The Yashica FX-D 100 appears to be modelled on the FX-7 Super SLR sold by the original Yashica company (and reportedly manufactured by Cosina) in the early 1980s. Image: Yashica

In all the buzz and chatter around the launch of Fujifilm's X half, we missed the quieter announcement of another digital camera with a film advance lever: the Yashica FX-D 100. This has now been joined by two sister models, the FX-D 300 and FX-D S300. All three cameras are being funded via Kickstarter.

The FX-D 100 and FX-D 300 have a blanking plate where you'd expect a viewfinder. Image: Yashica

All three cameras are designed to approximately resemble the original Yashica FX-7 Super film SLR, but a fair bit smaller. All three are built around very small sensors. The least-expensive FX-D 100 model has an optical zoom lens, while the more expensive FX-D 300 and S300 have a fixed lens with a ring around the lens controlling digital zoom / cropping. Only the most expensive of the three models has an electronic viewfinder, the other two have a blanking plate over the back of the finder hump.

*Campaign ended

The FX-Ds are the second generation of digital cameras to be sold via Kickstarter, following the revival of the Yashica name on the Y35 camera in 2017, which raised over $1M on the platform. That camera, which also married a small sensor and film simulation concept to a design that visually mimicked a film-era Yashica camera, was met with reviews that ranged from critical to scathing.

The FX-D 300 and S300 have a fixed 24mm equivalent lens that can crop to deliver the 60mm equiv field of view listed on the front of the camera. All three FX-D models have flip-forward LCDs. Image: Yashica

Somewhat concerningly, the FX-D 100's lens specs are a match for the company's City 100 model, which again, hasn't been well received. Both '300' models use the same 50MP sensor and 24mm equiv prime lens used by the upcoming City 300, which promises a 24-60mm equiv range, by cropping into an 8MP region to give the 60mm equivalent view.

Unlike the Y35, all three FX-D cameras have a (fold-forward) rear screen and let you choose between film simulation modes without having to slot a 'film' module into the back of the camera. All three cameras include six virtual filmstocks:

• Ruby 60s
• Sapphire 70s
• Yashica 400
• Golden 80s
• Mono 400
• Black and White 400

The company says it's working on building Raw capability into the FX-D 300 models.

The FX-D S300 has an 800 x 600px (1.44M dot) viewfinder. Image: Yashica

The Yashica name appears to currently be owned by a Hong Kong company called JNC Datum Tech, which is owned by the MF Jebsen Group. It has been used for a wide range of products, including being licensed to Kickstarter film module company, I'm Back.

This is a slightly different situation to Kodak, where the post-bankruptcy remains of the original Eastman Kodak company still controls who gets to license and use its brand name.

Camera image: Nikon

Happy Friday, folks. Outside of the significant firmware update for the Nikon Z8 (which has had some drama since being available for download), it's been relatively quiet on the firmware front. That said, there are some minor updates for Nikon, OM System, Fujifilm and Sigma cameras and lenses. Read on to see what's new.

Nikon

First and foremost, a PSA. The firmware update for the Nikon Z8 was officially made available for download at the beginning of July, but with it came some trouble. First, updating to the Z8 Ver 3.00 could result in functionality issues with Tamron lenses. Tamron says it's working on a solution, but there hasn't been an update at the time of writing. You may want to hold off on updating your Z8 if you use Tamron lenses as a result.

Perhaps more significant is that Nikon (and Viltrox) issued a warning not to update your camera's firmware with third-party lenses or mount adapters. This warning was initially only on the Z8 firmware download page, but is now also on other recent firmware pages.

Nikon hasn't specified what could happen if you don't listen to that advice other than saying it "could result in camera malfunction." If you are updating to any of the firmware options below, please make sure to remove any third-party lenses and mount adapters.

With that out of the way, here's what's new for Nikon cameras.

Image: Nikon

Nikon Z8 Ver 3.00

Still Photography

• Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
• The subject detection function became available during manual focus.
• The subject detection area selection is now available for manual focus.
• Added support for “Flexible Color” Picture Controls.
• Added a [C15] high-speed frame capture + release mode option.The image quality for high-speed frame capture + can now be set separately from other release modes.
• Added [High ISO NR mode] in [PHOTO SHOOTING MENU] that allows to select a noise reduction processing mode.
• Added frequency setting mode to [High-frequency flicker reduction] in [PHOTO SHOOTING MENU] that allows frequency presets to be configured.
• [Options] has been added under [Focus shift shooting] in the [PHOTO SHOOTING MENU] to allow [Pixel shift shooting] to be used together with focus shift shooting.
• [Options] has been added under [Pixel shift shooting] in the [PHOTO SHOOTING MENU] to allow [AE bracketing] to be used together with pixel shift shooting. [Starting storage folder] has also been added.
• [Pixel shift shooting] options can now be set when the self-timer mode is selected.
• Added and changed the following functions to [Auto capture] in [PHOTO SHOOTING MENU].
  • Date and time to start auto capture can now be configured in advance
  • Auto capture is now available with camera’s manual focus settings
  • The appearance and some item names in the settings display have been changed
  • The detection range available for [Advanced: Distance] has been extended
  • Auto capture is now compatible with the new [C15] release mode option
  • A yellow frame is now displayed during auto capture
• The Profoto A10’s continuous LED light can now be used as an AF-assist illuminator. Note: The firmware update is needed for Profoto A10. See Profoto’s corporate website for details.

Video Recording

• Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
• The subject detection function became available during manual focus.
• The subject detection area selection is now available for manual focus.
• Added support for “Flexible Color” Picture Controls.
• Added and changed the following functions to [Auto capture] in [VIDEO RECORDING MENU].
  • Date and time to start auto capture can now be configured in advance
  • Auto capture is now available with camera’s manual focus settings
  • The appearance and some item names in the settings display have been changed
  • The detection range available for [Advanced: Distance] has been extended
  • A yellow frame is now displayed during auto capture
• Selecting [ON] for [Hi-Res Zoom] in the [VIDEO RECORDING MENU] now displays a focus point on the detected subject in the shooting display.
• Added a function to include file names used in the camera when recording videos to an external recorder that supports file name transmission via HDMI. The following Atomos external recorders support this function (as of May 2025).
  • Ninja V *
  • Ninja V+ *
  • Ninja (2023 models)
  • Ninja Ultra
  • Shogun (2023 models)
  • Shogun Ultra
  • Shogun Connect *
    * Some recorders may require an ATOMOS OS upgrade or paid activation of the recorder. Contact ATOMOS for details.

Playback

• Added [Date] to [Filtered playback criteria] in playback menu and playback “i” menu.
• Added [Customize retouch options] to [Retouch] in the playback “i” menu.
• Added [Auto-rotate during playback] to the playback menu.
  Controls
• Added a [Maximum aperture Lv] item to the [CUSTOM SETTINGS MENU] in position of a14.
• Added a [Focus limiter setting] item to the [CUSTOM SETTINGS MENU] in position of a16.
• Added a [Minimum] option to Custom Setting c2 [Self-timer] > [Interval between shots] in the [CUSTOM SETTINGS MENU].
• Added [Auto capture] to the roles assignable to the “i” menu via [CUSTOM SETTINGS MENU] > f1 and g1 [Customize <i> menu].
• Added assignable custom controls and roles to the following items in the [CUSTOM SETTINGS MENU]. Also, the options for [Zoom on/off] have changed.
  • f2 [Custom controls (shooting)]
  • g2 [Custom controls]
• Added assignable custom controls and roles (for example, [Jump to the source image] and [Trim]) to [CUSTOM SETTINGS MENU] > f3 [Custom controls (playback)].

