 it was my perfect combo for street photography, even if you had to get a bit closer. The other Lens was the 105/2,5."
Photo: lonewolf1983
lonewolf1983: "I present you the Sony A850. I had been shooting with the Sony APS-C SLT cameras (A57/A77/A77ii) and picked up the A850 to complement them and check out what the full-frame thing was all about. I took it soon after on a trip to New Zealand, and captured some amazing images with its 24mp sensor, rock solid build quality, amazing OVF and IBIS, clicking that shutter and hearing the mirror/shutter was just glorious."
LJ - Eljot: "Canon G3: My first digital camera. Introduced in 2003, a 4MP digital compact. This one was aimed at enthusiasts and featured RAW images. Unusual at that time. Base ISO is 50, and it is basically unusable at the max ISO of 400. It takes about a full second to take a picture after pressing the shutter button. A terrible camera, but I learned to love the tilt-screen. And at ISO 50, the images look quite good, actually. Good macro capability as well. And a hot shoe with full flash compatibility."
fatplanediaries: "The Sony a6300. It overheated like crazy and had rolling shutter only comparable to the most wobbly of jelly, but it was the camera where I honed my photography and learned videography. I shot my film school application film with it on a homemade gimbal."
GeoffRG: "The Olympus OM1: I bought it in 1979, and it traveled with me to Seattle, Tanzania, Trinidad, and Australia. I sold it in 1990, along with my OM2n, a pair of OM4s, and a pile of lenses and accessories. I still don't understand why Olympus discontinued the motor drive system."
wood_gnome: "The Certo SL 110, because it was my very first camera. I bought it secretly and conspiratorially from pocket money when I was 9 (!) in March 1980."
Photo: Gato Amarillo
Gato Amarillo: "Always my favorite, my Deardorff. The above is a 5x7 model, but I used it with a 4x5 back. The lens is a Schneider Symmar 180mm, a longish normal for 4x5. Contrary to what most might expect, I used it mostly as a portrait camera. The camera was a basket case when I got it. My partner said it looked like something that had fallen off a truck on the freeway. You may notice a couple of odd knobs - I was never able to get together a full matching set."
Don Sata: "I loved my X-Pro1 to the point that I sold a Sony full frame prize camera from the Sony World Photography awards to get this gem with three primes (18, 27 and 60 mm). In this picture, the camera is posing with a set of Zeiss lenses lent to me for a month. I shot the camera, banged it on rocks, got it splashed, scratched and dented until the shutter died."
Otto Union: "Without a doubt, my long-gone Leitz Minolta CL with 40/2 Rokkor and 90/4 Elmar lenses. I bought these with tax refund money in April 1978. It was my first real camera and a real gem. It was extremely pocketable and accompanied me to many concerts in the late 70s / early 80s. It was stolen from my residence in 1983, and I'm still gutted about it."
cbf_si: "I was introduced to photography at 17 during the era of the first AF film cameras in the second half of the 1980s. My classmates were enthusiastic about cameras like the Canon EOS 650 and the Minolta Dynax 7000, but the Minolta X-700 caught my eye. I only got a used one when I got a job in 1998. Like many others, I initially equipped myself with the classic three focal lengths, 28 mm, 50 mm, and 135 mm. Today, I have lenses with focal lengths from 7.5 mm to 250 mm."
Photo: RLHN
RLHN: My most memorable (and first serious) film camera was the Petri 7S, a rangefinder film camera with a selenium cell meter that required no batteries and used "match needle" metering, which made it trivial to tweak exposure. I bought it "used" at a local camera store with my high school graduation gift funds, after someone traded it in because it was "too complicated". It was barely used, if at all. I took many great photos with it for years, until the photo cell sadly died.
BobKo: I've had many cameras, but the camera I remember most fondly is a Panasonic Lumix GH5. I primarily shoot video, and the GH5 was just a video beast. It made shooting really high-quality video a pleasure, and it really upped the quality of my YouTube uploads. Suddenly, my videos looked as good as the big boys. I got my GH5 in 2018, and it still works fine today -- I use it for a back-up camera and to shoot time lapses. What a great camera!
