Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Playing 'Top Trumps' with camera specs doesn't give the full picture, but it can still reveal something interesting. Composite image: Richard Butler

It occurred to me, recently, that the latest enthusiast cameras can often shoot faster than the pro cameras of just a few years ago. So I decided to do some quick comparisons to get a sense of how far cameras have come, in a series of regards, since the last generation of pro-level sports cameras.

The biggest change, of course, is the move from DSLRs to mirrorless. The previous gen pro sports models from both Canon and Nikon were DSLRs, whereas Sony launched its pro tier cameras in earnest with the mirrorless a9, back in 2017.

Speed

The most obvious spec comparison is shooting speed, as that's historically been the main area in which pro models stand out from more mainstream offerings.

The enthusiast models are all faster than the pro models in their e-shutter modes, but this does come with some rolling shutter distortion. It's worth highlighting that, despite its maximum shooting rate being lower, the Sony a9 II, with its Stacked CMOS sensor, still reads out faster than any of the newer cameras.

But in many of these instances, the enthusiast models are just as quick in their mechanical shutter modes as the previous generation sports camera was. The enthusiast models don’t always have such deep buffers as their pro forebears, but they increasingly have at least one CFexpress slot to help clear those buffers quickly.

Autofocus

Of course shooting speed means nothing if your images aren’t in focus, but the modern cameras will do remarkably well in this regard. The pro DSLRs had AF systems honed by decades of development, and could be adjusted to suit a wide range of sports and subjects.

However, we’d expect the enthusiast models to be competitive, as they all have AF systems that directly derive from their respective company’s most recent pro cameras. They also have subject recognition AF systems and much wider AF coverage that makes them much easier to get the best out of, for those of us who aren’t full-time professionals.

As a rough generalization, modern lenses perform better and the number of pin-sharp images delivered by mirrorless camera focus systems tends to be higher.

All three of the modern enthusiast models also offer some degree of pre-burst capture, again helping to boost the success rate of photographers who can't perfectly anticipate when the key moment is going to occur.

Viewfinders

The biggest difference we see is the move from optical viewfinders in the DSLRs to electronic viewfinders in the mirrorless cameras. Whether in terms of response time or just preference, there will be some photographers who simply prefer an optical finder, regardless of the spec of an EVF.

However, it's worth noting that each of the mirrorless cameras has a viewfinder that's at least as large as the largest optical viewfinder in play here. The 0.8x magnification, high brightness finder in the Nikon Z6 III is going to feel appreciably larger than the 0.76x finder in the EOS-1D Mark III, and even more spacious in comparison with the D6's 0.72x OVF.

Image stabilization

Another big difference is that the two most popular DSLRs didn't have in-body image stabilization, instead making use of in-lens stablization. This tends to be more effective for the long focal lengths used for sports, but less effective than in-body stabilization for the wide-to-normal focal lengths used in a lot of photojournalism and general photography.

As well as the shift to in-body stabilization, Canon, Nikon and Sony have subsequently developed systems that can combine the effect of in-body and in-lens stabilization to boost the overall amount of correction that's possible and to play to the strengths of both systems.

Video

Unsurprisingly, perhaps, video is an area in which the modern cameras show the greatest advantage, not just in the resolutions and frame rates listed here, but in terms of the support tools and capabilities. It’s increasingly common to have false colour displays or waveforms to aid with exposure, as well as 10-bit Log or Raw capabilities, that still weren’t commonplace, just one generation of pro camera ago.

Video is one of the biggest areas of difference: even the mirrorless Sony a9 II, for all of the advances of its Stacked CMOS sensor, still only shot 8-bit video footage, which gives much less scope than 10-bit or Raw footage for color grading. Photo: Dan Bracaglia

Battery life

One difference not captured here is battery life. We haven’t quoted the CIPA figures, as they aren’t especially comparable between DSLRs and mirrorless cameras, but the pro DSLRs will have vastly better endurance, as much from not having to power a screen to show a preview as from their significantly larger batteries. The Sonys are the outliers, in that the a9 II and a7 V use the same battery, and the newer camera is rated as giving more shots per charge.

The 'pro' differences

There are differences beyond specs and capabilities, though. In all three instances, the pro models have a level of build quality and environmental sealing that are essential for high-priced tools that need to keep working, day in, day out, regardless of the rigors of the job. All three also have features such as Ethernet connections that are essential for some professional applications but irrelevant for the majority of enthusiasts.

Price

Even with the high levels of inflation over the past few years, the enthusiast models are significantly less expensive than the pro models were. Even without taking inflation into account, the professional DSLRs here cost at least twice as much as the latest enthusiast cameras. Factor inflation in and the new cameras come in at as little as 1/3rd the original list prices of the pro models.

*Price adjusted using the consumer price index inflation figures, adjusted to the launch date of the newer camera

And, while we’re not saying enthusiast cameras are in every way a match for the pro cameras of the last generation, it’s striking at how close they are. And at how far we’ve come, during a period where you could easily make the mistake of thinking things haven't particularly changed.

I created this image while I was working full-time, applying to far too many graduate schools and navigating a long-distance relationship. Photo: Abby Ferguson

It's well established that photography is a superb tool for documentation purposes. It's also fairly well accepted as an art form. It's less recognized, or at least talked about, as a therapeutic tool, but it can be a powerful resource for just that. If you'll allow me to get a bit personal, photography has helped me get through some very challenging times. I won't go so far as to say that it's saved my life, but I know many people can say that is the case for them.

To be clear, I'm not a therapist, and I don't see photography as a replacement for therapy with a licensed professional. Instead, I view it as a therapeutic tool. I have seen the impact the medium has had on my own life and the lives of others. For those who haven't used photography intentionally as a tool for healing or growth, perhaps this can be a helpful guide on how to do so, or a gentle push to lean on the medium as such when you need it.

Distraction and mindfulness

Sometimes using the camera as a distraction tool can be just what you need. Photo: Abby Ferguson

Sometimes, photography can simply be a good distraction. There are times when it's best to focus on something other than current events or difficulties in your personal life, and photography can be an excellent method for that. Taking photographs requires focus (no pun intended) and attention. Instead of dwelling on heavy or hard things, you can, at least momentarily, put your energy towards something else.

When taking photographs, you pay more attention to light, shadow, shapes and details. You look carefully at the things directly in front of you at that particular moment. It forces you to stay in the here and now, which is similar to general mindfulness practices that aim to help you manage stress. It's a simple thing, but it can make a significant difference.

Having my dog with me on hikes often has the added bonus of some comedic relief. Photo: Abby Ferguson

For some, photography is a solitary endeavor, which can be an excuse to give yourself time and space to just breathe. When I need stress relief, I often find myself going on a hike by myself (and my dog) with my camera. I typically come back feeling more refreshed and in a much better headspace than when I set out.

Simply being in the outdoors is a big part of that for me, but the camera also helps me tune out everything else more effectively while I'm hiking. Even if I only feel inspired to take a few photographs, it at least makes me pay more attention to what's around me instead of putting my head down and trudging through. Plus, if I do manage to get a photograph that I think is cool, it gives me a sense of accomplishment, which is always a nice mental boost.

Photography as an outlet

I took this self-portrait just last weekend, since I was in desperate need of a creative outlet, and this concept kept coming to mind. Photo: Abby Ferguson

What's been even more important for me at various points in my life is using photography as an outlet and a means of self-reflection. Creating photographs can be excellent for self-expression, and also a tool for working through difficulties and managing emotions.

Photography is a fantastic resource when I don't want to talk about what I'm going through but still want to express it in some way. Alternatively, sometimes I haven't even fully processed what I'm dealing with and don't have words for it. Photography helps me get out some of the emotion instead of simply bottling it up. There are even times when creating a photograph has helped me better understand my current mental state, even if I hadn't been willing to acknowledge it prior to that.

"Photography helps me get out some of the emotion instead of simply bottling it up"

For a long time, self-portraits were my preferred method of photography as therapy. I've produced some deeply emotional and personal self-portraits over the years for that reason. Some of them were the result of my knowing exactly what I was dealing with and what I wanted to convey. Others were simply a result of struggling with something and not quite knowing how to articulate it, so I poured my emotion into a self-portrait. At times, these were somewhat elaborate and thoroughly planned; others were more spontaneous. Both formats helped in their own way.

Still life has become a relatively new therapeutic tool for me. Photo: Abby Ferguson

These days, I've been using still life as my primary outlet. Instead of putting myself in front of the camera, I'm photographing objects that I feel can convey what I'm working through in my head. They may not look as personal at first glance, but they were incredibly valuable as I processed and dealt with things going on in my life.

My method of using photography as an outlet involves conceptual work, but that doesn't have to be the case. Any type of imagery that helps you express yourself or process your emotions is beneficial, even if it isn't intentionally done.

Photography can just be for you

Photo: Abby Ferguson

The bigger picture here is that photography doesn’t always have to be for an audience or a client; it can simply be for you, and that’s often where its most therapeutic power lives. I've recently written about tackling photo projects to find your creative spark again and about embracing bad photos. In all of these cases, the key is that photography can be a personal endeavor that can have a significant impact on your life. When you give yourself permission to create without pressure, photography becomes a method to clear your head, listen to yourself, notice what you’re feeling and be present with it.

Whether you’re a working photographer or a hobbyist, making space for personal projects can be therapeutic. It can reconnect you with why you picked up a camera in the first place, help you process what you’re going through and simply remind you that the act of paying attention is worthwhile in itself.

So, whether you're going through a particularly hard season or not, let me encourage you to pick up your camera with no goal other than to see what comes out. Or plan a shoot with the specific intention of showcasing your emotion or mental state. The photos don’t have to be "good." They just have to be honest, and they only ever need to mean something to you.

Image: Adobe

Adobe has announced an update to Photoshop that brings new types of adjustment layers and improves generative AI-powered fill tools. It's also adding a feature in beta that makes it easier to manipulate text into certain shapes.

Late last year, Adobe announced it was adding two new adjustment layers to Photoshop: one that controlled dehaze and clarity, and another for adding a grain effect. Now, those are coming out of beta and should be available to everyone using the app. While you've been able to use similar effects in Photoshop before, you had to bake them into a specific layer in your image, and once they were added, you couldn't adjust them. Having them as an adjustment layer, though, lets you easily adjust the effects after adding them, and easily have them apply to multiple parts of your image.

The update also brings some of Photoshop's AI-powered features out of beta, with the company promising better, higher-resolution results when using the Generative Fill, Generative Expand and Remove tools in the web version of Photoshop. The company also says it's improved the reference image feature in the Generative Fill tool, which lets you use an existing image to give the model a better idea of what you want it to generate.

Finally, there's a feature that Adobe's calling Dynamic Text, which the company says will make it "easy to transform any text layer into circular, arched, or bowed shape." While you could obviously already achieve something similar with paths and the text tool, Adobe says the Dynamic Text tool will automatically fit your text to the shape, something you'd have to manually manage using other techniques.

The new adjustment layers are available in the latest version of Photoshop, which Creative Cloud subscribers can download starting today. Dynamic Text will be available in the Photoshop Beta app.

Image: Nikon

Nikon has announced firmware V1.10 for the ZR camera, heralding the first update for the video-focused camera. Given that it comes only a few months after it launched, it's no surprise that the changes it brings are mostly small quality-of-life tweaks, rather than massive overhauls to how the camera works.

Perhaps the biggest change is that Nikon says it has "significantly extended" the amount of time the camera can record for in many of its modes. While it used to top out at 125 minutes, it can now continuously capture for up to six hours in its sub-100fps compressed modes, though doing so will require the use of an external power supply or battery.