Network

• Added [Wi-Fi connection (STA mode)] which allows you to connect the camera to the smart device via a wireless LAN access point.
• Port numbers can now be specified using [Connect to FTP server] in [NETWORK MENU].
• Added [Upload in HEIF format] to [Connect to FTP server] > [Options] in [NETWORK MENU]. Note: Converted HEIF images are not stored on the memory card.

Other Changes

• Voice memo recording is now available with external microphones.
• The speed at which the camera cycles through focus points using the multi selector or sub-selector no longer slows down when changing direction.
• The tonal characteristics have been changed when [ON] is selected for Custom Setting g14 [View assist] in the [CUSTOM SETTINGS MENU].
• The camera now records company and model names in the video metadata recorded with [ProRes 422 HQ 10-bit (MOV)] selected for [Video file type] in the [VIDEO RECORDING MENU].
• Added support for “NX Field*”, a remote shooting system for corporate users.
  • * Visit the “NPS” website for overview and user’s manual of NX Field.
  • Nikon Professional Services (NPS) (English)
  • Note: “NX Field” app for smart devices may not be available in some countries and regions.
• Automatically obtained IP address will be maintained after automatic IP addressing disabled.
• Automatically obtained gateway/DNS server addresses are now displayed in the TCP/IP edit display.
• File names of the image and audio now match if the file name of the image is renamed during transfer.

Image: Nikon

Nikon Z50 II Ver 1.02, Nikon Z6 III Ver 1.11 and Nikon Zf Ver 2.02

• Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).

Nikon Z5 II Ver 1.01

• Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).
• Changed the camera name displayed when pairing with SnapBridge.
• Changed the camera name displayed on USB-connected devices when [iPhone] was selected for [USB] in the [NETWORK MENU].
• Renamed d13 [Display on during burst] in [CUSTOM SETTINGS MENU].

Sigma

Image: Sigma

Sigma BF Ver 1.01

• The specification has been changed so that file numbers are not reset when “Initialize Internal Storage” is performed.
• An issue that prevented shooting with some third-party L-mount interchangeable lenses has been fixed.
• Other minor bugs have been fixed and operational stability has been improved.

Sigma 10-18mm F2.8 DC DN | Contemporary Ver 1.1 for L-Mount

• The exposure stability has been improved.

Additional Sigma lenses

• Sigma 16mm F1.4 DC DN | Contemporary Ver 1.3 for L-Mount
• Sigma 23mm F1.4 DC DN | Contemporary Ver 1.1 for L-Mount
• Sigma 30mm F1.4 DC DN | Contemporary Ver 1.3 for L-Mount
• Sigma 56mm F1.4 DC DN | Contemporary Ver 1.2 for L-Mount
• Sigma 18-50mm F2.8 DC DN | Contemporary Ver 1.3 for L-Mount
• Sigma 14-24mm F2.8 DG DN | Art Ver 1.5 for L-Mount

Benefit of the updates:

• The operational stability has been improved.

Fujifilm

Image: Fujifilm

Fujifilm X half Ver 1.01

• “FILM CAMERA MODE” is unintentionally deactivated when the shutter release button is held down fully for about 1 second after “AUTO POWER OFF” is activated with “FILM CAMERA MODE”.
• The thumbnail image of the recorded image may become abnormal in rare cases if the “Frame Advance Lever” is operated so quickly after shooting with the “GRAIN EFFECT” setting ON in “FILM CAMERA MODE”.

OM System

Image: OM System

OM-1 Mark II Version 1.3 and OM-3 Version 1.1

• Stability of touch panel operation during playback was improved.

We tried to make vlogging the main focus of our Canon PowerShot V1 review, but we know that its combination of a large sensor and unusually wide lens caught the attention of a lot of photographers.

We also thought about how it stacked up in that regard, and found it's a little closer to RX100 territory than G1 X levels of usability. Unfortunately it's not RX100-like in terms of size.

Of course if you really want a relatively small camera with an ultrawide lens, the V1 is one of your only choices. In which case, it's still worth considering, but we thought we should make clear what the experience is like, before you commit your money to it.

For more detail of our reasoning, check out:

The 'For Photographers' section of our Canon PowerShot V1 review

Photo: Richard Butler

When we reviewed the Panasonic S1RII, we chose to mainly focus on its stills performance, as Panasonic had already announced it was working on a software update to add several additional video modes. That update recently arrived, so we took the S1RII back to our studio scene to evaluate its performance across its wide variety of framerates and resolutions, including the newly added 8.1K open-gate mode.

Let's start by looking at that mode, which records a 3:2, 8064 x  5376 image using (almost) the entire sensor. Unsurprisingly, it offers a noticeable increase in detail captured compared to the downsampled ~∼6K open-gate capture that Panasonic originally shipped with the camera, and the 6K open-gate modes found in its other models like the S5II/X and S9. Most people shooting in this mode will be doing so because they want flexibility to reframe their shots in post, and the higher resolution offers even more of that; you can crop in even further while still retaining a native 4K resolution.

The camera's UHD 8K and 1.89:1 "8.1K"* capture are derived from this open-gate region, and have the same level of detail, though are less flexible in post thanks to their more delivery-ready aspect ratios. Still, if you plan on outputting in 4K, they'll offer at least some room to move the frame around.

Standard 4K 24p output is on par with the oversampled modes from other high-res cameras like Canon's EOS R5 II and the Nikon Z8, though the S1RII's rolling shutter rate will be considerably higher; see the chart below for its readout speeds. Compared to those cameras' subsampled 4K modes, which are mainly useful for avoiding overheating or accessing higher framerates, the S1RII's footage provides finer detail.

The story is much the same at 60p, where the S1RII's 4K footage retains a similar level of detail found in the 24p mode, which is good news for anyone hoping to slow their footage down a mild amount, or who prefer the hyper-real look. It does, however, come with a slight crop, and the lower rolling shutter rates strongly imply that it's derived from a 12-bit readout rather than a 13-bit one.

While 60p isn't available in the open-gate modes, you can shoot it at greater-than-4K resolutions; it's available in the 16:9 5.9K mode and the 1.89:1 5.8K mode, which offer slightly more detail than their 4K counterparts.

120p is only available in 4K resolutions, and the capture has a noticeable loss in detail compared to lower framerates; the S1RII is obviously skipping lines to achieve these readout speeds. (Spoiler: Panasonic makes cameras with faster sensors much better suited to shooting at 120p if that's vital to you; stay tuned.)

Raw video

The S1RII has several options for Raw video recording, including the ability to output 8.1K open-gate Raw to a supported BlackMagic or Atomos recorder via HDMI as of the latest firmware update. It can also record ProRes and ProRes Raw to a CFexpress card using an up-to 5760 x 4030 native-pixel crop (though there are currently no 16:9 options).

Raw video doesn't offer the dramatic benefits that stills shooters may be used to

We'd only recommend a Raw workflow to those working on professional productions that have a compelling reason to use it. While Raw recording can offer more flexibility to adjust parameters like white balance and brightness ('ISO') in post, as we've detailed before, it doesn't offer the dramatic benefits that stills shooters may be used to from comparing Raw and JPEG files.

