Image: DJI

DJI's announcement of the Mavic 4 Pro came with a sting in the tail for Americans: the drone won't be sold in the US. However, a spokesperson tells DPReview that the company "has obtained all necessary approvals and clearances, including FCC certification, for sale in the United States," and that there's "currently no ban restricting the import or sale of DJI products" in the country.

If the drone is certified and there's no ban, why isn't the drone launching in the US? The company didn't have a direct answer, but told us that "many factors went into this decision. Like many global companies, we have had to adjust our market strategy as local conditions and the industry environment have evolved."

"Many factors went into this decision"

While it didn't specify what "local conditions" meant, it seems likely the uncertain situation surrounding the US tariffs on Chinese goods played a role. In April, President Trump announced a 34% tariff on imports from the country. That rate ballooned to 145% after a back-and-forth between the two countries, where each responded with additional tariffs on each others' goods.

In May, the US and China struck a deal that suspended most of the tariffs for 90 days, though it still left a 30% tax on Chinese imports to the US in the interim. It's unclear what will happen after the pause.

Other companies have responded to the tariffs – which aren't just limited to Chinese goods – in various ways. Chinese astronomy camera company QHYCCD announced it would no longer ship cameras to the US, and Sigma and Canon have announced that they'll have to raise prices. Tamron has said they've affected its production plans, and Fujifilm has blamed tariffs for availability issues.

DJI has also already had to deal with questions around tariffs. When PetaPixel asked why its Osmo Pocket 3 vlogging camera appeared to be out of stock, the company said: "Due to local market conditions and industry environment, including trade-related policies, we may experience extended delays in restocking, and have had to adjust our pricing strategy."

As for the Mavic 4 Pro, the company won't say that it's entirely ruled out bringing it to the US. "The United States is an important market, and we are committed to making our products available to our US-based customers," it told DPReview. "While we currently do not have an estimated timeline, we are closely monitoring the situation and actively exploring every possible solution." It also says it will "continue to introduce new products to the market."

Additional reporting by Kara Murphy

The Panasonic Lumix DC-S1II is the company's second-generation, high-end 24MP full-frame mirrorless camera, now based around a Stacked CMOS sensor, and the same body introduced as the S1RII.

Key specifications

• 24MP partially-stacked BSI CMOS sensor
• Up to 70fps shooting, including Raw
• 1.5 seconds pre-burst capture
• 96MP multi-shot mode with in-cam combination and motion correction
• 10-bit HLG HEIF still images
• In-body stabilization rated at up to 8.0EV of correction
• Open-gate 6K video up to 30p
• Full-width 5.9K or 4K up to 60p
• 4K/120p video with slight crop
• 6K Raw output over HDMI
• Built-in fan for extended recording
• External SSD output for video
• V-Log with 15-stops in DR Boost mode
• Arri C-Log3 paid upgrade option
• 4 channel and 32-bit float audio with XLR2 adapter
• Bluetooth timecode sync

The Panasonic S1II will be available from June 2025 at a recommended price of $3199. As with the launch of the original S1, this is a around $600 more than the list price of its nearest competitors from Nikon or Canon.

Index:

• What's new
• How it compares
• Body and handling
• Video capabilities
• Sample gallery
• Specifications
• Press release

What's new

Partially-stacked CMOS sensor

The S1II becomes the second camera we've encountered to promise a 'partially stacked' CMOS sensor. This is a conventional BSI sensor with more complex readout circuitry applied as an additional layer around the edges of the sensor. This allows faster readout than with a BSI chip with single-layer readout circuitry, but without the significantly higher manufacturing complexity and cost of a fully Stacked CMOS design.

Panasonic says the 24MP sensor it's using is 3.5x quicker to read out than the BSI chip used elsewhere in its range. It's unlikely to be a coincidence that this is the same figure Nikon gave the the improvement it saw between the Z6 II and Z6III.

The sensor allows the S1II to shoot stills at up to 70fps (10fps with mechanical shutter). Panasonic highlights that this capability, combined with pre-shot capture, is designed to help capture key moments, not to make it an out-and-out sports camera. We found it could shoot for around 3 seconds at full speed, which is going to be more than enough for most people's photography.

ISO and dual gain

The sensor's base ISO is 100, when using the camera's Standard Photo Style. Other response modes have higher base ISO ratings to encourage the use of lower exposures to capture additional highlight information. The sensor is a dual conversion gain design on which Panasonic lets you manually select which gain mode the camera is using.

HLG HEIF

The S1II gains the ability to shoot 10-bit HEIF files using the HLG high-dynamic range tone curve. You can shoot with the standard color response, a mono mode or with a custom LUT applied. This allows you to shoot true HDR photos in-camera and do so while still capturing a Raw file alongside.

You can convert the HEIF to an SDR JPEG or, alternatively, you can re-process the Raw in-camera and output an adjusted version as a HEIF. This only works for Raws taken with the camera in HEIF mode, though: Raws shot alongside JPEGs can only be re-processed as SDR HEIFs or JPEGs.

This brings us another step closer to cameras being able to exploit the increasing prevalence of HDR displays. The HEIF format still isn't widely, reliably supported, and HLG files don't always live up to the promise of working equally well on SDR and HDR displays, but with Panasonic, Sony and Nikon all offering HLG HEIFs as an HDR option, it looks like the industry is approaching the adoption of a common standard.

Urban sports AF

The S1II gains a new subject recognition mode, Urban Sports recognition. This is designed for the likes of breakdancing or skateboarding, essentially: situations in which humans are making shapes that the basic human recognition mode isn't necessarily trained to recognize.

Settings backup and transfer

The S1II gains the ability to back-up its settings to an SD card. These can then be used to reset the camera to your preferred settings or to quick-configure other cameras. Panasonic says this capability will be extended to other models, with mutually-supported settings carrying over from one model to another.

Video capabilities

It shouldn't come as a surprise to find the S1II's video feature set is extensive, building on the large array of options provided by the S1RII but underpinned by a much faster-reading sensor.

We detail the options as fully as possible, later in this article, but the headlines features are:

• Open gate recording
  The S1II can record 6K footage from its entire 6000 x 4000 sensor at up to 30p or 5.1K footage derived from the same region at up to 60p
• 4K up to 120p
  4K video can be captured in DCI or UHD 4K at up to 60p from the full width of the sensor or in 5.9/5.8K resolution from the same regions. Alternatively, with a small crop, the camera can capture 4K/120p
• Cinemascope 120p
  Another option is to shoot a very wide 'Cinemascope' style 2.4:1 region of the sensor in 4K resolution at up to 120p
• Anamorphic shooting
  Videographers using anamorphic lenses can capture 4.8K video from a 4:3 region the full height of the sensor at up to 60p
• ProRes RAW capture
  The S1II can also capture 1.89:1 ProRes RAW video from either the full sensor width at up to 30p or from a native DCI 4K region at up to 60p

Beyond this, the S1II offers highlight warnings set at two different thresholds (dual zebras), false color, the ability to specify exposure in terms of shutter angle (especially valuable on a camera that can so easily switch between frame rates), and the ability to preview corrected Log footage and record proxies.

Cinelike A2

Like the S1RII, the S1II gains the new Cinelike A2 color profile. It's essentially a midway between the low-contrast Cinelike D2 profile and the punchier, ready-to-use Cinelike V2 one. The color response is designed to be a little more like that of a major cinema camera maker.

On a similar note, Panasonic says that the ability to natively shoot Arri's Log C3 profile will be offered as an extra cost firmware upgrade to the S1II. They say this uses Arri's Log response natively, not shooting V-Log and —trying to map across to an approximation of C3.

DR Boost

The S1II has a Dynamic Range Boost mode, allowing it to capture up to 15 stops of dynamic range. We were not given details on how it's being delivered.

All we were able to establish is that it's not comparable to the GH7's DR Boost function that combines parallel readout paths, shot simultaneously (but with no option to turn the function off). Nor is it the same as the DR Expansion function on the S1RII, which changes the readout bit-depth to gain DR at the expense of more rolling shutter.

