Photo: Mitchell Clark

Submissions for our April editor's challenge have ended, which means it's time for voting to begin. This month's theme was RGB, and we tasked photographers to come up with pictures featuring a red, green, and blue color palette.

You can head to the challenge page to see the entries and vote for your favorites. User votes don't determine which photos end up getting selected to be displayed on our homepage – it is the Editor's challenge, after all – but they do help show support for community members who share their photography.

See the submissions

One of the images already selected as part of the #YourShotOurHOME challenge. "An adorable Asiatic lion cub sleeps in the middle of the road. The cub was trying to warm itself during a winter afternoon, when the sand was warmer than the other parts of the forest." Photo: Hardik Shelat, @hardik_shelat_photography

National Geographic is asking photographers to submit photos or videos that "celebrate the beauty of the planet" for Earth Day. Its editors, along with filmmaker Bertie Gregory, will pick their favorites to share on the company's "Your Shot" Instagram page.

Entering is pretty simple: all you have to do is post a photo to Instagram using the hashtag "#NatGeoYourShotOurHOME" before April 22nd. The company says Gregory will pick his personal favorites from the photos submitted and share them in a gallery on the @NatGeoYourShot Instagram page on April 30th.

Another selected image. "Rising majestically above the California landscape, Mount Shasta is a potentially active volcano that stands as a silent guardian of the ancient legends that surround it. A sacred peak in Native American lore, it’s said to be the home of powerful spirits and a gateway to another world. Its snowcapped grandeur and timeless presence remind me of the mysteries that lie beyond the horizon. I took this aerial image while flying my single-engine plane." Photo: Jassen Todorov, @jassensf

National Geographic isn't pitching this as a formal contest but as a "fun and open way for people of all photography experience levels to engage with Nat Geo and share how they see the beauty of our planet." As such, there aren't many requirements, though the Your Shot FAQ page recommends posting a resolution of at least 1080px by 1080px, and says that images can't be digitally manipulated beyond "standard color correction and retouching to eliminate dust on camera sensors and film, or scratches on scanned negatives or prints."

You can submit as many photos as you like – if yours is selected, you'll be asked to share the full-size photo, along with a Raw, caption and signed release form.

Images: SmallRig, Stroppa, Mitchell Clark, CalDigit

This week was the National Association of Broadcasters' trade show in Las Vegas, where video companies flocked to show off their new tools and accessories. For this week's roundup we're going to go over some of the coolest things we saw, though if video isn't your thing, fear not – there's plenty here for you, too.

First, though, let's see what's on sale.

Sales of the week

Photo: Canon

Given that it's a big week for video, it only felt right to highlight that the EOS R5 C – which is essentially the EOS R5 but with more cooling and video features – is currently on sale for $700 off.

Photo: Richard Butler

For the more photo-focused, Sony's also running a sale on its a7 IV, knocking $500 off the retail price.

Straps on demand

Image: Stroppa

Stroppa is a company known for custom-making camera straps out of leather and rope, but the made-to-order nature of its products has always involved a bit of a wait between when you order your strap and when it arrives. The company is now selling a selection of its straps in what it calls "Drops," meaning that they're pre-made and will ship right after you place your order.

You'll only be able to get certain styles, lengths and colors, though the company does offer an approximately 20% discount for its pre-made straps compared to if you custom-ordered the same configuration.

Lightweight camera bags

Image: PolarPro

PolarPro has announced its RoadRunner lineup of camera bags, which aim to provide ample protection for your camera gear without being too heavy to carry.

The lineup includes 8 and 16L backpacks and three sizes of shoulder bag: a 1L sling for compact cameras like the Fujifilm X100 series, a 6L for a camera and a lens or two and a 12L for larger camera and lens combos, plus an iPad. The bags are padded, and the larger ones include dividers for arranging your gear. The backpacks also include rain covers and side-access hatches.

We took a closer look at the 6L shoulder bag, comparing it to the 7L Peak Design Outdoor Sling – you can read our thoughts on it here.

Shoulder Bags:

Backpacks:

A new player in the CFexpress Type A game

Photo: SanDisk

SanDisk has been making CFexpress Type B cards for a while now, but it just announced that it's going to start making the smaller CFexpress Type A cards often used in Sony cameras, too. They'll be part of its Pro-Cinema line, boasting a VPG-200 rating and write speeds of up to 1650 MBps, which should be sufficient for even the highest-end video modes on cameras like the Sony a7S III, a1 II or a9 III.

Even softer light

Image: ProFoto

Profoto has launched a new 'White' line of softboxes, which it says will provide "softer, natural-looking illumination with reduced contrast and shadows" than more traditional softboxes. They do this by swapping the reflective silver interior for a white fabric one, which the company says will give your images a "smooth, flattering glow."

The line includes softboxes in various shapes and sizes, which include built-in speed rings that should make them relatively easy to mount onto your light. They're also compatible with some of the company's other modifiers, like grids, diffusers and masks.

External Electronic variable ND

Electronic variable ND filters have been around in higher-end video-focused cameras for a while now, letting you easily adjust your exposure without having to reach to the front of the camera to twist a filter ring. However, while we've seen several concepts and prototypes of an external version, they haven't been readily available to buy.

It seems like that's about to change, though. According to Newsshooter, Tilta has said it'll be launching its matte-box ready 4 x 5.65″ electronic variable ND filter this summer. The filter can cut your light by 1.5 to 5EV and can be remotely controlled by the company's Nucleus system or by using a wheel built into the frame. According to a Tilta representative who spoke to Newsshooter, the company estimates it'll cost between $400-500.

An ultra-rugged battery

Image: SmallRig

SmallRig has announced its X-Touch Smart Triple-Proof V-Mount Battery X99. That's a lot of information in one product name, but the main takeaway is that it's a 99Wh V-mount battery that's drop-resistant up to a height of 1.5m (4.9') and has an IP54 dust and water resistance rating. Essentially, it's designed to keep your devices powered even in rough conditions... oh, and it has a touchscreen to show various status indicators.

The battery has a variety of inputs and outputs; there are two USB C ports that you can use to recharge it or to charge other devices, a BP port, two D-Tap outputs, a USB A output and 8V and 12V outputs, just for kicks. The company says you can recharge the battery in as little as two hours via USB-C PD.

The ultimate dock

Accessory makers are starting to release products that support the latest ThunderBolt 5 standard, which offers speeds up to 120Gbps, triple what its predecessor was capable of. That list now includes CalDigit, one of the most well-known companies for docks and hubs.

This week, CalDigit announced the TS5 and TS5+ – versions of its flagship dock that now use ThunderBolt 5. Both can charge your laptop at up to 140W and drive three displays. The regular TS5, which costs $369, features three ThunderBolt 5 ports, plus one for connecting to your computer, as well as a host of other ports, including 2.5Gb Ethernet. It can support external drives with read speeds up to 6200MBps, double what the TS4 could do.

The TS5 Plus takes things even further with 10Gb Ethernet, DisplayPort 2.1 output and a grand total of 20 ports. None of that comes cheap, though, as the company plans to sell it for $499. It's also worth noting that all the extra USB ports come at the cost of one ThunderBolt 5 one.

An updated tube light

Image: Nanlite

Nanlite announced the PavoTube II 6XR this week, a 25cm (10") RGB light tube. It's very similar to the PavoTube II 6C in that it has an internal battery and built-in magnets for mounting, but it adds the ability to individually program the tube's 10 LEDs to create various effects. It also supports CRMX and DMX control, which could be useful if you're on a professional set.

Compared to the 6C, the 6XR is slightly dimmer – it maxes out at 457 lumens versus 520 – and it costs $50 more, but if you need finer-grained control, it could be the way to go.

A pro grading monitor

Image: Asus

Asus was at NAB this week showing off its recently-announced PA32UCDM ProArt QD-OLED display, which it says is "designed for professional content creators." Its 32" 4K panel can display 99% of the DCI-P3 color gamut, while running at 240Hz for buttery-smooth responsiveness. It has a "true 10-bit" panel – not an 8-bit one with dithering – and a peak brightness of 1000 nits, which means it supports HDR standards like Dolby Vision, HLG and HDR10.

You can connect to it via ThunderBolt 4 or 5, as well as HDMI 2.1, and it has a built-in USB hub. While its $1899 MSRP may seem like a lot, depending on how serious you are about monitors, for the specs it provides it actually seems like quite a good value.

Read last week's roundup

Photo: Abby Ferguson

It's no secret that things in the United States are in flux right now due to the president's implementation of new tariffs. Companies across all categories are making adjustments, including plenty of photography-related businesses. Earlier this week, Blackmagic Design announced higher prices for some of its products, and now Harman Technology is doing the same.

Harman Technology is the UK-based parent company of the Ilford and Paterson brands; it's well-known for its products for analog photographers. PetaPixel reported that the company is raising prices of its film, paper and chemicals in the US in response to the tariffs. Shutter Junkies, a Texas-based photo lab, shared the information in a blog post, revealing that Ilford and Harman film and paper will increase by 11%. Liquid chemistry will go up by 12% and there will be an 11% increase on most Paterson products. It also says there will be larger increases on Paterson items manufactured in China.

"While we understand how frustrating price hikes can be, especially in a niche like film photography, these increases are a direct result of the newly imposed tariffs. HARMAN, like many manufacturers, is responding to increased costs on their end," Shutter Junkies wrote in its post. "HARMAN has expressed that they hope to reduce prices if and when trade agreements shift." It also added that Phoenix film prices and powder chemistry prices will remain unchanged.