Shooting Raw also requires substantial post-processing to add back in noise reduction and sharpening. And while ProRes Raw gained support for lens correction data in 2023, Panasonic's implementation currently doesn't support it, unlike Canon or Nikon's cameras. This adds further work if you're shooting with modern lenses designed with geometric distortion correction as part of their optical formulas instead of older or cinema glass (which, realistically, is what most people shooting Raw will be using).

Despite all the modes we've covered, this article is far from comprehensive. The S1RII has an overwhelming number of resolution and framerate combinations; more than any single filmmaker or videographer is ever likely to use, but enough that it's flexible enough that pretty much anyone could use it to accomplish their goals.

It provides exceptional image quality at its higher resolutions, and its standard 4K options are also on par with the best hybrid cameras around, even when bumping up to higher framerates. While it can't match Stacked sensor cameras in every spec, it's also considerably cheaper and provides a suite of video assistance and workflow tools that's unmatched by other companies' hybrid mirrorless cameras.

* The S1RII's sensor doesn't quite have enough pixels to capture the 8192 x 4320 DCI 8K standard

Sony a7R V | Tamron 16-30mm F2.8 Di III VXD G2 | F2.8 | 1/30 sec | ISO 400 Photo: Mitchell Clark

This week, Tamron announced the 16-30mm F2.8 Di III VXD G2, a wide-angle zoom lens for Sony E mount and Nikon Z mount. We've gotten the chance to shoot with it in a variety of scenarios, and have put together a sample gallery to give you some idea of how it performs. We've also added a few new photos since we originally published the gallery alongside the announcement of the lens.

See the 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; we do so in good faith, so please don't abuse it.

Images: Viltrox and Tamron

Nikon has recently released a feature-packed update for the Z8, but its rollout appears to have hit a few snags with regards to third-party lenses.

Issues updating

Nikon users looking to update their camera's firmware should first remove any third-party lenses, according to warnings from Viltrox and Nikon. Failing to do so could cause issues with lens functionality.

A warning on the newly released Nikon Z8 firmware download page says, "Do not update the camera firmware with lenses other than Z-mount NIKKOR lenses or mount adapters other than FTZ II/FTZ attached." It goes on to say that not following that warning could cause "camera malfunction."

Viltrox also has a statement on its website saying essentially the same thing as Nikon. "We’ve recently become aware of a new notice issued by Nikon, advising users not to update their Nikon camera firmware while a third-party lens is attached, as this may cause potential issues or malfunctions," the statement reads, in part. Viltrox instructs users to reach out via info@viltrox.com if they experience issues after a firmware update.

While the companies don't specify what the potential malfunction is, it appears that the Z8 update could impact communication between the camera and lens, causing issues with autofocus or potentially rendering the lens inoperable.

Post-update issues

Tamron has also issued a statement about the new firmware, but it appears to be about issues occurring after the upgrade, not during it. "After updating the Nikon Z8 to firmware version 3.00, some TAMRON lenses may experience limitations in functionality," the company says, adding that its team is "working hard to analyze the cause and find an appropriate solution."

DPReview readers have been sharing what they've encountered since updating their Z8's firmware on our forums. One DPReview reader shared that all of their Tamron lenses stopped working after updating the Z8 firmware. Another said their Tamron 70-300mm only works when the Focus Limiter setting is off after updating the Z8 firmware.

The issues seem to be exclusive to the Z8 firmware and not smaller firmware updates that recently came out for Nikon's other cameras. However, to be safe, it's best to remove any third-party lenses or third-party adapters before updating any Nikon firmware. If you've already updated your Z8 firmware to Ver 3.00 and are having issues, you could try downgrading to Ver 2.10.

We tried to make vlogging the main focus of our Canon PowerShot V1 review, but we know that its combination of a large sensor and unusually wide lens caught the attention of a lot of photographers.

We also thought about how it stacked up in that regard, and found it's a little closer to RX100 territory than G1 X levels of usability. Unfortunately it's not RX100-like in terms of size.

Of course if you really want a relatively small camera with an ultrawide lens, the V1 is one of your only choices. In which case, it's still worth considering, but we thought we should make clear what the experience is like, before you commit your money to it.

For more detail of our reasoning, check out:

The 'For Photographers' section of our Canon PowerShot V1 review

The New York Times article focuses primarily on Kodak Apparel, a licensee of the Kodak name in South Korea Photo: Kodak Apparel

An article in the New York Times draws attention to the way the Kodak brand is being used, now that the company itself has left the consumer photo market. It gives an interesting insight into the value of legacy photo brand names in a time when online retail is flooded with near-infinite choice and seemingly ephemeral branding.

Eastman Kodak, these days primarily an industrial printing business, licenses the classic Kodak name and branding to 44 different companies. Its name is now used on everything from clothing to eyeglass lenses (via RayBan maker, EssilorLuxottica), solar panels to camera straps, TVs and paint.

In the camera space alone, its name is used by JK Imaging, which makes Kodak-branded PixPro digital cameras (having previously used 'GE' branding). Prinics and C + A Global, which make Kodak-branded instant cameras for different markets, Meta Imaging, which makes 35mm film compacts and Reto Production, which makes the Kodak Ektar-branded half-frame film cameras.

The risks of licensing

And while this may sound like the company is just lending its name to anyone with a checkbook, there's a risk to picking the wrong partners. As it identified in the 'risks' section of its annual report, any harm to its brand or reputation can damage the company's bottom line. As it points out: "Consumers and the public may view the products and activities of brand licensees as the products and activities of Kodak."

The Kodak Thrust UAV Riot sport drone, launched in conjunction with an education company, wasn't even Kodak's most ill-judged licensing exercise of 2018. Photo: Kodak

This is a far cry from when the company arguably let the name be used too broadly, including a Kodak-branded photography-IP blockchain and associated cryptocoin, and a separate bitcoin mining scheme, that the company rapidly distanced itself from. By contrast, some of the Kodak Apparel looks pretty interesting and in keeping with the brand's heritage.

How licensing contributes

Look at the company's figures and it starts to make sense why Eastman Kodak casts its net so wide. In terms of revenue, Eastman Kodak's 'Brand' division, responsible for licensing, seems small. It generated $20M in 2024, making up just 1.9% of sales for a company with revenues of around $1BN. However, since there are very few costs associated with this income, Brands contributed $17M to the company's earnings, before interest, taxes, depreciation and amortization: 65% of the annual earnings associated with its different divisions.

The recently released Kodak PixPro C1, a $99 compact with a Type 1/3 (4.8 x 3.6mm) sensor and a fixed 26mm equiv lens. Licensing the name to companies such as JK Imaging, which makes the PixPro range, generates more income for Eastman Kodak than manufacturing photo film does. Image: Kodak / JK Imaging

And, although it's not possible to pull out exact figures, it's worth noting that Kodak Alaris, the company that owns the former Eastman Kodak photo film business, tends to make up around 34% of the revenues of the 'Advanced Materials and Chemicals' division, which contributed a similar $17M to EBITDA. In other words, allowing the brand name to be used on all those clothes, USB drives and digital cameras generates somewhere around three times more income for Eastman Kodak than manufacturing photo film does.

Heritage, misfires and zombie brands

To us, Kodak Apparel looks like a thoughtful way to use the brand without undermining its heritage, which isn't always the case. So we're planning to look at a few other grand (and not-so-grand) names from photo history that are still being used today. Let us know if you've seen any especially ill-judged bits of branding, or examples of zombie brand names that are inexplicably still being reanimated.