The company has also added the option to display a red line in your histogram or waveform to make it obvious where the clipping point is, which can be especially useful as you switch between modes with different base ISOs.

When it launched, the ZR supported timecode synchronization via Bluetooth, making it easier to keep track of footage and audio captured with multiple devices in the edit. The update adds support for timecode sync over a wired connection through the microphone jack. Other quality of life features include a setting to keep the green light around the power button illuminated while the camera is on (by default, it turns off quite quickly) and the LUT import screen can now display up to 50 CUBE files, rather than 10 (though the camera can still only store 10).

The firmware update is available today as a free download from Nikon's website.

DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/320 sec | F5.6 Photo: Erez Marom

In part one of my series about photographing Mongolia in winter, I wrote about my experience shooting the Khongor Sand Dunes and Lake Khuvsgul. This time, I'd like to take you to another north-Mongolian destination, and to the east of this vast country.

After I was done shooting in Lake Khuvsgul, I took a long 4X4 drive further north-east, across some harsh terrain and interesting, frozen landscapes. We made a short stop to drone over the mountains and valleys of the Khoridol Saridag range.

After long hours, we finally arrived in our next major destination: Jargant River. This river is unique in that its waters come from an underground spring, and so parts of it do not freeze even when it's -40ºC (-40ºF) outside. The temperature difference between the river and the air causes water to rise as droplets, which stick and coat the trees and totally cakes them in white ice. These foggy conditions are great because it emphasizes the sun penetrating between the trees, creating beautiful light rays that work really nicely with the other compositional components around.

The fog here serves both as a compositional element and as a medium through which the trees' shadows show. DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/400 sec | F10

Here, the fog serves the separation between compositional elements: the closer tree is perfectly visible, whereas the background trees are shrouded in fog, helping the viewer's brain understand that they are at different distances, thus creating depth. The light rays penetrating between the trees add a lot to the image, do you agree? Canon EOS R5 Mark II | Canon RF 24-105mm F4 L IS USM | ISO 100 | 1/320 sec | F11

A nice example of sun rays shining between the trees. Canon EOS R5 Mark II | Canon RF 24-105mm F4 L IS USM | ISO 200 | 1/250 sec | F8

A top-down image showing the icy coating of the trees. Note that this is definitely not snow, but water droplets that stuck to the trees. DJI Mavic 3 Classic | 1/30 sec | ISO 100 | F5.6

Jargant River is especially winding, which is useful for creating nice compositions. The fog above it adds another layer of interest. DJI Mavic 3 Classic, 1/100 sec, f/6.3, ISO 100

The fog from the river had spread across the planes, allowing me to create a dreamier scene in which only the higher-elevation elements are clearly visible. DJI Mavic 3 Classic | ISO 100 | 1/100 sec | F6.3 Photos: Erez Marom

There are a few nice locations in the Jargant Valley area. If you're there, it's worth your while to take a drive to the Singing Springs (known locally as Duut Spring), another location where liquid water is visible even at a bone-chilling -40ºC or even -50ºC (-40º to -58ºF). The moisture carried in the air coats not only trees, but low bushes and different kinds of plants that look somewhat weird dressed in white.

An aerial shot of the Singing Spring. At -37ºC (-35ºF), liquid water is still visible and usable as a compositional element. Note that the slanted, closer, more visible tree is located in the gap between the left- and right-side trees, to avoid overlap. In general, since the colors are quite homogeneous in this image, separation and depth become more important: apart from the slanted tree's location, I also used the background fog to separate the trees from the mountains. In turn, the warm sunrise tones separate the mountains from the clouds. These planes of separation contribute to the overall feeling of depth in the image, which is critical, especially in winter imagery. DJI Mavic 3 Classic | ISO 100 | 1/30 sec | F4 Photo: Erez Marom

After returning from northern Mongolia, I took a very long drive toward the far east region of Mongolia: the Steppe, where I spent several days shooting wildlife. My main goal was to get interesting shots of one of the cutest and grumpiest creatures on Earth: the Pallas's cat. This bundle of joy isn't much bigger than a house cat, but its super-dense fur, round pupils and less-than-friendly attitude give it a very special kind of charm.

What it lacks in size, it makes up for in ferocity and in cuteness! Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/2000 sec | F6.3 Photo: Erez Marom

I teamed up with an organization dedicated to the preservation of this beautiful species and stayed in a ger camp, from where we would head out twice daily to try to find the wildlife. The mornings were usually devoid of cats, as they primarily roam in the afternoon, so we dedicated them to other wildlife. I got some nice images of owls, which show the snowy, rocky environment.

A little owl perching on the snowy ground. Note how I did my best to show the animal in its environment in a compositionally-appealing way: there is a foreground subject (the owl), another small rock on the left to counterbalance it, and a clear (even if out of focus) background subject comprised of distinct elements with proper separation between them. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/400 sec | F8

The nice thing about this image is the similarity in colors between the owl and the rocks. Both are brown with white blotches: in the owl, it's the feathers. In the rocks, it's the patches of snow. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM + Extender RF 1.4x | ISO 400 | 1/640 sec | F10 Photos: Erez Marom

The owls were nice, but naturally, my main focus was the Pallas' cat. The cat shooting was very much unlike any wildlife photography I'd ever done. First of all, the cats can be hard to find. We sometimes had to send a tracker to locate one of them, which, considering the vastness of the area, was an astounding feat. Once found, however, the Pallas' cat is a surprisingly easy animal to get close to and shoot. Contrary to more easily-agitated species, their natural behavior is such that they disguise themselves as rocks and stay perfectly still unless you get really close to them.

In this image, I used the color similarity between the grass and the cat's eyes to enhance interest. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/2500 sec | F7.1

A very grumpy blob assuming the shape of a rock. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1600 sec | F7.1

Cats will be cats. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 200 | 1/3200 sec | F5.6 Photos: Erez Marom

As stationary as they often are, once the cats decide to go, they bolt. This gives the photographer a chance to get some action shots. It's a hard mission, since you don't know exactly when the cat will run or in which direction, but here are my best attempts.

Canon R5II, Canon 100-500mm f/4.5-7.1 254mm, 1/8000 sec, f/5, ISO 1600 Photo: Erez Marom

When the Pallas' cat is sitting down, it's possible to get relatively close to it. Morally speaking, as long as you do it in a responsible manner and understand when you're too close, there's no harm in that. This last shot shows exactly such an event: I was still at a comfortable distance, but the cat made sure I knew I'd gotten on its nerves, and so I backed up and went away.

This threatening gesture meant it was time to go. Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 1600 | 1/8000 sec | F5 Photo: Erez Marom

I hope you've enjoyed my images from frozen Mongolia. If you are well-equipped for winter photography and mentally able to handle extreme cold, I can highly recommend it as a unique photographic experience.

Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, China, Colombia, Vietnam, Madagascar, Ethiopia and more.

Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.

Selected Articles by Erez Marom:

• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Behind the Shot: Tambora Sandwich
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Demon of the Deep: Shooting Kawah Ijen Volcano
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

The photo John Abernathy took, showing his point of view as he was being surrounded by ICE officers, right before he threw his camera to another photographer. Photo: John Abernathy | Instagram: @john_abernathy_

By now, you've probably seen the viral photo of John Abernathy, an independent photographer, throwing his Leica M10-R to another photographer after being pinned to the ground by officers of the US Immigration and Customs Enforcement (ICE) agency. It's from a striking sequence of images taken by freelance photographer Pierre Lavie, which show Abernathy being tackled, locking eyes with Lavie – then a stranger – and tossing his camera and phone to him in an attempt to keep them from being confiscated.

We caught up with both photographers to get the story behind the photos they took that day, see how they've dealt with suddenly having their work presented on a global stage, and talk about how this incident, and others like it, have affected how they cover protests and other similar events.

Click to see Lavie's images of Abernathy throwing his camera

If you haven't seen the photos or aren't familiar with the backstory, this is what happened: Abernathy and Lavie were photographing a protest against ICE around the Whipple Federal Building in Minneapolis, MN. Both photographers say that, throughout the event, police forces would gather to press into the crowd. Abernathy says that, while photographing protesters and counter-protesters, he lost his situational awareness for a moment as he was trying to simultaneously live-stream with his phone and take photos. That's when he was tackled from behind and wrestled to the ground by several ICE officers, who then pepper-sprayed him.

Lavie, who was shooting nearby, saw this happening and turned to photograph it. That's when the now-famous moment was captured. Abernathy, concerned that the police might delete photos from his camera, locked eyes with Lavie and tossed his Leica M10-R and phone to the other photographer.

"It was instinctual at that moment"

"It was instinctual at that moment," Abernathy says, adding that he believes an ICE agent was trying to grab his phone out of his hand. "I didn't know what would happen to me after that, so in a split second I decided: 'I gotta throw it.'" Lavie, who was crouching down to photograph what was happening, says it was all very quick. "It's not more than a handful of seconds that he went from being tackled to being on the ground, tossing his camera and his phone, and then being pulled back in and detained."

Lavie admits he briefly hesitated before going for the camera and phone. "In my head, I was like, 'Do I grab this? Do I not? If I do, am I gonna get pulled into this thing?" But then he told himself, "Okay, screw it. I'm doing it."

After Abernathy was released, he says he looked around for his camera, asking someone with a bullhorn to ask if anyone had seen it, but nobody had. "After they let me go, I was in an absolute panic to know where my camera was," he says. "I was like, fuck, maybe I made the wrong decision. I shouldn't have done that, why did I do that?" Eventually, though, he and a friend were able to track his phone, letting him meet up with Lavie and retrieve his camera and the images on it, some of which he's posted to Instagram.

One of the last photos Abernathy took before he was tackled. Photo: John Abernathy | Instagram: @john_abernathy_

"When I finally got back to the images that I shot during the protest, there are some very aggressive shots of agents coming down on protesters," Abernathy says. "So in hindsight, throwing my camera was the right thing to do, for multiple reasons. One, bringing attention to this entire issue we're having. And two, the images show the aggression that they're coming down on for no apparent reason."

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A post shared by Captured by Rectangles (@john_abernathy_)

The photos Abernathy took while being detained, and the photos Lavie took during the event, have received a lot of attention both in national outlets and on several social media platforms, something neither photographer expected.

"I'm actually getting chills right now," Abernathy says when asked whether he was surprised at people's reactions. "I did not obviously expect literally any of this attention. If it wasn't for Pierre's photo, I literally don't think any of it would have happened. There were a lot of other photographers there, and they got some good shots as well, but his shot is literally epic. It shows so much. It's more than a photo of me. It shows the struggle against this... unidentified ominous power."

"It's resonating with everybody for a reason"

Lavie calls the response "surreal" and says he's thankful, flattered and humbled by the outpouring of support. "It's resonating with everybody for a reason. And I don't think it's a good reason. As much as I would love it to be some miraculous picture of a butterfly or something like that, unfortunately, this is the situation, and that's where we are right now. Hopefully it's gonna work its way through the system in a healthy way."

Abernathy also understands why the photos have resonated so much. "I'm most grateful that it's become a focal point to bring attention to not only this area but what's happening in the whole United States," he says. "It speaks to freedom of the press. A lot of people are picking up on that for obvious reasons, but it speaks way beyond my personal experience. It's freedom of the press, and it's individual people trying to struggle against that massive power. Both his shot and my last shot show only legs in power positions. And they're dominating, and there's weapons, and it really represents a lot more."