There is a significant rolling shutter impact for DR Boost on the S1II, and the available video modes top out at 30p (24p for the full-height 6K, 5.1K and 4.8K modes). Base ISO in V-Log mode increases by 2/3EV to ISO 1000, when engaged.

Panasonic promises a DR increase from "14+ stops" to "15 stops" of dynamic range if you engage DR Boost mode, but its lower speed not only makes many of the camera's video modes impossible, it also means you should only use it in situations with very little motion in the scene.

32-bit Float capability

As with other recent Panasonic cameras, the S1II is compatible with the optional DMW-XLR2 adapter, making it one of the only cameras able to capture 32-bit Float audio. This uses two different gain levels and clever data encoding to allow very quiet and very loud signals to be captured simultaeously, meaning you don't have to worry about audio levels.

AI-AWB

As well as the ability to re-process Raws as HEIFs (so long as you were shooting HEIF at the point of capture), the S1II gains a new, "AI Auto White Balance" option if you re-process a Raw file in the camera.

The mode is too processor-intensive to use as you shoot but will try to analyse the scene to give the best white balance. Panasonic also says additional processing should allow it to cope better with shots taken under mixed lighting.

How it compares

The S1II comes in at something of a premium, compared with its apparent peers. Its $3200 price tag makes it a fair bit more expensive than the likes of Nikon's Z6III, with which it shares a sensor, or the Sony a7IV and Canon EOS R6 II with which the Nikon competes.

There aren't currently many other cameras that sit between the mass-market $2500 models and the high-end, high-res options, for nearer $4000. This essentially means one of its only direct competitors is its own sibling, the S1RII, whose list price is just $100 more, giving a high speed or high-res choice of second-gen S1 cameras.

Here we're going to show it against the Nikon, the Canon and its less-expensive sister model, the S1IIE (the 'E' stands for "essentials," Panasonic tells us).

The Panasonic S1II is competitive on paper with all its immediate peers, even pulling ahead in terms of continuous shooting rate and its vast array of video modes. Its peers are starting to compete with the range of video support tools provided but the Panasonic still outshines them with specialist options such as full support for anamorphic shooting. The Panasonics are also the only cameras in this class to let you shoot multi-shot high-res images and have them automatically combined in camera (Raw and JPEG).

Only its price counts against it, with it commanding a significant premium compared with its immediate peers.

Body and handling

The S1II's body is essentially identical to that of the S1RII: similar in size to the more basic S5 models but with a better grip design and a carefully-struck balance between being compact and giving an excellent level of direct control.

The camera is appreciably smaller and lighter than the original S1 model but still feels solidly built. It maintains an extensively environmentally-sealed design with gaskets at all the joins. Its feels solid in the had with a pleasant density to it.

The mic socket sits high up on the left hand side of the camera, comfortably clear of the rear monitor, which pulls out on a tilting cradle, as well as then flipping out and rotating, which lets you keep it clear of the headphone socket, further down its flank. A USB C socket with 10 Gbps transfer speeds sits below this, allowing charging tethered shooting and video recording to SSD. A full-sized HDMI socket completes the left-side ports.

On the right-hand side of the camera is a 2.5mm remote socket. There's no flash sync socket on the S1II but anyone looking to sync timecode from the camera will find the S1 compatible with Atomos' Bluetooth timecode sync system.

Like the S1RII, and distinct from the S5 models, the S1II has one CFexpress Type B slot and one UHS-II SD card slot. It can also output video over its USB socket to an external SSD.

It has both the viewfinder and the adjacent cooling fans of the S1RII, meaning it has a 5.76M dot display (1600 x 1200 pixels). It has 0.78x magnification, making it pretty large. An eyepoint of 21mm means it can be a little difficult to see the extreme corners, if you wear glasses.

Battery

The S1II takes the same 15.8Wh DMW-BLK22 battery as most of the rest of Panasonic's range. This powers it to a CIPA rating of 360 shots per charge via the rear LCD or 320 shots using the viewfinder. Both figures are measured using an SD card, with both declining by 10 shots per charge if you use a CFexpress card. As always, these numbers are likely to significantly under-represent how many shots you're likely to achieve, but they provide a reasonably like-for-like comparison and these are reasonable numbers for this class of camera.

The S1II is compatible with the DMW-BG2, introduced alongside the S1RII. This adds a second battery and has a sensor on the battery door that switches the camera over to the internal battery when its open, allowing you to hot-swap batteries.

Video capabilities

As you'd expect from Panasonic, especially one with a relatively quick sensor, the S1II has an extensive array of video features. In addition to its many, many recording modes, the camera has a considerable array of supporting features to help you get the best results.

The S1II lets you control exposure in terms of shutter angle (handy for quick changes when using different frame rates), waveforms, false color and dual zebras for setting exposure, a vectorscope display for matching color, the ability to show a corrected view for Log or HLG shooting.

There's a tally lamp to make it clear when the camera is recording, the ability to record low-res proxy versions alongside your primary footage, a choice if mic gain levels. The list is near endless. On which note: the ability to add video modes to a custom list by pressing the 'Q' button, letting you quickly access just the modes you want to use is hugely valuable on a camera with this many video modes.

Open gate and Anamorphic modes

Users wanting to crop after the fact or add digital stabilization during their edit are likely to appreciate the S1II's open gate recording mode, which captures the full area of the sensor.

As has become standard for Panasonic, the S1II can alternatively capture a full-height 4:3 region of the sensor for use with anamorphic lenses. It comes with the option to show a desqueezed preview when working with anamorphic lenses and, in a feature unique to Panasonic, lets you set the stabilization system to correct shake with anamorphic lenses.

Widescreen modes

The S1II's partially stacked sensor reads out faster than any in a previous S-series cameras, allowing it to offer full-width 60p capture or 4K/120 with a moderate crop.

There are also a host of 5.xK modes that capture most of the sensor width natively, rather than downsampling to 4K. The S1II, like its 'E' sister model, adds a very widescreen 2.41:1 mode, mimicking the CinemaScope movie aspect ratio of the 1960s. Conveniently, this is also uses about the maximum height of the sensor that can be read fast enough for 120p output, without having to crop horizontally.

Internal Raw

The S1II can capture ProRes RAW footage, either in the standard or HQ levels of compression. These are taken either from a 5760 x 3040 region of the sensor or a native 4096 x 2160 pixel region. In both instances, footage can be recorded either to the camera's CFexpress slot or to an external SSD.

Despite this table covering 166 different modes without even deliving into different compression levels or including MP4 options, it's not quite complete, as there are instances of Pixel/Pixel and APS-C modes that have identical options and virtually identical crops existing alongside one another. For reasons of sanity, we've not tried to measure them all.

For similar reasons, we'd strongly suggest the use of the camera's 'My List' feature, that lets you quickly create a list of the modes you plan to use, preventing accidental use of a mode with the wrong frame rate, chroma subsampling method or crop factor and avoiding you needing to scroll through the whole list.

Raw over HDMI

Alternatively, if you have an Atomos or Blackmagic external recorder, the S1II can output a Raw stream over its HDMI port, which can be encoded into ProRes RAW or Blackmagic Raw.

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.

Product Photos: Mitchell Clark

The Panasonic Lumix S1IIE is a 24MP full-frame camera aimed at stills and video shooters. It uses the same BSI sensor found in the Panasonic S5II and S5IIX but paired with the body of the S1II and S1RII, giving it some additional capabilities and features not found in the S5-series.

Key Features

• 24MP BSI CMOS sensor
• Up to 30fps e-shutter shooting with C-AF and Raw
• 1.5 seconds pre-burst capture
• 10-bit HEIF recording
• 6K 4:2:0 open-gate recording up to 30p
• Internal Raw recording
• 32-bit float recording via optional XLR 2 adapter
• 2.1M dot flip-out and tilting display
• 5.76M dot viewfinder

The S1IIE will be available starting in late June for a recommended price of $2499.

Index:

• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Specifications

What's New

As a blend of existing cameras, the S1IIE doesn't have anything entirely its own. However, some of the features are brand-new on the S1II, announced the same day as the S1IIE, so it's worth looking at what it inherited from that camera and the S1RII and what it keeps the same as the S5II/X.