Gramar: The one stand out camera from the many I've owned over the past 50 + years has to be the original Sony RX100. I bought mine new in 2016 four years after they were launched. I found it ticked every box and was always my go to camera until I sold it in 2024 for almost what I paid for it new. It went everywhere with me despite owning a number of other camera during those times.
So many other stories we couldn't fit in this article are shared in the forums. Thanks to everyone who took the time to explain what your most memorable cameras are and why.
Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums. We can't wait to read and share your stories!
After teasing the Osmo Pocket 4P at the Cannes Film Festival in May and giving media and influencers hands-on time with the device at the beginning of June, DJI has finally fully unveiled its higher-end camera gimbal via its Chinese and Southeast Asia platforms.
DJI has yet to give Western media a clear timeline when full details can be published; we were told we could only post hands-on photos of the device, without any information about it. This is particularly unusual, since outlets in China have already been allowed to post their reviews, and it's available for purchase in China and Southeast Asia, making much of the information we're not allowed to share – specs, pricing information, test footage, etc. – public.
Like the Osmo Pocket 4, the 4P features a camera with a 20mm equiv. lens with F2.0 aperture. However, DJI opted for a new Type 1 (116mm²) sensor featuring LOFIC technology, rather than the conventional CMOS sensor used in the base model. In addition to that is a dedicated 60mm equiv. telephoto camera, allowing for greater flexibility than a single camera (contentiously, it's not the only gimbal camera to offer this). The telephoto camera uses a Type 1/1.28 (75mm²) sensor (only 35% smaller than the main sensor) and a slightly faster F1.8 aperture.
Photo: Mykim Dang
The camera supports up to 12x digital zoom for video and 9x for stills. The company's subject tracking (ActiveTrack 8.0) is compatible with the 12x zoom range as well, helping to keep subjects centered in the frame even when fully zoomed in.
As usual with DR claims, we'd take that figure with a massive grain of salt.
DJI claims the 4P's main camera provides 17 stops of dynamic range, which is 3 stops more than the Osmo Pocket 4. As usual with DR claims, we'd take that figure with a massive grain of salt; 17 stops would be exceptional even for a much larger sensor. The company has developed a new, flatter Log curve, D-Log2, which can encode a wider dynamic range, explaining the increased claim, compared to the Osmo Pocket 4, despite its use of the same camera. It's important to note that D-Log2 is only available with the main camera.
The camera can shoot at up to 4K 240p, enabling dramatic slow motion footage. It also offers a "Pro" mode that gives users control of the shutter speed from 1/16,000 sec to 1/4 sec, allowing for more creative control. As a gimbal camera, it benefits from three-axis mechanical stabilization for smooth footage even when you're moving. It also supports gesture control to start tracking and recording, and the ability to rotate the touchscreen to power the camera on and start recording.
Photo: Mykim Dang
While primarily meant for video use, the Osmo Pocket 4P does provide some photo features, too. It is capable of 37MP photos and can take images in 1:1 or 16:9. It also features a Live Photo mode, recording 1.5-second clips for every photo.
The Osmo Pocket 4P offers 103GB of integrated storage and supports microSD cards up to 1TB. It promises 210 minutes of runtime on a charge and is compatible with the existing Osmo lineup of accessories. It will be available in white and black
Unfortunately, there's still confusion about the timing of the full release of the DJI Osmo Pocket 4P. It is available in China as of today for ¥3799 (roughly $559), but full global availability – and whether it will come to the US – is still unclear.
DxO started a new summer sale where you can get 20% off any DxO software with the discount code SummerRumors2026 (valid for new customers only). This offer is valid until July 10th, 2026. See the latest DxO releases here. DxO recently introduced 965 new modules – see this page for details.
You can use the exclusive Luminar coupon code RUMORS20NEO for an additional 20% off on top of the ongoing Summer sale. The code is valid until June 30. Additional information on the Skylum Luminar Neo Summer Sale can be found here
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The Tamron 17-70mm F2.8 Di III-A VC RXD is a versatile, fast lens that's great for activities like family vacations.
Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/2000 sec | ISO 160 Photo: Dale Baskin
Last week, Tamron announced new versions of its 17-70mm F2.8 Di III-A VC RXD zoom for Canon RF and Nikon Z mount APS-C cameras. While the lens has been around for several years in E-mount and X-mount versions, this news brings an exciting new zoom option to Canon and Nikon shooters.
The 17-70mm F2.8 delivers a 26-105mm equiv. range on Nikon APS-C cameras, and 28-112mm equiv. range on Canon's APS-C bodies. Most other F2.8 zooms for APS-C cameras in this range top out around 50-55mm, making the Tamron a distinctive option for those who want extra zoom reach with a constant F2.8 aperture.
That range makes it a great walk-around or travel lens, but the extra reach to 105mm equiv. also makes it well-suited to events, portraits, and street photography in ways the shorter 50-55mm competitors aren't.
Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/100 sec | ISO 320 Photo: Dale Baskin
We had a chance to borrow the RF-mount version of the lens, which we shot on a Canon EOS R7. Build quality and handling are pretty typical of Tamron's product line; the lens is relatively light for its size, and the zoom ring is well-balanced and easy to turn. There's no zoom lock, but I experienced virtually no lens creep during my use.
Notably, the RF-mount version of the lens gains two hardware controls not found on the other versions: manual switches to turn autofocus and optical image stabilization on or off – a nice touch, in our opinion.
Optically, the Tamron 17-70mm F2.8 delivers solid performance throughout its range. While it doesn't deliver the same level of sharpness as the most premium zooms on the market, it doesn't command a premium price, either, making it accessible to a lot of people.
To learn more about this lens, see our detailed launch coverage. In addition to the gallery below,you can also check out our earlier sample gallery, captured when the lens was launched for E-mount.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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Evoto AI is a powerful, AI-driven photo editing platform built specifically for professional photographers who want to dramatically speed up their post-production workflow without sacrificing natural-looking results. It combines advanced per-face retouching, intelligent batch processing, color grading tools, and creative features like the AI Lab into one seamless system that supports the entire process – from tethered shooting and culling to final delivery. Available on desktop, mobile, iPad, and in the browser, Evoto helps photographers handle high-volume work efficiently while maintaining creative control.
Professional photography has always been a race against time – especially after the shutter clicks. Between culling thousands of frames, meticulous skin retouching, stray hair removal, color consistency, and client delivery, post-production can eat up days that could otherwise be spent shooting or with clients.
Evoto AI (evoto.ai) positions itself as the solution: a specialized, AI-first photo editing and retouching platform built specifically for working photographers who need speed, consistency, and natural-looking results without sacrificing control.
Product Information & Key Features
Evoto is an all-in-one AI photo editing suite that covers the full workflow from tethered capture through culling, retouching, color work, and delivery. It runs as a native desktop app (macOS & Windows), with companion iPad/mobile apps and a browser-based version for lighter or on-the-go use. There’s also Evoto Video for portrait retouching and color correction on moving footage, plus an Instant Photo Gallery tool for client proofing and delivery. The software handles both RAW and JPEG files and is fast – users and benchmarks routinely report processing hundreds of images in minutes once presets are dialed in.
Standout AI capabilities include:
Per-face / subject-aware retouching: Skin smoothing that preserves natural texture (freckles, pores), blemish/acne/wrinkle reduction, skin tone balancing, glasses glare removal, stray hair cleanup (inside and outside the frame), red-eye fix, teeth whitening/straightening, and even “open eyes” fixes.
Body & clothing tools: Subtle slimming, wrinkle/de-blemish removal on clothes, and color-changing options.
Background & environment tools: One-click or masked background removal/clean-up, distraction removal, sky replacement, and backdrop enhancement.
Smart culling: AI quickly flags and removes closed eyes, blurry shots, and duplicates.
Batch intelligence: Apply edits or presets across a set; the AI adapts per image rather than applying blunt global filters.
Additional tools: AI-based old-photo restoration, color matching/grading, tethered shooting support, and a preset system with sync across devices.