"it is always shocking"

The incident is just part of a recent wave of police and ICE officers tackling, pepper-spraying and arresting photographers and journalists as the agency gains an unprecedented level of power, budget and legal immunity. "I've seen it quite a few times now, unfortunately. But it is always shocking," says Lavie. "It's a fine line that journalists of all types walk out there to make sure that they can be there and not be involved, and yet still do their job to record."

It's a job both men plan to continue doing, though Abernathy says he'll make sure to have more personal protective equipment the next time he covers a protest, including vapor-tight goggles. He also says he's considering getting a ballistic helmet and bulletproof vest, both things Lavie tells me he already wears when covering similar events.

When we spoke, Abernathy said he was still recovering from the incident, with some serious bruising from the pepper spray balls and being thrown to the ground, and occasional shivers. But despite knowing that he'll need to take more precautions in the future, he still sees the need for photographers like him to document these kinds of events. "I think that's more important than probably most people realize," he says. "The amount of things that are going on – I don't know what's going on in other parts of the country except for what's been in the news, and I don't even see all of that. I know that people are seeing bad things, but they're not seeing all of it; they're not seeing the volume of it and the random moments."

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A post shared by Captured by Rectangles (@john_abernathy_)

The event has reminded both photographers of the importance of community. Abernathy says he's received messages from all over the world expressing horror at what's happening in the US, and gratitude for those documenting it. He also spoke about how other protests he's covered in Minnesota were moments of bonding for the community, citing how, at the end of a protest over the death of Renee Good, a Somali woman and her husband showed up to feed protesters and give them tea. Lavie spoke of the camaraderie he's seen between photographers and advised people looking to document events like this to be friendly and ask questions to folks who look like they've been doing it a long time.

Finally, there's the camera. While Abernathy initially thought his Leica had come away unscathed, besides a few new scratches, he said he later discovered that its rangefinder patch had stopped working, forcing him to focus based on his finger's position on the focusing ring (a task made slightly easier by the fact that he shoots at F11 on a 28mm lens). When we spoke, it was working again, but he was unsure whether the critical focus had shifted. He also says his phone survived the ordeal, despite having been stomped on.

Still, that didn't stop him from going out and shooting another protest with it, which Lavie was also at. "I'm glad John wasn't hurt badly," Lavie says. "He was out that following Saturday taking pictures again. I saw him walk by me. I was like, 'Oh, dude, you're out here.'"

We're back with the first episode of the DPReview team discussions show of the new year, and just in time. The first few weeks of the year have been relatively busy, with Ricoh bringing out a new variant of the GR IV, this time with a completely monochrome sensor, and Fujifilm bringing video to its Instax line.

The team got together to discuss these cameras and the community's reactions to them. Be sure to let us know what you think in the comments below, and over on our forums.

Photo: Mitchell Clark

We recently got the opportunity to get a Leica M11-P (which is, at its heart, the same as the M11, M11-D and M EV1) in front of our studio scene. While we've attempted to shoot the scene with the standard M11 before, we weren't able to get hold of an optimal lens to do so. Leica has this time been able to lend us the APO-Summicron-M 90mm f/2 ASPH, which has given us a much better representation of the camera's performance.

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, full even light and low directional light, to see the effect of different lighting conditions.

With its base ISO of 64, the Leica M11-P's processed Raws start out cleaner than most (though not all) of its full-frame, color-filter-bearing competitors and are roughly similar to the noise levels we see from cameras like the Nikon Z7 II, which also has a sub-100 base ISO. Unsurprisingly, it captures lots of detail, on par with what we expect from other cameras using Sony's 61MP sensor. At mid and high ISOs, its Raws are on par with other modern full-frame cameras.

The M11-P's JPEG engine produces pleasing colors, but isn't quite as successful at revealing the full extent of the detail captured by the Raws, even at base ISO. This becomes more evident at higher ISOs, with the camera doing a decent, but not class-leading, job of retaining details despite its noise reduction. That noise reduction also doesn't appear to be as sophisticated as what Canon, Nikon and Sony are using, leaving more chroma and luma noise in the JPEG.

We noticed the effects of shutter shock in images shot with lower speeds using the mechanical shutter, and have used electronic shutter shots for some of the samples to provide the sharpest results possible. While it's a characteristic worth being aware of when shooting with a tripod, for shooting handheld, your ability to focus the camera and hold it steady, combined with its unstabilized sensor, would more likely be the limiting factor on sharpness.

In terms of dynamic range, the M11-P performs as well as we'd expect given the excellent results we often see from this sensor, giving you plenty of latitude to pull shadows up in post or to shoot to preserve highlights.

Exposure Latitude | ISO Invariance

The M11-P is capable of excellent image quality under studio conditions, even if, realistically, that's not where the camera and its rangefinder focusing mechanism are most at home. Still, it's good to know that whatever you're trying to accomplish with it, the sensor is more than able to deliver the image quality you need.

Ricoh has released a monochrome version of its GR IV enthusiast compact camera. The GR IV Monochrome features the same 26MP BSI CMOS sensor and 28mm equiv F2.8 lens as the color version, but is black-and-white only.

Key specifications

• 26MP BSI CMOS sensor with no color filter array
• On-sensor phase detection
• ISO 160-409,600
• In-lens shutter allows flash sync to 1/4000th sec
• E-shutter allows use of F2.8 at up to 1/16,000 sec
• Built-in red filter, giving punchier blues.
• 53GB of internal memory
• 250 shot-per-charge battery rating
• UHS-I Micro SD memory card slot

The GR IV Monochrome will sell for a recommended price of $2199. This is a 46% premium over the list price of the standard GR IV, suggesting Ricoh feels that the mono version will have a smaller audience to foot the development costs. The MSRP in the UK is £1599, which is only a 33% mark-up over the standard version's original list price.

Index

• What is it
• Body and handling
• Initial impressions
• Specifications
• Press release

What is it?

As the name implies, the Ricoh GR IV Monochrome is a black-and-white only variant of the GR IV.

You get all the usual benefits and costs of a mono-only sensor: a higher base ISO, because less light is being lost to a color filter array (a 2/3 of a stop increase, in this instance), and much sharper detail, as there's no demosaicing taking place.

You also get better noise performance at any given ISO: again because there's no color filter sapping any light, but with that advantage disappearing if the color version can use its lower base ISO.

However, with only a single color channel, there's a lot less flexibility to the Raw files: once the image appears to be clipped, there's no way to approximate highlight data from unclipped channels.

The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture even in good light

To prevent overexposure when shooting at F2.8, the GR IV Monochrome lets you switch from its in-lens shutter to an e-shutter. The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture, even in good light, despite the camera not having an built-in ND filter. As with the regular GR IV, the mechanical shutter has an upper limit of 1/2500 sec at F2.8: you need to stop down to F5.6 to achieve the 1/4000 sec maximum.

Interestingly, Ricoh says the GR IV Monochrome's autofocus is the same as that on the GR IV, which means it has on-sensor phase detection. This would mean that, unlike the Leica Q3 Monochrom, it has to do some degree of interpolation during processing, to hide any impact of those phase-detection pixels. We've not seen any negative impact from this in our preliminary shooting, even when trying to induce flare to highlight any issues.

The company also says that the sensor is not the same one used in the K-3 III, though it wasn't specific about how the two differ.

Red Filter

Other than the lack of color filter array, the other difference is that the GR IV Monochrome has a slot-in red filter, rather than the neutral density filter in the color version. This selectively lowers the impact of blue and green light on the sensor, which gives more dramatic skies and higher contrast, generally.

The filter in the GR IV Monochrome reduces the overall light to the camera by around 3 stops, for a neutral subject (it's around a 4 stop cut for blues, 3.5 for greens and closer to a single stop for reds).

Body and handling

As you might expect, the GR IV Monochrome looks and handles exactly like the regular GR IV: it's a tiny camera for one with such a big sensor and yet it manages to put a lot of control at your fingertips without seeming too cramped.

The finish of the camera is also a little different, with a less textured matte black finish. The shutter button is also black and the GR logo on the front is a very dark grey, rather than white. The green LED ring around the power button is also white, to keep with the monochrome theme. Sadly, Ricoh has not borrowed the beautiful 'Monochrome' typography from its Pentax K-3 III Monochrome DSLR.

The control logic is well worked through, as you'd expect for the eighth generation of a design (prior to 2013's GR, with its APS-C sensor, were four iterations of GR Digital, which used a much smaller Type 1/1.7 sensor in a very similar body).

Despite its size, the GR IV's magnesium alloy body makes it feel very solid, without being overly weighty. And, unlike almost all modern cameras, it will sensibly fit in a pocket.

Ricoh says the GR IV's lens was specifically designed to reduce the risk of dust ingress, but that they had to make the choice between the small form factor that a retractable lens makes possible and complete weather sealing, so there are no promises around the level of sealing.

Initial impressions

Ricoh was kind enough to lend us a pre-production GR IV Monochrome, to let us get a feel for the handling, but we were asked not to make measurements or publish images from it, as it's not necessarily representative of final production performance.

But, even in the limited time we've spent with the camera, its appeal shines through: it forces on you that same way of looking at light and shade that Leica's monochrome cameras bring. And I maintain that using a camera that can only capture black and white is a completely different experience to using a normal camera in mono mode. Knowing that you can't switch, no matter how appealing the colors are in your scene means you solely focus on light, shadow and contrast.

The inclusion of a built-in, switchable red filter is a brilliant idea, letting you add that punch to your images at the touch of a button, without having to add a filter ring adapter or carry filters round with you. I'm sure there'll be people who would have preferred a different color, but red seems like a sensible option since they had to choose one. And the option to engage electronic shutter, so that you can still shoot wide-open in bright conditions feels like a reasonable work-around.

Even more so than the standard GR IV, the Monochrome version is going to be a niche proposition. Some people will immediately know they want one, while I suspect a great many people will be baffled at the idea that a regular GR IV in mono mode wouldn't be similar enough. And cheaper.

The price of adopting a decidedly niche camera is that there are fewer people to share the development costs with. The Ricoh is just over a quarter of the price of the other dedicated mono compact on the market – though the Leica Q3 mono has a sensor more than twice the size and a maximum aperture that's over a stop brighter, so can capture more than four times as much light – but there's still something inherently counter-intuitive about having to spend more, for less.

Photo: Community member NiVoak

For our most recent Question of the Week, we asked about a topic that's near and dear to my heart: photography projects. We wondered what projects you are taking on to spark creativity and move your photography forward. We also invited you to share ones that have made a difference for you in the past, even if you're not currently working on one.

You all had some wonderful responses (and photos), sharing about long-term projects, the constraints you put on yourself to help you see things anew and the regular challenges that keep you picking up your camera.

Constraints to drive creativity

This image is from Maoby's project, which involves photographing the same subject at different times of year and with different cameras. Photo: Community member Maoby

Many of you mentioned projects that may not be based on a specific period of time, but instead are more focused on applying narrow constraints on what or how you take photos. That could be taking images of the same subject or location repeatedly, or only using certain types of gear. The important thing was working on one specific thing over and over again.

Maoby: As already mentioned in your article of January 11, with a mini statuette, an approach which I have just taken up again. Another (fairly classic) example is to photograph the same subjects at different times of the year and with different cameras. Or recently, photographing with old M42 Helios lenses M42 Helios 44-2 & 44M 58mm F2.