President Trump announced a 90-day pause on reciprocal tariffs, but he didn't fully back off. The baseline 10% global tariff that President Trump announced on April 5 is still in place. Plus, he has increased tariffs on China to 125%. That's likely why we're still seeing rising prices even with the 90-day pause.

Shutter Junkies added that the price of disposable cameras would remain unchanged for the stock that they currently have. That's likely to be the case for many companies; pricing for things they already had on shelves or in store rooms will be without markups, but new stock may require a higher price. So, if you need film, you may want to stock up now.

This film Friday, we're sharing a video profile of Australian photographer Trent Mitchell. Mitchell has been a photographer for more than 20 years, working in both digital and film. He won the Moran Contemporary Photographic Prize in 2015, has been featured in the International Photography Awards, Sony World Photography Awards and more, and his work has been acquired by the National Library of Australia.

Flotsam Festival – an annual surf film and photography festival hosted on the Gold Coast of Australia in May – produced the video as part of its Liquid Lens lens series. The series aims to showcase ocean-based filmmakers and photographers who capture "the waves and their riders, while illuminating their artistry, inspirations, and passion for the sea."

Mitchell started using a camera as a tool for his art process diary, but he explained that he didn't know anything about the medium, so he couldn't get good images. Then, a few years out of school, he was doing design work, and he realized photography was the perfect skill to add to what he was already doing.

In the video, Mitchell talks about balancing personal work and working for someone. He explains that he loves personal photography and that paid work has resulted from that. "You can work personal work into your job as well," he says. "They're not these separate things." Spending time on personal projects is an especially good tip for new photographers hoping to get paid work. It not only gives potential clients something to look at before you have much of a portfolio, but it can also be a critical tool for finding your style and voice.

Mitchell also touches on how he doesn't believe the common sentiment that everything has already been done. "Tomorrow's never been done, so there's heaps of opportunity to do new things." He says that while there may be themes that recur, everything's new all of the time, so there are always new things to do.

"A successful project is anyone you finish"

Finally, the point that stuck out to me the most was when Mitchell explained what makes a project successful. "A successful project is anyone you finish," he said. Mitchell said he has worked on all sorts of things but has plenty of unfinished projects, so they aren't successful. As someone with plenty of unfinished projects sitting on hard drives and in portfolio boxes, this one hit especially close to home.

Photo: Michael Reaves / Staff / Getty Images Sport via Getty Images

Retirement isn't for everyone, as is apparently the case for baseball Hall of Famer Ken Griffey Junior. Most recently, he's been in the spotlight for being at the Masters this week as a credentialed photographer for Masters.com. Getty Images photographer Ben Jared captured Griffey on the course with what looks to be either the Sony 400mm or 600mm lens attached to his camera.

Behind the lens 📸@MLB Hall of Famer Ken Griffey Jr. is working as a credentialed photographer for the first time @TheMasters pic.twitter.com/NjQqBDSCJF

— PGA TOUR (@PGATOUR) April 10, 2025

Griffey Jr. retired from baseball in 2010 as a 13-time MLB All-Star. He spent most of his career playing for the Seattle Mariners and Cincinnati Reds, though he also had a short stint with the Chicago White Sox. He picked up a camera in 2015 and has been photographing ever since.

Griffey Jr. originally got into photography not only because of his love for sports, as he explained on Mornings at the Masters. As a celebrity, no matter where he goes, he's sure to garner attention. That attention got in the way of him watching his kids' games, and he was frequently distracted. So, photography became a way for him to avoid all the attention. "My daughter literally stopped dribbling a basketball and just looked at me when she was five. I was like okay, I’ve got to pay more attention to what’s going on," Griffey said. "I figured no one’s messing with the photographer, well let me pick it up, let me try it."

While this is the first time Griffey has photographed the Masters, his photography has taken him to plenty of events. He's worked as a credentialed photographer at MLB, MLS, NFL, NASCAR and IndyCar events. The Masters go on through the weekend, and Griffey Jr. will be there through the end, capturing the event up to the big finale with the iconic green jacket.

Griffey isn't the only former MLB player – or player for the Seattle Mariners, for that matter – to turn to photography, either. Former pitcher Randy Johnson, who played 22 seasons in the MLB, nearly a decade of which was for the Mariners, is also a photographer. Johnson studied photojournalism at the University of Southern California before going pro, when photography went on the back burner, naturally. He has photographed NFL games, concerts and lots of wildlife. His logo – a dead bird – references a famous moment in his baseball career when one of his pitches killed a bird after it flew into the path of the ball.

Photo: Mitchell Clark

This week, PolarPro announced the RoadRunner collection, a range of photography-focused bags with a lightweight yet rugged design. I recently bought a 7L Peak Design Outdoor Sling, because it promised many of the same things, so I've decided to put it head to head with PolarPro's 6L shoulder bag. We'll compare how the bags are built, what they can carry and who they're made for.

Two strapping bags

One of the major differences between these two bags is clear right from the names: the Peak Design is a sling bag, where the strap goes around your body and the pouch rests against your front or back. The PolarPro bag, meanwhile, has a strap that goes around your shoulder and a bag that sits down against your hip or side. Both straps can be completely detached from the bag and have ample padding for carrying even relatively heavy loads.

Photo: Kevin Mahoney

PolarPro's strap is made of adjustable webbing with clips on each end that attach to rings on the bag's body. The Peak Design bag's strap attaches with hooks but also has a clasp in the middle, making it easy to buckle and unbuckle.

Perhaps too easy to unbuckle – I've heard several people say they've accidentally opened the clasp, leading to them dropping their bags. While it's never happened to me, it's not hard to imagine; instead of a traditional buckle that you have to press in on both sides, the Peak Design bag opens with a single push of a lever, which isn't really ideal for a bag meant to hold expensive gear.

I don't think I want my camera bag to be this easy to unclasp.

One last gripe about the Peak Design's strap: it's much easier to switch which shoulder you're carrying the PolarPro on since you won't have to adjust the strap at all. If you want to switch shoulders with the Peak Design, you'll have to detach both sides of the strap and flip it around.

Exterior Design

Photo: Mitchell Clark

PolarPro's bag is made out of a 600D ripstop nylon that the company says "resists" water. The Peak Design, meanwhile, is made out of a 210D ripstop material that the company calls "weatherproof," a label it also applies to the zippers. Despite the clear weather sealing, the Peak Design's zippers are about as easy to open as the PolarPro's unsealed ones, which isn't always true for water-resistant zippers.

PolarPro's bag has a beefy, rubberized handle on the top lid, which feels much better than the cord handle the Peak Design uses. However, if the lid for the PolarPro is unzipped, that handle essentially becomes useless, whereas you can use the Peak Design's handle to move it around even if it's open. Doing so is obviously a bit reckless, but sometimes you gotta do what you gotta do.

Photo: Kevin Mahoney

Empty, the 6L PolarPro bag weighs 579g (20.4 oz), while the Peak Design weighs 335g (11.8 oz). However, adding the X-small camera cube required to turn it into a proper protective camera bag on par with the PolarPro brings the weight up to 555g (19.6 oz).

Interior Design

The Outdoor Sling and RoadRunner shoulder bags have a very similar layout – one main zippered compartment, then a smaller front zippered pocket. Both have a wide array of pouches designed to hold things like lens filters, batteries and SD cards, though I found the Peak Design's to be much easier to use. The ones on the PolarPro have a top flap, which keeps things from falling out when you open the lid but also makes it difficult to insert or remove larger items like camera batteries.

Photo: Mitchell Clark

Those main pouches are the second big difference between the bags. The interior of the Peak Design is the same ripstop as the face fabric, and the compartment doesn't feature any padding or dividers to speak of. To get those features, you'll have to add on Peak Design's X-Small camera cube, which fits neatly into the main pocket, taking up most – but not quite all – of the space. The cube comes with two dividers and can be used separately from the Outdoor Sling.

The Peak Design bag looks far less spacious when fitted with the camera cube you'll want to keep your gear safe. Photo: Mitchell Clark

The RoadRunner, however, comes with all of that from the get-go, as its body is essentially a camera cube with rigid, padded sides. The interior is lined with microfiber, which lets you re-arrange the two included dividers however you like. Like with many camera bags, the dividers attach to the side walls with hook-and-loop flaps.

The RoadRunner has an additional zippered pocket on the front, which is quite slim – you could fit a passport or a notebook and pen in there, but not much else. The Peak Design has a pocket that is similarly sized but on the inside of the main compartment.

Carrying Capacity

If you're looking to fit the most camera gear possible, the PolarPro is the clear choice, despite the fact that it's marketed as a 6L bag while the Outdoor Sling is marketed as a 7L bag. The reason is that the RoadRunner's rating is for the padded compartment, while the Outdoor Sling's is for the bag overall – the padded X-small camera cube, meanwhile, only has a volume of 3.5L.

There's still a fair bit of room inside the PolarPro when carrying an EOS R5 II with a 20mm F1.4 lens. Photo: Mitchell Clark

What does that mean in real-world terms? Well, a Canon EOS R5 II with a 20mm F1.4 prime just barely fits into the Peak Design camera cube – you have to reverse the lens hood to make it work. Meanwhile, the PolarPro can carry that same camera/lens combo* and a Canon PowerShot V1. You could also fit a Lumix S1RII and a 24-70 F2.8 in the RoadRunner, with room to spare for a small battery bank. The Peak Design cube has no chance of carrying even just the camera – it'll technically fit in the main compartment of the sling with no cube but with very little space left to add your own padding, which you'll almost certainly want.