Camera image: Sony

Sony has increased US pricing for most of its imaging products, seemingly in response to tariffs levied by the country. While the company raised prices for some of its lenses and cameras back in May, it wasn't an across-the-board increase, as some gear, such as the a7R V, was untouched. However, that's no longer the case – very few products are left at the prices they were at the beginning of the year.

To see the changes, we looked at pricing at B&H, Sony's US website and Amazon, and compared those to launch prices and historical pricing at those sites. Of the items we looked at, the increases ranged from 7% to 34%, though the average fell right at 13%. Even gear that was initially unscathed by tariff pricing has now been impacted. The aforementioned Sony a7R V was still at its original MSRP of $3,900 in May, but it is now up to $4,200.

Sigma, Nikon and Canon have all increased prices by around 10%, which is in line with the 10% baseline tariff placed on imports from almost all countries. Sony's 13% isn't well beyond that, so it's possible there are multiple factors at play, or it could entirely be tariff-based. Sony has yet to comment on tariff-related prices publicly, so there's no official word on how various products have been impacted.

Either way, these higher prices raise questions about what happens come July 9, when the 90-day pause on the full tariff rates is set to expire. After that date, tariffs could jump to 24% on Japanese goods, 37% on imports from Thailand and 46% on Vietnamese products, depending on how negotiations play out. The pause on full tariffs on goods from China runs through August 12. It appears that a deal with China is in the works, but there's still a chance that prices on Chinese-made goods could rise substantially for US customers. Sony could absorb some of the higher costs, but given how high some of the rates are, it seems possible that prices could rise even further if trade deals aren't worked out soon.

84%

Overall score

Jump to conclusion

The Canon PowerShot V1 is a vlogging compact built around a large sensor and a 16-50mm equivalent zoom lens. Despite its focus on video, which extends to a cooling fan for extended capture periods, its similarity to the PowerShot G1 series of large-sensor enthusiast compacts has caught the attention of photographers.

Key features:

• 22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
• 16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
• Full-width 4K up to 30p from 5.7K capture
• 4K/60p from a 1.4x crop
• Up to 30 fps stills capture in e-shutter mode
• Cooling fan for extended video recording
• Wired or wireless video streaming
• Multi-function hotshoe for flash or audio accessories
• Fully-articulated rear touchscreen
• Headphone and mic sockets

The Canon PowerShot V1 was originally announced as costing $899 in the US. Elsewhere, pricing was set at €999 and £959, including VAT. However, the US price has subsequently risen to $979.

Index:

• What's new
• Body and handling
• In use: for vlogging
• In use: for photography
• Image quality
• Conclusion
• Sample gallery
• Specifications

What's new

The V1 is Canon's first high-end vlogging compact, with a multi-module mic on top and a cooling fan to extend its recording duration. But, while its wide-angle lens points at its ambitions to help self-filming social mediaists, its use of a roughly-four-thirds-sized sensor and a zoom lens can't help but evoke the more stills-focused PowerShot G1 X cameras.

The sensor's specs are a match for using a similarly sized chunk of the EOS R7's chip. Both need to crop into the same size of their sensor to deliver 4K/60, but the smaller 'full image' region on the V1 means the difference between the full-width and cropped areas is much less dramatic than was the case with the R7.

The camera is built around a 16-50mm equivalent F2.8-4.5 stabilized lens with a leaf shutter that appears to operate using an electronic first curtain shutter, limiting its maximum flash sync speed to (a still very respectable) 1/400 sec. There's a built-in 3EV ND filter to help you keep to video-friendly shutter speeds in bright light. It can be set to activate automatically in video mode and can be manually engaged when shooting stills.

It has a built-in fan and fully articulating touchscreen but there's no built-in flash or electronic viewfinder, nor the option to fit one.

Body and handling

The degree to which the V1 has prioritized vlogging becomes apparent when you pick it up: the body is surprisingly deep, as a result of the fan-cooled chamber at the back of the camera, and the grip is unexpectedly shallow.

Just as we saw with the EOS R50V, the grip is designed so that it's easy to hold the camera facing towards you, but with less to hold onto if you're behind it. The body feels pleasantly dense and solid, with the grippy rubber coating making it feel secure in the hand. But while it works pretty well from both sides of the lens, it's not as well optimized for conventional hand holding as a dedicated photo camera.

All the camera's control points are quite small, though, with the shutter button, its surrounding zoom lever and the exposure mode dial all looking as if they've shrunk in the wash. The little power button gets partially obscured if you fit the included mic wind screen into place.

One of the principal control points is the free-rotating dial around the lens. Its default function varies, depending on your mode (controlling aperture value in Av mode, for instance). The direction of its operation can be reversed, if you find that easier, when facing the camera.

There's also a small, rather fiddly dial around the four-way controller on the back of the camera. Its function can't be changed directly, but if you assign the front dial to a specific function, such as Exposure Comp or ISO, it takes on the function that the front dial would otherwise do.

The PowerShot V1 has both Mic and Headphone sockets, placed on the right flank, meaning they can't clash with the articulated screen mounted on the other side of the camera. Below these are a USB-C and a Micro HDMI port.

There are two small camera strap points on either side of the body: a protruding lug on one side, a recessed bar on the other. Both are quite small, which will limit your choice of neck or wrist straps to those with very thin cords.

Battery

The V1 uses the relatively small LP-E17 battery, from which it achieves a rating of 340 shots per charge (400 in power saving mode). These numbers shouldn't be taken literally, as it's common to get twice the rated number, depending on your shooting style. But the numbers are broadly comparable between cameras and a rating of around 350 shots per charge will usually allow you to shoot for a good amount of time without having to worry about it.

The V1 can be charged over USB and, with a powerful enough USB PD power source, can record or stream video and charge, simultaneously (you'll need a battery in the camera to do this, though).

Memory cards

We found the V1 could be a little temperamental with SD cards. In principle, its highest video rate is the cropped 4K/60 mode, which uses a 230 Mbps average bit rate. This is just under 30MB/s so should be safely accommodated by a memory card with U3 or V30 speed rating (the fastest class of UHS I cards). In practice, we found we also needed to use the low-level format option in the camera if we wanted it to work reliably. We'd strongly recommend doing this if you notice that the V1 is taking a long time to write video or Raw files to the card.

In use: for vlogging

The PowerShot V1 essentially uses a cropped version of the sensor from the EOS R7. This means it can deliver oversampled 4K video from its full width at up to 30p but has to crop-in to a roughly native 4K region of the sensor to deliver 60p, with the crop factor shown in the table below.

It also means its rolling shutter numbers are proportionate to those of the EOS R7: a fraction faster because it's using a smaller region of the sensor, but not dramatically different.

Interestingly, the rolling shutter rate in the standard 4K modes is slower than the mode used for whole-image electronic shutter in stills (23.4ms). We're not sure why this is.

All the 4K/24 and 30 modes are taken from the same readout mode: the decreased rolling shutter is accounted for entirely by the degree to which they're cropped. The 60p mode, meanwhile, is actually being read faster.

We generally consider rolling shutter rates below 25ms to be acceptable, those below 20ms to be good and those below 15ms to be very good. With the Powershot V1, if you're moving the camera it's well worth applying at least some degree of digital IS to make your footage smoother and reduce the rolling shutter rate a little. There's a noise and detail penalty to be paid as you crop in, but it's probably a worthwhile compromise.