This image of a violet-green swallow is part of Faunagraphy's project to photograph swallows and swifts right as they splash on the water. Photo: Community member Faunagraphy

Faunagraphy: The last major project that I assigned to myself was to photograph swallows and swifts as they splash on water...Despite (or because of) the challenges, I learned so much from this project. I experimented with different wetsuit thicknesses and designs, making the most of less-than-ideal light, how to use my gear to squeeze the most juice out of it, but above all, I learned so much about my subjects!

gary_mak: My new project for 2026 is learning – and mastering – taking wide-angle landscapes with short telephoto lenses - and then pan stitching into a single "wide angle" image. I recently attended a session by Dennis Hammon at Imaging USA 2026. After seeing his magnificent landscapes and hearing his presentation about the reasons for not using a wide-angle lens, it made a lot of sense to me, so I decided that would be a good "technical improvement" project for 2026 for me: Learn how to do landscapes with short telephoto lenses and master pan stitching.

Sirhawkeye: Another project I might also do is a prime lens project (possibly with different focal lengths, but probably will start with 50mm as this is a common focal length). While these types of projects have been done to death by the photo community, they can be a good exercise in learning how to see, and how to approach a scene, especially considering you have one focal length to work with.

Time-based projects

An image from SpiderJacek's photo-a-week project. Photo: Community member SpiderJacek

In my post, I shared that I have completed many projects that involve taking a photo a day for a year, or a photo every week for a year. There were a handful of you who are tackling (or have in the past) something similar, focused on projects that have at least a rough endpoint.

SpiderJacek: "One week, one photo" project

JJack: I did many kinds of projects with the main purpose to either advance my skills or to overcome a creativity block, but none had such a profound effect as joining the Monthly Scavenger Hunt, which required me to shoot 20 differently-themed photos each month. (Actually, it allowed for some slack about using older photos as well – but new ones were much preferred.) Themes varied quite wildly – some simple, some bordering on impossible (at a given time and place). That caused me to keep the list of them in my pocket wherever I went (along with a camera, of course). And since photos were all rated at the end of the month, it was a bit of competition among the participants as well. Very friendly and good-natured, of course, but it provided that bit of extra oomph that kept me doing it for a few years.

It made me really look differently at the world around me. Every little thing became a potential motif – and a speculation about what future hunting themes might bring, so my shooting rate skyrocketed. And to this day, I still tend to shoot everything that's even a bit out of the ordinary, which has provided me with quite diverse themes for photo exhibitions as well during the years.

Jaberg: In December of 2023, I began what was intended to be a "one-year" (thirteen-issue) project, publishing a monthly minizine. Mostly of my vernacular photography, though some event and special project work was included. Limited to 25 copies, distributed to close friends, mostly fellow photographers and artists.

Unfortunately, my father’s health took a turn and, as his primary caregiver, I lost the thread of the project and stopped publishing after seven issues. I don’t beat myself up for this failure. In fact, I don’t look at it as such. I’ve said elsewhere here that I consider process to be more important than product. I got value and learned much from the work that I did. I will return to publishing soon, though possibly switching to a quarterly production schedule.

Long-term projects

NiVoak is working on a long-term project photographing Romanesque Architecture. Photo: Community member NiVoak

The most common responses were projects that are long-term and still ongoing. Many of these focus on specific subjects, but have been years in the making.

Vidja: One other project is to photograph the old doors and windows in old barns and farms around the region before they are gone. This started after an accidental photo of a barn door in my hometown. I now have a collection of more than 200 barn doors and old windows within walking distance of my house.

NiVoak: My Romanesque Architecture is a huge ongoing project. I was fascinated by some Romanesque column capitals in a small country church in the mountains. I have ended up photographing this architecture all over Northern Italy. The subjects range from small county churches, through to the big cathedrals.

I have put together a series of shift lenses. I love this slow photography, and I have developed a lot of new skills. I enjoy playing with perspective effects. I use a tripod when I can and use HDR as standard. I have accumulated a small library of books on the subject, as understanding what you are photographing helps enormously. So photography has been a positive cultural advancement.

Cherry_F likes to photograph plastic and junk as a challenge to find interesting images, even of the mundane. Photo: Cherry_F

Cherry_F: I have various projects that I keep going on in parallel, but my favorite themes are plastic and junk. I believe my creativity most increased when photography prompted me to take a closer look at my environment. Especially about things we find so mundane, we don't even bother about.

Challenge yourself

The common thread between all of these projects is that they are designed to challenge you in some capacity. Whether it's learning a new skill or mastering your gear, gaining a better understanding of a specific subject or forcing yourself to see things in new, fresh ways, your projects aim to push you in some way. If you're feeling stuck in your photography, maybe some of these responses can help you find ideas to source new inspiration or motivation.

Stay tuned for next week's edition of our Question of the Week series. You can also still participate in this question via the link below.

What are you working on? Click here to join the discussion!

We put the USB 3.2 Gen 2 Samsung T7 Shield, USB4 SanDisk Extreme Pro and Thunderbolt 5 OWC Envoy Ultra head-to-head. Photo: Mitchell Clark

These days, there are an overwhelming number of options when it comes to buying an external SSD to expand your computer's storage (an increasingly important ability as Raw sizes and video bitrates balloon). The highest-end options use protocols like Thunderbolt 5 or USB4 to achieve blistering speeds, but this raises the question: do photographers need all that performance?

We tested several SSDs across a range of price points to see if each one had more to offer for photographers, or if the returns quickly diminished.

What we tested and how we tested them

For this article, we used a 1TB Samsung T7 Shield as our sample for USB 3.2 Gen 2, a 2TB SanDisk Extreme Pro to represent USB4 and a Thunderbolt 5 2TB OWC Envoy Ultra. The tests were carried out on a 2024 MacBook Pro with an M4 Pro processor, which supports Thunderbolt 5, and we tested each SSD one at a time, using the cable it came with.

While this isn't meant to act as a review for the specific SSDs we used for our testing, the results can't necessarily be universally applied to each product in their class. For example, the USB4 SanDisk SSD is using the faster 40Gbps version of the spec, but another USB4 SSD may only be able to reach 20Gbps speeds. We may also see faster USB 4 and Thunderbolt 5 drives as the market around those specifications matures, but, as of early 2026, the drives we've tested are some of the best in their respective classes.

How do the drives stack up?

USB 3.2 Gen 2

The magic of USB-C: it can be used for almost anything. The downside of USB-C: it can run at almost any speed.

Starting with our standard-bearer for USB 3.2 Gen 2, the Samsung T7 Shield handled a number of photography-related tasks with aplomb. We didn't notice any hiccups scrolling through a Lightroom Classic library with over 3600 images, and it wasn't meaningfully slower than the competition when we were copying hundreds of Raw/JPEG pairs to it from a CFExpress or SD card. However, it did take noticeably longer to import and build previews for that Lightroom library, and copying files to the drive from the computer (and vice versa) could take several times longer than on our faster drives.

For the photographers who occasionally stumble into the land of video, we also found that the slower SSD struggled a bit more when editing footage off of it. Adobe Premiere would frequently drop frames during playback, and more complex sequences could slow it to a crawl. Final Cut fared a bit better and was surprisingly usable, though there were still occasional hitches.

USB4

Despite the USB 3.2 Gen 2 drive's general competence, there were definitely times when the USB4 drive made it obvious that it was using a next-generation interface capable of real-world read and write speeds anywhere from 2.5 to 6.4 times faster than those of the Samsung model. Moving files back and forth between it and the computer was very quick, and most of the playback issues in our video editing suites disappeared or were substantially less noticeable. And, of course, it handled all our photo editing and organization tasks with the same ease as the lower-end model.

Thunderbolt 5

The point of the Thunderbolt spec is to be an assurance of performance; USB4 may just be Thunderbolt 4 in a trenchcoat, but until you do some digging, you won't know exactly what speeds a piece of USB4 gear can deliver. That's not the case with Thunderbolt.

Unsurprisingly, the Thunderbolt 5 drive easily handled everything we threw at it, and it never felt like it was a performance bottleneck. However, there also weren't any scenarios we ran into where it was noticeably faster than the USB4 drive, outside of our synthetic benchmarks*. While there are probably some users who'd be able to push it to its limits, we suspect most photographers and video editors wouldn't see a ton of benefit over a good USB4 drive.

* - And even there, the gains weren't nearly as large a jump as the one from USB 3.2 Gen 2 to USB4; our Thunderbolt 5 drive ran around 1.2 to 1.8 times faster than our USB4 one, not quite realizing the theoretical 2x improvement that the standard would allow for.

What's in a name?

No discussion of external SSDs would be complete without a rant on just how confusing things have become when it comes to USB ratings and speeds. What was once relatively simple (USB 2 = slow, USB 3 = fast) has become incredibly complex, with the version of USB that your device supports actually telling you very little about what speeds it supports. For example, a device labeled "USB 3.2" may only run at 5Gbps, or it could rival earlier versions of Thunderbolt, supporting up to 20Gbps. USB4 has the same issue, with potential speeds ranging from 10Gbps to 120Gbps.

Wikipedia has an excellent chart showing all the permutations of the USB specification and the speeds they provide. Which explains a bit why the standard is such a nightmare for those who care about performance. Graphic: Wikipedia

While external SSDs usually come with maximum speed ratings that tell you what they should be capable of (even the fastest SSDs won't be capable of fully saturating USB4's top speeds), it's more of a concern when it comes to the port on your computer and the cable you use to connect the two. While the USB Implementers Forum has been leaning on people to label equipment with their speed and power delivery ratings, not everyone will, so you'll want to make sure you're familiar with which ports on your computer are the fastest, and that you're using a high-quality cable that's capable of providing the speeds your SSD needs. If you have a random USB-C to C cable laying around your house that came with some device, assume it runs at USB 2 speeds, and shouldn't be used for transferring data.

The cable that comes with the SanDisk is, thankfully, labeled with the speeds and power delivery that it's capable of, but this is currently far from the norm. Photo: Mitchell Clark

Thankfully, the story is simpler with Thunderbolt, as each generation has only a single speed. If you have a Thunderbolt 4 cable, you know it should run at 40 Gbps. Of course, this is part of the reason why the price floor for Thunderbolt devices and accessories is so much higher than it is for their USB counterparts. It's also worth noting that Thunderbolt is cross-compatible with USB; if you plug a Thunderbolt drive into a 20Gbps USB-C port on your computer, it will still work, albeit at the lower speeds allowed by the connection.

Summary

This isn't a review of the OWC Envoy Ultra, but it's been a very enjoyable drive to use. The attached cable may be a bit of a mixed bag in terms of repairability but means you can never accidentally leave it at home.

For most photography tasks, you can get away with a relatively standard USB 3.2 SSD with a port and cable rated for 10Gbps speeds. If you frequently move around large chunks of data, edit complex videos, or are just generally impatient, though, it may be worth upgrading to a faster USB4 one, with the greatest gains to be had by going with a model that supports a 40Gbps connection. Most photographers and videographers will be able to stop there; unless you just enjoy having the best version of a thing possible, or need a specific feature, capacity or form factor only offered by a Thunderbolt drive,

Viltrox has released a range of high-end lenses for Nikon Z-mount, including the 85mm F1.4 Pro. These appear to have been released without a license from Nikon. Photo: Viltrox

Nikon has responded to reports of it taking legal action against the maker of Viltrox lenses by focusing on its work with licensees of its lens mount.

"Nikon has always worked with officially licensed partner companies to expand the Z-mount ecosystem." the company said in response to questions about the lawsuit: "We promote technological advancement through healthy competition and encourage the use of third-party lenses from manufacturers licensed by Nikon."

The statement notably neither acknowledges nor denies the reports of legal action being taken.

Up until now, a large number of lenses have been available for Nikon's Z-mounts made by third-party makers that aren't part of Nikon's license program; these come in addition to the specific lenses it has issued licenses for, from Tamron and Sigma.