With the EOS R5 II in the X-small camera cube, there's really not much room left in the Peak Design. Photo: Mitchell Clark

Both bags are more comfortable with smaller systems. The Peak Design bag would easily accommodate my Fujifilm X-T3 and a pair of F2 primes or my Nikon F3 with a 50mm F2 and a digital point-and-shoot. However, the PolarPro can, too, with room left over for extra bits and bobs.

The story flips if you're carrying stuff that isn't camera equipment. Without the camera cube, the Outdoor Sling can expand a lot more than the PolarPro can. I've carried a X-T5 with a 16-55mm F2.8 attached, two wireless mic packs, a 72mm ND filter with a hard case and two Cliff bars in it, with a fleece beanie to keep it all from banging together. The PolarPro could handle the same gear with no problem, but the beanie and snacks might be a tough squeeze.

I've also carried an XL Patagonia R1 Air fleece and XL Arc'teryx Atom puffy jacket in the Peak Design, and it all just barely fit. The puffy alone fills the PolarPro, with pretty much no room left for gear – that's likely down to it being substantially more structured than the Outdoor Sling.

* The EOS R5 II's large viewfinder hump does bow the bag out slightly – I wouldn't try to put too much in the other pockets while carrying it.

External Storage

Both bags have an option to attach a tripod to the bottom. The RoadRunner uses adjustable webbing, while the Outdoor Sling uses elastic straps. Both solutions have one end attached with a hook, letting you easily detach them to speed up the process of taking your tripod on and off.

In my experience, both bags were relatively comfortable to carry with the aluminum Peak Design travel tripod attached to the bottom, though I probably wouldn't want to carry anything much bigger than that.

Even when carried at an angle on your back, the Peak Design bag does a good job of holding onto the tripod. Photo: Mitchell Clark

Both bags also include a back pocket, which can be used to carry pretty much any size phone. Peak Design's has slightly more padding and a magnet to keep it shut but a narrower opening that can make it a little finicky to get your phone in and out, depending on how you're wearing it. Despite the PolarPro's pocket being completely open, it's deep enough that I have no concerns about my phone falling out of it.

Neither bag has any real affordance for carrying a water bottle. Since I almost always want to have one with me, I just attach my bottle to the strap with a carabiner. This is slightly more convenient with the PolarPro since you're generally not going to have to unclip the strap to take the bag off your shoulder. With the Peak Design, you have to make sure the bottle's not going to fall off the strap when you unclip it to set the bag down.

Aesthetics

Beauty is in the eye of the beholder, so which bag you prefer will likely come down to your personal tastes. However, I do suspect most people will find the Peak Design bag to be more attractive – it's not just a utilitarian-styled box that hangs off your shoulder. The Outdoor Sling also comes in three colors, and I'll admit I had a hard time choosing between them.

Images: Peak Design

The RoadRunner sling, meanwhile, just comes in black, though it features some tasteful dusty gold accents. The inside of the bag's main compartment is also that color, making it easy to see your gear. The Peak Design bag also features a light gray interior.

Versatility

The Peak Design is built to act as two different kinds of pack. Photo: Kevin Mahoney

That strap brings up the Outdoor Sling's biggest selling point: versatility. You can wear it not only as a sling across your front and back but also as a lumbar pack or belly bag around your waist. This not only gives you a different way of carrying it but also lets you use it in addition to a smaller backpack.

It's also made for a lot more than just carrying cameras. While you can remove the dividers from the PolarPro, you can't get rid of the padding, and its rigid sides and shape make it harder to really stuff it full. The Peak Design bag, meanwhile, is more freeform and can easily accommodate items you'd need when traveling or hiking.

It also comes with a detachable stabilizer strap that wraps around your back and keeps the bag locked in place if you're doing something especially active while wearing it in sling mode. I've taken it with me down a mountain bike trail, and once I added the stabilizer strap, I had no worries about it creeping around to my front and messing with my peddling.

The stabilizer strap means you can use the Peak Design on all sorts of adventures. And while I have worn the PolarPro while riding a bike, it was only on a flat, paved road at a very relaxed pace. Image: Peak Design

While the 6L RoadRunner bag can't fill quite so many roles, the lineup is a bit more complete. Peak Design also sells a 2L sling, though there's no camera cube made for it to add padding. You also can't get a larger bag without stepping up to the much heavier 10L "Everyday" sling.

If you need a bag that's bigger or smaller, PolarPro has you covered. Photo: PolarPro

PolarPro, meanwhile, offers a 1L case designed to protect compact cameras like the Fujifilm X100 series, or the Leica D-Lux. There's also a 12L shoulder bag designed for larger loads. The comapny says it can fit a full-frame mirrorless camera and a 70-200mm lens, along with an additional lens and powerbank or mini drone. The larger bag's back pocket can fit an 11" iPad.

The Extras

Both bags clearly have a lot of thought put into them, and that's made clear by their design flourishes. For example, both have a lanyard in their front pocket, so you can rest assured that you won't accidentally drop your keys while digging around for something else.

PolarPro also includes not one, but two microfiber cloths attached to the inside of the bag, which can be used for cleaning off lenses, screens and viewfinders if they happen to get grungy on your adventures.

Each bag has delightful design touches

Peak Design's bag is bring-your-own-cloth, but it has little pockets on the back where you can tuck away any additional straps that would otherwise just be dangling around. And, if you're not carrying a tripod, the elastic straps on the bottom can be used as compression straps to give it a slimmer profile.

The Peak Design can also be used as a chest pouch when paired with the company's Outdoor backpacks – you simply take the sling strap off and lash it to your pack's shoulder straps. If you can do something similar with the RoadRunner shoulder bag and backpacks, PolarPro doesn't mention it.

Price

The 6L RoadRunner retails for $99, which initially seems more expensive than the 7L Outdoor Sling, which is $89. However, the X-small camera cube is an additional $50, bringing the total up to $140, though you can bundle them at the time of purchase to knock $14 off the price.

Even with that discount, the Outdoor sling is still the spendier option by a wide margin if you need the camera cube. I have used it to carry gear without the cube, though I wouldn't recommend doing so unless you're very careful and also have soft goods in there to add some padding and gear separation.

So which bag do I buy?

If you've made it all the way through this article and are still unsure which bag is for you, this is my take: if you want a bag exclusively for photography gear, the RoadRunner is the way to go, especially if you want to access your gear quickly. It can just plain hold more, and I'd be comfortable leaving the lid unzipped if I'm actively taking my camera in and out of it since it's on the top; unless I'm doing a somersault, the camera's not going to fall out of it. I'm not as confident about that with the Outdoor Sling's zipper placement, though the one time I accidentally left it open, it managed to keep everything inside.

However, if you want a versatile travel/adventure bag that can also carry camera gear, the Peak Design is definitely worth a look – assuming you have a relatively small setup. While the PolarPro can just manage a high-end full-frame mirrorless camera, I wouldn't want to carry one very often with the Outdoor sling. It's happiest with a crop sensor camera and maybe an extra lens, or with a small drone.

To put it another way, I spent $140 of my own money on the Peak Design Outdoor Sling and camera cube, and I don't regret that now that I've tried the RoadRunner, which PolarPro provided as a review sample. However, that's only because I already have a massive camera bag for when I'm testing out the big cameras, and I was in the market for a small, light bag that I could wear while biking, hiking or traveling. If either of those things weren't true and I was shopping for a bag, I'd pick the PolarPro.

Peak Design Outdoor Sling 7L:

PolarPro RoadRunner shoulder bag 6L:

Image: Oppo

Phone manufacturers are perpetually on a quest to craft the best camera phone. Oppo has announced its latest entry into the competition with the Find X8 Ultra, promising groundbreaking camera tech made with Hasselblad color calibration. The Oppo Find X8 Ultra competes with the likes of the Xiaomi 15 Ultra and Vivo X100 Ultra and features some camera specs that surpass the iPhone 16 Pro Max and Samsung Galaxy S25 Ultra.

The latest Oppo flagship features a five-camera system, all of which offer a 50MP resolution. The star of the show is the main camera with a Type 1 (13.1 x 9.8mm) Sony sensor. Oppo says it is 63% bigger than the iPhone 16 Pro Max's main camera and 69% bigger than the 200MP main camera on the Galaxy S25 Ultra, as GSM Arena reports.

Image: Oppo

Also found on the Find X8 Ultra are 3x and 6x periscope telephoto cameras, both of which feature brighter apertures than the Find X7 Ultra. The 6x telephoto camera also gets a healthy bump in sensor size compared to the previous model's Type 1/2.51 (5.7 x 4.3mm) sensor. That means greater light-capturing ability across the board.

The ultra-wide camera, though, gets a slight downgrade. The Find X7 Ultra featured a larger Type 1/1.95 (8.2 x 6.1mm) sensor. The aperture remains at F2.0, however. Finally, the front of the phone uses the same 32MP 21mm equiv. F2.4 camera as the previous model. On the video front, all of the cameras are capable of 4K60p video, while the main camera and 3x telephoto offer 4K 'Dolby Vision' recording up to 120p.