The 4K/60 options disappear from the menu if you have any form of Digital IS engaged, which is worth being conscious of.

In terms of their intended effect, we found both IS modes to be very effective, with the basic digital IS letting you maintain a fairly steady handheld shot and 'Enhanced' doing a good job of handling more significant motion. There's also a subject recognition IS mode that applies a large crop so that it has freedom to move the capture area around to maintain your chosen composition, relative to a recognized subject.

We were also pleasantly surprised by the internal mics. The sound isn't as good as using an external mic but it's better than we've become used to, with these vlogging cameras.

In general, the V1 makes video capture fairly simple but there are a few quirks. 'Close-up Demo' mode, which over-rides face detection AF when you hold something in front of the camera is only available as a 'Scene' mode, so you suddenly lose control over things like mic volume and exposure. The same is true if you want to use the camera's skin-smoothing effect.

While we understand Canon wanting to make these functions easy to access, the fact you can only use them in a very limiting, highly automated manner means you lose any control over audio and white balance. To be truly useful, it should be available as an AF option for experienced users as well as a Scene mode for beginners.

In use, for photography

Although conceptually the V1 looks a lot like a wide-angle successor to the PowerShot G1 X series, its increased focus on vlogging seriously undermines its usability as an enthusiast compact.

The lack of a clicking front dial and the awkwardness of operating the small rear dial means it's not a camera that gives effortless access to, say, aperture and exposure comp. This is the same thing that stopped Sony's RX100 series from shining as enthusiast compacts, and meant instead they worked better as (superlative) point-and-shoots. The V1's added bulk means it doesn't rate so highly in that regard, either.

Add to this the insubstantial hand grip and slightly bulky body and you end up with a camera that, on paper, appears to have the capabilities of a high-quality wide-angle compact for photographers but that never delivers on the experience. The small buttons and awkward dials (of which only the front one can be customized), mean taking direct control is more fiddly than would be ideal.

Also worth noting is that you'll need to assign one of the camera's buttons if you want to position the AF point with anything other than the touchscreen.

The large sensor and ultrawide lens can deliver the goods. Canon PowerShot V1 @ 16mm | F2.8 | 1/250 sec | ISO 100 Photo: Richard Butler

On the plus side, the V1 has a hot shoe, compatible with newer flashes or with older ones if you buy an adapter. Despite having a leaf shutter, the V1 has the same 1/400 sec flash sync speed limit as the G1 X III with external flashes: still good but not as flexible as being able to sync all the way up to 1/2000 sec.

Even those photographers who can live without a viewfinder or the capacity to add one are likely to find themselves fighting against the V1 to get the most out of it, despite all the promise. For some people, that wide range and large sensor, unmatched by any other compact, will make it worthwhile. But if you've used a previous G-X model, you'll be constantly reminded of what's been taken away.

This isn't the camera's intent, of course, but it's disappointing that a camera that sounds like it should double as a pretty adept photographers' compact isn't more engaging to use as one.

Image quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.

This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.

Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it's delivering.

Wide-angle performance:

Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.

Canon PowerShot V1 @ 16mm equiv | F5.6 | 1/40 | ISO 100 Click here to download the accompanying Raw file.

As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.

However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.

It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.

And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.

Conclusion

The Canon PowerShot V1 is an interesting addition to the vlogging market, with a larger sensor and wider lens than any of the currently available models. And, for now at least, it's also the closest we have to an ultra-wide-angle compact for photography. It's significantly better at one than the other.

As a vlogging camera the V1 is pretty capable, offering a good selection of features with good video quality and a relatively easy-to-use interface. The internal mics are no substitute for a good external mic but they're not terrible and the wind screen helps for outdoor work. More advanced users can attach their own and take advantage of options like C-Log3 capture, without beginners finding themselves too overwhelmed.

This balance isn't always perfectly struck: the 'close-up demos' scene mode works well for beginners but limits control to the point that users worried about matching footage or controlling the volume of an external mic can't really use it reliably.

As a photo camera, the V1 works less well. It can produce excellent images and its uniquely wide-angle lens will make it worth perservering with, for some photographers. But the small and rather limited controls mean it's not as fun or engaging a camera as the company's previous G-series compacts were.

This isn't the camera's main intent, and if you've been waiting for a compact with an ultrawide lens, that may be worth working 'round. But it's worth being aware that you may feel that you're having to coax something out of the camera it wasn't particularly designed to do.

As a vlogging camera its range of capabilities and ability to accommodate a range of users and vlogging styles earns it our silver award. It's a powerful piece of kit for getting your message out to the world.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Compared to its peers

The PowerShot V1's most obvious peers are two of Sony's ZV series of vlogging cameras.

The Sony ZV-1 Mark II is the most direct competitor, with is 18-50mm equivalent lens. That lens has an F1.8-4.0 maximum aperture, which sounds impressive next to the V1's F2.8-5.6 zoom, but if you factor-in sensor size, the difference is much less pronounced. The V1 is likely to perform around a third of a stop less well in low light and in terms of depth-of-field at the wide end, and around two thirds of a stop better at the long end. Its larger sensor should give it the edge in good light.

The Sony is a lot smaller than the Canon, its autofocus that bit more reliable and its 'product showcase' mode is more readily accessible and controlable. Conversely, we found the Canon's stabilization to be more effective than the Sony's, giving smoother output and being less prone to the distracting grab-and-release effect if you intentionally pan. The Canon also has a 4K/60 option, that the Sony lacks, making it our choice overall.

And, despite our reservations about the V1 as a photographers' compact, its larger sensor and wider lens make it a more appealing option, despite its significantly greater size.

The other real rival is Sony's ZV-E10 Mark II, a mirrorless camera built around an APS-C sensor. It's an appreciably larger sensor that's much faster to read out, and it has the same advantages in terms of autofocus. Its interchangeable lens design gives you more flexibility overall but means you end up with a larger camera/lens combination and a larger bill, as soon as you add something like the Sony 10-20mm F4 PZ G power zoom to approximately match the V1's range. Again, the V1 looks like a better-judged package, unless you specifically need an unusual lens, the attractive S-Cinetone mode or will benefit from its less-cropped, higher quality 4K/60 capability.

As a stills camera the V1 also out-points the ZV-E10 II, as Sony has omitted to include a mechanical shutter or physical stabilization: features you need to move up to the a6700 to gain.

Much as we were left cold by the V1 as an enthusiast compact, it is essentially your only option if you're looking for something plausibly pocketable with decent image quality and an ultrawide lens, it's essentially the best option purely as a consequence of being your only option.

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: Tamron

Tamron has announced the 16-30mm F2.8 Di III VXD G2, a wide-angle full-frame zoom lens for Sony E mount and Nikon Z mount. It slots into the company's fast zoom lineup alongside its 28-75mm and 70-180mm F2.8 G2 lenses.

Tamron says the lens is a sequel to its 17-28mm F2.8 Di III RXD from 2019. Compared to that lens, the G2 obviously has a slightly wider zoom range and includes updates to the autofocus system. The older model used a stepper motor, while the new one uses the company's "VXD" linear motors. There's a single customizable function button.

The body is also moisture-resistant and includes a USB-C port that you can use to connect it to Tamron's lens customization software. The lens has a 67mm filter, the same as Tamron's 28-75mm and 70-180mm F2.8 lenses.