HLG HEIF

Like the S1II, the S1IIE can record stills to a 10-bit HEIF file using the HLG high-dynamic range tone curve, which can also be paired with mono and LUT color modes. This lets you get HDR images straight-out-of-camera without the need to process Raws, though HEIFs aren't nearly as widely supported as JPEGs.

You can do an in-camera HEIF to SDR JPEG conversion, though there is a strange limitation when outputting HDR HEIFs. If you originally shot the image as HEIF+Raw, you can reprocess the Raw and output an HDR HEIF, adjusting settings such as white balance. However, if you shot the image as JPG+Raw, you can only reprocess the Raw into an SDR HEIF. Of course, you can always bring that Raw into desktop editing software to output it however you like, but it is strange that the in-camera processor can only output HDR HEIFs in certain circumstances.

AI white balancing

Speaking of the in-camera Raw processing, the S1IIE has the same "AI Auto White Balance" feature as the S1II. It's only available in post-processing, but Panasonic says it should be better at producing pleasing colors in difficult lighting situations.

New Body

The S1IIE has the same body as the S1RII and S1II, which makes it just a tad bigger than the S5II. That means it has the same control layout, complete with a dial for switching between stills, video and slow and quick modes, the lock switch and extra custom modes. It also has the large, high-resolution viewfinder and the tilting/fully-articulating display.

Updated autofocus

The S5II brought phase-detect autofocus to Panasonic's full-frame lineup, and the system the S1IIE inherits from the S1RII is a refinement of that. It has the enhanced human subject recognition, complete with support for "urban sports" like breakdancing or skateboarding, where people will be moving their bodies into positions that the previous system may not have recognized.

Compared to the S5II, there's a key difference in the autofocus user interface: the S1IIE, like the S1RII, doesn't fall back to its generic tracking if it's in subject detection mode but doesn't recognize a subject in the scene.

New movie capabilities

Despite using the same sensor, the S1IIE has 30 more recording modes than the S5IIX. Some of those are the "Cinemascope" modes, which offer a 2.4:1 aspect ratio, as well as the ability to shoot in 60/50/48p in full-width 6K and 4K. Like the S5IIX, it's essentially achieving the faster frame rates by dropping down to an APS-C region of its sensor, just a super-wide one.

The S1IIE also includes the "Cinelike A2" color profile, the ability to record ProRes Raw internally to a CFexpress Type B card, proxy recording to a second card and 32-bit float audio recording via an add-on XLR 2 adapter. You can also use it with Bluetooth timecode synchronization devices and Panasonic's Lumix Flow app, which aims to streamline the process of writing a script, creating storyboards and shotlists and sorting captured footage.

It has the S1II's upgraded stabilization system as well, which the company says is "60% more efficient" than the S5II's. That includes the "cropless" electronic image stabilization mode that's compatible with the company's S-series lenses, though not other L-mount options from Sigma or Leica.

And even more...

As is becoming tradition, Panasonic has promised even more features coming via a future firmware update. Those include:

• A paid upgrade for Arri LogC3
• Multiple frame markers, like the S9 and S5II
• Bluetooth connectivity to DJI gimbals

How it compares

The S1IIE is playing in a relatively crowded field; every manufacturer is pitching their mid-level full-frame cameras as a great hybrid option for stills and videos. We're comparing the S1IIE to Nikon and Canon's similarly-positioned Z6III and EOS R6 II. We've also compared it to the S5IIX, which Panasonic has said will remain in its lineup for now, as the S1IIE is essentially an upgraded version of that camera.

The Z6II and EOS R6 II are both strong competitors, and we've found their autofocus systems to be quite capable of shooting moving subjects and action, which wasn't always the case for Panasonic's system when we tested it in other cameras. With such feature-packed cameras, though, the differences are going to come down to the details like the fact that the Canon can't do internal Raw video, the Z6III's highest burst rates being limited to JPEG-only, or that the S1IIE doesn't have an automatic subject detection mode like the Z6III and EOS R6 II do.

Those who focus on video have to deal with even more nuance. Nikon's use of a partially-Stacked sensor lets it shoot at quite high framerates, though sometimes only in Raw. While the S1IIE doesn't have the same level of speed, Panasonic has loaded it with resolution and aspect ratio options and an army of assistance features. Those are things like waveforms, vectorscopes and false color monitoring to help you nail exposure, a desqueezed preview if you're shooting with anamorphic lenses and its real-time LUT system that lets you use industry-standard color profiles to grade your footage straight out of camera.

Body and handling

The S1IIE's buttons and dials are well-placed, making it easy to almost completely control the camera using one hand.

The S1IIE's body will be familiar to anyone who's used an S5II/X, and even more so to those who've used an S1RII. It's a tiny bit larger and heavier than the S5-series and has a larger grip, but otherwise feels quite similar in the hand. The control layout is largely similar, with the same autofocus layout and dial setup that should make it easy to avoid the menu system during a shoot.

Compared to the S5II, the S1IIE gains a lock switch, which can be customized to lock different buttons depending on whether you're shooting stills or video, a mode dial for stills, video and slow and quick mode and a slightly deeper grip. There's also now a record button on the left front corner of the camera, which we've found is extremely easy to accidentally press, though you can set it to do nothing in stills mode.

The camera's ports now get their own individual doors, which makes for less flapping around if you only have a few things plugged in.

Rear Display

The S1IIE inherits the combination tilting / articulating screen from the S1RII, giving you the versatility of a fully articulating screen that can be viewed from the front without sacrificing the ability to position it for waist-level or above-the-head shooting with a single motion. It also provides plenty of clearance, even with a microphone and headphones plugged into the camera.

Battery

The S1IIE uses the same 15.8Wh DMW-BLK22 battery as the S5II and the rest of the S1II family. It's CIPA-rated to provide 380 shots when using the LCD. You'll likely be able to shoot many more photos than that on a single charge, but the rating provides a consistent point of comparison between cameras. It's not the best in class, but it should get you through a weekend of light-to-moderate shooting.

You can charge it via USB-C, and it's compatible with the DMW-BG2 battery grip launched with the S1RII, which should roughly double its battery life.

The company says it can record an approximately 100-minute continuous 4K 60p clip on a charge, and about half that if you're repeatedly starting and stopping recording.

Initial Impressions

Let's get this out of the way: there's a lot to like about the S1IIE. It'd be shocking if there wasn't, given that it's essentially a blend of the S1RII and S5IIX, both of which are more than solid in their own right. While we haven't put it through our thorough testing process yet, it's pretty much a given that it'll provide great image quality, sturdy ergonomics and more video features than most people would use in a lifetime.

While the formula isn't new, the S1IIE is in a bit of a complicated position. On one hand, it's a version of the S1II that costs substantially less and comes with a lot of the same features but has a slower sensor that limits burst rates and 4K-and-above framerates. But you could also look at it as a slightly fancier S5IIX; its capabilities are quite similar, but its upgraded processor, refined design and higher price tag will give you a more premium experience.

You now have to consider five cameras if you want a 24MP hybrid camera from Panasonic

For certain users, that'll be worth it. Depending on what you need from a camera, the S1IIE's support for Capture One tethering could be a deciding factor on its own. But if you don't have a slam-dunk reason to buy it, you now have to consider five different cameras (the S5II, S5IIX, S1II, S1IIE and S9) if you're looking to get a 24MP hybrid camera from Panasonic.

Even as a reviewer, it can be hard to keep the differences straight in my head, and I feel like I'd need to have a 15-minute conversation with someone before I'd feel confident that I knew which model(s?) they should consider. And that's before you even consider the competition: the S5IIE is up against cameras with just plain faster sensors, which allow for higher framerates and better rolling shutter performance.

Panasonic still includes plenty of features that make its cameras stand out, like shutter angle, timecode sync, in-camera multi-shot and support for anamorphic lenses. However, some of those will only appeal to people with quite specific needs, and the base video capabilities that used to be Panasonic's competitive advantage are now relatively common. We'll have to fully test the S1IIE to see if it does enough to stand out among the rest.

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

Panasonic is keeping busy today, announcing two new full-frame Lumix cameras – the S1II and S1IIE – while also revealing a new lens. The Lumix S 24-60mm F2.8 expands the company's lens offerings with a fast standard zoom, offering a versatile focal length in a relatively compact and affordable package.

