Image: Leica

I found it interesting to see Leica launch a new D-Lux camera last week, as I'd been thinking about a previous model (or, at least, about its Panasonic sister model) just recently.

Panasonic's LX series taught me two important lessons about cameras and how to review them. The first, which I've written about before, was how much difference a larger sensor and a brighter lens can make. The other was that the value of a feature can be greatly enhanced by making it easy to access. And there's no easier way to change a setting than with a dedicated, marked control point.

The main line of LX cameras and their Leica variants have dedicated switches on the top of their lenses, which not only make it easy to switch between the different framing modes but also serve as a constant reminder that the feature is available.

This makes sense: from the LX3 onwards, the cameras have had multi-aspect sensors, i.e. sensors that are larger than the lens' coverage. This means the different crops push all the way out to the limit of the imaging circle projected by the lens so that they maintain the same diagonal angle of view. This is a big difference from most cameras, which simply crop in further and further from their sensor's native shape, meaning 16:9 isn't really as wide as you might hope.

The Panasonic LX3 was the first Panasonic model to include an aspect ratio switch on top of the lens. It not only made it easy to switch between modes, but served as a constant reminder that this feature was available.

It's a stand-out feature (albeit one where you never get to use the full sensor size you've paid for), and it makes sense to literally put it front and center on the camera. That prominent, dedicated switch reminds you to play with image format every time you look down at the camera, meaning you're more likely to take advantage of the multi-aspect design.

This experience was front-of-mind when I unpacked the Fujifilm X-T50 and saw its dedicated Film Simulation dial. I think it's a very smart move on Fujifilm's part. Film Simulations, along with a broad selection of lenses designed for APS-C, are one of the distinctive benefits of its X-series cameras. It makes sense to draw attention to it and encourage its use.

"That prominent, dedicated switch reminds you to play with image format every time you look down at the camera"

It also sends out a strong signal about who the camera is for. The double-digit X-T models have always been aimed at people getting into photography, not existing enthusiasts. These are often people who buy a camera for an event or because they want to try their hand at photography and are perhaps most at risk of falling back to the ease of use and sharability of smartphone images, leaving their cameras to accumulate dust. Providing a constant reminder and easy access to one of the key features that sets the camera apart could be a really powerful way to maintain their engagement.

The Fujifilm X-T50 includes a dedicated dial for switching between film simulations.

On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial. Which control will the target user want to change most often? To me, it seems self-evident that Film Simulation is a setting you might wish to change literally every other shot, whereas drive mode is something to change each time you go out to shoot a different subject type. And every camera has drive modes: it makes sense for Fujifilm to pull its differentiating feature to the fore.

I agree with the commenters who point out that it would be better if the custom positions on the dial could be modified to have parameters such as highlights, shadows and color chrome effect baked in as recipes, and I'd love to see this in future firmware.

"On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial."

But to those people objecting to the change, saying, "Without the mode dial, I'd be better off buying an X-T5," I'd suggest this isn't the criticism they might think it is. The X-T50 isn't supposed to be a smaller, less expensive X-T5; it's meant to be tailored to a different type of user, not enthusiasts on a tighter budget.

So, to my eye, the Film Simulation dial isn't a dumbing-down but an astute move to encourage the target user to discover and use one of its most compelling features. Other than the Film Sim dial, a lot else has changed between the X-T30 II and X-T50, including the addition of image stabilization, a higher resolution sensor and an eye-watering 55% price hike. But in terms of the Film Simulation control, I think the series has taken a turn for the better.

June is packed with multiple days celebrating Mother Nature. Get out there and touch grass; we want to see your best nature photos. Image credit: Shaminder Dulai

June is packed with multiple days devoted to celebrating nature. We kick it off on June 5 with World Environment Day, continue on June 8 with World Oceans Day and June 22 brings us World Rainforest Day. So let's get outside. We want to see your best nature images! Take part in the official DPReview Editor's Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!

You don't need to take your pictures on the world recognition days. Anytime starting today is okay. Just be sure to submit your best work by June 13.

DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work with our peers.

If you miss participating in this one, please look out for our next editors' challenge.

How to submit your photos

Enter your photos and read all the rules

Processing rules:

Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.

The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An 'Auto' label turns green when the settings are just right, letting you know you're good to go. If the camera can't achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.

Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple's camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it's being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.

The app also includes advanced features, such as the ability to save files into either Apple's Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.

For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.

Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 "a few days after launch."

Buy now:

Sigma CEO Kazuto Yamaki Photo: Richard Butler

"All camera and lens manufacturers have to be innovative," says Sigma CEO Kazuto Yamaki, but "technology competition among manufacturers may not always be beneficial to customers... Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important."

In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.

State of the market

"Last year was not so bad," he says, when asked about the state of the market: "It looks like the trend of the shrinking market has hit the bottom." But he suggests this may not continue: "For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years."

"One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable."

"I’m afraid that not so many customers can afford such high-priced cameras and lenses"

"Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch."

Yamaki also expresses concern about some of the tech trends he's seeing: "Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers."

"We've seen some cameras with very technically impressive specifications, but I worry that they're not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important."

The challenges of innovation

Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it's designed, as the most challenging subject. Image: Sigma

He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements," he explains: "Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight."

But this approach isn't simple, he says: "It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”

"In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it."

"This trust is really, really important," he explains: "Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”

A question of trust

"That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it."

This commitment to pushing the use of new glass types reflects Yamaki's wider vision of the company's role. This can be seen in the ambitious lenses it's recently introduced aimed at astrophotography, he says.

"First of all, I believe it’s one of Sigma's missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group."

"Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma's technology."

The future of APS-C

Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn't sound like there are plans for I-series-style versions of the DC lenses. Image: Sigma

With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.

"I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags."

Despite this, it doesn't sound like there are any plans to refresh the DC DNs with more i-Series-like designs: "Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses," he says.

But, while we won't expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki's comments about his commitment to APS-C bode well, given the announcement that it'll make lenses for both Nikon's Z mount and Canon's RF system:

"Our plan is to have a relatively complete range of lenses for APS-C sized sensors."

This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.

Every week, we ask newsletter subscribers a question about gear, creativity or life. We recently asked readers: If you could go back to your 20-year-old self, what camera-related advice would you give yourself?

Subsequently, the DPReview editors also got in on the act:

1. Shaminder Dulai

Start organizing your photo and video archive and making it searchable. Make sure to save local versions of client work; websites will disappear and take your work with them. A good archival system makes it possible to earn a passive income from these photos and videos in the future and curate your work for grant applications and shows.

Don't get caught up in the gear; there will always be something better that comes along. Make things. Whatever you can get your hands on, just use it and make stuff. The more you practice and embrace the failures, the more you'll learn and improve.

There will be people who will try to discourage you; they'll tell you you don't have the right gear, the right skills, or the right name, and some will even steal your ideas and pass them off as their own. These will be hard lessons, and you'll need to learn to put yourself before others. It won't be easy.

Also, buy as much Apple stock as you can afford and spend more time with your parents. Ask them the questions you always were too afraid to ask.

2. Dale Baskin

I'd probably give the same advice I would give a 20-year-old today: Don’t obsess about having fancy gear or the newest camera. Buy something used in good condition and save some money, then spend the money you save on fun experiences that allow you to focus on learning the art of photography.

3. Richard Butler

I'd tell myself to think more carefully about lenses. To try to work out which are the focal lengths I'd actually use. I'd recommend going back through the photos I'd taken to see what you're trying to capture (and would have found I was typically trying to shoot wider, not longer than my kit zoom would go). I'd advise myself to consider whether the discipline (and compactness) of a prime would be better in the long-run than the seemingly obvious F2.8 zoom. With this advice I'd have avoided a fair few dead-ends, avoided the cost of some under-use lenses and probably have learned more about how to shoot, sooner.

What's your take? Let us know in the comments.

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We had a chance to shoot with the Fujifilm X-T50 for quite a while, so we put together a first-look video, outlining what it can offer, as well as shooting a sample gallery using a variety of Film Simulations.

As always, all the Raw files are available to download if you wish to see how your preferred software handles them.

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.

There's nothing like unwrapping a new camera for the first time.

Having a brand new camera is an exciting time for a photographer. But before you head for the hills, the studio or a far-flung destination, it’s a smart idea to adjust a few important camera settings first. A few tweaks and adjustments up front can mean the difference between fluid work and frustration.

How you set up your menu and customize your buttons and dials is a very personal matter. It depends on what you shoot, which features you use and how you like to work. No matter what you’re focused on, there are a few common settings that all photographers need to get set right straight out of the box.

The Great Menu Expansion

Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system. As an example of this growth consider Canon’s first mainstream DSLR, the Canon D30 from the year 2000, whose menu featured a total of 31 items on one long scrolling list. Canon’s recent pro-level R3, on the other hand, offers 433 menu items organized into 8 categories or tabs.

Canon and other manufacturers have done a reasonable job (some better than others) at organizing all these features into relatively logical categories like: Image quality, Playback, AF, and Wireless. However, they give you no clue as to which items you should adjust straight out of the box – which ones are better to turn off or keep on most of the time.

Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system.

For this reason, many photographers tweak a few items as they need them and leave the rest of the menu for a time when they have nothing better to do than read a camera instruction manual – which is likely never. They then wind up living with discomfort in their shooting experience that would be easy to fix.

This article provides a short list of must-change items for all photographers. The out-of-the-box factory settings (or worse, the previous owner’s settings) may not have these settings adjusted for your needs. While I could go on all day about this, let’s start with a few hot items you’ll want to adjust on your new camera.