AI Color Adjustments
AI Color Adjustments in Evoto AI combine intuitive manual controls with intelligent AI assistance to deliver fast, consistent, and professional color grading across single images or large batches. Photographers can fine-tune exposure, white balance, brightness, tone balance, HSL, curves, and color masking in a Lightroom-style interface, while AI-powered tools like AI Color Match intelligently transfer the tone, mood, and color profile from a reference image to an entire set – ensuring unified results even when lighting varies across a wedding, event, or portrait session. This hybrid approach allows for both precise creative control and automated corrections that adapt naturally to skin tones, backgrounds, and subject matter, dramatically reducing the time spent chasing color consistency while preserving a realistic, non-plastic look that clients expect from professional work.
AI Color Adjustments
AI Color Adjustments in Evoto AI is a comprehensive, intelligent color grading system that blends precise manual controls with powerful AI-driven tools to deliver fast, consistent, and natural-looking results for individual images or large batches.
The AI Color Tools provide an intuitive Lightroom-style panel for fine-tuning exposure, white balance, brightness, tone balance, HSL, curves, color masking, and filters, while AI-powered features like AI Color Match allow photographers to instantly transfer the tone, mood, and color profile from a reference image to an entire set -ensuring unified results even when lighting conditions vary across a wedding, event, or portrait session. Complementing these are the
AI Style (also referred to as AI Color Looks) provides one-click, AI-driven stylistic transformations that intelligently analyze each photo and apply a predetermined aesthetic or “vibe” with natural, adaptive results. With over 20 pro-grade options ranging from warm and cinematic to vintage film, bright modern, or clean natural looks, the algorithms automatically correct color, contrast, and tone to match the chosen style while respecting the original image’s lighting and subject characteristics. This makes it exceptionally powerful for high-volume workflows – such as applying a cohesive “film-inspired” or “high-end portrait” look across an entire wedding gallery in seconds – while still allowing photographers to tweak intensity or combine multiple styles for a custom signature aesthetic that elevates their brand without hours of manual grading.
Presets
Presets functionality in Evoto AI is a cornerstone of efficient, repeatable workflows, letting photographers save any combination of retouching settings, AI Color Adjustments, AI Styles, and manual tweaks as reusable, one-click presets that can be applied to individual images or synced intelligently across entire batches. Official recommended presets (Natural, High-End Portrait, Event, Cinematic, Family, etc.) provide excellent starting points, while users can easily create and organize their own custom presets, capturing a specific color grade plus skin and hair retouching, for example, and apply them consistently across future shoots or different devices via cloud sync. This system not only slashes editing time on high-volume jobs but also helps maintain a recognizable, professional style that strengthens a photographer’s brand identity and enables faster client deliveries.
AI Lab
AI Lab in Evoto AI is a dedicated creative hub (accessed via an icon in the top-left of the Edit interface) that houses advanced, high-resolution AI tools designed for complex editing tasks beyond standard retouching. It specializes in intelligent removal and compositing features, such as People Removal (with auto-detection and passerby selection to cleanly eliminate unwanted individuals from backgrounds), Smart Removal / AI Object Remover for distractions, and AI Background Fusion, which enables sophisticated cutouts and scene compositing, perfect for placing subjects into new environments like school gymnasiums, stages, or custom backdrops. These generative tools deliver professional-grade, full-resolution results while preserving natural lighting and edges, making them invaluable for wedding, event, school, and portrait photographers who frequently need to clean up busy scenes or create polished composites without hours of manual masking in Photoshop. By consolidating these powerful capabilities into one streamlined workspace with its own credit model for generative actions, AI Lab significantly expands Evoto’s utility from fast retouching into true creative production, helping photographers deliver cleaner, more polished final images efficiently.
Evoto Mobile and Evoto Online
Evoto Mobile and Evoto Online extend the power of Evoto AI beyond the desktop, giving photographers true flexibility across devices and locations.
The Mobile version (available on iPad and smartphones) delivers a full-featured AI editing experience optimized for on-the-go use, supporting portrait retouching, color correction, batch processing, preset application, and even tethered shooting directly from compatible cameras. This makes it ideal for location photographers who want to cull, retouch, and show clients polished previews in real time, often closing sales on-site before leaving the session.