Translations of the court docket by Nikon Rumors suggest Nikon is claiming Viltrox's lenses infringe on patented work. A hearing is scheduled for March 2nd, 2026.

"We... encourage the use of third-party lenses from manufacturers licensed by Nikon"

Like Canon, Nikon has been selective about which third-party lenses it's issued licenses for, but whereas Canon pursued both Samyang and Viltrox to prevent them from offering unlicensed products, this is the first instance we've seen of Nikon taking legal action against companies that haven't licensed the mount and its communication protocol.

If Nikon prevails in the case, we'd expect to see Z-mount Viltrox lenses withdrawn from the market. It's unclear where that would leave existing owners of Z-mount Viltrox lenses. Firmware updates for cameras have previously caused compatibility issues with unlicensed lenses, and Viltox may be blocked from updating them if the patents in question relate to the communication protocol.

Success for Nikon may also prompt other third parties to withdraw their Z-mount lenses, if they conclude their designs touch on the same patented technologies.

Image: Adobe

Adobe has announced Premiere 26, the latest version of its video editing software that brings a useful feature out of beta, adds support for the R3D NE Raw files that Nikon introduced with the video-focused ZR and comes with a subtle change to the program's name.

The flagship new feature of Premiere 26 is Object Masks, which the company started publicly beta testing late last year. It updates the editor's built-in masking tools to make it much easier to select a specific subject in your video, such as a person or object, and cut it out so you can apply effects to it independently from the background (a process video editors will know as "rotoscoping"). Like Final Cut's similar "Magnetic Mask" feature, Premiere can then track the mask forwards and backwards through the footage, so it follows the subject and adapts its shape as it or the camera moves. Of course, the program allows you to tweak the mask it generates, if the AI behind it doesn't create a perfect cut out.

While it took a long time for Premiere to get support for Nikon's proprietary NRaw video codec, things have moved a little faster with the company's latest format, R3D NE. Just a few months after the camera that debuted the format launched, Adobe has added native support for it to Premiere, letting you edit and color grade R3D NE footage.

The updated Adobe Stock panel. Image: Adobe

The update also brings updated versions of the Frame.io and Adobe Stock panels, making it easier to pull media from your own projects and elsewhere into your edit. However, perhaps the most interesting (though most superficial) is that Adobe seems to have taken a cue from The Social Network and Final Cut by dropping a word from the program's name: the app, formerly known as Premiere Pro, is now simply Premiere. During a briefing, Adobe representatives said this subtle rebranding doesn't signal a move away from it being a tool for professionals; instead, it seems to be Adobe just accepting that most editors were already just referring to it as "Premiere" anyways.

Premiere 26 is available for Creative Cloud subscribers to download starting today.

Nikon Z8 | Tamron 70-180mm F2.8 | 180mm | F4 | 1/200 sec | ISO 125

Photos: Mitchell Clark

Late last year, Tamron announced that it was bringing its venerable 70-180mm F2.8 Di III VC VXD G2 to Nikon's Z mount. We took the opportunity to shoot a sample gallery with it, to get an idea for how it performs, and how much it asks you to give up compared to a heavier, larger and more expensive 70-200mm F2.8.

That is a bit of a spoiler for what the experience of shooting with the lens was like. Its size makes it much more usable as an everyday walkabout lens than your typical 70-200mm F2.8, and I found myself taking it places I normally wouldn't bring this class of lens, just because it'd be too much of a hassle to do so.

Even extended, the Tamron 70-180mm F2.8 Di III VC VXD G2 isn't particularly long (unlike its name).

The autofocus motors in the lens were snappy enough that I never felt like they were holding the camera back, even when I was shooting fast-moving subjects like horses. I also appreciated the lens's inclusion of optical image stabilization, which, when paired with the Z8's in-body stabilization, let me get sharp handheld shots at shutter speeds that would typically be difficult to manage with a telephoto lens.

Optically, you do give up a bit compared to the more premium options; as evidenced by several photos in our sample gallery, there's some pretty heavy vignetting at F2.8, though it's noticeably better at F4, and pretty much clears up by F5.6. There's also, of course, the 20mm difference at the long end, though in most scenarios, most photographers won't really notice the difference between a photo shot at 180mm and one shot at 200mm. The lens is also reasonably sharp throughout its range, and has relatively pleasing bokeh wide-open.

The vignetting will be most noticeable when shooting relatively bright, featureless surfaces like the sky, and is less distracting in other situations. Nikon Z8 | Tamron 70-180mm | 180mm | F2.8 | 1/200 sec | ISO 80

Finally, there are the controls. The lens has a single customizable button, which is always a nice inclusion, and Nikon allows you to assign a wide variety of functions to it. I also appreciated the inclusion of a lock switch to keep the lens retracted. It's an extending zoom design (which isn't my favorite, but makes sense given its size), and having the ability to keep it from walking while I was carrying it around was much appreciated. However, it's worth noting that it's quite a strong lock; unlike with some of Sigma's lenses, you can't overpower it if you forget to deactivate it before raising the camera up to your eye.

My biggest complaint with the lens is the focus ring, which is quite sensitive, and is situated exactly where I'd typically rest my hand. This led me to frequently bump the camera into manual focus mode at inopportune times. If I spent long enough with the lens, I'm sure I'd adapt to it (and the focus ring's location will be more familiar to those who only shoot Nikon), but I ended up simply setting it to do nothing in the camera's settings.

The buttons are nice to use, but the focus ring can be quite touchy, and doesn't leave you much room to hold the lens.

Minor complaints and personal preferences aside, I found the Tamron 70-180mm F2.8 Di III VC VXD G2 to be a capable and versatile lens, especially for the price. But be sure to check out the gallery below so you can make your own assessments.

I took this photo while touring Astoria, Oregon, solely to explore the sites featured in the 1985 movie The Goonies. The photo depicts the driveway sign leading up to the house where some of the Goonies kids lived. Photo: Mathew Anderson

Our January Editors' photo challenge theme is "Silly Signs."

Photos can be submitted between Sunday, January 18, and Saturday, January 24 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a description 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 the full rules

Photo: Abby Ferguson

Getting a new camera is always exciting, even if it's only new to you. So much so that it can be tempting to jump right into using it without much, if any, setup. However, despite the urge to get started right away, it's important to take a few minutes to review some important settings. Doing so can make a significant difference in what your first impressions of the camera are and how the first photos you take turn out.

It's important to note that different genres of photography and video will require their own specific tweaks. However, there are some foundational settings that stay the same no matter what you like to capture, especially when setting up a new camera. This guide focuses on core settings to help beginners navigate a new camera.

Additionally, each specific camera brand will have its own intricacies. We'll touch on some of the more prominent ones in a later article. For now, our focus is on more general settings that apply to most people, no matter their camera brand.

Settings everyone should change

There are a few settings that everyone should check and potentially change when dealing with a new camera. These are relevant to every photographer, no matter your preferred genre or camera brand.

Time and date

When you turn on a new camera for the first time, you'll be prompted to make a few changes right off the bat, including time and date. Some cameras let you skip this step, but it’s best not to. Also, if you bought a used camera, we'd advise looking up how to do a complete reset and then entering the correct information. After all, having the correct date and time will make it easier to organize your photos and videos later on, so it's useful to start here.

Firmware updates

Canon's firmware menu screen will tell you at a glance which version of firmware you have. Screenshot: Mitchell Clark

Your camera may be brand new, but it was likely sitting on a shelf for some time before you brought it home. As a result, there could be new firmware available, which is usually worth installing right away. Some new firmware updates are minor, simply enhancing stability or improving security, but they can also unlock new features and improve performance, so it's important to make sure your camera is up to date. New cameras from many brands will now check for you when you connect them to your phone for the first time, so it's also worth downloading the relevant app, too.

If you bought a used camera, you don't necessarily know if the previous owner kept it updated. As a result, we'd recommend checking whether new firmware is available. To check if there's new firmware, head to the manufacturer's website and see if there's an updated version for your camera's model.

Set the diopter

The dial just to the right of the viewfinder is the diopter dial. Photo: Abby Ferguson

The diopter is an often overlooked and even unknown feature on cameras. The diopter is a tiny optical lens in front of the viewfinder with a small wheel off to the side. It allows you to make small adjustments to the viewfinder so that it matches your eyesight, ensuring that text and details look sharp. It doesn't change the sharpness of your photos, only what you see in the viewfinder. However, with a mirrorless camera, having it set wrong could make you think your shots aren't sharp, so it's critical to dial this in. You can think of it like changing the prescription of your viewfinder. If you have a camera without a viewfinder, this won't be relevant; however, if your camera does have one, be sure to set it up correctly right out of the box.

Image quality and file format

A screenshot of Canon's interface for choosing image type and size. Screenshot: Mitchell Clark

Your new camera will arrive with the file format set to JPEG only. While that works well for photographers who don't need the greater control that Raw files unlock, it's not the preferred option for some. If you're the type of photographer who expects to use Raw files, make sure to change your file format settings right off the bat. Or, you can select to shoot both Raw and JPEG at once, giving you the best of both worlds. If you're unsure or on the fence, we'd suggest shooting in Raw. You can always discard the file if you don't need it, but if you get a shot you really want to edit, you can't acquire the Raw data later.

It's also worth checking the image quality settings while you're at it. Even if you shoot in JPEG only, there are multiple options to choose from that determine how large your files are. We'd recommend shooting in the largest, highest quality your camera offers. Even the largest JPEGs are pretty small, and you can always downsize or recompress a large file, but you can't regain the quality or detail you didn't originally save.

Settings to consider changing

There are settings everyone should definitely check, like the ones above, and others that many people prefer to adjust right away, while others may not. The default settings all have reasons for being there, so they make sense in certain situations and for some people, but many photographers prefer to turn them off or change them immediately.

Beeps, sounds and audio signals

We'd suggest turning the beeps off right away. This is what the menu looks like on a Nikon camera. Screenshot: Mitchell Clark

Most camera manufacturers have lots of beeps turned on by default. These could be beeps for focus confirmation, for starting a recording, menu beeps and so on. For most of us, those constant noises can drive us (as well as the people around us) mad, so we'd suggest you turn them off right away. That's especially true if you're photographing in any situation where quiet is important. The only reason to leave the beeps on is if that added notification is helpful to you when using your camera, but there are also other tools you can employ in most situations that you'd use beeps.

AF-assist light

Another feature that's typically turned on by default is the AF-assist light (it can go by different names depending on the brand). It's a small light on the front of the camera that is intended to lightly illuminate a subject, helping your camera focus in dark conditions.

However, autofocus systems in cameras these days are impressive even in very low light, and that light can be annoying or even disruptive. It's not fun for a subject to have a beam of light in their eyes when you press the shutter. Plus, it's only effective for subjects that are close to the camera. Unless you know you'll need it, we'd recommend turning that off right away.

Autofocus settings

Autofocus options on a Panasonic camera. Screenshot: Mitchell Clark

Modern cameras have a long list of autofocus settings you can tweak, such as focus mode, focus area, subject detection and more. Most of these settings will depend on your specific type of photography or subject. Additionally, some may not be "set it and forget it" settings if you shoot a wide range of subjects. In those situations, we'd suggest getting a feel for the settings and modes you find yourself using, then checking if there's a way to configure your camera to quickly switch between your favorites.

Whether you shoot a variety of genres or stick to one, it's still worth going into the autofocus menu on your new camera. For many, you'll likely end up changing the focus mode and subject detection option to ensure that the settings align with how you most often photograph. If you don't photograph a lot of people, for example, you don't want the subject detection mode to be set to Human.