Diopter

Yes, the topic of this article is on menu settings and the first item isn’t in the menu. Point noted, now let's move on. The diopter is the focus adjustment for your camera's viewfinder. Somewhere near the eyepiece is a small knurled knob, possibly with plus and minus labels. Turning this knob will adjust lens elements in the viewfinder to adapt the clarity of the view for people with different vision needs.

You'll see clearly once your diopter is correctly adjusted.

When the diopter is adjusted properly, you'll have a way better time seeing both your subject and the information displayed in the electronic viewfinder of a mirrorless camera or the focusing screen of a DSLR. If the diopter is slightly off you’ll likely still see a sharp image but your eyes will need to strain to keep everything in focus. A properly adjusted diopter will make viewing comfortable and strain-free.

These little knobs can easily be adjusted by accident and it's not uncommon to look through your viewfinder and be suddenly shocked at how bad your eyesight has gotten. While some knobs have better locks than others, almost every camera I’ve used has needed this adjusted at the start, and again at various intervals. This is a rather unglamorous way to start the personalization of your camera, but without it the whole world could be a blur to you.

File Format

There is perhaps no setting as important as the file type. We’ll sidestep the whole Raw vs JPEG debate here, and we’ll simply state that whatever you decide is right for you is something you need to set up on your camera right away.

A Raw file, for the newbies out there, contains all the original capture information in an image, far more than the efficient subset contained in a JPEG. It allows you greater leeway in post-processing to recover details from shadows or highlights and to change fundamental aspects like white balance or color. The downside is that the file size is a bit on the big side (compared to JPEG) and requires special software to view and work on the image. While your camera manufacturer provides free software to do so, many people prefer to use popular photo-editing software from companies like Adobe or Capture One.

Whether you value the flexibility of Raw files, or the convenience of JPEG, make sure you've picked a file format before heading out the door.

The JPEG file is a small convenient file that can be opened and viewed by pretty much any computer or viewing device made in the last 25 years. The downside to the JPEG is that the file is processed and compressed. While convenient for sharing online and fine for printing unaltered, it lacks the information depth of color and tones that a skilled photo editor would appreciate when working in the digital darkroom.

Thankfully, most camera manufacturers know that file type is an important setting, and it’s usually located at or near the top of the menu. You'll also often find a shortcut to this feature in the Quick or Function menu or Control grid screen.

You can shoot Raw and JPEG at the same time, but this should only be done if you truly need it. If you have a Raw file you can make a JPEG anytime you want, in any quantity, with any adjustment you like, so long as you have a computer, the right software and the time to do it. The best time to simultaneously shoot both Raw and JPEG is when you have an immediate need for the JPEG and a long-term desire for the Raw.

Thankfully, most manufacturers know that file type is important and it’s usually located at or near the top of most menus.

Get this set right first, and if you change your photography workflow from time to time be sure to come back and revisit it. The current file type status is often displayed in the viewfinder or on the rear screen for easy monitoring.

Card Format

Photos from your camera will likely be stored on a removable memory card, and like any storage area (digital or real) it should be cleared of unnecessary clutter before use. Each camera manufacturer has a slightly different way of communicating with the card and storing images on it. To create a clean, reliable line of communication between camera and card it is highly recommended that you 'format' a new card inside the camera before heading out to capture photos.

Formatting your digital storage medium with a new camera ensures they'll become fast friends.

Be advised that formatting a card will delete all the photos on it, along with any folders, seen or unseen, and will set up a new storage structure and path. Formatting is also recommended when heading out on a new shoot, so long as the photos from the last shoot have been downloaded and backed up first. There’s nothing like starting with a clean slate.

Date and Time

Mundane and trivial to some, the capture date and time of every image is stored in its metadata (extra information that can be viewed by software) and having it correct may potentially save headaches in the future. Many cameras now have simple adjustments for traveling to different time zones and adjusting for daylight saving time so that you don’t need to fiddle with the actual time setting. I’ve found that cameras are not particularly accurate in their timekeeping over the long haul, so if you're fussy about having exactly the right time stamp on your photos you may need to revisit this feature every few months or so.

Having the correct date and time set on your camera can help you remember when you captured photos.

Copyright Info

Another item in the image metadata that may be beneficial at some point in the future is setting your name and any other pertinent personal info. Be advised that this data can be overwritten by anyone with access to your digital file. This setting is for information that may be helpful to you or others, but it is not in the realm of lock-tight security options.

Adding your name in the copyright field provides a very low level of security; think of it simply as a note that it is you who took the photo, or at the very least an image that came from your camera. This can be convenient if your images have been casually mixed with others and you need to identify the owner or creator.

Embedding copyright information can help identify your photos or even recover your camera.

You can also use this setting to put in specific copyright information like 'All Rights Reserved,' to let anyone else with access to the file know what your intentions are. Once again, though, be advised that this can easily be overwritten by the laziest of hackers. A potential use for this area is your contact information, usually in email form. Should your camera be lost or stolen it could provide a link back to you. True, the bad guy won’t care about this, but the honest one who does want to do the right thing will have information on how to contact you.

Set up and head out

None of these settings will help you create great photos, but they can make the experience of shooting with your new camera a bit easier. Paging through the labyrinth of the menu system isn’t the first choice of activity for a photographer, but trust me, there’s a lot of useful stuff in there. Getting your camera set up specifically for your needs is like getting a custom tailored suit – it will prepare you for whatever may come and give you confidence when you head out into the world.

What settings and adjustment do you make straight out of the box? Tell us in the comments.

John Greengo specializes in photographic education through online training, books and international photo tours. His photographic teachings have been viewed by millions around the globe.

His website offers a growing collection of highly visual photography courses. Classes cover a wide range of photographic topics including landscape, travel and gear-specific tutorials. His impressive collection of camera guides provides viewers with detailed instruction on every aspect of the camera's operation.

Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.

The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An 'Auto' label turns green when the settings are just right, letting you know you're good to go. If the camera can't achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.

Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple's camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it's being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.

The app also includes advanced features, such as the ability to save files into either Apple's Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.

For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.

Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 "a few days after launch."

Buy now:

Sigma CEO Kazuto Yamaki Photo: Richard Butler

"All camera and lens manufacturers have to be innovative," says Sigma CEO Kazuto Yamaki, but "technology competition among manufacturers may not always be beneficial to customers... Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important."

In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.

State of the market

"Last year was not so bad," he says, when asked about the state of the market: "It looks like the trend of the shrinking market has hit the bottom." But he suggests this may not continue: "For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years."

"One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable."

"I’m afraid that not so many customers can afford such high-priced cameras and lenses"

"Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch."

Yamaki also expresses concern about some of the tech trends he's seeing: "Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers."

"We've seen some cameras with very technically impressive specifications, but I worry that they're not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important."

The challenges of innovation

Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it's designed, as the most challenging subject. Image: Sigma

He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements," he explains: "Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight."

But this approach isn't simple, he says: "It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”

"In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it."

"This trust is really, really important," he explains: "Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”

A question of trust

"That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it."

This commitment to pushing the use of new glass types reflects Yamaki's wider vision of the company's role. This can be seen in the ambitious lenses it's recently introduced aimed at astrophotography, he says.

"First of all, I believe it’s one of Sigma's missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group."

"Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma's technology."

The future of APS-C

Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn't sound like there are plans for I-series-style versions of the DC lenses. Image: Sigma

With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.

"I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags."

Despite this, it doesn't sound like there are any plans to refresh the DC DNs with more i-Series-like designs: "Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses," he says.

But, while we won't expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki's comments about his commitment to APS-C bode well, given the announcement that it'll make lenses for both Nikon's Z mount and Canon's RF system:

"Our plan is to have a relatively complete range of lenses for APS-C sized sensors."

This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.

Every week, we ask newsletter subscribers a question about gear, creativity or life. We recently asked readers: If you could go back to your 20-year-old self, what camera-related advice would you give yourself?

Subsequently, the DPReview editors also got in on the act:

1. Shaminder Dulai

Start organizing your photo and video archive and making it searchable. Make sure to save local versions of client work; websites will disappear and take your work with them. A good archival system makes it possible to earn a passive income from these photos and videos in the future and curate your work for grant applications and shows.

Don't get caught up in the gear; there will always be something better that comes along. Make things. Whatever you can get your hands on, just use it and make stuff. The more you practice and embrace the failures, the more you'll learn and improve.

There will be people who will try to discourage you; they'll tell you you don't have the right gear, the right skills, or the right name, and some will even steal your ideas and pass them off as their own. These will be hard lessons, and you'll need to learn to put yourself before others. It won't be easy.

Also, buy as much Apple stock as you can afford and spend more time with your parents. Ask them the questions you always were too afraid to ask.

2. Dale Baskin

I'd probably give the same advice I would give a 20-year-old today: Don’t obsess about having fancy gear or the newest camera. Buy something used in good condition and save some money, then spend the money you save on fun experiences that allow you to focus on learning the art of photography.

3. Richard Butler

I'd tell myself to think more carefully about lenses. To try to work out which are the focal lengths I'd actually use. I'd recommend going back through the photos I'd taken to see what you're trying to capture (and would have found I was typically trying to shoot wider, not longer than my kit zoom would go). I'd advise myself to consider whether the discipline (and compactness) of a prime would be better in the long-run than the seemingly obvious F2.8 zoom. With this advice I'd have avoided a fair few dead-ends, avoided the cost of some under-use lenses and probably have learned more about how to shoot, sooner.