Optically, the 16-30mm F2.8 Di III VXD G2 has 16 elements in 12 groups and a 9-blade aperture that Tamron says is "almost perfectly circular up to two stops down from" its max setting. At the wide end, it has a minimum focusing distance of 0.19m (7.5"), and at the long end, it can focus on objects as close as 0.3m (11.8"), giving a maximum reproduction ratio of 1:5.4.

The lens will retail for $929; that's $30 more than the previous model, though given the extra range and faster autofocus system, that's hard to complain about. It will be available for E mount on July 31 and for Z mount on August 22nd.

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; we do so in good faith, so please don't abuse it.

Tamron 16-30mm F2.8 Di III VXD G2 specifications:

Photo: Scott Ferguson

Figuring out your perfect travel photography setup is quite the balancing act, and often a constantly evolving task. It requires finding a sweet spot between portability (large gear isn't fun to lug around), versatility (travel can bring a wide range of photographic situations) and image quality. Here at DPReview, we are no strangers to travel, with all of us embarking on big trips fairly regularly for both work and vacation. That time spent traveling has allowed us to dial in our preferred cameras and lenses for trips. We're opening up our bags, giving you a glimpse into what we gear nerds like to take along (when we have a choice).

Dale Baskin

Fujifilm X100T | F3.2 | 1/340 sec | ISO 400 | Salvador da Bahia, Brazil Photo: Dale Baskin

While I always choose the right tool for a specific job, I’ve learned to travel light when I don’t have demanding photo requirements. It wasn’t always that way.

In the past, I often took too much gear, driven by FOMO: a fear of missing out on a once-in-a-lifetime shot. I’d constantly worry about having the right lenses, a tripod, or accessories for every possible situation.

At some point, I realized I was putting more effort into carrying photo gear than enjoying the travel itself. For my next international trip, I took a risk, carrying only my newly acquired Fujifilm X100T. Were there times I wished for more or different gear? Absolutely. But I quickly stopped stressing about what I didn’t have and focused on getting creative with the camera in my hands. That creative challenge has become part of what I enjoy about travel.

Fujifilm X100T | F2.0 | 1/105 sec | ISO 3200 | Salvador da Bahia, Brazil Photo: Dale Baskin

A decade later, the X100 series is still my go-to travel kit, though I now use an X100V, and I’ll often carry Fujifilm’s 28mm equiv wide-angle adapter in case I want a wider perspective. Of course, if I’m going to photograph birds or shoot a wedding, I take the right tools for the job. But for personal travel, it’s usually just my X100V. Even then, I find myself reaching for my iPhone; for many personal memories and shareable moments, it’s the best tool for the job.

Richard Butler

Sigma BF |Sigma 35mm F2 DG DN | F5.6 | 1/500 sec | ISO 250 | Little Britain, London Photo: Richard Butler

Working for DPReview means I'm usually shooting sample images, even when I'm on vacation, so I don't have much choice over which camera I'm shooting with. However, there are combinations of cameras and lenses that I find myself really enjoying, and that I try to recreate on my trips, where possible. And these combinations have evolved over time.

A few years ago, I'd have opted for just a 35mm equiv prime and the smallest standard zoom I could lay my hands on, which typically meant the kit zoom for most systems. But I increasingly find I like to have an 85mm equiv prime with me, too, as I love having a good option for taking portraits when I see my friends and family. My two most recent trips saw me using a 24mm, 35mm, 90mm set of compact primes, and before that, a 24-80ish equiv F2.8 zoom, which fulfilled a similar role. There are pros and cons to both approaches.

Sigma BF |Sigma 24mm F3.5 DG DN | F8 | 1/200 sec | ISO 100 | Twickenham, London Photo: Richard Butler

But while I've learned this is the range I like to use, I've also found that size is the most important criterion when I travel. That 24-80 equiv was an APS-C lens, meaning it was still comparatively small and light. When I've tried to take a full-frame 24-70mm F2.8, I've come back with almost no photos: the camera having stayed in the hotel room. It's the same story when I tried a three-prime set for medium format: I've got the photos from the occasions I specifically pushed myself to go out and shoot, but failed to capture any of the unexpected moments and incidental shots that would tell the real story of the experience.

Mitchell Clark

Sony a7CR | Sony 16mm F1.8 G FE | F2.8 | 1/60 sec | ISO 500 | Paris, France Photo: Mitchell Clark

Like Richard, my travel kit is generally dictated by what camera or lens I'm currently testing. However, if I'm reviewing a camera and get to choose a lens, I'll typically go for a fast, relatively wide-angle one. Those let me easily capture the people I'm traveling with and whatever sweeping vista we're in, and, in a pinch, can even be used for selfies.

However, I can only get away with that choice because I also take my own personal camera on every trip I take. I'm talking, of course, about the iPhone 15 Pro, which I specifically chose because of its 3x telephoto camera. While I'd prefer one of Apple's smaller, lighter and cheaper non-pro phones, the fact that their second camera is an ultrawide rather than a telephoto one is a dealbreaker for me; I've found a lot more situations where I can't physically get closer to something than ones where I couldn't back up a little.

iPhone 15 Pro | 77mm equiv. lens | F2.8 | 1/315 sec | ISO 25 | Las Vegas, USA Photo: Mitchell Clark

It's nothing like shooting with a dedicated camera, but if I need to take a picture of something quickly or something that's relatively far away, I'll reach for my phone every time...

Or, rather, I'll click the camera button, because it was probably already in my hand, acting as a GPS. I'm very good at getting lost in new places.

Mykim Dang

Overhead photo of Mykim Dang's travel cameras and storage solution. Photo: Mykim Dang

I shoot more video than photos and am pretty obsessed with traveling as light as possible (when possible). This is a holdover from years of operating as a one-person team dealing with endless connections in different countries with changing rules and regulations. A checked bag is something I avoid at all costs.

Ricoh WG-80 | Sayulitas, Mexico Photo: Mykim Dang

Most of my video work is focused on the outdoors and water-based activities. I tend to keep a few different cameras in my rotation for this reason. My main setup consists of a GoPro (still using the Hero 12 Black), a Sony ZV-1F, a Ricoh WG-80 and some sort of disposable camera. Between these 4 pieces of gear, I find a really nice rotation of video capture for in the water, underwater and on land. I love the variety of source material I have to work with in post. They are all very compact, lightweight and fun to use.

Abby Ferguson

Photo: Abby Ferguson

Even though I travel and adventure a fair amount, I've never bought a dedicated travel setup. Instead, I've used whatever gear I already have, even if it isn't excessively travel-focused. For the past handful of years, that has meant taking my Sony a7 III on trips. Luckily, it offers a decent balance of size and quality.

Lens selection is a bit more complicated, though. My one travel-specific purchase was a compact 35mm F1.8, which I picked up for a work trip to IFA Berlin. It has consistently been included in my travel kit since then, and is often my only lens. When I want a bit more versatility, I will throw in my 24-70mm. Or, for some select trips, I've swapped out the standard zoom for a 135mm prime lens. It's definitely not the most practical (it's far from light and compact) or versatile, but I like the challenge and I enjoy the photos I get with it.

Pentax K1000 | SMC Pentax-M 50mm F2 | Flic Film Aurora 400 | Honolulu, Hawai'i Photo: Abby Ferguson

Most recently, though, I've been more drawn to my Pentax K1000 film camera with a 50mm lens as my go-to travel camera. I was recently in Hawai'i for two weeks, and while I had my digital camera, I often only brought my film camera out with me. The size is right, and I love that it forces me to slow down and take in the scene more than I generally do with digital. It also doesn't separate me from what's going on as much, as I can't look at the rear display to check my shots. I take the shot and then move on, returning to enjoying my trip.