Don't forget your personal preferences

The above items are likely just a starting point for many photographers. It's also important to remember that you are the one using your camera, and choosing the settings that work best for your workflow and preferences is always the way to go. It may take time to dial in your new camera, but spending the time to figure out the best setup for your needs will help you enjoy using the camera a lot more.

We put the USB 3.2 Gen 2 Samsung T7 Shield, USB4 SanDisk Extreme Pro and Thunderbolt 5 OWC Envoy Ultra head-to-head. Photo: Mitchell Clark

These days, there are an overwhelming number of options when it comes to buying an external SSD to expand your computer's storage (an increasingly important ability as Raw sizes and video bitrates balloon). The highest-end options use protocols like Thunderbolt 5 or USB4 to achieve blistering speeds, but this raises the question: do photographers need all that performance?

We tested several SSDs across a range of price points to see if each one had more to offer for photographers, or if the returns quickly diminished.

What we tested and how we tested them

For this article, we used a 1TB Samsung T7 Shield as our sample for USB 3.2 Gen 2, a 2TB SanDisk Extreme Pro to represent USB4 and a Thunderbolt 5 2TB OWC Envoy Ultra. The tests were carried out on a 2024 MacBook Pro with an M4 Pro processor, which supports Thunderbolt 5, and we tested each SSD one at a time, using the cable it came with.

While this isn't meant to act as a review for the specific SSDs we used for our testing, the results can't necessarily be universally applied to each product in their class. For example, the USB4 SanDisk SSD is using the faster 40Gbps version of the spec, but another USB4 SSD may only be able to reach 20Gbps speeds. We may also see faster USB 4 and Thunderbolt 5 drives as the market around those specifications matures, but, as of early 2026, the drives we've tested are some of the best in their respective classes.

How do the drives stack up?

USB 3.2 Gen 2

The magic of USB-C: it can be used for almost anything. The downside of USB-C: it can run at almost any speed.

Starting with our standard-bearer for USB 3.2 Gen 2, the Samsung T7 Shield handled a number of photography-related tasks with aplomb. We didn't notice any hiccups scrolling through a Lightroom Classic library with over 3600 images, and it wasn't meaningfully slower than the competition when we were copying hundreds of Raw/JPEG pairs to it from a CFExpress or SD card. However, it did take noticeably longer to import and build previews for that Lightroom library, and copying files to the drive from the computer (and vice versa) could take several times longer than on our faster drives.

For the photographers who occasionally stumble into the land of video, we also found that the slower SSD struggled a bit more when editing footage off of it. Adobe Premiere would frequently drop frames during playback, and more complex sequences could slow it to a crawl. Final Cut fared a bit better and was surprisingly usable, though there were still occasional hitches.

USB4

Despite the USB 3.2 Gen 2 drive's general competence, there were definitely times when the USB4 drive made it obvious that it was using a next-generation interface capable of real-world read and write speeds anywhere from 2.5 to 6.4 times faster than those of the Samsung model. Moving files back and forth between it and the computer was very quick, and most of the playback issues in our video editing suites disappeared or were substantially less noticeable. And, of course, it handled all our photo editing and organization tasks with the same ease as the lower-end model.

Thunderbolt 5

The point of the Thunderbolt spec is to be an assurance of performance; USB4 may just be Thunderbolt 4 in a trenchcoat, but until you do some digging, you won't know exactly what speeds a piece of USB4 gear can deliver. That's not the case with Thunderbolt.

Unsurprisingly, the Thunderbolt 5 drive easily handled everything we threw at it, and it never felt like it was a performance bottleneck. However, there also weren't any scenarios we ran into where it was noticeably faster than the USB4 drive, outside of our synthetic benchmarks*. While there are probably some users who'd be able to push it to its limits, we suspect most photographers and video editors wouldn't see a ton of benefit over a good USB4 drive.

* - And even there, the gains weren't nearly as large a jump as the one from USB 3.2 Gen 2 to USB4; our Thunderbolt 5 drive ran around 1.2 to 1.8 times faster than our USB4 one, not quite realizing the theoretical 2x improvement that the standard would allow for.

What's in a name?

No discussion of external SSDs would be complete without a rant on just how confusing things have become when it comes to USB ratings and speeds. What was once relatively simple (USB 2 = slow, USB 3 = fast) has become incredibly complex, with the version of USB that your device supports actually telling you very little about what speeds it supports. For example, a device labeled "USB 3.2" may only run at 5Gbps, or it could rival earlier versions of Thunderbolt, supporting up to 20Gbps. USB4 has the same issue, with potential speeds ranging from 10Gbps to 120Gbps.

Wikipedia has an excellent chart showing all the permutations of the USB specification and the speeds they provide. Which explains a bit why the standard is such a nightmare for those who care about performance. Graphic: Wikipedia

While external SSDs usually come with maximum speed ratings that tell you what they should be capable of (even the fastest SSDs won't be capable of fully saturating USB4's top speeds), it's more of a concern when it comes to the port on your computer and the cable you use to connect the two. While the USB Implementers Forum has been leaning on people to label equipment with their speed and power delivery ratings, not everyone will, so you'll want to make sure you're familiar with which ports on your computer are the fastest, and that you're using a high-quality cable that's capable of providing the speeds your SSD needs. If you have a random USB-C to C cable laying around your house that came with some device, assume it runs at USB 2 speeds, and shouldn't be used for transferring data.

The cable that comes with the SanDisk is, thankfully, labeled with the speeds and power delivery that it's capable of, but this is currently far from the norm. Photo: Mitchell Clark

Thankfully, the story is simpler with Thunderbolt, as each generation has only a single speed. If you have a Thunderbolt 4 cable, you know it should run at 40 Gbps. Of course, this is part of the reason why the price floor for Thunderbolt devices and accessories is so much higher than it is for their USB counterparts. It's also worth noting that Thunderbolt is cross-compatible with USB; if you plug a Thunderbolt drive into a 20Gbps USB-C port on your computer, it will still work, albeit at the lower speeds allowed by the connection.

Summary

This isn't a review of the OWC Envoy Ultra, but it's been a very enjoyable drive to use. The attached cable may be a bit of a mixed bag in terms of repairability but means you can never accidentally leave it at home.

For most photography tasks, you can get away with a relatively standard USB 3.2 SSD with a port and cable rated for 10Gbps speeds. If you frequently move around large chunks of data, edit complex videos, or are just generally impatient, though, it may be worth upgrading to a faster USB4 one, with the greatest gains to be had by going with a model that supports a 40Gbps connection. Most photographers and videographers will be able to stop there; unless you just enjoy having the best version of a thing possible, or need a specific feature, capacity or form factor only offered by a Thunderbolt drive,

2025 DPG Masters Underwater Imaging Competition

DivePhotoGuide (DPG) has announced the winners of its Masters Underwater Imaging Competition 2025. The contest consists of nine image categories, including wide angle, macro, over-under, compact and more, along with one video category. It also awards one overall winner, with this year's honor going to Yuka Takahashi for her stunning image of two humpback whales swimming side by side in Mo'orea.

The DPG Masters Underwater Imaging Competition may be smaller than some photo competitions, but it still showcases stunning imagery. This year's edition received more than 2000 entries from underwater photographers and videographers around the world. A panel of six judges – Nicolas Remy, Jennifer Hayes, Álvaro Herrero (Mekan), Jill Heinerth, Aaron Wong, and Kate Jonker – selected the winners and runners-up, awarding a total of $85,000 in prizes. The contest also donates 15% of proceeds to marine conservation efforts.

You can see all of the winning images and learn more about the contest at the DPG website.

Overall Winner, Wide Angle - Gold

Photographer: Yuka Takahashi

Country: Japan

Title: Synchronized Humpback Whales

Shooting location: Mo’orea, French Polynesia

Equipment and settings: Sony a7R Mark IV, Sony FE 16–35mm F2.8, SeaFrogs housing (F4.5, 1/500s, ISO 320)

Photographer's comment: A pair of humpback whales swims in synchronicity off the French Polynesian island of Mo’orea. Every year, migrating humpback whales from the Southern Hemisphere journey to Mo’orea to use its warm waters as a nursery and resting ground. These two humpbacks are always seen together, and I was fortunate to capture this rare moment in which they mirrored each other’s position and movement almost perfectly. Living close to nature has taught me lessons no textbook ever could, including the realization that each animal has a unique personality. To me, this photograph reflects the strong bond between the two whales while also revealing their playful and curious nature. One of the most special moments I have experienced, this encounter truly made me feel a deep connection with wildlife.

Copyright © Yuka Takahashi | UnderwaterCompetition.com

Wide Angle - Silver

Photographer: Evgenii Ivkov

Country: Russia

Title: Through the Looking Glass

Shooting location: Lakey Peak, Sumbawa, Indonesia

Equipment and settings: Canon EOS 5D Mark IV, Canon EF 8–14mm F4 Fisheye, Liquid Eye housing (F10, 1/2000s, ISO 1000)

Photographer's comment: There was a good weather forecast on this particular day of our surf trip to Sumbawa, and I knew I had a great opportunity to try and get some underwater shots with a surfer in a tube, as the water clarity and conditions were perfect. The hardest part was constantly being in the breaking zone of fairly large and powerful waves. You need to understand and read the ocean well to do that. A small mistake can be very costly if you’re in the wrong place. The swell that day was great. The waves were double overhead, and the surfers put on a show. I spent almost two hours in the water and made numerous attempts before I got a really good series. The best waves were taken by local surfers, and one of the Indonesian surfers is in the photo.

Copyright © Evgenii Ivkov | UnderwaterCompetition.com

Macro - Gold

Photographer: Sunbong Jung

Country: South Korea

Title: House Cleaning

Shooting location: Anilao, Batangas, Philippines

Equipment and settings: Canon EOS R5, Canon RF 100mm F2.8 Macro, Seacam housing, Retra strobes (F2.8, 160s, ISO 400)

Photographer's comment: A bluestriped fangblenny repeatedly scoops up sand from its burrow with its mouth and spits it out. At first glance, the behavior appears random, almost playful, but closer observation reveals a precise and purposeful routine. The fish follows a systematic three-step excavation process, carefully clearing its home grain by grain. This image captures the final and most dramatic stage—the moment the fangblenny launches itself upward from the burrow at roughly a 45-degree angle, forcefully ejecting the remaining sand as far away as possible. The brief burst of motion, frozen in time, highlights both the intelligence and determination hidden within this tiny reef dweller.

Copyright © Sunbong Jung | UnderwaterCompetition.com

Macro - Silver

Photographer: Wojtek Męczyński

Country: Poland

Title: Pregnant Denise

Shooting location: Lembeh, Indonesia

Equipment and settings: OM System OM-1 Mark II, Olympus M.Zuiko 90mm F3.5 Macro, Nauticam housing, Inon Z-240 strobes, Backscatter MW-4300 video light (F18, F160s, ISO 200)

Photographer's comment: Prior to this dive, our guides had mentioned that there was a possibility of encountering a Denise’s pygmy seahorse, but after entering the water, there wasn’t much to see and I remember thinking our chances were slim. Yet, when we reached this small, pristine fan coral, I was amazed—and overjoyed—to find this tiny, pregnant pygmy living there. I took just three or four shots, trying not to disturb the animal too much. It seemed to pose proudly among the branches of the fan.