The Lumix S 24-60mm F2.8 lens sits between Panasonic's existing standard zooms. Unlike the Lumix S 20-60mm F3.5-5.6, the new lens offers a bright F2.8 maximum aperture throughout the entire zoom range. Weighing 544g (1.2lbs), it provides some weight savings compared to the Lumix S Pro 24-70mm F2.8's 935g (2.1lbs), albeit with slightly less range.

Image: Panasonic

Panasonic's latest Lumix lens features 14 elements in 12 groups, which include three aspherical, one UED and two ED elements. It's compatible with 77mm filters. Regarding autofocus, it uses its dual-phase linear motor, introduced with its 100mm F2.8 macro lens. This, combined with an optical encoder to report the focus group's position, promises fast and precise autofocus performance. It can focus as close as 19cm (7.5"), provided you stick to 24-30mm.

The lens offers several customization options, including an assignable control ring, a first in S-series lenses. That ring also controls manual focus, though, so you'll have to choose between that and other functions. If you leave the control ring for focusing, you can set which direction you rotate it for manual focus. It also features a programmable Fn button.

Image: Panasonic

There are also some video-specific features as well. Panasonic says that the lens's design effectively suppresses focus breathing. Additionally, its micro-step aperture control allows for smooth and gradual F-stop transitions, providing more fine-tuned control during recording.

The Lumix S 24-60mm F2.8 will be available for purchase in late June for an expected retail price of $899.

Panasonic Lumix S 24-60mm F2.8 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.

Panasonic Lumix S 24-60mm F2.8 specifications

Image: Panasonic

In case two cameras and a lens weren't enough for Panasonic fans, the company has also announced new firmware and software updates. The star of the show is the firmware update for the Panasonic Lumix S1RII, which will unlock quite a few new (and already promised) features. Unfortunately, though, that update isn't available quite yet. A more immediate release is updated firmware for its S series lenses and new Lumix Flow and Lumix Lab app versions.

Panasonic LumiX S1RII firmware updates

Image: Panasonic

When Panasonic launched the Lumix S1RII, it promised a firmware update that would make it possible to capture 7.1K and 8.1K open gate video footage. That remains the plan, though Panasonic still isn't providing a date for the release, simply saying it's planned for 2025.

Regardless of when it comes, Panasonic will have additional updates for the S1RII firmware beyond 8.1K open gate. You'll be able to purchase an upgrade key to add support for Arri LogC, enabling users to match colors to Arri cinema cameras. It will also support capturing stills as 4:2:0 10-bit HEIFs, which should display with higher dynamic range than traditional JPEGs.

The upcoming firmware for the S1RII adds an "Urban Sports" recognition feature to its human detection capabilities, which is already available on the two newly released Lumix cameras, the S1II and S1IIE. Panasonic says it will allow for better autofocus when capturing activities like breakdancing, skateboarding and parkour. More customization options will be added, too, including the ability to use a lens's focus ring as a control ring. and the option to choose the rotation direction for manual focus when using that ring for focusing purposes. Users will also be able to use up to three different aspect ratio guides, a feature that was launched with the Panasonic S9 but has since become available for other cameras in the company's lineup.

Some workflow improvements are coming, too. That includes the ability to directly transfer stills and videos from a CFexpress Type B or SD memory card to an external SSD, and for the camera to record proxy files to the internal memory card while simultaneously outputting Raw video data over HDMI. It also gains compatibility with Atomos' UltraSync Blue Bluetooth timecode synchronization devices and Bluetooth compatibility with DJI gimbals.

Additional updates

Image: Panasonic

Firmware updates are also coming to three S series lenses: The Lumix S 20-60mm F3.5-5.6, Lumix S 24-105mm F4 Macro OIS and Lumix S Pro 50mm F1.4. Firmware version 2.0 for all three lenses will enable more customization. The focus ring can now be used as a control ring, allowing users to assign functions like aperture control and exposure compensation instead of manual focus capabilities. Should users want to keep it for focus purposes, they will be able to choose the direction of rotation when using manual focus.

Finally, Panasonic has also updated the Lumix Flow and Lumix Lab apps. Lumix Flow Version 1.1 adds compatibility for the newly released S1II and S1IIE cameras and a monitor mirroring function that lets you share the live view to another device. Lumix Lab Version 1.5 also adds compatibility with the two new cameras. It also now supports editing for HEIF images taken with Lumix cameras, unlocking easier editing of HDR images.

The lens and app updates are available on May 14 at 1:00 am UTC.

Image: DJI

DJI has announced the Mavic 4 Pro, the latest addition to its prosumer camera drone lineup. The successor to the Mavic 3 Pro introduces a new 100MP main camera with a redesigned spherical "Infinity Gimbal" that allows for full 360º rotation and 70º upward tilt. It also promises a longer battery life and an improved transmission system with a new pro-grade remote.

Image: DJI

The Mavic 4 Pro keeps the tri-camera system introduced with the Mavic 3 Pro. The main camera's 28mm (equiv.) focal length offers a slightly narrower perspective than its predecessor's 24mm (equiv.). It features a newly developed 100MP Type 4/3 (17.4 x 13 mm) CMOS sensor with an adjustable F2.0 to F11 aperture. It supports 6K/60p video, which is up from the Mavid 3 Pro's 5.1K/50p. The main camera also supports 4K/120p slow-motion recording and up to 16 stops of dynamic range. Additionally, the camera features Hasselblad's Natural Color Solution, promising realistic-looking, accurate colors.

The second camera features a 70mm (equiv.) telephoto lens equipped with a 48MP Type 1/1.3 (10 x 7.5mm) sensor, fixed F2.8 aperture and 14 stops of dynamic range. The third camera is a 168mm (equiv.) telephoto lens with a 50MP Type 1/1.5 ( 8.3 x 6.2mm) sensor, fixed F2.8 aperture and 13 stops of dynamic range. The medium telephoto camera supports 4K/120p slow motion recording, while the second telephoto camera offers a slightly lower 100fps at 4K.

All three cameras support HDR video recording at 4K/60fps (up to 6K/60fps for the main camera) with 10-bit D-Log, D-Log M and HLG color profiles for greater control when color grading. Additionally, DJI offers free Rec.709 LUTs (Look Up Tables) for all of its drone models.

A photo captured on the Mavic 4 Pro's 168mm camera. Image: DJI

The Mavic 4 Pro promises up to 51 minutes of flight time, five minutes longer than the last model. Equipped with DJI's OcuSync O4+ transmission system, it offers a 10-bit HDR transmission range of up to 30km (18.6 miles) and overall range of 41km (25.4 miles). While you would never fly such a long distance, the likelihood of disconnection in urban areas and environments with high interference is reduced.

DJI says its ActiveTrack 360º system can track a subject even in low-light scenarios and keep it in focus even if it disappears behind obstacles like bushes. Six fisheye sensors give it omnidirectional obstacle detection at speeds up to 18m/s (roughly 40 mph). That means obstacle avoidance will be deactivated at higher speeds, such as when operating the drone in Sport mode.

Image: DJI

The Mavic 4 Pro pairs with the new DJI RC Pro 2, a remote controller equipped with a 7-inch Mini-LED display. The display can rotate, which DJI says will instantly sync with the drone's gimbal to coordinate vertical shooting. It also offers HDMI output and 128GB of internal storage. The controller provides up to four hours of battery life and native audio recording with the built-in mic or when paired with DJI Mic series microphones.

Mavic 4 Pro Fly More combos include the Parallel Charging Hub. Image: DJI

The Mavic 4 Pro's standard version includes 64GB of internal storage, while the Creator Combo will give you 512GB and supports ALL-I 4:2:2 video encoding. QuickTransfer enables fast file transfers up to 80MB/s over Wi-Fi 6, and footage can be offloaded without powering on the drone via direct USB-C connection.

The DJI Mavic 4 Pro is available for purchase as of today for £1879 (with tax) and €2099 (excluding tax) for the drone only. The DJI Mavic 4 Pro Fly More Combo with DJI RC 2 costs £2459 / €2699, while the Fly More Combo with the new DJI RC Pro 2 costs a steeper £3209 / €3539. The DJI RC Pro 2 remote on its own is priced at £879 / €999.