Evoto Online is a browser-based editor that provides instant access to core AI tools without installing software, making it especially useful for quick edits, e-commerce product work, background removal, and color adjustments on any computer. Both versions sync seamlessly with the desktop app via the cloud, allowing photographers to start a project on their main workstation, continue refining on an iPad while traveling or at a client meeting, and even perform light edits or client proofing in a browser when needed. Together, they transform Evoto from a powerful studio tool into a complete, location-independent workflow solution that keeps high-quality AI retouching and color work accessible wherever the photographer works.
Evoto Beta and Stable Versions
When downloading Evoto AI, users can choose between the Beta and Stable versions, giving photographers flexibility depending on their priorities.
The Stable version is the recommended choice for most professional users, as it offers a thoroughly tested and reliable experience with fewer bugs, making it ideal for high-volume workflows where consistent performance is critical.
In contrast, the Beta version provides early access to the newest features, AI tools, and improvements – often updated weekly, allowing photographers to test cutting-edge capabilities before they reach the stable release. While the Beta channel is excellent for those who enjoy experimenting with the latest innovations and don’t mind occasional glitches, most working photographers opt for the Stable version to maintain smooth, uninterrupted editing sessions. Evoto makes it easy to switch between the two on their download page, so users can start with Stable for reliability and move to Beta when they want to explore upcoming tools.
Brand Description
Streamlining the workflow for professional photographers worldwide, powered by AI.
Evoto was founded with a clear mission: let AI handle the repetitive “pixel work” so photographers can focus on creativity, storytelling, and client relationships. The company (led by founder/CEO Mitta) has grown rapidly by targeting high-volume professionals – wedding, portrait, newborn, event, school, and commercial shooters, as well as studios that need consistent results at scale.
It claims a large global user base (1M+ photographers across 200+ countries/regions and tens of thousands of collaborating studios). The brand emphasizes ethical AI practices: images are not used to train models without consent, and the platform is GDPR/CCPA compliant with secure cloud options for collaboration and cross-device sync.
Recent expansions (desktop 6.x updates, mobile/Instant apps, and video tools) show Evoto evolving from a specialized retoucher into a broader workflow platform that competes with traditional tools while carving out its AI-retouching niche.
Workflow Examples & Real-World Use Cases
Typical high-volume wedding or event workflow:
Shoot tethered (wired or wireless) directly into Evoto for instant previews and early polishing.
Run AI Smart Culling to quickly eliminate blinks, blur, and duplicates.
Apply or create a portrait preset (skin, hair, glare, teeth) and sync across the gallery, the AI handles per-face variations intelligently.
Quick global or selective color grading.
Export and deliver same-day or push to the Instant Photo Gallery for client viewing/proofing.
Many users report turning what used to be multi-day editing marathons into same-day or next-day deliveries, which improves cash flow and client satisfaction.
Portrait/headshot/fashion studio use case: Photographers often export selects from Capture One or Lightroom into Evoto for targeted cleanup (skin, stray hairs, clothes, background), then do final polish back in their main editor if needed. The per-face controls and masking tools make it excellent for preserving natural skin texture while quickly removing distractions.
On-location/mobile use case: With the iPad or mobile apps, photographers can retouch on-site, show clients polished previews in real time, and even close sales before leaving the location, a game-changer for tourist, event, or mini-session shooters.
Hybrid workflow tip (from working photographers): Do primary color correction in your usual raw processor, export selects to Evoto for AI retouching and cleanup, then finish any ultra-fine texture work in Photoshop only where necessary. This minimizes credit usage while maximizing speed.
Other niches: Newborn and maternity photographers appreciate the gentle, texture-preserving skin tools. E-commerce and content creators use the browser version for quick background removal and product cleanup. Video users are exploring newer video retouching tools to achieve consistent skin and color across talking-head or event footage.
Pricing & Value Proposition
Evoto uses a credit-based model that’s different from traditional subscriptions:
Editing, previewing, and most tools are free.
Exporting an image typically costs 1 credit per photo (some advanced generative features may cost more – you’ll see the exact cost before exporting).