Copyright © Wojtek Męczyński | UnderwaterCompetition.com

Traditional - Gold

Photographer: Chris Gug

Country: USA

Title: King of the Hill

Shooting location: Tulamben, Bali, Indonesia

Equipment and settings: Nikon Z8, Nikon Z 105mm F2.8 Macro, Nauticam housing, Backscatter HF-1 strobes (F25, 1/25s, ISO 320)

Photographer's comment: On the way back up a deep, sandy muck slope, at 25 feet, I saw my 30th tube anemone of the dive, and I habitually—obsessively—inspect each and every one for symbionts. The prize I was looking for wasn’t just present but perched in the perfect spot, looking like the ruler of its domain. Before beginning to shoot, I knew I wanted a blue background rather than black, so I slowed the shutter speed. Since I had to be quite far back for this composition with my 105mm macro lens, I moved my strobes all the way forward to try to minimize backscatter. Then the challenge was getting a crisp shot at 1/25s (since I’m an ISO noise snob) as the anemone swayed back and forth in the current. So, much to the chagrin of my housing’s already-gritty O-rings, I braced the housing in the sand as a poor excuse for a tripod. I checked this anemone each time I repeated this site over the next few weeks, and the crab was never there again, so I’m glad I dedicated all the time I could when the chance presented itself.

Copyright © Chris Gug | UnderwaterCompetition.com

Traditional - Silver

Photographer: Galice Hoarau

Country: Norway

Title: Shaw’s Sea Snake

Shooting location: Anda, Bohol, Philippines

Equipment and settings: Sony a7R Mark IV, Sony FE 90mm F2.8 Macro, Nauticam housing, Nauticam EMWL-1 with 160° Objective Lens, Retra Flash Pro Max strobes (F16, 1/160s, ISO 640)

Photographer's comment: Encountering this sea snake (Hydrophis sp.) during a dive off Anda in the Philippines, I noticed some rather unusual behavior. First, the snake was rubbing itself on the sand in a vertical U-shape, then it was literally tying itself in knots. I could see pieces of skin hanging at the tail—it was shedding! Although sea snakes are known to exhibit such behavior to help slough off their old skin, it has rarely been captured in a photo—so I knew I had captured something special.

Copyright © Galice Hoarau | UnderwaterCompetition.com

Unrestricted - Gold

Photographer: Karyll Gonzalez

Country: USA

Title: Even Eyes Deserve a Spa Day

Shooting location: Lembeh Strait, Indonesia

Equipment and settings: Nikon D7200, Nikon AF-S 60mm F2.8 Macro, Nauticam housing, Sea&Sea YS-D2 strobes, 10Bar macro snoot (F11, 1/250s, ISO 200)

Photographer's comment: This composite image was created during a multi-week trip to Lembeh, Indonesia. Our dive guide found a black sand patch with multiple snake eels, but this was the only one that had cleaner shrimp associated with it. With the dive guide assisting by holding my snoot, the shrimp moved along the snake eel and I managed to capture this shot with the crustacean over its eye. The sun ball that forms the background was shot later on the trip.

Copyright © Karyll Gonzalez | UnderwaterCompetition.com

Unrestricted - Silver

Photographer: Fan Ping

Country: China

Title: Skull at Green Cave Sink

Shooting location: Meizhou, Guangdong, China

Equipment and settings: Sony a7S Mark III, Sony FE 28–60mm F4–5.6, Nauticam housing, Nauticam WACP-1, DivePro G18 video light (F5, 1/400, ISO 16000)

Photographer's comment: The skull in this photo was the first human remains we saw after descending into Green Cave Sink (绿窟潭), which is thought to have once served as a site for ritual executions. It was resting quietly on a rock ledge, just 15 feet below the surface. Over time, minerals in the water had begun to coat its surface, leaving behind distinct signs of calcification—like a silent rust left by the passing of centuries. In that moment, I didn’t feel fear, or even fascination. What I felt was heavier: This wasn’t a movie prop, or a prank planted by some thrill-seeking explorer. It was real. Someone once lived here. And now, they remained here.

Copyright © Fan Ping | UnderwaterCompetition.com

Over-Under - Gold

Photographer: Anton Sorokin

Country: USA

Title: Sierran Gold

Shooting location: Sierra Nevada mountains, CA, USA

Equipment and settings: Nikon D810, Nikon AF-S 8–15mm F3.5–4.5 Fisheye, Nauticam, Seacam strobes (F16, 1/60s, ISO 400)

Photographer's comment: In the spring, in California’s Sierra Nevada mountains, streams fed by snowmelt flow cold and clear. Remarkably resistant to the cold temperatures, Sierra newts (Taricha sierrae) take to the water to breed, spending weeks in the stream. During this time, they will find a mate and lay their eggs on the underside of boulders underwater in deeper pools. From above the water’s surface, a newt appears as a golden-orange shimmer on the bottom of the fast-flowing stream; one has to wonder how often during California’s gold rush prospectors mistook the amphibians for precious metals!

Copyright © Anton Sorokin | UnderwaterCompetition.com

Over-Under - Silver

Photographer: Suliman Alatiqi

Country: Kuwait

Title: Marine-Adapted from Head to Toe

Shooting location: Midriff Islands, Mexico

Equipment and settings: Nikon D850, Nikon AF-S 8–15mm F3.5–4.5 Fisheye, Nauticam housing (F10, 1/125s, ISO 100)

Photographer's comment: This split shot, captured with a close-focus wide-angle technique, aims to emphasize the key features of the brown booby (Sula leucogaster), a sleek, agile seabird perfectly adapted to the open ocean. The brown booby is commonly encountered resting on the water’s surface, its water-repellent feathers preventing it from becoming too heavy for takeoff and also helping insulate its body to maintain heat. Webbed feet allow it to efficiently paddle through the water while diving for food and give it the ability to launch itself from the water’s surface. Meanwhile, the dagger-like shape of its beak helps keep it streamlined when diving to minimize drag, while the sharp tip aids in piercing its slippery prey, such as fish and squid. Finally, its forward-positioned eyes provide binocular overlap, which aids in depth perception when judging plunge-dives.

Copyright © Suliman Alatiqi | UnderwaterCompetition.com

Conservation - Gold

Photographer: James Ferrara

Country: USA

Title: Survivor

Shooting location: Sri Lanka

Equipment and settings: Sony a7R Mark V, Sigma 15mm F1.4 Fisheye, Nauticam housing (F11, 1/800s, ISO 320)

Photographer's comment: While on an expedition in Sri Lanka, we encountered an olive ridley turtle ensnared in ghost fishing nets, drifting amid the active gear of a nearby fishing boat. After speaking with the fishermen and receiving their permission, my wife and I, along with our boat captain, entered the water to help free the animal. As we worked, we discovered the turtle was already missing a front flipper, likely the result of a previous entanglement. Carefully cutting away the ropes, we released its trapped back flipper and watched as it swam free—now relying on only two flippers on one side of its body. The turtle disappeared into the blue, its ultimate fate remaining unknown. What stayed with me was its resilience and undeniable will to survive. I hope this image resonates with the wider public, serving as a quiet but powerful reminder of the lasting impact human activities have on these remarkable marine creatures.

Copyright © James Ferrara | UnderwaterCompetition.com

Conservation - Silver

Photographer: Daniel Taylor

Country: Mexico

Title: Entangled Fates

Shooting location: Baja California Sur, Mexico

Equipment and settings: Canon EOS R, Canon RF 15–35mm F2.8, Nauticam housing (F10, 1/500s, ISO 800)

Photographer's comment: On August 2nd, 2025—less than 48 hours after Baja California’s annual three-month shark fishing ban was lifted—I was exploring the ocean with friends when something caught my eye through binoculars in the distance. At first, it looked like drifting trash. But as we approached, two small fin tips barely breaking the surface beside an empty plastic soda bottle revealed the truth: This male silky shark had mistaken a meal for survival, and lost.

Here, shark fishing often exists within complex and sometimes illegal networks, where intervening can place one’s own life at risk. Before getting closer, we scanned the horizon for nearby boats that might have set the line. Knowing what I would find, our captain stood watch as I entered the water. In that moment, our paths were bound by the same line, but with very different outcomes. The shark’s fate was sealed; mine was a choice. Unable to free it without putting myself in danger, I used the only tool I could safely employ: my camera. I hope the images I took will help to give a voice to those entangled in a system they cannot escape or fight against.

Copyright © Daniel Taylor | UnderwaterCompetition.com

Cold Water - Gold

Photographer: Francesco Visintin

Country: Italy

Title: Blue Crayfish

Shooting location: Tuscany, Italy

Equipment and settings: Nikon Z8, Nikon AF-S 8–15mm F3.5–4.5 Fisheye, Isotta housing, Isotta RED64 strobes (F16, 1/25s, ISO 800)

Photographer's comment: This freshwater crayfish (Austropotamobius pallipes italicus) displays an extraordinary blue coloration caused by a rare genetic mutation. While the species is normally camouflaged in hazel or olive tones to blend with the riverbed, a disrupted bond between carotenoid pigments and specific proteins reveals this striking blue hue, an exceptionally uncommon phenomenon in nature. Beyond its unusual appearance, this species is a sensitive indicator of ecosystem health, surviving only in pristine freshwater environments with stable temperatures, high oxygen levels, and minimal human disturbance. Today, its populations are in severe decline due to habitat fragmentation and degradation, the spread of pathogenic agents such as crayfish plague, and increasing pressure from invasive alien predators, including raccoons.

Copyright © Francesco Visintin | UnderwaterCompetition.com

Cold Water - Silver

Photographer: James Ferrara

Country: USA

Title: Killer Light

Shooting location: Norway

Equipment and settings: Sony a7R Mark V, Sigma 15mm F1.4 Fisheye, Nauticam housing (F4, 1/250s, ISO 800)

Photographer's comment: I set out to photograph orcas in the frigid fjords of Norway, where conditions can be unpredictable and often unforgiving. During my time there, however, the weather was nothing short of extraordinary. On this particular day, the sun shone brightly beneath a clear blue sky—an uncommon gift for this time of year. A pod of roughly 10 orcas was actively feeding on herring when one individual broke away from the group and moved toward the light. I followed at a distance as the orca swam calmly into the sunlit water, then suddenly turned and headed directly toward me. At the last possible moment, it veered aside, offering a perfectly framed, full-body view illuminated by cascading rays. Opportunities for a composition like this are rare, requiring timing, trust, and a great deal of luck. I feel incredibly fortunate to have witnessed—and captured—this fleeting, unforgettable moment in the wild.

Copyright © James Ferrara | UnderwaterCompetition.com

Compact - Gold

Photographer: Manuel Wüthrich

Country: Switzerland

Title: Tree of Life

Shooting location: Cenote Dos Pisos, Mexico

Equipment and settings: Sony RX100 Mark VII, Nauticam housing, Nauticam WWL-C, three X-Adventurer M8000 video lights (F2.8, 1/50s, ISO 1600)

Photographer's comment: In Mexico’s Cenote Dos Pisos, earth, water, and time merge into a single, breathing organism. Roots break through the ceiling of the cave and reach deep into the water. Light filters through the earth, bathing the scene in a mysterious glow. Millennia have shaped these formations, and yet everything feels alive. When I dove there, it was the silence that struck me. It was as if nature whispered its story—of rain seeping through limestone, of roots searching for life, and of light offering hope. It was a moment that reminded me how deeply everything is connected.