What's your take? Let us know in the comments.

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We had a chance to shoot with the Fujifilm X-T50 for quite a while, so we put together a first-look video, outlining what it can offer, as well as shooting a sample gallery using a variety of Film Simulations.

As always, all the Raw files are available to download if you wish to see how your preferred software handles them.

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.

There's nothing like unwrapping a new camera for the first time.

Having a brand new camera is an exciting time for a photographer. But before you head for the hills, the studio or a far-flung destination, it’s a smart idea to adjust a few important camera settings first. A few tweaks and adjustments up front can mean the difference between fluid work and frustration.

How you set up your menu and customize your buttons and dials is a very personal matter. It depends on what you shoot, which features you use and how you like to work. No matter what you’re focused on, there are a few common settings that all photographers need to get set right straight out of the box.

The Great Menu Expansion

Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system. As an example of this growth consider Canon’s first mainstream DSLR, the Canon D30 from the year 2000, whose menu featured a total of 31 items on one long scrolling list. Canon’s recent pro-level R3, on the other hand, offers 433 menu items organized into 8 categories or tabs.

Canon and other manufacturers have done a reasonable job (some better than others) at organizing all these features into relatively logical categories like: Image quality, Playback, AF, and Wireless. However, they give you no clue as to which items you should adjust straight out of the box – which ones are better to turn off or keep on most of the time.

Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system.

For this reason, many photographers tweak a few items as they need them and leave the rest of the menu for a time when they have nothing better to do than read a camera instruction manual – which is likely never. They then wind up living with discomfort in their shooting experience that would be easy to fix.

This article provides a short list of must-change items for all photographers. The out-of-the-box factory settings (or worse, the previous owner’s settings) may not have these settings adjusted for your needs. While I could go on all day about this, let’s start with a few hot items you’ll want to adjust on your new camera.

Diopter

Yes, the topic of this article is on menu settings and the first item isn’t in the menu. Point noted, now let's move on. The diopter is the focus adjustment for your camera's viewfinder. Somewhere near the eyepiece is a small knurled knob, possibly with plus and minus labels. Turning this knob will adjust lens elements in the viewfinder to adapt the clarity of the view for people with different vision needs.

You'll see clearly once your diopter is correctly adjusted.

When the diopter is adjusted properly, you'll have a way better time seeing both your subject and the information displayed in the electronic viewfinder of a mirrorless camera or the focusing screen of a DSLR. If the diopter is slightly off you’ll likely still see a sharp image but your eyes will need to strain to keep everything in focus. A properly adjusted diopter will make viewing comfortable and strain-free.

These little knobs can easily be adjusted by accident and it's not uncommon to look through your viewfinder and be suddenly shocked at how bad your eyesight has gotten. While some knobs have better locks than others, almost every camera I’ve used has needed this adjusted at the start, and again at various intervals. This is a rather unglamorous way to start the personalization of your camera, but without it the whole world could be a blur to you.

File Format

There is perhaps no setting as important as the file type. We’ll sidestep the whole Raw vs JPEG debate here, and we’ll simply state that whatever you decide is right for you is something you need to set up on your camera right away.

A Raw file, for the newbies out there, contains all the original capture information in an image, far more than the efficient subset contained in a JPEG. It allows you greater leeway in post-processing to recover details from shadows or highlights and to change fundamental aspects like white balance or color. The downside is that the file size is a bit on the big side (compared to JPEG) and requires special software to view and work on the image. While your camera manufacturer provides free software to do so, many people prefer to use popular photo-editing software from companies like Adobe or Capture One.

Whether you value the flexibility of Raw files, or the convenience of JPEG, make sure you've picked a file format before heading out the door.

The JPEG file is a small convenient file that can be opened and viewed by pretty much any computer or viewing device made in the last 25 years. The downside to the JPEG is that the file is processed and compressed. While convenient for sharing online and fine for printing unaltered, it lacks the information depth of color and tones that a skilled photo editor would appreciate when working in the digital darkroom.

Thankfully, most camera manufacturers know that file type is an important setting, and it’s usually located at or near the top of the menu. You'll also often find a shortcut to this feature in the Quick or Function menu or Control grid screen.

You can shoot Raw and JPEG at the same time, but this should only be done if you truly need it. If you have a Raw file you can make a JPEG anytime you want, in any quantity, with any adjustment you like, so long as you have a computer, the right software and the time to do it. The best time to simultaneously shoot both Raw and JPEG is when you have an immediate need for the JPEG and a long-term desire for the Raw.

Thankfully, most manufacturers know that file type is important and it’s usually located at or near the top of most menus.

Get this set right first, and if you change your photography workflow from time to time be sure to come back and revisit it. The current file type status is often displayed in the viewfinder or on the rear screen for easy monitoring.

Card Format

Photos from your camera will likely be stored on a removable memory card, and like any storage area (digital or real) it should be cleared of unnecessary clutter before use. Each camera manufacturer has a slightly different way of communicating with the card and storing images on it. To create a clean, reliable line of communication between camera and card it is highly recommended that you 'format' a new card inside the camera before heading out to capture photos.

Formatting your digital storage medium with a new camera ensures they'll become fast friends.

Be advised that formatting a card will delete all the photos on it, along with any folders, seen or unseen, and will set up a new storage structure and path. Formatting is also recommended when heading out on a new shoot, so long as the photos from the last shoot have been downloaded and backed up first. There’s nothing like starting with a clean slate.

Date and Time

Mundane and trivial to some, the capture date and time of every image is stored in its metadata (extra information that can be viewed by software) and having it correct may potentially save headaches in the future. Many cameras now have simple adjustments for traveling to different time zones and adjusting for daylight saving time so that you don’t need to fiddle with the actual time setting. I’ve found that cameras are not particularly accurate in their timekeeping over the long haul, so if you're fussy about having exactly the right time stamp on your photos you may need to revisit this feature every few months or so.

Having the correct date and time set on your camera can help you remember when you captured photos.

Copyright Info

Another item in the image metadata that may be beneficial at some point in the future is setting your name and any other pertinent personal info. Be advised that this data can be overwritten by anyone with access to your digital file. This setting is for information that may be helpful to you or others, but it is not in the realm of lock-tight security options.

Adding your name in the copyright field provides a very low level of security; think of it simply as a note that it is you who took the photo, or at the very least an image that came from your camera. This can be convenient if your images have been casually mixed with others and you need to identify the owner or creator.

Embedding copyright information can help identify your photos or even recover your camera.

You can also use this setting to put in specific copyright information like 'All Rights Reserved,' to let anyone else with access to the file know what your intentions are. Once again, though, be advised that this can easily be overwritten by the laziest of hackers. A potential use for this area is your contact information, usually in email form. Should your camera be lost or stolen it could provide a link back to you. True, the bad guy won’t care about this, but the honest one who does want to do the right thing will have information on how to contact you.

Set up and head out

None of these settings will help you create great photos, but they can make the experience of shooting with your new camera a bit easier. Paging through the labyrinth of the menu system isn’t the first choice of activity for a photographer, but trust me, there’s a lot of useful stuff in there. Getting your camera set up specifically for your needs is like getting a custom tailored suit – it will prepare you for whatever may come and give you confidence when you head out into the world.

What settings and adjustment do you make straight out of the box? Tell us in the comments.

John Greengo specializes in photographic education through online training, books and international photo tours. His photographic teachings have been viewed by millions around the globe.

His website offers a growing collection of highly visual photography courses. Classes cover a wide range of photographic topics including landscape, travel and gear-specific tutorials. His impressive collection of camera guides provides viewers with detailed instruction on every aspect of the camera's operation.

Image: Leica

Leica has announced that it will introduce the D-Lux8 premium compact camera on July 2nd, showing a continued commitment to compacts.

The company hasn't issued full specs yet, but the D-Lux8 appears to be an updated D-Lux7 with both physical styling cues and an updated menu system that more closely resemble the Q3 fixed-lens full frame model.

Image: Leica

Like its predecessors, the D-Lux8 shares most of its specifications with Panasonic's LX series of cameras, but it's notable that there isn't (yet) an LX100 III to correspond to the new Leica model. Until we have full specs we won't know how much has changed, compared with the D-Lux7 and LX100 II.

Leica says the D-Lux8 will be its first D-Lux model to shoot DNG Raws and that it will come bundled with a flash.

4:3	3:2	16:9	1:1

The multi-aspect concept uses concentric crops of the sensor to maintain the diagonal angle of view even when you change aspect ratios. This means it never uses the entire sensor area.

The camera is still based around a 10.9-34mm (24-75mm equiv) F1.7-2.8 zoom and offers a series of crops from a four-thirds type (17.3 x 13mm) sensor. The lens doesn't cover the entire sensor, so you can only get up to 17MP images from the 21MP chip, but the 3:2, 4:3 and 16:9 crops are designed to maintain the same diagonal angle-of-view, so they all maintain a true 24-75mm equivalent view. As before a switch on top of the lens encourages experimentation with these crops.

The camera gains a higher resolution 1.84M dot (960 x 640px) rear screen and an updated viewfinder. The D-Lux8 uses a 2.36M dot (1024 x 768px) viewfinder, which may sound like a downgrade compared with the 2.76M dot figure of the D-Lux7, but will be an improvement for many people. Read the spec of the old model closely and you'll find it says the finder was 2.76M dot "equivalent," indicating the use of a field-sequential finder that updated red, then green, then blue information one after the other. The move to a conventional OLED finder with a red, green and blue 'dot' at each pixel location will avoid the unpleasant 'tearing' effect if you moved the camera quickly or blinked between color refreshes.