Credits are purchased via annual subscription plans (best value, with rollover and cheaper add-on packs) or pay-as-you-go (more expensive per credit, 2-year expiration).
Approximate annual subscription tiers (as of mid-2026; check site for current):
Starter: ~800 credits (~$89/yr)
Basic: ~1,600 credits (~$149/yr)
Higher tiers scale up to 24,000 credits with better per-credit pricing and add-on discounts.
Pay-as-you-go options start around 200 credits for ~$49. New users usually get starter credits (often 15+), and referrals can add bonus credits.
Value verdict: For high-volume pros who deliver hundreds or thousands of images per month, the time savings (often cited as 5+ hours/day or cutting multi-day jobs to an hour) can easily justify the cost and even increase profitability by enabling faster turnarounds or bringing retouching in-house. Hobbyists or very low-volume shooters may find the credit model less attractive. Some users have noted past price adjustments, so it’s worth modeling your typical monthly exports before committing.
Pros & Cons
Pros:
Exceptionally fast and natural-looking portrait and subject retouching.
Intelligent batch/sync tools that adapt per image.
Strong tethered + culling + retouch + delivery workflow in one app.
Cross-platform sync (desktop iPad mobile).
Ethical/privacy stance and regular feature updates.
Free to experiment until you export.
Cons:
The credit system requires planning (especially for very high volumes or if you re-export after external edits).
Not a full layer-based compositor like Photoshop – best used for targeted cleanup rather than heavy compositing.
AI tools (especially culling or complex backgrounds) sometimes need manual refinement.
Extreme close-ups or ultra-high-end skin texture work may still benefit from finishing in Photoshop.
Overall verdict:Evoto AI is one of the strongest specialized AI retouching tools available to professional photographers in 2026, particularly for portrait, wedding, and event work, as well as any high-volume work where speed and consistency matter. It won’t completely replace a skilled retoucher or your full creative suite for every job, but it dramatically accelerates the most time-consuming parts of the job while delivering results that clients and photographers describe as natural rather than “AI-plastic.”
Conclusion
Evoto AI stands out as one of the most capable and photographer-focused AI editing platforms available in 2026, combining powerful per-face retouching, intelligent batch processing, advanced color tools (including AI Color Match and AI Style), creative features like the AI Lab for object removal and background fusion, and seamless cross-platform support across desktop, mobile/iPad, and browser versions. By automating the most time-consuming aspects of post-production while still giving photographers precise control and natural-looking results, it enables faster turnarounds, consistent quality across high-volume shoots, and even on-site client presentations that can directly boost sales. While its credit-based pricing model requires some planning, especially for high-volume users, the significant time savings and workflow efficiency often make it a worthwhile investment for professional wedding, portrait, event, and studio photographers. For anyone looking to reduce editing burnout, bring more work in-house, or simply deliver polished galleries faster without sacrificing quality, Evoto AI is well worth testing. Photographers can download the desktop app or try the mobile and online versions for free to experience how it fits into their own workflow.
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Looking for an original take in a scene set up by Pat Domingo, I asked the model if she could get into the driving seat of the car on the set. I wanted to see how much of the huge strobe outside would make it through the narrow windscreen. I asked her to look forward, as if driving, then turn to her right, as if something had caught her attention. This is the moment she did.
Leica SL3-P | Summilux-SL 50mm F1.4 | F5.6 | 1/200 sec | ISO 64 Photo: Richard Butler
The launch event for the Leica SL3-P included not only the chance to get trackside at the famous Nürburgring motor racing circuit and a studio setup by fashion photographer Pat Domingo but also the presence of famed photographer Steve McCurry.
This meant I found myself in the frankly ridiculous position of asking to shoot a portrait of one of the world's most famous portrait photographers, as well as the more familiar challenge of trying to find a unique shot in a pre-staged studio scenario.
Included in the gallery are a handful of shots taken with the new 50mm F1.4 and 100mm F2.8 Macro lenses.
Here's Leica SL3-P (and I) got on:
Leica SL3-P sample gallery
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample gallery
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