Copyright © Manuel Wüthrich | UnderwaterCompetition.com

Compact - Silver

Photographer: Johan Letang

Country: France

Title: In Meditation

Shooting location: Tahiti, French Polynesia

Equipment and settings: Canon G7X Mark III, Nauticam housing (F2.2, 1/1600s, ISO 800)

Photographer's comment: This is my favorite snorkeling spot in Tahiti, a place I return to again and again, never expecting the same encounter twice. That day, the ocean offered me this turtle, which was unusually calm and serene. When she rose to the surface, she didn’t simply take a breath and drift back down to rest on the reef. She stayed there, suspended between the marine world and the air above. Floating effortlessly, she slowly changed her position, adjusting her body as if searching for perfect alignment with her surroundings. Watching her, I had the strange and powerful feeling of being in the presence an animal in meditation. It reminded me why I keep coming back. You can enter the same water dozens of times, yet every immersion is a rediscovery of the marine world and its inhabitants, always offering something new to those willing to pause and observe.

Copyright © Johan Letang | UnderwaterCompetition.com

Portfolio - Gold

Photographer: Tom Shlesinger

Country: Israel

Title: Oceans of Life: Coral’s Annual Miracle

Shooting location: Gulf of Aqaba, Red Sea, Eilat, Israel

Equipment and settings: Sony a1, Sony FE 12–24mm F2.8, Nauticam housing, Retra Flash Pro Max strobes (F16, 1/60s, ISO 400)

Photographer's comment: In a breathtaking spectacle, thousands of corals spanning vast reef expanses release their reproductive material simultaneously—a fleeting moment that unfolds within minutes, once a year. A vibrant, upside-down snowstorm ensues as billions of colorful eggs and sperm disperse through the currents, converging to create new life. This photographic project, part of an ongoing scientific journey, chronicles the unique reproductive phenomena of corals, shedding light on the intricacies of their underwater world and the challenges they face in an ever-changing environment.

Copyright © Tom Shlesinger | UnderwaterCompetition.com

Portfolio - Silver

Photographer: Frank Aron

Country: Germany

Title: Orange, Black and Green: The Colors of Diving in Flooded Slate Mines

Shooting location: Nuttlar, Germany

Equipment and settings: Sony a7C, Sony FE 28mm F2, Nauticam housing, Nauticam WWL-1, Bigblue VL65000P and other video lights (F8, 1/30s, ISO 2500)

Photographer's comment: Orange rusty remains create a pleasing contrast to the greenish/black walls of the flooded slate mines in northern Germany. My goal in this portfolio is to show this color contrast by using powerful video lights. The orange main subjects are in the foreground of the image, near the camera, so that the color is not absorbed by the water. The greenish/black slate walls form the background, thereby underlining the orange color, which sometimes appears golden. The beams of light and shadows create a certain depth in the image while the illuminated diver provides an important sense of scale.

Copyright © Frank Aron | UnderwaterCompetition.com

2026 World Sports Photography Awards

The winners of the 2026 World Sports Photography Awards have been announced, highlighting impeccable timing, dramatic lighting and memorable moments. The contest showcases work from sports photographers across 24 categories, spanning more than 50 sports, including American Football, Baseball, Football, Formula 1, and more. In addition to Gold, Silver, Bronze and Special Merit awards in each category, the jury selects a Gold, Silver and Bronze Grand Prix award for the three top images.

This year's edition drew a record number of submissions. 23,130 images were submitted by 4120 photographers from 123 countries. "The images recognised this year showcase photographers at their creative best, pushing boundaries, seeing differently and capturing sport in ways we’ve not experienced before," said Richard Shepherd, Product Marketing Senior Manager, Imaging at Canon Europe.

You can see all of the winning images and learn more about the contest at the World Sports Photography Awards website.

Grand Prix - Gold

Photographer: Edgar Su

Image Title: Carlos' Shadow Hits A Ball

Award(s): Grand Prix - Gold, Tennis - Gold

Description: Tennis - Australian Open - Melbourne Park, Melbourne, Australia - January 19, 2025 Spain's Carlos Alcaraz in action during his fourth round match against Britain's Jack Draper

Grand Prix - Silver

Photographer: Beatriz Ryder da Costa

Image Title: The Underworld

Award(s): Grand Prix - Silver, Aquatic - Gold

Description: We were deep in the Solomon Islands, on an island where we were the first white people anyone had ever seen, and yes, we were worried about saltwater crocs. I snapped the photo not knowing if it had worked, and when I saw it had, the stoke exploded. The waves were not great but that didn't matter, it was that raw, chaotic moment of adventure and disbelief that made it unforgettable.

Grand Prix - Bronze

Photographer: Richard Heathcote

Image Title: India v England layers

Award(s): Grand Prix - Bronze, Cricket - Gold

Description: Not provided

American Football - Silver

Photographer: Kyle Zedaker

Image Title: POV

Award(s): American Football - Silver

Description: The Tampa Bay Buccaneers take the field during team introductions prior to a regular season game. Shot on a rig with an authentic facemask attached, this photo is intended to simulate a players point of view, giving the viewer a true behind the scenes feel at what it's like to be an NFL player.

Aquatic - Silver

Photographer: Petr Slavik

Image Title: Razor

Award(s): Aquatic - Silver

Description: ICF and U23 Wildwater Canoeing World Championships Solkan 2025

Athletics - Gold

Photographer: Kenjiro Matsuo

Image Title: Tokyo Rocket

Award(s): Athletics - Gold

Description: Not provided

Baseball - Gold

Photographer: Steph Chambers

Image Title: Bubble

Award(s): Baseball - Gold

Description: Eugenio Suárez #28 of the Seattle Mariners takes batting practice prior to game five of the American League Division Series against the Detroit Tigers at T-Mobile Park on October 10, 2025 in Seattle, Washington.

Basketball - Gold

Photographer: Bob Donnan

Image Title: Breakaway for the Lead

Award(s): Basketball - Gold

Description: Florida guard Alijah Martin gives the Gators the lead for good on a breakaway score in the semifinals of the NCAA tournament.

Boxing - Gold

Photographer: Alexis Goudeau

Image Title: Uppercut

Award(s): Boxing - Gold

Description: Not provided

Cricket - Silver

Photographer: Santanu Banik

Image Title: Pant’s audacious pull electrifies the SCG

Award(s): Cricket - Silver

Description: Rishabh Pant of India unleashes one of his trademark, 360-degree pull shots during day two of the fifth NRMA Insurance Test of the Border–Gavaskar Trophy between Australia and India at the Sydney Cricket Ground. Known for his fearless, unconventional stroke-play, Pant once again chooses attack over caution at a time when his team needs inspiration. Having soaked up pressure and tight bowling, he responds by taking on the short ball and swinging through the line with complete abandon. The full house at the SCG is treated to the kind of audacious batting that has become his calling card. This frame freezes that moment of risk and imagination, with Pant’s body contorted and the bat carving an improbable arc across the sky.

Cycling - Special Merit

Photographer: Ashley & Jered Gruber

Image Title: Pauline Ferrand-Prévot Wins the Tour de France

Award(s): Cycling - Special Merit

Description: Pauline Ferrand-Prévot collapses after winning the Tour de France Femmes avec Zwift.

Equestrian - Gold

Photographer: Morgan Treacy

Image Title: Equine Reflection

Award(s): Equestrian - Gold

Description: Runners and riders reflected in the sand on the beach in Laytown, Ireland's only horse racing event run on a beach under the Rules of Racing.

Football - Gold

Photographer: Luis Amaral

Image Title: Black & White Passion

Award(s): Football - Gold

Description: Emotion that bursts in the moment and finds itself in someone else — the kind of feeling football turns into its own language, especially in the father-and-child bond.

Formula 1 - Bronze

Photographer: Florent Gooden

Image Title: Eau Rouge F1 Train

Award(s): Formula 1 - Bronze

Description: All the F1 cars racing on lap 1 at the famous Eau Rouge & Raidillon corners during the 2025 Belgian Grand Prix

Golf - Silver

Photographer: K.C. Alfred

Image Title: Fore

Award(s): Golf - Silver

Description: Scottie Scheffler chips on the 8th hole of Torrey Pines south during the second round of the Genesis Invitational as a large promotional golf ball is displayed.

Gymnastics - Silver

Photographer: Arnab Sarkar

Image Title: Poise in motion

Award(s): Gymnastics - Silver

Description: In the midst of a flawless leap, she holds the ball gently, her form a symphony of strength and poise. The composition is striking – her hands holding the ball, as if she's holding her head in hand, even as she defies gravity. This fleeting moment, frozen in time, is the essence of artistic gymnastics. This image is taken in skygrace event.

Ice Hockey - Gold

Photographer: Sophia Sandurskaya

Image Title: Last Line of Defense

Award(s): Ice Hockey - Gold

Description: "Moscow, Russian Federation, Megasport Stadium. Kontinental Hockey League. "Spartak" (Moscow) vs "Shanghai Dragons" (Shanghai). Players of "Shanghai Dragons" (in white) and "Spartak" (in red) during the match."

Martial Arts - Gold

Photographer: Tom Jenkins

Image Title: Unusual sumo attack

Award(s): Martial Arts - Gold

Description: Tobizaru sticks a finger up the nose of Takayasu as they fight during the final day of the five day Grand Sumo Tournament at the Royal Albert Hall on October 19th 2025 in London, England.

Motor Sports - Special Merit

Photographer: Yana Stancheva

Image Title: Through the rocks

Award(s): Motor Sports - Special Merit

Description: A tricky crossing of a rocky mountain pass during Dakar Rally 2025

Other - Gold

Photographer: Anna Zinovieva

Image Title: Bout

Award(s): Other - Gold

Description: Not provided

Racket Sports - Gold

Photographer: Abelardo Mendes Jr

Image Title: Kim Nayeong - WTT Foz do Iguaçu

Award(s): Racket Sports - Gold

Description: Kim Nayeong (South Korea) - Table Tennis - WTT Star Contender Foz do Iguaçu (Brazil), 01 August 2025

Rugby - Gold

Photographer: Andrew Dowling

Image Title: New Zealand Haka

Award(s): Rugby - Gold

Description: The Haka at the principality stadium in cardiff

Swimming & Diving - Gold

Photographer: Carel du Plessis

Image Title: Catching a breath

Award(s): Swimming & Diving - Gold

Description: Image taken at the XTERRA World Championship in Molveno, Italy. Photo features Henry Bramwell-Reeks, a Triathlete from the United Kingdom. This was taken during the swim leg of the full-distance triathlon on September 27th 2025

Tennis - Silver

Photographer: Joel Marklund

Image Title: All Light on Djokovic

Award(s): Tennis - Silver

Description: Novak Djokovic of Serbia during his match against Flavio Cobolli of Italy in the quarterfinals of men's singles on centre court during day ten of Wimbledon on July 9, 2025 in London, England.

Urban & Extreme - Gold

Photographer: Martin Bissig

Image Title: Klickflippin' India

Award(s): Urban & Extreme - Gold

Description: An athlete finds an improbable line, launching across the void of an ancient Jaipur stepwell.

Venues & Views - Gold

Photographer: Andrew Hancock

Image Title: Championship View

Award(s): Venues & Views - Gold

Description: A circular fisheye lens from above shows the scene as confetti falls from the circular video board atop Mercedes-Benz Stadium as the Ohio State Buckeyes rush the field to celebrate winning the 2025 College Football Playoff National Championship over the Notre Dame Fighting Irish.

Winter Sports - Silver

Photographer: Claudia Greco

Image Title: FIS Freestyle World Championships - Women's Aerials in St Moritz

Award(s): Winter Sports - Silver

Description: Freestyle Skiing - FIS Freestyle World Championships - Women's Aerials - St Moritz, Switzerland - March 30, 2025 Australia's Danielle Scott during the warm up before the event REUTERS/Claudia Greco