Matt Waller

Photo: Matt Waller

My camera for a recent street photography trip to London was the OM System OM-5. This cute little guy could be effortlessly carried on long walking days and did absolutely everything a travel/street camera could be asked to do. Its weather sealing shrugged off my one day of London drizzle (with the new weather-sealed 25mm f1.8 prime aboard), the hand-held hi-res 50MP mode came in handy to target the Shard and its superb IBIS made long exposures in the night tunnels of Southwark a breeze.

OM System OM-5 | OM 25mm F1.8 II | F4.5 | 1/2000 sec | ISO 200 | London Photo: Matt Waller

Yes, it's stuck at face/eye detect AF – which worked flawlessly on the streets. But its greatest power was the ability it gave me to carry a battery of superb little lenses: the 12mm F2 for cathedrals, 75mm F1.8 for occasional portraits, tiny Laowa 7.5mm F2 for skyscrapers – all in my coat pockets, no camera bag required.

Pretty though it is, the thing that really caught our eye about Fujifilm's recently announced X-E5 wasn't a design flourish or aesthetic detail, it was the fact that the company has been taking note of how its users are actually using their cameras.

The film recipe concept, using tweaked versions of the brand's film simulations to give bigger vibes and more expressive looks, is an entirely grassroots development. Up until now, users had had to use the cameras' custom settings banks to capture these recipes, but with the X-E5, there's a dedicated system specifically to do so.

And, intriguingly, Fujifilm has adopted the term 'recipe' directly from its community.

While there are some photographers who'd rather start with a completely blank canvas in a way that a LUT-based system would allow, the option to riff on existing, attractive color modes, created by engineers with lots of built-up experience in the field, has its own appeal.

Now let's hope Fujifilm extends a similar capability to its other current cameras, with one of those firmware updates that inspired the appropriation of the term 'kaizen' in the first place.

The moon rises over Cerro Fitz Roy and the Fitz Roy massif in Patagonia along the border between Argentina and Chile. I captured this photo during a solo trek through Patagonia, and to this day, I'm amazed that there were basically no other people there. I can't imagine that would be true today. Canon EOS Rebel XT | Sigma 18-50mm F2.8 EX DC Macro | F5.6 | 1/160 sec | ISO 200 Photo: Dale Baskin

The theme for our July Editors' photo challenge is "Landscape Showcase."

This is your chance to show us your favorite natural landscape photos! From grand vistas to creative compositions, we want to see your most stunning landscape shots. We know there are some talented landscape photographers here on DPReview, and we can't wait to see your stunning images.

This challenge is also open to stitched panoramas.

Photos can be submitted between Sunday, July 6, and Saturday, July 12 (GMT). It is open to photos taken at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share 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 as soon as the challenge opens.

Visit the challenge page to see all the rules

This week, we released our review of the Fujifilm GFX100RF, and we're deep into the review process for the Canon PowerShot V1. Editors Richard Butler and Mitchell Clark sat down with director of video and social Mykim Dang to discuss the cameras and the community's reaction.

The video touches on several topics: the PowerShot V1's capabilities as a vlogging camera versus how it performs as an enthusiast compact, the GFX100RF's placement as a luxury product and weirdness around flashes and leaf shutters.

A recent video shared by All Arts TV profiles the late Beuford Smith, a self-taught street photographer who captured iconic images in New York City in the 1960s and beyond. The video was the inaugural episode of the publication's new "The Darkroom MCs" series and is one of the last interviews Smith gave before his passing on June 7, 2025. In it, Smith talks about his career, what distinguishes someone's style and his darkroom process.

Smith was a prominent figure in capturing Black life and culture. He documented pivotal moments in the Civil Rights Movement and photographed the likes of Malcolm X, drummer Elvin Jones and jazz pianist Barry Harris. His accomplishments include serving as president emeritus of the Kamoinge Workshop, creating "The Black Photographers Annual," having photographs in the MoMA permanent collection and more.

In the video, Smith talks with hosts Russell Frederick and Anderson Zaca about how good photographs are everywhere. "You don't have to travel to Timbuktu or Peru or anyplace to take photographs," Smith says. "They're right in front of you, you just have to be able to see them and take them." As someone who sometimes grumbles about picking up a camera when I'm in a place that I deem boring, I really appreciated this reminder.

Smith also delves into the technical aspects of his darkroom work, a topic he noted was, frustratingly, rarely discussed in interviews. He walks Frederick and Zaca through a selection of his prints, demonstrating the importance of light and shadow, and explaining his exacting standards for print quality and style. He even reveals that he turned down the opportunity to purchase an Ansel Adams print for $125 because he didn't like its print quality.

Finally, Smith also shows a photo he created of Malcom X, which he said was simply a "self-assignment." Even though he didn't take the image for a paid job, it has been one of his best-selling prints, and the Whitney Museum bought a print of the photo for $6500. It's yet another push to just get out there and create photographs, even if you don't know what could happen with them down the line.

GFX100RF | F5.6 | 1/30sec | ISO 80 Photo: Richard Butler

This week, we released our review of the Fujifilm GFX100RF, a rangefinder-style large-sensor compact made for street photography. We've added the best photos we took during the review process to a sample gallery, which you can look through to get a feel for how the camera performs in a variety of real-world conditions.

See the 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; we do so in good faith, so please don't abuse it.

A Longspined Bullhead. Click here to experience the full-size image. Image: Søren Skarby

Combining work with hobbies can be a risky endeavor. Søren Skarby, a photojournalist and passionate fly fisherman, endeavored for years to keep photography – his profession – and fishing – his hobby – separate. But inevitably, the two worlds collided. The result was a long-term, ongoing project named Scaled Up, which aims to document fish with a level of detail we don't usually see. Skarby took the time to chat with me about his series, providing insight into what led to the project and the complicated process behind it.

"We think of fish in this part of the world as something dull. But fish are very colorful"

Skarby often has the experience of catching a fish and thinking how beautiful it is. Other people didn't quite get it when he would tell them, though. "We think of fish in this part of the world as something dull. But fish are very colorful as you can see, even in Scandinavia," he explained. Plus, most people only come across fish after it's processed and in the supermarket, which is always colorless. Seeing the fish alive is a totally different experience, and he wanted to figure out a way to show others the beauty he saw while fishing.

A Common Dragonet. Click here to experience the full-size image. Photo: Søren Skarby

When he saw the Microsculpture series of insect photographs by Levon Biss, it was a turning point. Skarby decided he wanted to do something similar with fish by combining hundreds of images taken with a high-resolution camera to create uber-high-resolution photos. From the start, he knew he would need funding. "If I'm going to do this right, I've got to get paid while I'm thinking because I'll only be focusing on that," he said. So he reached out to a museum to collaborate, and they were eager to participate. Obtaining funding took time, but it did eventually come.

While the idea of photographing fish is simple at face value, it's actually quite complicated. "I came up with one idea after the other and ditched it because it didn't work," Skarby explained. While most fish are colorful while alive, they lose that color very quickly when they die. So you have a very short window to work. Skarby says that cod is the worst, as it will turn very dark in less than 10 minutes. He started working with a taxidermist, and together they figured out that baby oil would prolong the time they had to photograph the specimen before the color drained.