The new camera will also feature a USB-C socket over which it can be charged.

The D-Lux8 will be available from July 2nd with a list price of $1595.

Image: Leica

We had the opportunity to use the new Panasonic S9 for several days at Panasonic's Lumix Summit in Osaka, Japan. In this short video, we take a closer look at the camera, who it's designed for, and the philosophy behind its LUT-based workflow.

If you're curious about how the camera performs for photography, check out our pre-production sample gallery from Japan. As always, all the Raw files are available to download if you wish to see how your preferred software handles them.

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.

DPReview Editors' Challenge results

A few weeks ago, we issued a challenge to the DPReview community to show us your best bird photos in honor of World Migratory Bird Day. Over 270 of you submitted images of birds in flight, at home, hunting for dinner and more.

We love seeing your work! Thanks to everyone who submitted. We couldn't call out every image we liked and tried to restrain ourselves to our favorite baker's dozen (in no particular order).

If you don't see your work here today, please don't call fowl on the play. We encourage you to submit for our next challenge.

Also, a quick reminder to keep comments constructive and civil. To be blunt, it's one thing for editors to receive harsh comments, but it's another threshold to be rude to people not on our staff who want to make some images and share their work. Rule #1: Be nice. That's it, there is no rule #2.

Male Snowy Egrets displaying at dawn in the marsh

By: kipsneddon

Caption: Taken just after dawn on 05/15/2024 in the Scarborough Marsh in Scarborough, Maine USA. Image is of two male Snowy Egrets displaying to decide who is dominant.

Nikon Z9 | Nikon Nikkor Z 800mm F6.3 VR S | 1/800 sec | F6.3 | ISO 1000

Edits: WB corrected | cropped slightly | sharpened | lens correction

Early summer

By: Xiaomao

Caption: The photo was taken for a Mrs. Gould's sunbird in Kunming, China on May 6.

Sony a1 | Sony FE 600mm F4 GM OSS | 1/2000 sec | F5 | ISO 4000

Edits: Color: 3852 | Toning: +35 | Exposure: +1.35 | Contrast: -51 | High light: _35 | Shadow: +66 | White level: +5 | Black level: +39 | Clarity: +7 Etc.

Lunch time

By: djrocks66

Caption: An Osprey catches a fish at a local pond by me. Riverhead, NY.

Nikon Z7 II | Sigma 150-600mm F5-6.3 DG OS HSM C | 1/3200 sec | F7.1 | ISO 1250

Edits: No details shared

Bittern

By: Tim Munsey

Caption: A bittern climbs high on the reeds before take off.

Sony a9 III | Sony FE 600mm F4 GM OSS | 1/5000 sec | F4 | ISO 800

Edits: Processed with DXO PureRaw 4, finished in Photoshop cc 2024 with the aid of DXO Nik Color Efex. No more details shared.

Tern emerging from a dive

By: slowsync

Caption: A fishing Tern emerging from a dive with fish.

OM System OM-1 Mark II | Olympus M.Zuiko Digital ED 150-400mm F4.5 TC 1.25x IS PRO | 1/4000 sec | F5.6 | ISO 500

Edits: Developed in DXO PL7, crop, slight curves adjustment, slight vibrancy, NR default settings.

Winging together in the showers of love

By: Ritam Melgunov

Caption: The tufted duck couple winging together through the splashes of water. The White lake, Gatchina, surroundings of St-Petersburg, Russia.

Canon EOS R7 | Canon RF100-400mm F5.6-8 IS USM | 1/2500 sec | F8 | ISO 1250

Edits: dodging-burning, sharpening, adding a vignette, cropping

Yellow Warbler sings

By: Geoffrey S Baker

Caption: Yellow Warbler sings at Susquehanna State Park in Maryland.

Nikon Z8 | Nikon AF-S Nikkor 500mm F5.6E PF ED VR | 1/32000 sec | F7.1 | ISO 6400

Edits: Crop, denoise, sharpen, color, contrast, dodge and burn

Baltimore Oriole in flight

By: Geoffrey S Baker

Caption: Baltimore Oriole at Susquehanna State Park in Maryland.

Nikon Z8 | Nikon AF-S Nikkor 500mm F5.6E PF ED VR | 1/26000 sec | F7.1 | ISO 6400

Edits: Crop, denoise, sharpen, color, contrast, dodge and burn

You can shout all you want

By: macropaul

Caption: Sibling calling for food late afternoon.

Sony a1 | Sigma 500mm F5.6 DG DN OS Sports | 1/4000 sec | F5.6 | ISO 1600

Edits: None shared

A painting of flight

By: Ritam Melgunov

Caption: A seagull captured at longer exposure. The White lake, Gatchina, Leningrad region, Russia.

Canon EOS R7 | Canon RF100-400mm F5.6-8 IS USM | 1/15 sec | F18 | ISO 100

Edits: Sharpening and crop

Cricket anyone?

By: Sujiar

Caption: A Nuttalls Woodpecker bringing some juicy crickets to its offspring. Last year a Downy Woodpecker had the residence!

OM System OM-1 | Olympus M.Zuiko Digital 300mm F4 IS Pro | 1/800 sec | F5.6 | ISO 1250

Edits: Adjusted the heavy green cast from the spring foliage, dodging and burning, crop

FC Sunrise

By: hapster

Caption: Courting Canada Geese as the Sun rises on a foggy morning at French Creek State Park.

Sony a99 II | Tamron SP 70-200mm F/2.8 Di VC USD| 1/320 sec | F6.3 | ISO 200

Edits: Shot in RAW. Editing was basic, exposure, contrast, cropping.

Untitled

By: surfnbird

Caption: Great Horned Owlets. 5pm, May 8, 2024, in a large pine tree, Encinitas, Ca.

Canon EOS R5 | Canon RF 100-500mm F4.5-7.1L IS USM | 1/640 sec | F5.6 | ISO 1250

Edits: Cropped | adjustments to Exposure, Contrast, Noise, Highlights, Shadows, Whites, Blacks, Texture, Clarity, Vibrance, Saturation

Thank you

Thank you to everyone who participated. Seriously, how amazing is it to see our fellow DPReview reader's work? To see all the entries for yourself and vote for your favorites, head over to the challenge now. The complete shooting specs and gear used for each photo in the challenge platform can also be found in the challenges gallery.

If you couldn't participate in this editors' challenge, keep an eye out for our next one. We'll be doing more during the year as we celebrate 25 years of DPReview. Speaking of which, do you have a suggestion for an Editors' challenge? In the comments, let us know what to do for our next one.

The Panasonic Lumix S9 is the newest addition to Panasonic's line of full-frame mirrorless cameras, though it differs considerably from previous models. It's the first in the series to diverge from the traditional DSLR form factor. More significantly, it's the first full-frame Lumix camera aimed squarely at social media content creators.

The basic premise of the S9 is that it's designed to simplify and speed-up the social media workflow. The goal is to allow content creators to generate photos or videos ready to publish straight out of the camera without additional editing in other applications.

Key specifications

• 24MP BSI CMOS sensor with on-sensor phase detection
• 4K 3:2 open-gate video in 25 or 30p (4:2:0 10-bit) with new 'MP4 (Lite)' codec
• 6K 3:2 open-gate video at up to 30p (4:2:0 10-bit)
• 6K or DCI/UHD 4K from full sensor width up to 30p
• DCI/UHD 4K up to 60p (with APS-C crop)
• Dedicated LUT button to apply LUTs in real time (photos and video)
• Tight integration with the new LumixLab smartphone app
• Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
• UHS-II card slot
• 1.84M dot fully-articulating LCD

The Lumix S9 will be available from the end of May 2024 at a suggested retail price of $1499. Four color options are available: night blue, dark olive, crimson red and jet black.

Alongside the S9, Panasonic also announced a new L-mount lens designed to pair with the camera. The Lumix S 26mm F8 is a fixed-aperture, manual focus 'pancake' style lens with a suggested retail price of $199.

Index:

• What's new?
• How it compares
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new:

Under the hood, the Panasonic S9 is largely the same camera as the Panasonic S5II. However, by necessity, it omits some of that camera's hardware features in the interest of size, including an EVF, a second main command dial, a joystick, a second card slot and an integrated fan. And while the two cameras share a common technology platform, the S9 is not intended to be a more compact version of the S5II: the cameras have very different design philosophies and are aimed at different types of users.

Social media-focused workflow

The S9 is specifically designed with a social media workflow in mind. This means providing social media creators with the tools necessary to generate a unique, signature look to their photos and videos straight out of the camera without requiring any editing skills. Panasonic describes this as the ability to "Shoot, edit and share in 30 seconds." While 30 seconds may be a bit optimistic, it's important to understand that this social media workflow underpins the camera's features and design choices.

In essence, the S9 is intended to provide social media creators with a camera-to-social-media workflow that can be executed quickly and easily, wherever they may be, without relying on a computer or any third-party software. Although the camera can support an enthusiast photographer's workflow, it's not optimized around that use case in the same way as a camera like the S5II and lacks features that dedicated photographers are likely to value, such as a dedicated viewfinder, a second command dial and direct controls for features such as AF mode and area.

Expanded use of 'Real Time' LUTs

A core feature of the S9's social media workflow is Panasonic's 'Real Time' LUT system, first introduced on the S5II. This does more or less what it sounds like: it lets you instantly apply a look-up table (LUT) color transformation to a photo or video as they're captured to provide a custom look that would otherwise require additional editing to achieve.