Oppo also promises that the Find X8 Ultra's cameras' photos will have better color accuracy, in part thanks to a 'True Chroma' sensor, which it says uses a nine-channel multispectral system to analyze the scene's color temperature. It works in tandem with the Hasselblad processing, promising to deliver accurate skin tones in any lighting conditions.

There's also plenty of other tech behind the scenes aiming to improve image quality even more. That includes Oppo's 'HyperTone Image Engine,' which the company says improves computational abilities and performance in tricky lighting conditions. AI tone mapping also provides better depth and detail, particularly in backlit scenes, according to Oppo. Finally, the ProXDR engine improves brightness and color information.

Image: Oppo

Despite the impressive camera specs, the Find X8 Ultra hasn't ended up absurdly massive like some other camera-focused phones. Oppo claims the Find X8 Ultra is the thinnest flagship camera phone currently available, measuring 8.8mm (0.35") thick. The emphasis there is on camera phone – the iPhone 16 Pro Max and Samsung Galaxy S25 Ultra are slightly thinner, though they use smaller cameras. The Xiaomi 15 Ultra, meanwhile, ranges from 9.3mm to 9.5mm, depending on the material.

Keeping things slim hasn't resulted in compromises in terms of performance, either. In fact, the battery gets a decent bump from the Find X7 Ultra, using silicon-carbon battery tech with a 6100mAh battery, which is nearly 21% larger than the previous model. Oppo also upgraded to the Snapdragon 8 Elite with up to 16GB of RAM and up to 1TB of UFS 4.1 storage. The display remains the same, with a 6.82-inch QHD+ AMOLED display with a 1-120Hz refresh rate and a peak brightness of 1600 nits. Finally, it has an IP68 rating against water and dust ingress.

Oppo also announced the Find X8s and X8s Plus, which are less camera-focused. Unfortunately, as enticing as the Oppo Find X8 Ultra looks in terms of camera chops, it will be available exclusively in China. Oppo typically sells its devices in Europe as well, but that isn't the case with its latest release. It will go on sale on April 16 in China for CNY 6,499 for the base model (12GB/256GB), CNY 6,999 for the 16GB/512GB model and CNY 7,999 for the 16GB/1TB model.

Photo: Abby Ferguson

Google recently announced the Pixel 9a, its budget offering in the Pixel smartphone lineup. For this model the company opted to ditch the camera bar for a flat camera bump, resulting in a larger battery but smaller cameras. Though it sticks to the two-camera design, with a wide-angle main camera and ultra-wide camera, its main camera uses a 48MP Type 1/2 (6.4 x 4.8 mm) sensor, down from the 64MP Type 1/1.7 (7.3 x 5.5mm) sensor found in the Pixel 8a's main camera. However, Google says that other upgrades, such as software and silicon improvements, make up for the dip in resolution and sensor size, and promises that the 9a is capable of capturing "class-leading photos and videos."

We've had the opportunity to take the phone around for a week, testing out the cameras to put together a sample gallery.

See the sample gallery

The Pixel 9a is hitting shelves on April 10 in the US, Canada and UK. It will be available on April 14th in Germany, Spain, Italy, Ireland, France, Norway, Denmark, Sweden, Netherlands, Belgium, Austria, Portugal, Switzerland, Poland, Czechia, Romania, Hungary, Slovenia, Slovakia, Lithuania, Estonia, Latvia and Finland. Australia, India, Singapore, Taiwan and Malaysia will have to wait until April 16th.

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

Image: Adobe

Last week, Adobe announced that a handful of AI-based features would be moving out of Premiere Pro beta. Now, the company is teasing even more AI tools for Premiere Pro and Photoshop ahead of Adobe Max London on April 24. In a blog post, the company provides a basic overview of what's coming, promising even faster edits and helpful tools for learning.

All of the new features rely on agentic AI, or tech "capable of conversing, acting and solving complex problems." It's essentially a highly capable chatbot that combines elements of generative AI with decision-making and execution capabilities. Adobe says its approach to agentic AI is similar to its approach to generative AI, aiming "to give people more control and free them to spend more time on the work they love – whether that’s creativity, analysis or collaboration."

Image: Adobe

To that end, Adobe teased that at Adobe Max London, it will showcase its first creative agent in Photoshop, found in an all-new Actions panel. "Our vision is for Photoshop to be able to analyze your image and recommend smart, context-aware edits," Adobe explained. It says the editing platform could find ways to improve your image and actually make those improvements with a single click. It also says it wants users to be able to use natural language to access "more than 1,000 one-click actions in Photoshop" for faster and simplified edits.

In the video examples provided in the blog post, prompts are typed into the AI agent, which then handles the edits for the user. The creative agent adds all of the edits as layers, just like if the person were to be making the changes themselves. That means you can still go in and tweak things by hand as needed.

Adobe says this isn't exclusively about speeding up the editing process. Instead, it also envisions the creative agent as a way to learn Photoshop. Given how complex and overwhelming the software can be for new users, such a resource could be helpful. Plus, Adobe says it could also handle repetitive tasks like preparing files for export.

Image: Adobe

Adobe also envisions agentic AI coming to Premiere Pro. One example it provides is using the creative agent to create a rough cut. Getting started on projects is often the hardest step, after all. "While AI can’t replace human creative inspiration, with your input it can make some educated guesses to help you get your project off the ground."

Adobe's Media Intelligence can already help you search for clips by automatically recognizing objects and visual compositions. The platform also understands spoken dialogue and can generate captions and transcripts. So extending those features to a tool that can help quickly cut together clips to help you get started doesn't seem that far-fetched. "We envision a world where you can direct a creative agent to help you refine shot choices, craft rough cuts, assist with color, help mix audio, and more." Like Photoshop, Adobe also wants to use agentic AI in Premiere Pro to help users learn the software, including understanding keyboard shortcuts for complex actions.

Adobe says that the Adobe Research team is currently working on the foundational pieces of the company's agentic AI framework. It will likely be showing off the tools and providing more details during Adobe Max London, which you can catch online for free on April 24.

Image: Atomos

In late 2022, Atomos told investors that it had "completed development of a world class 8K video sensor" and that it was "actively exploring opportunities for commercialisation" and holding talks with camera makers that it said were "showing great interest." In an interview with PetaPixel later that year, the company said it was a full-frame, global shutter sensor capable of capturing 8K at 60fps with up to 15 stops of dynamic range, all while drawing just 2W of power.

We've heard very little about the project since then, but PetaPixel has just reported that it's been abandoned, citing a conversation with the company's COO. Currently, there are no further details about when the call was made to sideline the sensor or why that decision was made. We've reached out to Atomos and will update this story if we hear back.

While there's been very little news about the sensor – dubbed the 'Sapphire F8' – since 2022, it seemed like an interesting proposition. Global shutters are especially useful for video applications, where rolling shutters can cause distortion on fast-moving subjects or during quick camera movements.

In 2022, the Sapphire would've been ahead of the curve

While several cinema-focused cameras have used the tech over the years, it's only recently become available in cameras with larger (full-frame or above) sensors. When Red announced the V-Raptor X in early 2024, it said it was the "first available large format global shutter" cinema camera. Around the same time, Sony's a9 III became the first full-frame mirrorless camera to feature a global shutter. In 2022, Atomos' Sapphire project, developed after it acquired rights and technical staff from broadcast equipment company Grass Valley in 2017, would've been ahead of the curve.

Whatever caused the company to drop the project, it's unfortunate that there won't be more competition in the high-end sensor market. Making a sensor is no small feat, and neither is actually getting it into a finished product – something Atomos already knew since work on the Sapphire began during a project to create a cinema camera, which also wound up being canceled.

Photo: Abby Ferguson

Embedding social media posts has become a widespread practice and a critical tool for all sorts of websites. It allows sites to share content without hosting it themselves, opening the doors to showcase more dynamic content and user-generated or brand materials. Now, though, a photographer is asking the US Supreme Court to consider if embedding social media content is a violation of copyright.

As initially reported by Digital Camera World, photographer Elliot McGucken filed a petition for certiorari (a request to review) on March 28. This petition is part of his lawsuit against media company Valnet, Inc., which runs thetravel.com. The lawsuit results from The Travel embedding 36 photographs in McGucken's Instagram posts across multiple articles without his permission. The case argues that embedding a copyrighted work without the artist's permission is copyright infringement.

This debate, which centers around the "server test," is far from new. The server test was a guideline initially established in a 2007 Ninth Circuit Court decision. It essentially says that if a website hosts a copyrighted image on its own systems, it is a copyright violation. But if the website uses third-party hosting, such as by embedding a social media post or an image from an artist's website, it does not violate copyright.

There have been multiple challenges since the initial guideline was established. However, the most recent (outside of this new case) was in 2023, when photographers Alexis Hunley and Matthew Brauer filed a class action lawsuit against Instagram. They claimed that Instagram violated their copyright by allowing Time and Buzzfeed to embed photos they shared on their Instagram profiles. A three-judge panel at the 9th US Circuit Court of Appeals ruled that Instagram was not liable for copyright infringement, though, explaining that when a photo or video is embedded, no copy is made.

The district courts and Ninth Circuit court have already dismissed the complaints, but the photographer has now asked the Supreme Court to weigh in. The petition gives multiple reasons for why it should be granted, one of which is that it "presents a clear legal question that has divided the federal courts." However, as VitalLaw reports, district courts in the Second, Fifth and Tenth Circuits, including a federal court in Manhattan, have all rejected it.