You may notice there aren't any US prices listed above. That's because the Mavic 4 Pro isn't coming to the US. When asked about this, and if it was related to a potential ban on DJI drones, a DJI representative said, "The Mavic 4 Pro has obtained all necessary approvals and clearances, including FCC certification, for sale in the United States." That means DJI is allowed to sell the drone here, but is choosing not to, potentially as a result of the US tariffs. That may leave the option open for the drone to eventually make its way to the US, but only time will tell.

Image: General_4530 / Moment via Getty Images

Over the weekend, the United States and China agreed to a 90-day suspension of most tariffs imposed since April. This latest development could offer short-term relief in an ongoing trade dispute that has disrupted global shipping and raised prices for US consumers. Previously, the US had paused its tariffs for other countries, though it had excluded China from that pause.

In a joint statement released this morning, both governments said the pause would allow time for continued negotiations. US Treasury Secretary Scott Bessent confirmed the "90-day pause" agreement following talks with officials in Geneva, stating that "reciprocal" tariffs would be reduced by 115% on both sides. US tariffs on Chinese goods will drop to about 30%, while China will reduce its levies to 10% on American imports.

The previously proposed tariffs from early April involved US tariffs of up to 145% on Chinese imports and Chinese tariffs of 125% on US goods, which slowed trade significantly. Major ports reported sharp drops in traffic, and the international shipping and logistics firm DHL Express suspended shipments to the US with a declared value of over $800.

Sigma America, Canon and others have already announced their plans for increased prices as a result of the US-China tariff war. Tamron also announced that it was shifting where its lenses are manufactured based on the tariffs. What this pause means for those companies is unclear. Given that it's a temporary solution, it's unlikely we'll see any walkback on plans to increase prices.

Officials on both sides characterized the Geneva talks as productive. "It's important to understand how quickly we were able to come to an agreement," said Jamieson Greer, a senior US trade representative. For now, with tariffs temporarily eased and talks ongoing, all manufacturers and importers can do is watch and wait. Hopefully, the pause becomes a path toward resolution rather than a delay before the next disruption.

Photo: Mongkol Chuewong / Moment via Getty Images

Travel can be stressful, and figuring out how to pack your cameras and lenses can certainly add to that stress. All that gear can take up a lot of space and add quite a bit of weight, which isn't always feasible to keep with you during a flight. So, what do you do when packing camera equipment in your carry-on isn't an option? You resort to checked luggage.

Can you put a camera in checked luggage?

The simple answer to whether or not you can put a camera in checked luggage is yes. Most countries and airlines allow cameras and lenses in checked baggage, provided they don't result in your bag exceeding the airline's size and weight limitations. The main potential restriction is lithium batteries.

Most countries' airport security rules say you can have a lithium battery in a device within your checked bag, provided the device can't power on. However, airlines (or even specific personnel) may have their own rules. It's always a good idea to check prior to catching your flight, and to keep your camera at least somewhat easily accessible in case you need to take the battery out at the last minute. If you're bringing spare batteries along, those must always be in carry-on, no matter what airline you're flying.

Should you put a camera in checked luggage?

Photo: Barney Britton

While you can put your camera in checked baggage, the bigger question is whether you should. Your bag will have quite a rough and tumble journey from getting checked in to being picked up at your destination. Luggage handlers aren't typically known for being all that careful with bags, so there is a risk of your camera and lenses getting damaged in transit. Plus, theft is another potential concern, as is your bag getting lost by the airline.

Of course, there are times when checking your camera may be unavoidable. If so, you'll want to ensure your gear is packed securely with plenty of padding and rigid structure. Don't simply toss your camera or lens at the top of your duffel bag and hope for the best. Something like a Pelican case or at least a hard suitcase would be best. An airport security-approved lock isn't a bad idea, and insurance for your gear certainly doesn't hurt, either. Also, small trackers like AirTags, Chipolos or Tiles could give you some peace of mind.

Photo: Mitchell Clark

Our May editor's challenge is now open for submissions. The theme this month is human-powered travel, so we're looking for photos of people moving through the world under their own power, using means of transportation mundane or exotic.

Some examples: people walking, hiking, skateboarding, biking, roller-blading hand pedaling – whatever gets them places without a motor.

The challenge is open to photos taken at any time. The last day for entry will be Saturday, 17th May (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration. Please remember to include a caption or your submission will be deemed ineligible, and we'll ask you to resubmit it.

Visit the challenge page to read the rules and submit your photo

After you've submitted your photo to our editor's challenge, be sure to check out some other community-run challenges. You can vote for your favorites in RHES' "Simple subject" challenge and, starting Monday, Dr.Lex's "A Big Year 2025" challenge. You can also submit entries to RHES' "Look What I Have for You!" and Dr.Lex's "Fortnight 51" challenges.

Images: DxO, Ilford, Aperture, SmallRig

Happy Saturday, everyone! We've officially made it to the weekend, which means it's time to take a look at new accessories that came out this week. This week was a quiet one gear-wise, but we saw some new film, software updates, a cage from SmallRig and a 60th anniversary photo book. First, though, let's get into the deals.

Deals of the week

Photo: Sony

The Sony a7 IV has earned many recommendations from the DPReview team since its launch. It's been picked as one of the best cameras for street photography and one of the best affordable cameras for sports. It's even more affordable right now, too, selling for $500 off.

If Nikon cameras are more your thing, you're also in luck. The Nikon Z8, which was picked as Richard Butler's Gear of the Year in 2023 and earned a DPReview Gold Award, is also $500 off right now.

Protect your investment

Image: SmallRig

Speaking of the Sony a7 IV, SmallRig released a new modular cage for the hybrid camera this week. It offers full protection on all sides, a genuine leather-wrapped handle and an integrated Arca-Swiss plate. It's currently available for purchase in all regions except for the US, where it won't be available until June 7th.

An updated way to edit

Image: DxO

DxO is celebrating its 30th anniversary this year and unveiled a new logo and tagline to celebrate. It also launched Nik Collection 8 this week. The Nik Collection is a series of seven plugins that work with various programs, but can also function as standalone apps, too. The update brought new masking tools, making it easier to go back and forth between Photoshop and Nik Collection while using masks.

The company also updated Nik Silver Efex, its black-and-white editor, with an updated workflow. You can see all of the updates, download a free trial or update your version at the DxO website.

Stock up on new stock

Images: Ilford and Hannah Gross

This week brought a new film stock for analog photographers. Ilford released Kentmere Pan 200, an ISO 200 black-and-white film. The company says it offers fine grain and enhanced contrast for shooting in most situations. It's available in 24 exposures, 36 exposures, 35mm bulk lengths and 120 format.

A new edition of a classic book

Finally, something a little different. Aperture, a non-profit photography publisher established in 1952, has released the Sixtieth Anniversary Edition of Edward Weston's The Flame of Recognition. The monograph was initially issued as a hardcover in 1965, though some of the work was included in a 1958 edition of Aperture magazine. It brings together sequences of Weston's images with excerpts from his writing to, in his own words, "present clearly my feeling for life with photographic beauty... without subterfuge or evasion in spirit or technique."

The Flame of Recognition covers the range of Weston's works, including portraits and nudes, to landscapes and still lifes. It's available for purchase now through Aperture's website.

Read last week's roundup

Image: Leica

Firmware Friday is back, and there are a fair number of updates this week. The most significant comes from Leica, in the form of a massive change to video recording options on the SL3 and SL3-S. The latest version allows for internal ProRes 422 HQ video in Cine 6K or Cine 4K recording with a CFexpress card. That's a massive boost from the previous support for ProRes that maxed out at 1080p. Multiple other Leica cameras also saw smaller firmware updates. There were also small fixes for Nikon's Z30 and the Hasselblad X2D 100C, as well as new firmware for select TTArtisan and Viltrox lenses.

Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.