LUTs have been a standard method of applying color transformations in the video world for years, but Panasonic has expanded their use to broadly apply to both stills and video. It promises that this LUT-based workflow will let you skip the editing step entirely because you can use LUTs to achieve whatever look you want straight out of the camera.

LUTs are such an essential part of the S9's identity that it has a dedicated LUT button next to the AF-On button on the back of the camera. Tapping this button allows you to quickly cycle through all the LUTs loaded into the camera to select the look you want to achieve.

The S9's Real Time LUT feature allows you to generate custom looks straight out of the camera.

In addition to a dedicated LUT button, the camera improves upon the system found on the S5II in several ways. The S9 can store up to 39 LUTs in memory, up from ten on the S5II, and LUTs can now be applied to any of the camera's photo styles; previously, LUTs could only be applied to the V-Log style. Users now have the ability to control LUT opacity, ranging from 10-100%, and it's even possible to apply two LUTs at once by creating a 'My Photo Style', which lets you choose a base photo style and apply one or two LUTs on top of it.

The result is a virtually limitless combination of looks that can be created and stored in-camera for quick access at the touch of a button.

New LUTs can be added to the camera quickly and easily using a companion smartphone app, though it's also possible to add a LUT in .cube or .vlt format from an SD card if desired.

LumixLab app

Alongside the S9, Panasonic is launching a new smartphone app called LumixLab, specifically intended to support the S9's social media workflow. Unlike most smartphone apps for cameras, which serve as an optional tool, LumixLab is fundamental to the S9 user experience, to the point that the camera's headline feature of using real time LUTs depends on it.

The LumixLab app allows to create and manage LUTs on your camera.

LumixLab allows you to apply LUTs to photos and to manage the LUTs installed on your camera. However, the real power of LumixLab is the ability to quickly and easily create your own custom looks and generate custom LUTs based on those looks. The app includes various editing tools, including exposure, color, HSL, tone curve, split toning, sharpening, noise reduction, sharpness, and even simulated film grain. If you edit an image or video clip and get a look that you want to reproduce in the future, you can instantly save a custom LUT based on your edits and load it into one of the camera's 39 memory banks.

The idea is to allow you to create a signature look that you can automatically apply to any media you capture in the future simply by selecting your custom LUT using the camera's LUT button.

LumixLab also includes a library of ready-to-use LUTs, including LUTs created by Panasonic and LUTs shared by other social media content creators. This means you have many creative options to choose from, even without having to make LUTs yourself.

It's worth noting that LumixLab doesn't replicate all of the features of Panasonic's existing Image App, such as the ability to control your camera remotely. Panasonic tells us the two apps will coexist for a while but that it eventually plans to merge them. LumixLab will be available for download from the Apple App Store and Google Play Store on May 29.

4K open-gate recording and MP4 (Lite) codec

The S9's default video mode is 4K open-gate video, downsampled from 6K, using the entire area of the camera's sensor rather than a 16:9 region, as most cameras do. This makes it easier to generate horizontal and vertical video from the same master clip but with smaller file sizes that transfer more quickly to a smartphone than full-resolution 6K open-gate video. Interestingly, this default mode supports 25p and 30p recording but not 24p.

This default video mode uses a new codec, which Panasonic calls 'MP4 (Lite)', which records at 50 Mbps. This may seem low compared to the higher bit rates we've become accustomed to in recent years, but it significantly speeds up transfers between the camera and smartphone and is probably sufficient for most social media, where video is heavily compressed for streaming.

The default video mode even gets its own slot on the camera's Q menu, separate from all other video settings. You still have access to most of Panasonic's other video settings, right up to 6K open-gate video, but you'll need to switch out of the default video mode to use them.

Similarly, you get access to Panasonic's excellent video features like waveform monitor, shutter angle, zebras, Log view assist, record frame indicator, and the other usual suspects. However, the camera does have a 15-minute recording limit.

How it compares

Panasonic's pitching this camera squarely at creators who are still mainly shooting with their phones. If it wants the S9 to woo them, it has to do two things: be almost as convenient to carry around and shoot with as a phone, while producing much higher-quality images. The camera's compact size, along with the revamped app, are plays at making it convenient, while its full-frame sensor should provide enough raw photo and video quality to stand out in a crowd of smartphone images.

Of course, the S9 isn't the only choice for creators looking to step up to a dedicated camera. Sony's ZV-E1 is a direct rival that's focused on meeting the needs of creators. We've also included the Panasonic DC-S5II, the company's more photographer-friendly model underpinned by similar hardware.

Finally, the Sigma fp is admittedly a slightly left-field comparison but its lack of viewfinder, reliance on electronic shutter and use of the same sensor makes it an interesting point of comparison.

For its price and size, the S9 has a pretty impressive spec sheet for a mid-level camera, largely owing to its high-res, full-frame sensor, and its ample video features. The company's stabilization tech and autofocus are also competitive, though Sony still holds the crown in the later category.

Which makes the comparison with the Sony ZV-E1 interesting. It too aims to make creators' lives easier, but through different means. The S9's forte is making it easy to find or create a look for your images, while the ZV-E1 is tuned to make filming yourself easier. Its "Auto Framing" feature will automatically crop your video so that it follows your subject and it includes a "product showcase" mode that'll specifically focus on items that you're holding up to the camera, both making it suited to single-person operation. Its sensor is also better matched for video, so it can record 4K at 60fps without any crop or 120p with a slight crop.

That sensor's lower megapixel count puts the ZV-E1 at a disadvantage when it comes to shooting photos, though, and while it does have its own custom LUT feature, it's mostly focused on video instead of photos. The MSRP is also substantially higher than the S9's.

The S9's focus on creators means there are plenty of features that could push enthusiast and more photo-focused buyers towards more expensive cameras like the S5II. The S9's bigger cousin has a second SD card slot and, of course, an EVF. It's also better-equipped for video, with a full-size HDMI port versus a fragile micro one and a dedicated headphone socket (with the ability to record to an SSD on the more expensive S5II X model). The S5II's extra features come at a cost though, both figurative and literal; it's over 50% heavier and its MSRP is $500 higher than the S9's, both factors that could be dealbreakers for on-the-go content creators or people who are just starting out.

Body and handling

The S9 has a very sleek design, reminiscent of old rangefinder film cameras. Its face is a mostly flat surface, a leatherette cover that comes in four colors. (Real ones too; it's nice that Panasonic hasn't skimped on saturation like many gadget-makers are these days.) Unlike Panasonic's higher-end offerings, the S9 doesn't have any programmable buttons up front.

The camera is relatively compact for housing a full-frame sensor; it's smaller and lighter than Panasonic's four thirds-equipped G9II. However, the S9 is still not a small object, and we felt its thickness, rounded edges, and lack of ergonomic affordances made it difficult to confidently shoot it one-handed, like you can with cameras like the S5II or GH5II. Its surface finishes are relatively slick, and it doesn't have any front grip to speak of. (There is a leatherette-covered thumbrest, but it can only do so much.)

At the top of the camera is the mode dial, along with a programmable command dial that runs around the shutter button. There's also a programmable red button that, by default, will start recording video even if you're in a photo mode, though in a limited set of resolutions and framerates. (It'll start recording in MP4 Lite, standard MP4, or MOV, but you'll have to switch to video mode to shoot above 4K.) Finally, there's a cold shoe mount, which could be useful for accessories like vlogging microphones or on-camera lights as long as they can provide their own power.

Moving to the back of the camera, there's the flip-out touchscreen, which is the S9's only display. Unlike most other cameras in the current Lumix S or G lineup, there's no EVF to be found. The display is also the main way to select your focus points, as there's no joystick or directional pad. It's responsive, crisp and clear at 3.0" and 1.84 million dots (960 x 640px), but it's susceptible to glare even on relatively overcast days.

Above the display, you'll find the LUT and AF On buttons, both of which are programmable and easy to reach while shooting. Down to the right is the control wheel, along with the rest of the camera's buttons. We found the dial to be quite sensitive, which limited our choices while choosing its function; it's no fun looking down at your camera and discovering that you accidentally changed to a black and white photo style, or adjusted your white balance.

That sensitivity does help you zip around menus, but it doesn't make it any easier to use the wheel when you're one-handing the camera. It's placed such that you'll have to remove your thumb from the thumbrest to make adjustments, something that will almost certainly unbalance the camera unless you're supporting it with a second hand.

Photographers that spend most of their time in manual mode, or who ever want to control their primary parameter while also having access to exposure compensation, will probably wish for an extra command dial, and those who hate diving into menus will likely want an extra programmable button or two. However, it's definitely possible to get by with the controls included on the S9, especially if you take the time to customize the Q menu and "My Menu" systems. The main menus of the camera are also reasonably easy to navigate, and you can control them with either dial, or using the touchscreen.

Battery

The S9 uses Panasonic's 16 Wh DMW-BLK22 battery, the same one found in the S5II, G9II, and GH5II. It's rated to give you around 470 shots per charge, though as always that number is likely well below what you'll get during real-world use. That's quite a good showing, especially for a camera of this size; that's enough power that most photographers could head out for a weekend of shooting without worrying about bringing a second battery, unless you plan on shooting a lot of video.

The S9 doesn't come with a power adapter or battery charger, but it has a USB-C port that you can use with standard charging bricks. According to Panasonic, you should be able to keep it topped up with a battery bank, provided it and your USB cable support outputting at 9V at 3A.