Instagram, like many other social media platforms, allows users to turn off embedding, which prevents websites from sharing content in this way. Instagram rolled this out in 2021, and users can change the setting under the "How others can interact with you" option inside the Settings menu.

The Supreme Court has until May 1 to issue a response.

PowerShot V1 | 25.6mm (50mm equiv.) | F4.5 | 1/640 sec. | ISO 125 Photo: Mitchell Clark

Canon recently made its PowerShot V1 compact available globally, after it was initially launched for the Asian market. While the company's marketing it as a vlogging camera, photographers also seem to have taken an interest in it, with its reasonably large Type 1.4 (18.4 x 12.3mm) sensor paired with a 16-50mm equiv. F2.8-4.5 lens.

We've gotten the opportunity to shoot with it a bit and have put together a sample gallery, which should give you some idea of how the sensor and lens perform. We'll dig deeper into image quality in our full review.

See the sample gallery

Given that it's a vlogging camera, we've also put together some sample footage taken with it. It's embedded below, though, so note that you may need to click through to watch the video on YouTube if you want to see it at its maximum quality.

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

A screenshot of the Google Learning Light Experiment.

Understanding how to control light is one of the more complex parts of learning photography. That's why introductory photography classes typically focus exclusively on ambient light and why there are entire semester-long classes dedicated to lighting. Learning how to manipulate light could get easier now, though, with Google's new Learning Light tool.

Learning Light is part of Google's newly released series of AI "experiments" focused on arts and culture. It combines an AI chatbot with a virtual stage, allowing users to learn about different lighting setups and see them in action. The chatbot, with its delightfully retro LuxeBot3000 name, walks you through eight mini-lessons covering different aspects of lighting, including intensity, color, shape, position, mood and more. There are also four different lessons on the lighting in specific artworks, such as Edward Hopper's Nighthawks.

The chatbot walks you through various aspects of lighting.

The lessons are very quick and straightforward. Instead of allowing open-ended chats, the chatbot provides preset answers for users to select from. In fact, the chat bar is fully disabled during the lessons, so there's not even an opportunity to ask follow-up questions. You can, however, choose to exit the guide at any time and play around, which is where I think the tool could be most useful.

Outside of the guide, you can manually adjust multiple settings for six different lights. Users can control power, angle, penumbra, hue and saturation for each individual light or adjust those settings for groupings of lights. The set starts with a mannequin and plant, but you can also add additional props like a couch, plants, and an old-school TV. You can also change the backdrop from a basic studio setting to real-world options like a restaurant, ski resort, train station and more.

There's a rather odd selection of props available.

Of course, the tool is far from perfect. The selection of props is quite small and rather strange (I don't know too many photographers who use a busted-up cardboard box, rusted barrel, or two fire hydrants as props). The lights can't change position, either, so you're stuck with the existing positioning. Additionally, since it is focused on stage lighting, it lacks accessories photographers would use to modify the light, like softboxes or beauty dishes.

The chatbot is also rather limited and not extremely helpful. It is only able to make changes to the properties of the available lights or answer very basic questions about lighting. In fact, it seems a bit odd that this is based on Google's 'Gemini' generative AI tech. Given the long list of limitations, it's a bit like watering houseplants with a fire hose. Perhaps that means that more advanced tools and features could come later, but for now, a lot of technology is backing a fairly simple platform.

Learning Light can walk you through creating a lighting scenario inspired by Nobility in the Evening Cool (Koki nōryō no zu) by Yōshū (Hashimoto) Chikanobu.

Despite its flaws, the Learning Light Experiment has benefits. The simple controls make it very approachable no matter someone's experience level, providing a good introduction to what's possible with lighting. It could also be useful for planning basic lighting scenarios for shoots. Perhaps most important, though, is that it's free. More capable programs for playing around with lighting setups can cost substantially more, such as set.a.light 3D, which costs a minimum of $119 when full-price. That could be a hard sell for beginner photographers, so it is nice to see a free platform, even if it is more limited.

Photo: Fujifilm

Fujifilm has announced its latest Instax Mini camera, the retro-looking Instax Mini 41. The company says that the new instant camera features a "stylish new look and improved functionality" compared to its predecessor. The Instax Mini 40 came out four years ago, so it is nice to see a refresh. Unfortunately, for anyone hoping for a massive revamp, it's only a subtle update.

The most significant change to the Instax Mini 41 is a fresh look. Unlike the faux leather finish on the Mini 40, the updated camera features a "textured, tactile body" to provide a "secure, ergonomic grip." It also offers a metallic-looking (though not actual metal) finish and orange color accents for a more polished look.

Fujifilm promises better close-ups thanks to the added parallax correction. Image: Fujifilm

Beyond its new look, the camera also promises improved close-up images. Given that the viewfinder and close-up lens on Instax cameras aren't perfectly lined up, what you see through the viewfinder isn't exactly what the final composition will be. To address this, Fujifilm added parallax correction, which makes it easier to center subjects. The closeup mode is meant for subjects from 30-50cm (11.8-19.7") and doubles as a selfie mode.

The Fujifilm Instax Mini 41 will be available for purchase by the end of April. Interestingly, Fujifilm did not provide any US pricing for the camera, which is unusual for the company. The camera is currently listed on B&H with the option to sign up for notifications, but no price is listed. Likewise, the listing on the Fujifilm website lacks a price as well. While it didn't say specifically that the lack of a price is a result of uncertainty related to the US tariffs, that could be the cause.

Image: Content Authenticity Initiative

Panasonic has become the latest camera company to become a member of the Content Authenticity Initiative (CAI), joining Canon, Nikon, Fujifilm and Leica. The organization aims to coordinate the industry's efforts to create transparency around how images were created, using tools like C2PA Content Credentials that certify details about how an image was made and edited – especially useful as generative AI becomes increasingly accessible.

In a blog post on its website, the CAI says Panasonic is "joining more than 4,500 media and technology companies, non-profits, creators, educators" to help "build trust and transparency in our digital ecosystem." The post quotes Toshiyuki Tsumura, Business Division Executive of the Imaging Solution Business Division at Panasonic Entertainment & Communication Co., who says: "By joining the CAI, we are committed to contributing to the ecosystem, ensuring the authenticity of digital content, and fostering an environment of trust and transparency online."

"We are committed to contributing to the ecosystem, ensuring the authenticity of digital content"

The post doesn't mention any concrete details, like whether this means we'll see content authenticity tools in current or upcoming Lumix cameras. Historically, the matter has been complicated – Fujifilm joined the CAI in early 2024, but in an interview last month, it told us that it was "still developing and investigating how to implement the CAI and the C2PA."

Even brands that have implemented it don't necessarily make the tech available to everyone – some Leica models come with support for Content Credentials unlocked out of the box, but companies like Nikon and Sony have said their authenticity features will mainly be for news agencies. Many of Panasonic's stills cameras are more consumer-oriented, though models like the S1RII are explicitly aimed at professionals and come with features that would mainly be worthwhile for those users. The company is also a big player in the professional video market and makes several cameras specifically aimed at news companies.

However Panasonic chooses to work with the CAI and implement its technologies, this seems like another step forward for content authenticity initiatives. Rebuilding the public's trust in the images they see online will only become more important in the future, and it would be an extremely large task for companies to accomplish alone. Organizations like the CAI help streamline the process and make sure that everyone in the chain has a say, including camera companies, photo editing software companies and technology companies whose platforms will be used to share images.

Photo: Natnan Srisuwan / Moment via Getty Images

There's no ignoring that the latest US tariffs are a hot-button topic right now for Americans who are looking at paying more for products made outside the country. Since the tariffs are so far-reaching, questions are swirling about the impact on the pricing and availability of goods for each industry. That includes the photography and videography industries, since most equipment is made outside of the United States. Unfortunately, things aren't looking great. There's a lot of speculation, but we spoke with experts whose job is to analyze the potential impact.

Product pricing, in general, is a complicated endeavor, even with standard tariffs. It involves many calculations, ranging from tariffs to forecasting future changes in relative currency values. While new tariffs are broadly applied, the rates vary depending on the country. Given that many goods could have individual parts from multiple countries, the situation becomes complex quickly. Additionally, some companies might manufacture certain products in one country while other items in their lineup are made in another, resulting in inconsistent pricing changes across their catalog.

When we look at the three big brands – Canon, Sony and Nikon – all three are based in Japan, but Nikon and Sony have shifted much of their production to Thailand and China. Canon makes some of its more budget-focused equipment in Taiwan, Thailand and China, but it also manufactures some in Japan. Anjali V. Bhatt, the Communications Manager and Research Fellow at the Peterson Institute for International Economics (PIIE) explained that products from Japan have a tariff rate of 24%, while products manufactured in Thailand face a 36% tariff. "So Canon products made in Japan might actually become more affordable than Nikon or Sony for comparable/substitute products, depending on where the gear is shipped from," she said.

Bhatt went so far as to suggest opting for a lens adapter that allows you to use Canon lenses on Nikon or Sony gear. That way, you could save money on new lenses since Canon lenses may become more affordable compared to Nikon and Sony as a result of where they are produced. Of course, that will only save you money if the Canon version of what you want is made in Japan and the alternatives are made elsewhere. Additionally, given that even Japan is subject to tariffs, Canon won't be immune to pricing changes, either.

"All photography equipment not made in the US...will be more expensive."