Leica

Image: Leica

SL3 and SL3-S update 3.1.1 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
• New video formats for C4K and C6K.
• Access to the function Headphone Volume is now additionally available via the menu Audio in the Video section, and via the FN button.
• The function Magnification can now be activated and deactivated by pressing the joystick.
• When making changes to the icon assignments in the Control Center, the function assignment list will open with the currently assigned option presented in the list as the starting position.
• The former menus Film Style and Video Style (accessible via JPG Settings) were integrated into the Leica Looks menu, and their menu items will now be accessible via the Main Menu.
• The firmware update process was optimized. Following a firmware update, all previous settings will remain unchanged, and the dialogue “Do you want to save profiles on SD card?” will no longer be displayed. A battery charge level of around 25% will now suffice for starting the update process.
• Electronic shutter speed 1/16000 s will now be available for P/A mode.
• The function AF-ON can now be combined with the functions Eye/Face/Body Detection and Animal Detection.
• An icon with an asterisk will be displayed alongside the User Profiles icon in the Control Center and the sidebar if settings were modified after profile activation.
• In case of a joystick assignment, the function AF-ON will now be saved to the user profile.

Image: Leica

Q3 43 and Q3 update 3.1.1 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on
  ecodesign are supported.
• New menu section AF Settings, where AF Sensitivity and AF Speed can be adjusted individually.
• The menu item AF Tracking Start Position was moved to the menu area AF Settings.
• New setting option for continuous shooting with autofocus: 5 fps, 12 bit, AF.
• The function Toggle Focus Point is now accessible via the FN button.
• Electronic shutter speed 1/16000 s will now be available for P/A mode.

D-Lux 8 update 1.5.0 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
• Bugfixes in the firmware.

M11, M11 Monochrom, M11-P and M11-D update 2.2.2 (iOS), (Android) or the camera's menu

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.

SL2 and SL2-S update 6.2.0 (iOS), (Android) or the camera's menu

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.

Nikon

Image: Nikon

Z30 update for Version 1.20 (Mac) and (Windows)

• Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.

Hasselblad

X2D 100C update 4.1.1 (Download and instructions)

• Fixed stability-related issues.

Lenses

Image: TTArtisan

TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11

• Fixed a bug that caused the in-body image stabilization to not work.
• Optimized compatibility with some models.

Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)

• Fixed known issues.

While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.

That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!

Images: © Andrew Wille

Meme culture thrives on exaggerated content, and depth or restraint is often an afterthought. The viral "What I See vs. What I Take" trend is different. It's recently filled Instagram feeds with before-and-after images. The trend showcases the cluttered, everyday scenes a photographer encounters, followed by the tightly framed, intentional image they ultimately create. When executed properly, it's a solid lesson in composition. To better understand the skill and decision-making that goes into crafting a compelling photo, we spoke with two creators, Andrew Wille (@andrewoptics) and Hux (@huxterized). Here's what we learned.

Start with a clear subject

For Wille, every image begins with identifying a focal point. "I like to start by choosing a clear subject – something I want the viewer’s attention to be drawn to first," he explains. "From there, I build the scene around that subject." This approach helps remove distractions and gives structure to the photo.

Images: © Hux

Locking in a subject helps you frame everything else in relation to it, especially in complex environments. Hux echoes this sentiment, though he focuses on the emotional pull of a scene. "It’s less about what’s in front of me and more about how it speaks to me. I’m drawn to simplicity – clean, minimal compositions where lines, shapes and colors quietly hold power."

Choose the tools you're most comfortable using

Andrew shoots with a Sony a7R II or a1 and his Sony 100–400mm GM lens. Telephoto lenses like this do more than bring subjects closer; they compress background elements and make it easier to isolate subjects to simplify a busy environment. "With a longer lens, you naturally have a narrower field of view," he says. "So I follow the light, texture or unique details and let those guide where I point my lens." Long lenses can also help keep you safe. If you want to capture an oncoming train or the painted lines of a highway, you're better off doing so from a distance.

Images: © Andrew Wille

While long telephoto lenses unlock different types of images, they aren't always the most practical. After all, they are very large and quite expensive. Hux's images are a great example of what you can do with what you have on you. His photographs are all shot on iPhone models ranging from the iPhone 8 to the 16 Pro Max. He likes to activate the phone's grid to help with composition when aligning elements.

Edit with intention

Both photographers stress the importance of editing with intention. Before adjusting brightness or contrast, they recommend asking two simple questions: Where should the viewer look? What should they feel? This means using light and color to guide the eye. Andrew's process involves brightening key areas and darkening distractions to subtly direct the viewer's attention. He also uses color to build emotion. Warm tones often feel energizing or triumphant, while cooler tones convey solitude or calmness.

For his architectural shots, Hux advises cropping for composition and keeping color enhancements minimal. "Avoid over-editing, especially with colors," he says. "Less is often more when it comes to a clean, timeless look." He uses tools like Snapseed and Lightroom’s Geometry panel to straighten lines and correct distortion. These subjects also thrive on symmetry, so some post-processing will make a profound difference in your overall composition. "I aim to keep all the lines straight – it creates a clean, pleasing look for the viewer," he explains.

Images: © Hux

Capturing several variations of a scene from different angles, then selecting and cropping with a critical eye gives you a better chance of creating something stellar. Take lots of shots, even if you aren't satisfied with them initially. Sometimes the best composition reveals itself in post-processing. Don’t be afraid to reframe your shot while editing, especially when using high-resolution cameras.

Conclusion

Stripping away distractions, isolating a subject, and using the right tools with purpose can help you transform an everyday scene into something extraordinary and visually compelling. Whether you’re shooting with a dedicated camera or a smartphone, the same core principle applies: strong composition is about what you choose to leave out as much as what you include.

Photo: Greggory DiSalvo / iStock / Getty Images Plus via Getty Images

Summer is nearly upon us for those in the Northern Hemisphere, and with that comes travel and holidays for many. You likely want to document those vacations at least somehow, which could mean bringing a camera along. If you're traveling by plane, that may raise some questions or concerns about whether you're allowed to bring your camera with you. As seasoned photographers and travelers, we've got the facts on what's possible for traveling with your cameras.

Are cameras TSA-approved?

Photo: Abby Ferguson

If you are in the US, the Transportation Security Administration (TSA) has plenty of rules about what you can and can't bring to the airport and on planes. Luckily, cameras are approved by the TSA in both carry-on and checked bags. Each country has its own version of the TSA, but the same is typically true for other countries' airport security agencies as well. However, it's always a good idea to check the regulations of the country you are traveling to and from, just to be safe.

Important things to know about flying with a camera

Spare batteries need to be kept in your carry-on. Photo: Abby Ferguson

While the TSA approves cameras in checked luggage, most cameras rely on lithium-ion batteries, which complicates things slightly. Official advice from the TSA is that batteries kept in cameras can go in checked bags. However, some airlines and staff may expect you to include them in your carry-on. When in doubt, check with your airline and keep them accessible. Also, if you are taking along spare batteries, those are always prohibited from checked bags, so they will need to be in your carry-on.

Also, while cameras and lenses are approved, they may get flagged for additional screening while going through security. That means security personnel may need to take the camera or lens out of your bag for a closer look or even swab the gear to test for explosives. This entirely depends on the airport and the individual security agent, but it is good to be aware of this possibility.

If you travel frequently from the same airport, you may be able to pick up on trends that can help you pack your gear more efficiently. For example, I know that my local airport will always flag my bag for additional screening if I carry spare lenses. As a result, I now ensure my lenses are easy to access, which speeds up the process for everyone.

Can you fly with film?

Photo: Abby Ferguson

Analog photographers have even more to consider when flying. While film cameras and film are TSA-approved for carry-on and checked bags, X-ray and CT machines at airports can damage undeveloped film. This is especially true of newer CT machines, as they are stronger than traditional X-ray machines. Because of this, the TSA suggests keeping your undeveloped film and cameras with undeveloped film in your carry-on and asking for a hand inspection at the security checkpoint.

Of course, security personnel may not always be willing to hand-inspect your film or camera. If they are too busy, they may require it to go through the scanners. However, it is always worth asking (just do so politely).