Initial impressions

By Dale Baskin

The Lumix S9 is a significant departure from Panasonic’s previous full-frame mirrorless cameras, not only in terms of its physical design but also the entire design philosophy behind the camera. After using it for a week, I feel like I’ve developed a pretty good sense of not only what the camera is but also what it isn’t. And that’s an important distinction.

If you learned photography on a dedicated camera, chances are the S9 wasn’t designed for you... if you learned photography on a camera that could also make phone calls, it’s entirely possible it was

It’s tempting to look at the S9 and see a more compact version of the S5II. (Or, possibly even a supersized version of the Lumix GM1, a tiny Micro Four Thirds camera from a decade ago.) It’s a stylish camera, and the technology underpinning both models is essentially the same. But don’t let the rangefinder-esque styling and slightly retro looks fool you: the S9 is a very different camera than the S5II, designed for people with different priorities.

In fact, if you learned photography on a dedicated camera – possibly even one with a passing resemblance to the S9 – chances are pretty good that the S9 wasn’t designed for you. You might wish it were, but it’s probably not. On the other hand, if you learned photography on a camera shaped like a flat slab of glass that could also make phone calls, it’s entirely possible this camera was made for you.

I found the S9's LUT-based workflow worked pretty well, and it was generally quick and easy to use. It only took about five minutes to create my first LUT and install it in one of the camera's memory banks for quick access.

Panasonic says it expects people to use it for photos as much as they will for video. However, if you’re looking for a traditional photo shooting experience, you’ll likely find the camera’s design frustrating.

There’s no EVF, which purist photographers will surely miss, and it can be a real challenge to use the LCD outdoors in bright light. It lacks a second command dial and has few custom buttons, so you’ll go menu-diving to change settings, and the lack of a mechanical shutter limits its ability to use flash and could introduce rolling shutter artifacts. As attractive as the camera is, carrying it around like a stills camera for long periods is fatiguing. It’s telling that at the launch event in Osaka, Panasonic provided members of the media with an accessory grip made by SmallRig that screws into the camera’s tripod socket.

As much as it looks like it might be designed for enthusiast photographers, its superpowers lie elsewhere.

The story is different as a tool for social media creation. We’ve seen plenty of cameras that claim to be made for social media users, including from Panasonic itself, but it’s often not entirely clear what value those cameras have added to a content creator’s workflow.

What I appreciate about Panasonic’s approach with the S9 is that it didn’t simply create a new camera with a selfie screen and declare it to be the perfect social media camera, mostly “Because we said so.” Instead, Panasonic seems to have made a pretty good attempt at understanding a real workflow issue that makes it challenging for social media creators to adopt a dedicated camera for their work.

I captured this photo using the S9's Standard color style, made some adjustments in LumixLab to create a slightly nostalgic look, and exported my settings as a LUT to the camera. Once I had done that, I was able to capture additional images with the same look simply be selecting my custom LUT in the camera.

Most social media content creators aren’t worried about the same things as enthusiast or professional photographers. They’re less concerned about resolution and dynamic range than they are about being able to create something with a unique look straight out of the camera and getting it online quickly, no matter where they are. Providing a workflow that allows them to do that, without having to do any additional editing, goes a long way to solving that problem.

The S9 costs $1499, about $500 less than the S5II, and while they're very similar from a technology perspective, the choice between them isn’t as much about price as it is about the problem you’re trying to solve. If you’re a purist photographer looking for a traditional camera experience and workflow, the S5II has you covered. But if you’re the type of person whose priorities include an efficient workflow for social media with as little post-production as possible, the S9 could be a good fit.

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.

Image: Panasonic

Alongside the S9 social media camera, Panasonic has announced the 26mm F8, a manual focus, fixed aperture lens for the L-mount system. It's also said it will release a compact 18-40mm F4.5-6.3 zoom lens for L-mount "soon."

The company refers to the 18mm-deep (0.71") lens as a "pancake" lens, but its stripped-back feature set reminds us more of Olympus's 15mm F8 "body cap" lens for the Micro Four Thirds system.

This impression is reinforced by the lens not accepting lens caps or filters and instead having a protective element across the front, which is not part of its design's optical formula, suggesting it's designed to withstand being left on the camera.

The Panasonic design is a little wider than the Olympus and has significantly shallower depth-of-field than the F16-equiv behavior of the 15mm on Micro Four Thirds. As a result it has to have a short-throw focus ring, rather than the close-focus/1.5m–infinity switch on the older lens.

Image: Panasonic

The Lumix S 26mm F8 weighs just 58g (2.0oz) and will retail for a recommended price of $199. We also expect it to be bundled with the S9 without adding significantly to the cost of the kit.

Panasonic also said it will be launching an 18-40mm F4.5-6.3 compact zoom lens soon. The only detail given about the ultra-wide to fractionally-wide-of-normal zoom is that it will focus down as close as 0.15m (5.9").

Its short range and relatively modest aperture range will presumably see it act as a low-cost alternative to the $1500 Lumix S 16-35mm F4, rather than a rival to the $600 20-60mm F3.5-5.6.

Panasonic Lumix S 26mm F8 specifications

2024 Milky Way Photographer of the Year winners

The photo tour operator Capture the Atlas has announced the winners for the seventh iteration of its Milky Way astrophotography competition.

This year, the competition received 5000 entries and recognized 25 photographers working in 15 countries, from the deserts of Jordan and Oman to the landscapes of Patagonia, Australia, and other locales. Photographers captured our galaxy amid glaciers, volcanos, deserts and cities, juxtaposing the hazy band of distant stars against life on Earth.

Contest organizers say they try to recognize the "photographer whose vision, planning, and creativity bring the image to life." Since cameras can pick up things in the night sky that our eyes can't always see, planning is key to capturing the Milky Way.

You can see the winning photos right here. Let us know what you think in the comments.

And if you're feeling inspired, mark your calendars for 'Milky Way season,' which runs from February to October in the northern hemisphere and January to November in the southern hemisphere. Granted that is most of the year, but good to know for anyone thinking Winter holiday breaks were a good time to trek out. During these periods, aim to be somewhere away from light pollution and with clear skies. Higher elevations also help.

Lighting lake

Captured by Tom Rae at Aoraki, Mount Cook National Park, New Zealand.

Sky: 28mm | 17 frames at 30s | F2.5 | ISO 3200; Foreground: 28mm | 18 frames at 30s | F1.8 | ISO 6400; Including focus-stacked

Description: "The Milky Way emerges from New Zealand’s highest mountain, Aoraki/Mount Cook, on a winter night—a shot I’ve longed to capture, knowing it would encapsulate the mountains and sky elements perfectly. In rare alpine weather conditions, I embarked on a journey up the glacial valley one night. Upon reaching the lake, the scene that unfolded made me feel like I had landed on another planet. This night, among many spent documenting this incredible part of the world, stands out for me.

It embodies the dedication, sleepless nights, and the fulfillment of completing my vision. The image features icebergs in the cyan-blue glacial lake, red airglow painting the sky, and the glow of billions of stars in the Milky Way—a glimpse into the vastness beyond."

Starry Hoodoo wonderland

Captured by Stephanie Thi in Kanab, Utah, USA.

Sky: 24-105mm | 10 frames at 150s | F4 | ISO 1600; Foreground: 24-105mm | 10 frames at 6s | F5.6 | ISO 800; Including focus-stacked

Description: "This photograph represents the camaraderie within the night photography community. During the Nightscaper Photo Conference in Kanab, Utah, I had the opportunity to meet fellow photographers, many for the first time, and reconnect with others from afar. In this group, I found my people—those passionate about photography, star therapy, astronomy, and the beauty of dark skies.

Many of these individuals have become friends. Additionally, this trip marked my first encounter with hoodoos. Visiting the Toadstool Hoodoos with a group, I focused on enjoying the experience and fellowship rather than solely capturing the perfect shot.

However, I returned the following night to capture a blue hour foreground shot, aiming to replicate the scene from the previous night. Sharing this photograph and being recognized among such talented photographers is a privilege."

A clear welcome

Captured by Francesco Dall’Olmo in Laguna de los Tres, Patagonia, Argentina.

Sky: 12mm | 6 frames at 25s | F2.8 | ISO 5000; Foreground: 12mm | 6 frames at 30s | F4 | ISO 5000

Description: "This was the first photo I took in Patagonia. Contrary to expectations of cold, rain, and wind, our initial encounter with these landscapes was unusual: nearly three days of clear skies. Reaching the lagoon around 7 a.m., I immediately captured shots of the sky. Shortly afterward, I photographed the foreground, where twilight had already set in. This clear welcome gifted me with a rare photo of Fitz Roy framed by the Milky Way arch."

Blooming bottle tree

Captured by Rositsa Dimitrova in Socotra island, Yemen.

Sky: 14mm | 20s | F2 | ISO 2000; Foreground: 14mm | 6s | F13 | ISO 800

Description: "Visiting Socotra was a dream come true – it had been at the top of my bucket list for a couple of years. The night sky in Socotra is categorized as Bortle 1 on the dark sky scale – the darkest you can possibly get. But it wasn’t just the dark skies – it was the alien-looking foregrounds that truly took my breath away. The gorgeous bottle trees of Socotra are especially beautiful in full bloom. They only bloom for a few weeks in February and March, and it’s a mesmerizing sight you want to experience again and again.