The tariffs could also push companies to adjust where they manufacture cameras and lenses. That doesn't necessarily mean coming to the US, though. Since many of these companies have existing ties to Japan, it could simply mean moving production to Japan because of the lower tariffs. "Since Nikon and Sony have extensive production capabilities in Japan as well, it’s possible they reshore production back to Japan, away from Thailand," Bhatt said. "But the bottom line is that all photography equipment not made in the US, which is a significant majority of it, will be more expensive," she explained.

Outside of cameras and lenses, auxiliary equipment like tripods will likely also become more expensive. That's because much of it is produced in countries like China or Vietnam, which "will see even higher tariffs (the estimate for the tariff rate on Chinese products is around 75%; Vietnam has been assigned a 46% tariff)," Bhatt said.

Because of the complexity of import tariffs and wholesale pricing, we likely won't see a 1:1 correlation between tariff rates and price increases. In other words, Chinese products likely won't cost 75% more, Japanese products won't cost 24% more and Thai products won't have a 36% increase. The system is a lot more complicated than that. However, economists agree that there will be price hikes of some amount across the board.

Another piece of fallout from the high tariffs could be availability. "If there's equipment from highly-tariffed nations – like China – the tariffs may make them so uncompetitive that retailers drop the brand altogether rather than importing cameras they won't sell," explained Justin Wolfers, Professor of Economics and Public Policy at the University of Michigan. He went on to say that prices may not seem higher immediately. Initially, "it'll just be that buyers find it harder to find a good deal," he said.

"All of this is going to cause a lot of short-term change and turmoil, which will be painful and costly."

Blackmagic Design was the first camera company to specifically announce pricing increases as a result of tariffs. Its prices have changed multiple times over the past two days, with the company explaining that "it’s a bit in flux as developments are happening with the tariffs." Indeed, as we are already seeing, "All of this is going to cause a lot of short-term change and turmoil, which will be painful and costly," Dr. Wolfers said.

Photo: Richard Butler

Nikon has announced the 2.0 firmware for its full-frame Zf camera. The update adds a dedicated bird mode to the camera's subject recognition autofocus, support for connecting to the company's Imaging Cloud service and other improvements that will make shooting video and using older, manual-focus lenses more convenient.

The company says the dedicated bird subject detection mode will be quicker and more accurate at detecting and tracking birds than the Auto or Animal modes, especially in complex scenarios like shooting in forests or mountains. While the Zf likely isn't the first camera people reach for when doing wildlife photography – its gripless retro design is better suited to smaller lenses – it's nice that Nikon is making this mode available on the camera regardless.

Nikon Imaging Cloud lets your camera automatically upload photos to the cloud and download color mode "recipes." Image: Nikon

Support for Nikon Imaging Cloud is also a nice addition. It allows the camera to automatically upload images when connected to a Wi-Fi network, rather than requiring you to connect it to your phone or a computer to offload your shots. Additionally, you can configure Nikon Imaging Cloud to automatically offload those images to other services, like Dropbox, Google Drive, Lightroom and more. The service can also be used to sync additional color profiles to your camera – the Zf can store nine – and to automatically keep your camera's firmware up-to-date.

The 2.0 update also adds Nikon's 'Hi-Res Zoom' mode for video, which lets you progressively apply a digital crop up to 2x your lens' actual focal length when shooting 1080p. The company says it doesn't introduce any loss in resolution, as the camera is still using a 1080p region of the sensor. However, in other cameras like the Z9, the feature does incur some loss of detail, as you're no longer getting oversampled video. Still, if you want to make your footage look like you're zooming in, you'll at least have the option to do so.

The final big change with the update revolves around using manual-focus lenses. The company has improved the focus magnification feature, letting you quickly exit it by half-pressing the shutter button so you can see your full composition before actually taking the picture. When you're using the display, the maximum magnification has been increased from 200% to 400%. You can now also assign ISO and exposure compensation to the cameras' command dials in the manual shooting mode and manually record your aperture value if you're using a lens that doesn't electronically communicate with the camera.

It's not surprising that features like Hi-Res Zoom, Imaging Cloud and bird subject detection are coming to the Zf. After all, they're included in the just-launched Z5II, which uses very similar internals. However, it's nice to see them come so quickly, so users who bought the more expensive Zf won't have to be envious of Z5II owners. It's also one more step to making the company's lineup more cohesive, with most of its latest-gen cameras getting Imaging Cloud.

The update is available now from Nikon's website.

Image: Blackmagic

Almost every news site is flooded with stories about the new tariffs and their impact on individual product categories. Given that so many photography companies manufacture their goods in places other than the United States, several outlets have predicted that the tariffs will impact photography gear. Now, those expectations are becoming a reality, with Blackmagic Design being the first to officially announce price increases because of tariffs.

In a statement provided to DPReview, Blackmagic explained: "In general, it’s a bit in flux as developments are happening with the tariffs, and our team is trying very hard to keep customers informed with updated pricing, so that’s why they may see some changes. Since we have factories in different countries, it causes different price increases, and we are moving production of some products to help lower costs for customers from what we had previously raised them to since the tariffs went into effect. This will take us some time, so customers may continue to see some pricing change, but again, we are working very hard to keep customers informed with updated pricing."

A screenshot of the Blackmagic website reflecting a $5495 price for the Pyxis 12K camera, taken at 12:42 PM EDT on April 7.

Yesterday, CineD reported that the newly released Blackmagic Pyxis 12K camera went from the launch price of $4995 to $6595 on Blackmagic's website, a 32% increase. CineD included a screenshot of Blackmagic's website reflecting the $6595 price. However, at the time of writing, the website shows $5495 for the camera. While that isn't as substantial an increase as what CineD reported, it is still a bump in price, which no one likes seeing. Since Blackmagic said things are in flux right now, that number could likely continue to change. At the time of writing, the price at B&H is still the original launch price.

A screenshot of Blackmagic's statement on Facebook about pricing changes.

Blackmagic also posted a statement on Facebook about general US prices for its products. It said that most products in the US have increased because of the tariffs, and that these price changes only impact the US. A quick look at the Blackmagic website shows that the company also increased the price of the Pyxis 6K camera from a launch price of $2995 to $3295, while the Ursa Cine 17K went from $29,995 to $32,995.

Image: Blackmagic

The NAB 2025 show is underway, with plenty of announcements related to broadcasting and filmmaking coming out. Among those was a lengthy livestream from Blackmagic Design that revealed multiple new products and software tools, including the latest version of its video editing platform. Blackmagic calls DaVinci Resolve 20 "a major new update which adds over 100 new features." Unsurprisingly, many of those new features are AI-related and aimed at speeding up and simplifying the editing process.

The updates cover just about every step of the editing process and touch most aspects of the editing program. You can see all of the update details in the press release below, but there are some standout features worth mentioning. First, AI IntelliScript can automatically create timelines based on the original project script. This is done by first creating an automatic transcription of the video files and then uploading the original script text file. DaVinci Resolve chooses the best takes but provides alternative takes in additional tracks so that you can easily review those as well.

Image: Blackmagic

The company says the IntelliScript doesn't require an exact match to the original script, as similar wording is matched. You can also create a script after the fact by uploading the transcription of the master take and using that as the basis for the timeline. In a similar vein, AI Multicam SmartSwitch promises to automatically switch between multiple camera angles based on the active speaker in each scene.

Also coming to DaVinci Resolve 20 is a tool for animating subtitles. The AI Animated Subtitles feature uses the transcription tool to generate a subtitle track on a timeline, automatically animating them with highlighted text as things are spoken. AI Detect Music Beats will analyze "beat-driven music" and automatically place markers on each beat, making it easier to edit clips to the beat of the music.

Image: Blackmagic

Blackmagic also announced AI Set Extender, which sounds similar to Adobe Premiere Pro's Generative Extend. Blackmagic didn't provide extensive information on the feature but says it "creates a scene extension to fill an entire frame based on a simple text prompt."

While many of the standout features are AI-related, there are plenty of updates to hands-on tools as well. For example, Blackmagic Cloud support will now offer better collaboration tools. Blackmagic also changed the cut, edit and color pages when working with a vertical timeline or project, aimed at optimizing the vertical viewer without wasted space or needing to constantly zoom.

Image: Blackmagic

The voiceover palette tool makes it easier to record voiceovers directly into the timeline, providing cue, record and stop controls. Plus, there's quick access to voice isolation and dialogue leveling tools. Blackmagic also added a "full audio mixer with professional loudness metering" to the cut page, allowing users to mix and monitor audio while recording, editing and finishing their content.

“This is a massive update this year, with AI tools and new features that help to speed up every stage of our customer’s workflow” said Grant Petty, Blackmagic Design CEO. “By automating tasks that take a long time manually or are tedious, with features such as keyframe editing, voice over palettes, live overwrite and multi-layer compositing tools, our customers are free to spend more time than ever being creative. The new processing code we’ve been rewriting over the last few years is an amazing base to be able to build these new features on. It’s exciting to see how we can provide tools with DaVinci Resolve to help our customers spend more time exploring their creativity.”

You can see a comprehensive list of all the features on the DaVinci Resolve 20 product page, or in the press release below. DaVinci Resolve 20 public beta is now available for download from the Blackmagic Design website. The standard version is free to download, however you'll need DaVinci Resolve Studio 20 for $325 to unlock the advanced editing tools.

This week, Nikon announced the Z5II, its entry-level full-frame camera. It uses a 24MP BSI sensor we've seen in plenty of other cameras, such as the Zf and Z6 II, but that's not a complaint – in the past, it's provided excellent image quality.