Images: Nikon, Viltrox, TTArtisan

Firmware Friday is back, and there are a few minor, but necessary, updates for Nikon's Z30, especially if you're a blogger or content creator on the go. Lenses from Viltrox and TTArtisan also received some updates, though the actual fixes for the former are pretty vague. A reader also tipped us off to the Hasselblad X2D 100C update, released early this morning (thank you). Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.

Nikon

Z30 update for Version 1.20 (Mac) and (Windows)

• Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.

Hasselblad

X2D 100C update 4.1.1 (Download and instructions)

• Fixed stability-related issues.

Lenses

Image: TTArtisan

TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11

• Fixed a bug that caused the in-body image stabilization to not work.
• Optimized compatibility with some models.

Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)

• Fixed known issues.

While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.

That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!

Photo: Capture One

Capture One, an editing software known for its Raw processing and tethered shooting features, has announced updates to its platform. The update brings a new retouching feature and a slightly updated workflow for managing folders. It also revealed a bit of a branding refresh in the form of a drastically different logo.

Retouching with Capture One

The new Retouch tool will automatically recognize faces and can select up to 20 per image. Image: Capture One

With this update, Capture One wanted to improve efficiency, allowing you to do more in the app. While the software already offered a healthy list of editing tools, most retouching needed to happen outside of Capture One, with programs like Photoshop. Now, though, it has added a Retouch toolbar with a Retouch Faces tool.

The Retouch Faces tool automatically detects faces to make retouching quick and easy. It can detect up to 20 faces, though with a group that big, you likely aren't seeing many facial details to justify retouching. Each face is assigned a number, allowing you to work through everyone simultaneously or adjust the retouching for each face separately.

The Retouch Faces feature has five main adjustments: Impact, Blemishes, Dark Circles, Even Skin and Contouring. The Blemishes option retains skin texture, beauty marks and scars while removing blemishes, resulting in a more natural-looking retouch than other methods. Capture One's demo showed the tool in action, which essentially looks like an automated version of Photoshop's Spot Healing brush.

The Blemish option has a sliding scale that lets you control what's appropriate for each image and subject: low numbers focus on larger blemishes, and larger numbers remove smaller ones. It looked quite effective during the demo, but we haven't had a chance to test it out ourselves.

The Retouch Faces tool offers multiple settings. Image: Capture One

When you do want to smooth out skin texture, you can use the Even Skin feature. Under this option are two sliders: Amount and Texture. The Amount option reduces contrast in certain areas. In the demo, it was extremely subtle, with a barely noticeable impact. David Grover, the Global Manager of Product Training at Capture One, said the team has discussed making the slider more aggressive come launch because of this, so you may see more obvious results in the actual release. The Texture slider, which is set to zero by default, is slightly more dramatic and can help you reduce skin texture by making contrast more uniform across the entire face.

The Dark Circles slider helps remove darkness under the eyes. Again, it keeps the skin texture and wrinkles to maintain a natural look. Grover described the Contouring option is essentially an auto dodge and burn tool, helping to create stronger contours on faces. It accounts for existing highlights, once again keeping things natural without making it look like a light source was added in post. Finally, the Impact slider changes the effect of all of the other sliders. So, if you think you went too far with everything, you can dial it all back at once without going into each individual option.

Given some of the automated tools in this retouching framework, it's reasonable to wonder about AI usage. When asked about this, Grover said the retouch feature only partially relies on AI. He explained that it uses AI to detect the face and create a mask (which is not editable or accessible outside of the retouch tool). However, the process for removing blemishes is a combination of what he described as traditional image editing techniques and AI. Capture One didn't specify if this is generative AI or machine learning. Based on how Grover described it, it seems like the latter, though it isn't entirely clear.

The Retouch tool will work during tethered sessions as well. Photo: Capture One

Capture One is often used by photographers who shoot tethered to a computer during sessions, so the company made sure that the Retouch features work while shooting tethered. It can even apply the retouch effects automatically as you shoot. Grover explained that it's especially ideal when working with people who are not very comfortable with having their photo taken, since they are able to see a more finished product while you are still shooting. Additionally, if you know you like certain settings for every photo, you can save your settings, just as you can with color grading options, making it faster to edit.

Workflow updates

The new Session Builder feature makes it easier to create sub-folders for each shoot. Image: Capture One

Capture One has also updated its workflow for the first time in 15 years. Users can now create sub-folders for Sessions using the new Session Builder tool, making it easier to keep files organized for shoots. Creating sub-folders was previously only possible outside of Capture One, meaning you'd have to drag them into the app to sync to the catalog. Plus, if you frequently use the same folder structure for shoots, you can save that as a preset, saving you time on future shoots.

The new workflow features and the retouching tools are available in open beta as of today. You can download the beta app from the Capture One website.

A new logo

Logo: Capture One

Finally, Capture One unveiled a new brand identity. The new logo moves away from the easily recognizable blue and purple circular form with a one in it. Instead, it's been simplified and is now devoid of color. Interestingly, it looks quite similar to the Creative Commons logo and copyright symbol.

Panasonic is teasing an upcoming product announcement with a scheduled YouTube Livestream. The brand is holding details close to its chest, with the placeholder only revealing the Lumix branding. The caption doesn't reveal any additional information, other than the time of the reveal, which is scheduled for May 13th at 2:00 pm UTC.

The company also posted on its Instagram page, which at least had some movement to the teaser. It shows swirling greens and purples on the black background, reminiscent of the aurora. Still, there's no shadowed camera like many teasers include (such as the recent Fujifilm teaser), so there's no trying to make out details to guess what it may be.

Panasonic's most recent release was the Lumix DC-S1RII, which came out in February this year. That camera was a high-resolution full-frame camera with 8K video capabilities. It seems unlikely, then, that it will be something in that same vein, but we'll have to wait and see.

If you want to be sure you don't miss the live stream, you can choose to get a notification from YouTube come the big day.

Canon's senior management team, left to right: Yasuhiko Shiomi, Go Tokura, Manabu Kato, Tetsushi Hibi Photo: Dale Baskin

"More and more users are using these cameras for video shooting. We have to accommodate this video shooting," says Go Tokura, Executive Vice President at Canon and head of its Imaging Group, when speaking to us at CP+ in Yokohama, in February.

He's describing the change in the kinds of users he's seeing. "I see this influx of video users who are dedicated professionals, and they are saying that mirrorless shooting will suffice for their work. Also at the entry level, we're seeing this prevalence of social media and everyone's doing vlogs now, so the shooting demand from the general public is very high."

But, he says, this doesn't come at the expense of stills capabilities. "We have a foundation as a still camera system. We have to accommodate video users and make it easier to operate." But, he says, "It's more like an add-on of video functionality.”

"We have a foundation as a still camera system."

It's a similar story with lenses, says Manabu Kato, Unit Executive of photo and video business unit: "I think we will stay true to focusing on lenses for still photographers: that presence will always remain for us. However, we do need to always keep in mind the video part of it and what they require in our lenses, so the development will always consider two facets. That means that we have to ensure quiet movement and maybe focus."

"If you try to achieve very good still and video functionality to begin with, this doesn't undermine the still factor," says Tokura. "There's no compromise," agrees Kato.

Upward trend after a difficult period

The need for this broadened appeal can be seen if you look at the market trends, Tokura suggests.

"We're seeing sound growth in the camera market overall. As I look at CIPA’s shipment data, I see an increase of over 10 percent," he says.

But this improvement comes from a low base. "At the peak of interchangeable camera systems, [sales were] about 18 million units, then during Covid and post-Covid, it came down to 5 million. I think we're already surpassed the 6 million threshold last year."

"In ILCs there's still room for growth," he says: "and demand for compacts is growing."

But this upswing comes from an even more diminished starting point, says Kato: "At their peak, digital compacts were selling about 120 million overall units. That has come down to one-fortieth. It has bottomed out but we're seeing a slight uptick these days," he says.

"When you look at the compact camera users today... these are a new generation of younger people, taking cameras in their hands for the first time"

He attributes this to the industry starting to attract a new audience.

"When you look at the compact camera users today, they're not what we call residual users from the past. These are a new generation of younger people, taking cameras in their hands for the first time," says Tokura: "we don't anticipate any great boost, like we saw in the past, but there's a stable healthy growth supported by these younger generations."