I was actually 11 weeks pregnant with my second child when I visited – I must admit that camping and shooting all night were not the most fatigue-friendly activities, but all the challenges were absolutely worth it. I’m now dreaming of taking my two daughters to Socotra one day – for an experience they will never, ever forget."

Bluff hut

Captured by Rachel Roberts in Mungo River Valley, West Coast, New Zealand.

Sky: 35mm | 48 frames at 8s | F2.8 | ISO 10000; Foreground: 35mm | 38 frames at 60s | F2.8 | ISO 3200

Description: "Sometimes, the best images come completely unplanned, which is precisely what happened on this trip to Bluff Hut, nestled in the Southern Alps on New Zealand’s South Island.

Only accessible by a challenging hike or helicopter flight, I had no intention of ending up here, as I had a different shoot planned at another hut. However, with weather closing in at my intended location and no backup plan, I trusted the chopper pilot to choose the best spot for clear skies that evening. Thankfully, he didn’t disappoint, and I was able to capture the Milky Way arching majestically over the hut from one of the darkest places on the planet."

Mother juniper

Captured by Benjamin Barakat in Jebel Shams, Oman.

Sky: 12-24mm | 5 frames at 120s | F2.8 | ISO 400; Foreground: 12-24mm | 120s | F3.2 | ISO 400

Description: "The wisdom of the juniper reveals itself in its aged roots, twisted and sculpted over millennia, enduring the ravages of time and countless obstacles. Amidst the ever-changing tides of time, one constant remains: its profound connection with the night sky and the Milky Way. Their paths intertwine and converge, culminating in a perfect alignment. In that fated instance, I found myself beneath the juniper’s boughs, gazing up at the cosmic dance above, capturing its essence in the stillness of the night."

Starlight therapy

Captured by Kavan Chay in Aoraki/Mt Cook National Park, New Zealand.

Sky (RGB): 40mm | 30 frames at 30s | F1.6 | ISO 2000; Sky (Rho region): 40mm | 17 frames at 30s | F1.4 | ISO 3200; Sky (Gum nebula): 40mm | 13 frames at 20s | F1.6 | ISO 2000; Foreground: 40mm | 16 frames at 30s | F6.3 | ISO 2000

Description: "The Aoraki/Mt Cook National Park has always brought joy and interesting stories, regardless of when I visit. This occasion was no exception – my mental health was low due to some rough times, and I lacked the motivation to attempt this climb. However, I knew it was essential to kick-start my recovery.

The ascent was a struggle with 20-25kg of gear, but I managed a respectable time and enjoyed some daylight views. The night under the stars was breathtaking. Perfect nights like this make you appreciate the opportunity to witness it all. As the sun rose, tents lit up and people stirred. A resident kea decided 5am was a good time to harass a few people, which is when I captured the foreground panorama."

Desert bloom

Captured by Marcin Zajac in Goblin Valley State Park, Utah.

Sky: 15-30mm | 4 min | F2.8 | ISO 400; Foreground: 15-30mm | focus stacked at 1s | F11 | ISO 200

Description: "Wildflowers blooming in front of a group of hoodoos called the Three Sisters in Goblin Valley State Park in Utah. The park, located in a remote corner of the Colorado Plateau and away from major urban centers, yields one of the darkest skies in the country."

Caradhras – Milky Way arch above Vrsic pass

Captured by Matej Mlakar in Vrsic Pass, Slovenia.

Sky (RGB): 20mm | 12 frames at 90s | F2 | ISO 1000; Sky (Ha): 20mm | 12 frames at 120s | F1.4 | ISO 6400; Foreground: 20mm | 12 frames at 90s (+30sec and +15sec for the light of a house in bottom left) | F2 | ISO 1000

Description: "Vršič Pass is a high mountain pass across the Julian Alps in northwestern Slovenia. It is the highest pass in Slovenia, as well as the highest in the Eastern Julian Alps. It connects Upper Carniola with the Trenta Valley in the Slovene Littoral. One of those peaks is Prednje robičje (1941m), where this image was taken from. On Sunday afternoon, my friend Nino Frelih and I were still quite undecided about where to go.

I knew I wanted to capture probably the last winter Milky Way arch of the season above snow-covered peaks, and this location was a sort of last-minute idea while we were driving towards Vršič Pass. Sometimes it pays off to be a bit more spontaneous."

The celestial symphony above a high desert lagoon

Captured by Kerry-Ann Lecky Hepburn in Atacama Desert, Chile.

15mm | 25s | F2.8 | ISO 6400

Description: "One night, we embarked on an eerie 40-minute trek in the dark along a salt trail to photograph the Milky Way and one of several lagoons in the high elevations of the Atacama Desert. At 15,000 feet, it was easy to get out of breath while walking across this rugged terrain with camera gear.

Originally planned for daylight hours, we postponed the hike due to fierce winds. During the day, the lagoons typically appear bright blue with the sun shining high in the sky. To replicate this effect at night, we used a flashlight to cast a beam across the tranquil waters during a long exposure, resulting in a surreal and mesmerizing scene."

Lions den

Captured by Lorenzo Ranieri in the Atacama Desert, Chile.

Sky: 35mm | multiple frames at 30s | F2 | ISO 6400; Foreground: 14mm | multiple frames at 25s | F2.2 | ISO 8000; Including focus-stacked

Description: "This image was captured during an adventurous night on the plateau of the Atacama Desert, a potentially dangerous area due to its designation as a mountain lion reserve.

After a whole afternoon of searching for compositions, I stumbled upon this remarkable mass of rocks adorned with tufts of grass, now burnt by the harsh environment.

The area was littered with bones of small animals and footprints of a significant size, indicating the presence of wildlife not typically associated with peaceful sheep. Spending the night there was admittedly a bit nerve-wracking, but the opportunity to photograph such beauty made it worthwhile. The Milky Way’s arch, in all its splendor, rises above the pristine landscape, creating a truly mesmerizing scene."

Atmospheric fireworks

Captured by Julien Looten in Dordogne, France.

28mm | 40 frames at 13s | F1.6 | ISO 1600

Description: "Last winter, I ventured to the foot of a medieval castle in France to capture the Milky Way’s “winter” arc. Alongside the stunning celestial vault, an exceptional airglow illuminated the sky, resembling multicolored clouds. This natural phenomenon occurs due to a chemical reaction in the upper atmosphere, emitting faint light known as chemiluminescence.

The panoramic view spans 180°, showcasing the entire Milky Way arc. From left to right: Sirius and the constellation of Orion, Mars, the Pleiades, the California Nebula, Cassiopeia, the double cluster of Perseus, and the Andromeda galaxy. Capturing this image required a large panorama of 40 exposures, totaling nearly an hour of exposure time using my Canon 6D Astrodon and Sigma 28mm f/1.4 lens."

Lupine dreams

Captured by Brandt Ryder in Eastern Sierra, California.

Sky: 24mm | 3 frames at 120s | F2 | ISO 800; Foreground: 24mm | 5 focus stacked frames at 1/160 | F8 | ISO 3200

Description: "Super blooms can be a once-in-a-lifetime event. An atmospheric river in the winter of 2023 had caused record amounts of moisture to fall in the Eastern Sierra mountains and the foothills surrounding this area. The result was one of the best wildflower or super blooms on record for the state.

The vanity of life

Captured by Mihail Minkov in Wadi Rum Desert, Jordan.

Sky: 17-28mm | 180s | F2.8 | ISO 640; Foreground: 17-28mm | 1/8 | F8 | ISO 640

Description: "The concept behind this shot is to highlight the stark contrast between the vastness of the cosmos and the minuscule nature of humanity. The composition intentionally draws the viewer’s focus to a small figure, underscoring our insignificance in the grand scheme of the universe, while the majestic Milky Way core dominates the background.

Whenever I venture out to capture the night sky, I’m filled with a sense of humility and gratitude for my existence. It’s as if my problems diminish in comparison, and I’m reminded of the immense love I have for my family and the beauty of life itself, making everything else seem trivial."

Road to Winter Paradise

Captured by Andrea Curzi in Passo Giau, Italy.

Sky: 24mm | 10 frames at 180s | F4 | ISO 840; Foreground: 24mm | 10 frames at 60s | F4 | ISO 1600; Various frames of car trails and highlight recovery

Description: "We’re at Passo Giau on the night of December 15th. Temperatures are around -8 degrees Celsius with strong winds (resulting in a lower perceived temperature). This was an overview I had long dreamed of capturing, meticulously planned from home to the field. Luck was on my side as heavy snowfall the day before left untouched terrain, allowing for pristine snow patterns sculpted by the wind.

With approximately 300° of field of view, the final image resulted from a panoramic view comprising 10 rows each for the base and the sky. For the base, I employed multi-exposure techniques in various parts of the panorama to recover highlights, along with a series of shots for the trails. Describing the sky is challenging; experiencing the cold beneath a canopy of stars is an indescribable sensation, one that must be felt firsthand."

Milky Way at morning glory pool

Captured by Jerry Zhang in Yellowstone National Park, USA.

Sky: 20mm | 30 frames at 15s | F1.8 | ISO 5000; Foreground: 20mm | 30s | F1.8 | ISO 2500

Description: "Morning Glory is a renowned hot spring within Yellowstone National Park, shaped by hydrothermal features that foster vibrant habitats for microscopic organisms. Originally azure blue like the famous Grand Prismatic Spring, human interference and pollution have turned its waters a striking green. Unlike other springs, Morning Glory remains calm, enabling the reflection of starlight at night.