We spent a day shooting with a pre-production Z5II. While rainy weather doesn't always make for the best samples, it was just enough to add a bit of ambiance. Do keep in mind that although the samples provide an idea of how the camera performs, they may not exactly reflect the output of a final production model. We'll be looking to get ahold of one of those when they become available, so stay tuned.

See the sample gallery

This photo was taken at a train station in France from the safety of the platform. I was testing out Sony's latest ultra-wide lens, and was very excited that I could get the red bumper posts, the rails, and the parked train all in the shot. Sony a7C R | FE 16mm F1.8 G | F1.8 | 1/60 sec | ISO 100 Photo: Mitchell Clark

Our April editor's photo challenge is now open for submissions. The theme this month is red, green and blue, and we're looking for photos that utilize all three colors.

Some examples: an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time. The last day for entry will be Saturday, April 12th (GMT).

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

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

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

Images: Zoom, Cutasunda, BlackMagic, 3 Legged Thing

Happy weekend, everyone. We're deep into camera news season, but the accessory makers haven't been slacking at all. Today, we'll be taking a look at a big update to a solid audio recorder, a new take on the light stand and a host of other accessories – but first, the deals.

Canon deals

Photo: Dale Baskin

Canon's mid-range full-frame camera, the EOS R6 II, is currently on sale for $200 off. When we tested it, we were very impressed with how well-rounded it is, combining excellent autofocus, great ergonomics and solid performance.

Photo: Richard Butler

Speaking of cameras we were impressed with, the EOS R5 II is also on sale for $300 off its MSRP. It takes everything that's good about the EOS R6II and turns it up to 11, with a higher-resolution sensor, faster burst rates and more.

Not just a light stand

Image: 3 Legged Thing

3 Legged Thing is getting into the light stand market. On the surface, its new product, the Luna, looks like a standard piece of grip equipment, but if you look closer, you'll notice it's made of carbon fiber. The company says this makes it light, stable and compact when folded up. It has a maximum height of 2m (79").

That's not its only trick, though: you can also detach the center column from the legs and use it as a boom pole for recording audio or getting your camera closer to a hard-to-reach subject. While the head features a 3/8"-16 thread, common for lighting and microphones, it's actually retractable: push down the outer sheath, and it'll reveal a 1/4"-20 thread, which can be used to mount a wide variety of accessories.

Even more grip

The Impact 3-stage Baby Folder Roller is just one of the products in the new KeyGrip series. Image: Impact

If you prefer more traditional light stands, Impact has you covered. The company has announced a new KeyGrip lineup, which it says is supposed to provide rugged, flexible designs at a relatively affordable price. The lineup includes everything from small, sturdy stands meant to hold camera sliders to three-stage stands on rollers that can extend up to 3.35m (11') tall.

Video Performance Guaranteed

Image: Nextorage

If you're a videographer who shoots on Sony cameras and have to be absolutely sure your storage media is fast enough for any resolution, codec or framerate, you have a new option. Nextorage has announced its NX-A2Pro series of CFexpress Type A cards, which it says are the first of their kind to comply with the Video Performance Guarantee (VPG) 800 standard. That means the cards can write at least 800MBps of data continuously.

Of course, the cards' peak write speeds are much higher, at 1900 MBps. Both speeds, however, are well above what you'll need today. The manual for Sony's flagship a1 II says that even the camera's highest-bitrate modes only require a VPG200 or higher card. Nextorage says the NX-A2Pro is designed for "the high-end camera market in the future."

If you're not looking for future-proof storage, the company also announced its NX-A2AE line, which has a VPG400 rating. Both cards will be available starting in "late April."

NX-A2Pro:

NX-A2AE:

A new school way to shoot old-school

Image: Cutasunda

While shooting film gives you a completely analog experience, if you're doing so in 2025, you'll probably want to digitize your photos at some point. The Myriad film holder by Cutasunda, which got a shout-out from PetaPixel this week, promises to help make that process a little easier. It has a diffusion panel to help ensure your film is evenly backlit, and its top panel makes sure your film is flat, even if months in a canister have given it a tendency to curl up. Its adjustable film guides support film sizes from 110 to 6x9, so it'll work with pretty much whatever you're shooting.

It's not a complete package – you'll still need a quality backlight to put behind it, a camera with a macro lens and a tripod – but it plays an important part in bringing your film from the analog world into the digital one.

A legend improved

Photo: Zoom

Zoom's Handy Recorders – especially the H4 and H5 lines – have been popular among videographers for years, as they provide a versatile way to capture audio wherever you are. Now, the H5 has gotten an upgrade: the new H5studio includes an even better stereo microphone capsule, as well as the ability to record in 32-bit float audio, which essentially means you don't have to worry about your audio clipping.

Like the standard H5, the H5studio has a "capsule" system that lets you attach various microphones and inputs to it. It comes standard with a stereo XY capsule that features "the largest mics ever" included in the Handy Recorder lineup, which can capture around 130dB of dynamic range. The recorder's body also features two combination XLR / TRS inputs, line and headphone out jacks, and USB-C. If you swap the capsule, though, you can add two more XLR inputs or even a dual-channel wireless receiver or shotgun microphone. The H5studio can record up to six tracks, which you can monitor via its LCD screen.

A slew of software updates

Finally, an end to copying and pasting color boards or having to use compound clips.

This week, Apple released an update for its Final Cut Pro editing software. The free 11.1 update includes a few minor improvements and integrates one of the company's new AI features, but the biggest addition is Adjustment Clips. If you've ever edited in Premiere Pro or Davinci Resolve, you'll likely be familiar with the concept: it's a layer you can put over multiple other clips to apply the same effect or transition to them. This can be especially useful with color grading; if you have clips that all need the same grade applied, you can simply apply it to an adjustment clip layered over them rather than having to apply them to each clip individually.

As big as that is, it pales in comparison to what BlackMagic has been working on. The company announced a new version of its Resolve editing software that adds an AI tool for creating animated subtitles, a dedicated keyframe editor and an even easier-to-access audio mixer.

Photo: BlackMagic

Its blockbuster announcement, though, is the Blackmagic Camera 9.5 Update, which is currently in beta but provides a massive upgrade to the autofocus system for the Blackmagic Cinema Camera 6K. When it launched, the camera just had single autofocus – the camera could focus once but wouldn't update if your subject moved. The new update, though, adds continuous autofocus, which will work to keep whatever's under its selected focus point sharp. It also supports tracking autofocus, where it will attempt to keep its focus point on a selected subject, even if it moves or the framing changes, as well as face tracking autofocus. These changes should make the camera substantially more useful for smaller productions or even single-shooter setups with no dedicated focus puller. The company says it'll be bringing the feature to its other large-sensor cameras as well.

Read last week's roundup

Image: SongRaw

A new lens company hailing from China has popped onto the scene, promising even more autofocus lens options for mirrorless cameras. Named SongRaw, the company's slogan states, "Crafted with Dedication, Honoring Your Passion and Love," adding that it "is dedicated to polishing every detail of the craft." To kick things off, it has announced a fast 50mm lens that it claims is the first Chinese 50mm F1.2 full-frame autofocus mirrorless lens.

SongRaw's debut lens is a full-frame offering that provides that classic 50mm focal length with a wide aperture for a shallow depth of field and better low-light performance. The lens features 13 aperture blades, which SongRaw says promises "beautiful bokeh." It offers autofocus powered by a stepping motor, which SongRaw says is compatible with eye-tracking. It can focus as close as 0.52m (20.5") and is compatible with 72mm filters.

The optical design comprises 15 elements in 10 groups. The information on special elements is a bit mixed, with one piece mentioning two aspherical elements and another including two extra-low dispersion elements. It wouldn't be out of the question to see both in the same lens, though. SongRaw didn't provide any details as to the size or weight of the lens.

Image: SongRaw

The lens is marked with "Moonlit," and the company's barebones website includes that branding. Photos of the lens show an aperture ring, along with a switch labeled "click," suggesting the aperture ring can be clicked or de-clicked. There's also an AF/MF switch and what could be a function button.

SongRaw says the 50mm prime lens will be compatible with FE-mount, Z-mount and L-mount, but that it is prioritizing the Sony model. Nikon and L-mount users may need to wait a bit longer. SongRaw is showing the lens off at NAB, so anyone headed to the show could check it out in person. The lens will be priced at around $1000 and should be available by the middle or end of April.

Photo: Abby Ferguson

Unfortunately, this Film Friday brings some disappointing news. Price hikes are in the news everywhere right now, and that includes film prices, at least for those in Japan. Earlier this week, Fuji Rumors shared that, along with a redesign of a disposable camera, Fujifilm is increasing the price of its film in Japan.

Fujifilm Japan's press release explains that the prices are increasing because of the costs of making and transporting the film. "As the prices of materials, raw materials, and transportation costs for photographic film continue to rise, we have been working to absorb costs by improving production efficiency and cutting expenses, but as it is difficult to absorb the costs through corporate efforts alone, we will be revising the prices of some of our photographic film products," a machine-translated version of the release states.

The release says that 35mm color negative film prices have increased by around 21 or 22%, while 35mm and 120mm reversal film prices increased by roughly 31 to 52%. The QuickSnap disposable camera is also around 44% more expensive. While the new prices took effect on April 1, it was not an April Fool's Day joke. A search on Bic Camera, one of Japan's largest electronics retail chains, currently has a single roll of 135 Velvia 50 priced at 6050 yen, or $41.57. If you want a five-pack of 120 Velvia 100 in Japan, you're looking at 23,650 yen, or $162.51.