The PowerShot V10 and V1 are the first signs of addressing this audience, and won't be the last, he suggests:

"We launched the PowerShot V1 but we are also considering to make sure we cover different needs for these new users, so please look forward to future releases.”

PowerShot V1

Image: Canon

Does this focus on younger users who also shoot video explain the V1's lack of viewfinder, we asked.

'We had to accommodate still shooting," says Tokura. But also, he says: "video shooting for stress-free, long period of time. We considered all these functionalities and then balance it out against the cost. When we did that balancing, we had to say no viewfinder: there's no choice."

"We just made a bold decision. We just said 'let's do it,' see how it goes," he says.

We said we'd seen multiple requests for an optional, add-on EVF, but had heard these don't tend to sell well, and wondered about Canon's experience with accessory finders such as the one for the EOS M6 II.

"I'll be honest, it wasn't that well received," confirmed Tokura.

Developments for stills photographers

With all the advances being made in video, we wondered whether this had taken focus off improvements in stills. Yasuhiko Shiomi, Unit Executive of camera development, says it hasn't:

"We've always been working on the sensitivity, resolution and dynamic range: all of these contribute towards the best image quality possible, and that is going to drive growth for us. We will continue to do this."

"But it’s not just about the technology of image processing,” he says: "What we continue to do is work on capturing moments that could not be captured before."

“We're also looking into deep learning and utilizing AI to benefit us,” says Shiomi: “By integrating all these technologies, I think we can continue to be better.”

A future for HDR photography

We asked whether true HDR technology, that gives a more lifelike image from existing cameras could be a way for stills photos to advance.

Shiomi suggests it's possible "I do believe the current environment is not sufficient to have the public understand or accept it yet," he says: "I know they will, once it's readily available. We've been talking to some significant industry partners, requesting support for this. Once the environment is ready, I'm sure this is something people will find interesting."

Action Priority for everyone?

Go Tokura says he expects the company's context recognition 'Action Priority' autofocus modes to make its way down to lower-end models, in time. Canon EOS R1, RF 70-200mm F2.8 L IS USM Z @ 200mm | F2.8 | 1/1000 sec | ISO 1600 Photo: Mitchell Clark

We also asked what sorts of improvements AI could offer, and Tokura highlighted the Action Priority autofocus modes his company has developed.

"There's the action recognition system in place in the EOS R1. It's quite heavy because you have a CPU, the accelerator and all of this, which makes real-time autofocus possible."

He said the complexity of the processors, the amount of battery required and the cost of developing the feature made it difficult to include in lower-end models.

"Yesterday we were discussing this, I said, 'can't you put more of this in other cameras?'" Tokura says: "Shiomi-san got really upset because it's not that easy," he laughs.

"But, rest assured, I believe that we've always seen the cost and technology become more democratized after a while. It will come down to lower-end models.”

Third-party lenses

And, even with the risk of it becoming an act of theatre, with both sides knowing the role they have to play, we asked Tokura about their policy toward allowing third-party lenses for the RF mount.

"I think the basic philosophy behind it is that whatever makes our series more embraced and prevalent in the world would be my answer. Our strategy is formulated based on 'how happy can we make our customers,' so that would be the standard in selecting a partner."

"We were expecting this question, since it comes up every year,” he smiles.

But, just as we were about to pack up our recorders and notebooks, Tokura added an intriguing postscript to his statement:

"I think one day we're going to be sitting here again and saying the environment has changed and the situation has changed," he says. And, referencing the licensing of Sigma and Tamron's APS-C lenses: "So maybe it's just a slight sign we're starting to see."

This article is based on an interview by Dale Baskin and Richard Butler at CP+ 2025. It has been edited for clarity and flow.

Pictured: Sony's FX3 camera in action. Due to the subtle updates, the FX3A should look and function essentially the same as the original. Image: Sony

Sony has quietly introduced the FX3A, a subtly revised version of its FX3 full-frame Cinema Line camera. Rather than offer up a next-generation upgrade, the FX3A replaces its predecessor with a small hardware change. The very minor upgrade aims to maintain compatibility with current manufacturing standards.

The only apparent update is a new rear LCD screen, which increases resolution from 1.44 million dots to approximately 2.36 million. The new screen enhances display clarity for monitoring and menu use. While it is a nice update, the swap is necessity-based since the screen found on the original FX3 is no longer manufactured.

The update mirrors Sony's minor, mid-life component revisions of cameras such as the RX100 VA and a7R IVA. While the FX3A isn't the leap some users anticipated with a potential FX3 II, it retains the camera's compact but dependable allure and S-Cinetone color response.

The Sony FX3A is available for pre-order from B&H for $3900, which is the same price that the original FX3 launched at. It's worth noting that, like other recent revisions, it may see a limited release dependent on regional regulations.

Image: Microsoft

Microsoft unveiled new Surface devices yesterday, along with some improvements to its AI-powered creative apps. The Photos, Paint and Snipping tools were given new features that aim to make editing easier and more intuitive. There is one catch, though: You'll need one of the company's new Copilot+ PCs to access them.

One of the more substantial additions is Relight in the Photos app. It lets users adjust lighting in photos by positioning up to three virtual light sources. Users can adjust each light's color, focus point, intensity and position. It was designed to correct poor lighting or add some artistic flair to an image.

Of course, how well the Relight tool actually works and how natural it looks remains to be seen. Still, it is interesting to see such a (potentially) powerful photo editing tool from Microsoft. The app already had Generative Erase and Background Blur tools, but otherwise, it was a very basic photo editing option. This new feature adds some functionality for those who want a bit more control over their photos without diving into a complicated platform like Photoshop.

In Paint, a new Sticker Generator creates custom digital stickers from simple text prompts. This is ideal for creators who want to generate quick, personal visuals. Object Select uses context-aware selection to detect and isolate elements on the canvas, streamlining detailed edits like moving or erasing parts of an image without manual tracing (like using the lasso tool).

The Snipping Tool features a new Perfect Screenshot option. It detects the most relevant on-screen content and automatically crops around it in a rectangular shape. Text Extractor lets users copy text directly from any image or screenshot and paste it elsewhere. This is useful for extracting quotes or data from infographics. Color Picker enables users to identify any color on their screen with its hex or RGB value.

All of these updates rely on a new, diffusion-based AI model Microsoft says is faster and more accurate. For the time being, they're limited to Copilot+ starting with the Snapdragon X PCs. Support for AMD and Intel-powered systems is promised "later this year," a fairly vague timeline. You can see all of the details at Microsoft's Windows Experience blog.

Sony is teasing a new flagship device, though this time in the smartphone realm. The company posted a very short video on its YouTube channel to announce the May 13th launch date of the next Xperia 1 phone. The new model, which will likely be called the Xperia 1 VII, comes almost a year to the day after the launch of the Xperia 1 VI.

The 28-second video doesn't reveal much, but it does show off the Sony a1 camera, what looks to be the 70-200mm f/4 Macro G OSS II lens and the 50mm f/1.2 GM lens. It also includes the tagline "Powered by Alpha." Of course, that could mean a lot of things, referencing either software or hardware.

While the Sony Xperia 1 VI's camera system was good, it wasn't spectacular. It featured a 48MP main camera, 12MP ultrawide and 12MP telephoto with 3.5x-7.1x continuous optical zoom, all of which used Zeiss optics. What made the Xperia 1 VI unique was its expandable memory and headphone jack, which are rarities in current phones. Given all the camera references in the teaser, perhaps Sony will surprise us with something exciting camera-wise on the new version to bring back some excitement around its flagship phone.

The brief view of the phone's back reveals a design that looks very similar to the Xperia 1 VI. It keeps the three-camera array and standard rectangular build with flat edges. A graphic at the end features a colorful triangle with a TV, camera and music device at each corner, which likely suggests that the phone will borrow aspects from Sony's Bravia TVs, cameras and Walkman products.

When it was launched last year, the Xperia 1 VI cost roughly $1,300, which was quite pricey given what it offered. It also wasn't available in the US. There's no word yet on pricing or availability for the new phone, but leaked information suggests there won't be a US launch of the new model, either. We'll just have to wait until May 13 for details.