In this photo, the pool mirrors Scorpius, notably Antares, against a clear dark sky and brilliant Milky Way. The high elevation and minimal light pollution enhance the celestial spectacle. On a warm summer night, I finished this photo with one hand, and with the other hand tightly gripping bear spray! But despite the fear of wildlife, it was a very enjoyable night spent alone with the stars all around."

Mungo dreamtime

Captured by John Rutter in Mungo National Park, NSW, Australia.

Sky: 24mm | 10 frames at 60s | F1.8 | ISO 800; Foreground: 24mm | multiple frames at 1s | F4 | ISO 4000

Description: "This Mars-like landscape is the shores of Ancient Lake Mungo, housing the oldest human remains outside Africa—a significant site for all humankind. Its remote location grants it a Bortle 1 sky, allowing you to stand where the first Australians once did and gaze at the same sky they beheld 100,000 years ago. The beauty of the arid, wind-carved landscape and the untouched sky is only eclipsed by the rich history of this area."

Rainbow Valley

Captured by Baillie Farley in Rainbow Valley Conservation Reserve, Northern Territory – Australia.

Sky: 40mm | 70 frames at 60s | F1.4 | ISO 640; Foreground: 40mm | 24 frames at 120s | F2.8 | ISO 2500

Description: "My recent journey to the Central Australian Outback was an incredible experience, exposing me to the harsh vastness of the outback and some of the darkest southern night skies in the world. This image captures the breathtaking scene at Rainbow Valley Conservation Reserve, where the southern Milky Way gracefully spans above a remarkable formation of colorful sandstone rocks. This area exudes a unique charm, with its vibrant hues and stunning geological formations creating a mesmerizing landscape."

Multicolored up and down!

Captured by Cari Letelier in Rainbow Valley, Atacama desert, Chile.

14mm | 65 frames at 25s | F1.8 | ISO 6400

Description: "Let me introduce you to Rainbow Valley, reminiscent of Mordor in some areas, nestled nearly 3200 meters above sea level in the Atacama Desert within the Domeyko mountain range.

Under a Bortle 1 night sky, late October offers a breathtakingly wide view of the sky vault, with zodiacal light and gegenschein joined by intense airglow. The valley boasts a unique geological makeup: a base of ochre-red clay, a strip of chalky white salt, and a topping of moss-colored volcanic tuff, showcasing a rich mineral heritage.

That night, silence prevailed, allowing us to see our shadows illuminated solely by the stars’ brightness. To capture this scene, I created a 360°x90° panorama with 65 frames using an astromodified camera and a panoramic head."

Sand path

Captured by Hugo Valle in White Desert, Egypt.

Sky: 15-35mm | 240s | F3.5 | ISO 800; Foreground: 15-35mm | 3 frames at 1/60 | F8 | ISO 200

Description: "When I saw photos of the White Desert of Egypt, I immediately knew I had to go there. It took two years until I finally made the trip. The days are hot and the nights slightly cooler, passing quickly in this captivating landscape. The night skies are among the best I have ever seen, and the whimsical rock formations, sculpted by wind and sand, make choosing subjects to photograph challenging.

For this particular photograph, I strolled around the area where we would spend the night in the afternoon, selecting a few subjects. The best part of this night, and the ones I spent in the White Desert, was the tranquility of being the only photographer in the area. It was just me, my girlfriend, the guides, and the stars, accompanied only by a small bonfire."

Saoseo

Captured by Alexander Forst in Graubuenden, Switzerland.

Sky: 35mm | 24 frames at 30s | F1.8 | ISO 1600; Foreground: 35mm | 9 frames at 1/10 | F4 | ISO 640; Reflection: 35mm | 3 frames at 8s | F1.8 | ISO 6400

Description: "This lake is one of Switzerland’s most beautiful, renowned for its striking blue color, perfect for Milky Way photography from late July. My original plan was a split shoot with an underwater housing and model Marina, but the housing broke on the first try. Fortunately, the lake offered other beautiful compositions. Situated at 2000m altitude, it gets very cold after sunset; we had forgotten our jackets in the car 1.5 hours away.

To keep warm, we walked around the lake while waiting for the Milky Way. Clouds came and went, threatening to obscure the stars, but luck was on our side. I had a clear view of the Milky Way for just 30 minutes before it vanished behind clouds again. I created two versions of this photo: a landscape version and one with Marina, available on my Instagram."

The kingdom of Perun

Captured by Tervel Kutsev in the Pirin Mountain, Bulgaria.

Sky: 20mm | 14 frames at 90s | F2.8 | ISO 800; Foreground: 20mm | 7 frames at 180s | F2.8 | ISO 2000

Description: "For its small area, Bulgaria is a country with a very diverse landscape. We have a total of 39 mountains, and one of my favorites is Pirin because of the rocky peaks that look like they were designed by man. Vihren (2914 m), the marble peak in the center of the panorama, is the highest in Pirin. Its beauty made me fall in love with mountaineering, and quite naturally, it became a favorite spot for astrophotography.

The Pirin Mountain is named after one of the most powerful gods in Slavic mythology – Perun – the god of thunder, and Vihren is considered his throne. It is an unforgettable feeling to stand under the beautiful night sky, admiring the kingdom of Perun."

The tajinaste

Captured by Maximilian Höfling in Mirador El Tabonal Negro, Tenerife, Spain.

Sky: 50mm | 90s | F4 | ISO 800; Foreground: 35mm | 120s | F4 | ISO 400

Description: "My astro adventure on Tenerife was unforgettable. The Canary Islands, particularly Tenerife, offer ideal conditions for astrophotography. In the Teide National Park, situated at an altitude of around 2000 meters, clear skies are almost guaranteed, with lower clouds shielding city lights, minimizing light pollution.

My primary goal in astrophotography is to unveil the hidden beauty of the night sky beyond the visible stars. I’m especially passionate about showcasing our galaxy, the Milky Way, in all its glory. I believe this picture achieves that goal impressively, capturing the mesmerizing brilliance of the Milky Way against the pristine backdrop of Tenerife’s night sky."

Blue lagoon under the stairs

Captured by Yuri Beletsky in the Atacama Desert, Chile.

Sky: 35mm | multiple frames at 30s | F2 | ISO 6400; Foreground: 14mm | multiple frames at 25s | F2.2 | ISO 8000; Including focus-stacked

Description: "I captured this view at one of the remote sites of the Atacama Desert in Chile. The Galactic Center was already shining high in the sky, with the Zodiacal light beautifully complementing it on the right. The blue color was as real as the stars in the sky, adding a touch of magic to the scene. It was an absolutely incredible experience!

In that moment, all I could do was capture the beauty unfolding before me. It served as a reminder of the wonderful sights that exist in the world and the endless beauty that can be found when we simply look up at the night sky. It was a moment that made me feel deeply connected to the world around me and the universe beyond."

Tombolo Milky Way

Captured by Marc Rassel at Lake Superior, Minnesota, USA.

Sky: 50mm | 18 frames at 120s | F1.8 | ISO 800; Foreground: 50mm | 18 frames at 120s | F1.8 | ISO 800

Description: "I’ve visited this spot many times, and each visit is unique. That’s the allure of Lake Superior’s shore—it constantly changes with the weather and seasons, never growing old. However, this variability poses a challenge; clear skies for extended periods are rare. Yet, everything aligned on a new moon night.

After a 4.5-hour drive north, battling the confusion of daylight savings time, I arrived just in time for the core to rise. With my gear set up, I raced against time to capture all the panels before dawn. The short darkness window in March posed another challenge.

Despite this, I managed to complete the sky frames and most of the foregrounds. The final edit required blending the foreground seamlessly as twilight approached. The result captures the beauty and serenity of Lake Superior’s shores perfectly."

With 'Generative Remove,' Lightroom users can highlight an area they want to remove, such as this person in the background, and then let Lightroom fill in that space with what it thinks should go there. Image credit: Adobe

Adobe announced several updates to Lightroom today. Adobe Firefly, first announced in March 2023 as a beta for Photoshop users, is a generative AI tool for editing, altering and producing generative AI images. It's now coming to all versions of Lightroom.

With 'Generative Remove,' users can highlight an area of an image they want to remove (think of it like the heal tool on steroids) and then let Adobe's AI tools take their best stab and artificially create something that passes for real.

Original image with a yawning person over the subject's shoulder. Image credit: Adobe	Image after 'generative remove' is used to remove a person in the background and create an artificial street scene where they were.

If you've used generative fill on Photoshop or seen one of Google Pixel's Magic Eraser commercials, you have a pretty good idea of what to expect. Adobe says 'generative remove' for Lightroom is built on its first imaging model from last year, not 'model 3,' which was announced more recently.

'Lens Blur' is another AI-driven tool coming to Lightroom. With this tool, Lightroom users can generate a depth map and apply artificial depth of field. Users can apply varying levels of depth and the tool is also capable of introducing bokeh that mimics out-of-camera photography. The idea is that users can take a portrait shot at F22 and make it look like F3.5.

Both Generative Remove and Lens Blur are non-destructive edits, and Adobe says files altered by these tools will be automatically labeled using Content Credential tools from C2PA and CAI.

Also announced, updates to Lightroom mobile's interface and Lightroom Classic gains expanded tethering support for several Sony cameras.

Availability

Generative Remove is available immediately as an 'early access' feature in Lightroom versions for desktop, mobile, iPad, web and Lightroom Classic.

Lens Blur, which was previously in 'early access,' is now included as a standard feature in the latest versions of Lightroom across the aforementioned platforms.