A female trout. Click here to experience the full-size image. Photo: Søren Skarby

Next, Skarby said he had to figure out how to manage the camera setup. His process involves a combination of focus stacking and panoramic stitching to maximize the level of detail. But that presented its own set of problems. "It's really, really hard to set up a camera vertically and then move it and keep the same distance to the subject all the way. There's no gear made for it," he said. He was venting his frustrations to a friend, who said, "Can't you move the fish?" It was a lightbulb moment, and they drew the idea on the drywall of his mid-renovation kitchen, eventually having a movable table made for the project.

Lighting was the next hurdle. Skarby tried using constant light but said the exposure time gets way too long. He explained that the image he created of the male Three-Spined Stickleback took 40 minutes total, with each exposure lasting 15 seconds. Every time a loud motorcycle or large truck drove past their studio, they got nervous, because they were sure it would shake the camera or table with the fish and ruin the image. Flash, then, is a must, but it has to be precise flash that fires consistently each time.

A male Three-spined Stickleback. Click here to experience the full-size image. Photo: Søren Skarby

His lighting setup is relatively simple, with a light under the glass on which the fish rests and a light above at a 45-degree angle. However, the highly reflective surface of the baby oil-covered fish introduces challenges with lighting. So, Skarby adds polarizing filters to everything, including both lights and the camera lens.

Finding an ideal polarizer for the lights was yet another moment of creative problem-solving. Eventually, Skarby realized that TFT displays used in TVs have polarizing filters inside, and that he could buy packs of the filters meant for large TVs directly from China for cheap. Those filters then go in front of the softbox, and when one needs to be replaced, it isn't a big cost to replace it.

A Garfish. Click here to experience the full-size image. Photo: Søren Skarby

The studio setup isn't the end of challenges, either. Skarby ends up with between 120 and 440 individual images for each fish. He goes through each Raw file before starting the stitching process, and then spends an extensive amount of time retouching at 200% or even 300% once the files are stitched together. For example, the image he created of the Gar, which is 52,500 pixels long, took 80 hours to Photoshop. Each image has loads of dust to remove, along with the edges of the glass pieces used to spread out fins and keep the fish in position.

This unretouched image shows just how much work is involved in the retouching process. The final image can be seen here. Photo: Søren Skarby

While the Scaled Up project has been running since 2019, Skarby is far from done. He's currently working on his largest round of grant funding and plans on building out a caravan to be a mobile studio. That includes a camera stand that is built into the vehicle instead of using a tripod.

The caravan studio will enable him to go where the fish are, and connect with more people to curate stories with each individual fish. He's also going to be switching from the Fujifilm GFX 50S to a Phase One camera system, and using Helicon software for stacking the images instead of Photoshop. He says those changes should make the process somewhat easier and faster.

A Snake Pipefish. Click here to experience the full-size image. Photo: Søren Skarby

Beyond the technical side of things, Skarby says there are also concerns related to conservation and ethics. After all, the fish aren't alive when he photographs them. He was recently offered the opportunity to photograph the European sprat, which is endemic to Denmark. While he was honored, that fish is incredibly rare, so he turned it down. "It would be crazy to say that 'we want you to be aware of the wild tiger and that’s why we’ve shot one to show to you,'" he said.

"What I'm trying to do with the pictures is showing people this is what you risk losing."

Skarby says that one of the reasons this project is so important is for conservation reasons. "I don't know what I am any more, if I'm a fly fisher, photographer or both or I'm actually an environmentalist," he says. No matter what he is, he's using the images to raise awareness and help bring attention to the unexpected beauty of certain fish. "What I'm trying to do with the pictures is showing people this is what you risk losing."

We aren't able to show off Skarby's images at full resolution, so if you want to see these fish in all their glory, be sure to head to his website. There, you'll be able to zoom in to remarkable levels, highlighting spectacular details on each fish.

Image: Laowa

Venus Optics has announced the Laowa 12mm F2.8 Lite Zero-D FF, an updated, mirrorless version of one of its popular ultra-wide-angle lenses. The new model is slimmed down (hence, the Lite in the name), introduces autofocus capabilities for Sony E and Nikon Z mounts and brings additional upgrades over the original 12mm F2.8 Zero-D.

The 12mm F2.8 Zero-D lens's claim to fame was that it was one of the widest non-fisheye lenses for full-frame cameras. Like the original model, the Laowa 12mm F2.8 Lite Zero-D offers an ultra-wide 122° view with a rectilinear optical design, which Laowa says results in "virtually zero distortion." The optical design includes 16 elements in 9 groups, with 4 extra-low dispersion elements and 2 aspherical elements. It can focus as close as 14cm (5.5"), making it possible to capture close details.

Image: Christopher Frost / Laowa

Laowa says that the new model offers improved image quality, with better sharpness all the way to the edges and "excellent control of chromatic aberration." It is also more compact and lightweight than its predecessor, coming in at just 377g (13.3oz) for the E mount version. For comparison, the original model weighed 609g (1.3lbs). The lens sees the addition of a filter thread, using 72mm filters, whereas the old model required a filter holder system.

The autofocus version (left) and manual focus version (right) feature slightly different body designs. Image: Laowa

The 12mm F2.8 Lite Zero-D is available for Sony E, Nikon Z, Canon RF and L mounts. The Sony E and Nikon Z versions offer autofocus, while the RF and L mount models are manual focus only. The autofocus versions offer an MF/AF switch but no aperture ring, while the manual focus models feature an aperture ring.

Making things more complicated are the two aperture blade configurations. You can choose between a 5-blade or 14-blade aperture. Laowa says the 5-blade creates a 10-point sunstar effect when you stop down the aperture. If you want the 14-blade aperture, though, you'll need to opt for the manual focus lens no matter what mount you have. The autofocus versions are only available with the 5-blade aperture.

The new Laowa 12mm F2.8 Lite Zero-D FF is available for purchase for $699.

Image: Bastian Kratzke / Laowa

Sony has announced a new feature for its Camera Authenticity Solution, expanding options for newsrooms looking to address the challenge of authenticating digital images. The beta release of Camera Verify allows for the creation of dedicated URLs for authenticity information so that third parties can view the information directly.

The new Camera Verify Beta feature allows news organizations to issue external URLs for images with embedded digital signatures. That means that third parties, such as readers, partners and other media, can view verification directly through reliable URLs issued by Sony's verification site. Organizations also have the option to select which authenticity items they want to share during content publication and distribution.

The Camera Verify feature is based on Sony's digital signature system, which it has been developing for the past few years. When created with compatible cameras, images can be embedded with C2PA (Coalition for Content Provenance and Authenticity) digital signatures and Sony’s proprietary 3D depth information at the time of capture. That feature was previously only available to select organizations, though.

Now, the Digital Signature Upgrade License is available for purchase through the Camera Authenticity Solution website, meaning more professionals will be able to use it. It's only compatible with the Sony a1 II (Ver. 2.00 or later), a1 (Ver. 3.00 or later), a9 III (Ver. 3.00 or later), a7S III (Ver. 4.00 or later) and a7 IV (Ver. 5.00 or later), though. Sony says that the Image Validation Site, where authenticity information can be viewed, will initially only be available for select news organizations, and availability varies by region.

Sony also added that it plans to add support for video content "after fall 2025." Given that generative AI videos are becoming better and easier to produce, this is an important additional step for content authenticity.