Color negative film isn't nearly as bad, but it's still extremely expensive. A single roll of 135 Fujifilm 400 – typically considered a beginner-friendly budget option – is listed at 2420 yen, or $16.63. For comparison, that same film is listed at B&H in the US for $8.39.

Fujifilm hasn't said whether the pricing outside of Japan will be affected, but it seems possible that the higher costs will be implemented elsewhere. Given the recent tariffs, that seems especially likely in the US. If you're an analog photographer, it may be a good time to stock up on some film.

Image: Laowa

Venus Optics released a teaser of sorts in January for its first zoom probe lens, with a promised release date of sometime in Q2 this year. Details were slim at the time, but now, in conjunction with NAB, the company has revealed more information on the unique Probe Zoom macro lens.

The new full-frame probe lens from Laowa uses a modular design with four interchangeable front modules and two rear tubes. The rear tubes offer slightly different focal ranges, coming in at 15-24mm T8 and 15-35mm T12. Laowa says it is the "widest and largest range probe lens" available, with a 110.5° angle of view and a 2.3x zoom range.

Images: Laowa

The four front modules allow users to switch between a direct view, periscope, 35° view, and a new 90° view. Each module can rotate 360° independent of the focus and zoom ring with Laowa's patent-pending rotation design. Combined with the two rear tubes, this set enables eight combinations, making it a versatile option for macro content. The probe is 40cm (15.7") long, helping it reach subjects in tricky locations. Plus, the barrels are waterproof, opening up even more possibilities.

The January announcement promised a Q2 release, but things appear to be slightly delayed. The company now says that it will be available to ship in Q3 of this year, so macro enthusiasts have to wait a bit longer. Laowa did provide some details on pricing now, however. The Probe Zoom Macro 15-24mm T8 Direct View lens will be $3,499, and the 15-35mm T12 Direct View lens will be $3,999. Laowa says more details on the lens and pricing will be announced soon.

In addition to the new lens, Laowa also announced it is offering 10% off select products from April 3 to 13 on the Laowa Cine website and to selected resellers, including B&H.

Image: ProGrade

ProGrade Digital has announced three new products aimed at making storage extra portable. The company unveiled two highly compact SSDs that each promise fast speeds and excellent reliability, along with a memory card reader meant to work with the iPhone 16 line of phones to unlock 4K 120p recording.

ProGrade CFexpress Type A Mobile Reader

Image: ProGrade

Smartphone cameras are capable of impressive video quality, which is why many content creators rely exclusively on their phones to record video. But those files quickly eat up storage space. Plus, some formats are only unlocked with external recording, such as the iPhone 16 Pro/Pro Max 120 fps ProRes recording mode. The new PGM12 CFexpress Type A mobile card reader from ProGrade aims to make it easier for users to take full advantage of their phone's recording capabilities.

The PGM12 card reader is a single-slot CFexpress Type A reader that ProGrade says offers the same performance as its full-sized card readers despite its more compact size. That means promised transfer rates of up to 1.25GB/s. It features a patented magnetic base and metal mounting plates with a flexible cable, making it feasible to mount to your phone or rig in multiple ways. The card reader is small enough to be attached to the back of an iPhone while also using a MagSafe charger, ensuring you don't run out of storage or battery.

"Our customers can now record video onto low-power, CFexpress Type A memory cards, at the highest possible quality, and not have to worry about running out of storage space, that might be experienced with a fixed capacity storage device," says ProGrade.

The PGM12 reader is available for preorder now for $80 and will ship at the end of April.

Buy now:

ProGrade Pro Mini USB 4.0 Solid State Drive

Image: ProGrade Digital

The ProGrade PG10.5 Pro Mini SSD is a compact SSD that, like the above card reader, is equipped with ProGrade’s patented magnetic base. It also comes with an adhesive metal plate, so you could mount it to any work surface or to ProGrade PG20 Pro Hub.

It uses USB 4.0 technology, resulting in a promised maximum bus speed of up to 40Gbits/sec. ProGrade says it will offer read speeds of 4000MB/s, a write speed of up to 3500MB/s. It should also provide a sustained write speed of 1250MB/s, which is critical for high-resolution video workflows. It's compatible with Thunderbolt 4, Thunderbolt 3, USB 3.2 and 3.1 Type-C ports.

"The PG10.5’s small physical size and robust design also allow it to be easily removed from the workstation, studio environment, and easily used in more mobile, non-studio environments," said Wes Brewer, CEO and founder of ProGrade.

The PG10.5 Pro Mini SSD is now available for preorder. It comes in 1TB, 2TB and 4TB capacities and is priced at $180, $300 and $550, respectively.

Buy now:

ProGrade PG30 Ultra-Portable SSD

Image: ProGrade

SSDs keep getting smaller, as is the case with the ProGrade PG30 Ultra-Portable SSD. This tiny device looks like a classic thumb drive but should offer better performance and reliability. After all, thumb drives aren't typically meant to be used as working drives, and they often don't last for extended periods, either.

The ProGrade PG30 Ultra-Portable SSD, though, is more up to the needs of creative professionals. It uses USB 3.2 Gen 2 technology, and ProGrade promises read and write speeds of up to 1000MB/s and a sustained write speed of 300MB/s.

The tiny SSD features tethered caps that protect the Type-A and Type-C ports, while the IP65 rating provides water and dust resistance. It's also X-ray and shock-proof and comes with a three-year warranty.

"The PG30’s relatively small die-cast aluminum body, dual USB Type A and C connectors, coupled with an impressive IP65 dust and water rating, make it an ideal choice for all imaging professionals seeking the compatibility and reliability that ProGrade is known for," said Josh Brewer, Product Manager of ProGrade.

The ProGrade PG30 Ultra-Portable SSD will be available for purchase at the end of April and comes in 500GB, 1TB and 2TB capacities.

Nikon announced the Z5 II mirrorless camera last night, but in addition to that announcement was another exciting update for Nikon videographers. The company revealed that Adobe will finally offer support for Nikon's N-Raw video format in Premiere Pro.

N-Raw is Nikon's proprietary 12-bit Raw video format. It supports Rec2020 color gamut and allows users to adjust white balance in post-production, much like what's possible with Raw photo files. As a result, it provides more flexibility during the editing process. Despite that extra data for editing purposes, it also produces smaller file sizes compared to Apple ProRes Raw. It's ideal for those who need editing flexibility while saving space on memory cards and hard drives.

DPReview's 2025 wishlist included increased N-Raw codec support from software makers since such a limited choice of editing programs reduces the value of that in-camera Raw capture. The only other options for editing N-Raw files are DaVinci Resolve and RedCine-X Pro, so it is great to see Adobe getting on board.

While support for N-Raw in Premiere Pro is certainly welcome news, users will have to wait until "the end of 2025." Nikon didn't provide more specifics than that, simply saying it will come with an updated version of Premiere Pro coming later this year.

Makoto Oishi, Yuji Igarashi and TJ Yoneda, all holding the GFX100RF. GFX100RF | F5 | 1/90 sec | ISO 12800 Cropped and processed in ACR to taste. Photo: Mitchell Clark

Last week, Fujifilm announced the GFX100RF, a fixed-lens camera with a 102MP medium format sensor. The company graciously flew us to Prague to cover the event live, and we got the chance to sit down and discuss the launch with three of the people who helped make it happen: Makoto Oishi, senior manager of GFX product planning, Yuji Igarashi, Manager of Fujifilm's Professional Imaging Group and TJ Yoneda, assistant manager of GFX product planning.

Our conversation mostly centered on the new camera and the design decisions that went into it, but we also talked a bit about the company's content authenticity efforts as well.

Who is the GFX100RF for?

According to Makoto Oishi, the GFX100RF is made for a different kind of photographer than most of the company's other medium-format cameras. "The GFX 100 II and the 100 S II are mainly for current GFX users who shoot landscapes, portraits or commercial. The GFX100RF is a little bit more for street photography or documentary, because we developed this one to be as small and lightweight as possible."

It's designed to be a luxury camera...

Photo: Richard Butler

At first glance, the GFX100RF looks a lot like a larger X100VI, especially with respect to its controls and rangefinder styling. However, according to Oishi, the company didn't set out to design a camera with a family resemblance. "It's not that we didn't care, but we didn't design this camera with too much respect to the X100."

Part of the reasoning is that the GFX100RF is a much more expensive camera than the X100VI, which means it needs to feel more premium. "At the beginning, when we discussed how we should design the camera, we already knew about the price point. So this camera should be more luxurious to match the price point," said Oishi.

"Milled aluminum is the top end of manufacturing"

A major factor in its luxury design is the top plate, which is milled out of a single block of aluminum—it's the first time Fujifilm has used this type of manufacturing process. "Milled aluminum is the top end of manufacturing," said Oishi. Because you're milling from the block, you can have a lot of unique designs—more flexible designs," said Igarashi. Oishi agreed, saying, "With milling, we can develop any complicated, complex shape."

A display at Fujikina showing the stages of production for the GFX100RF's milled aluminum top plate. Photo: Mitchell Clark

Later, during the Fujikina event, Yoneda told us that turning an aluminum ingot into a GFX100RF top plate takes around five hours. Even the side of the hot shoe mount is milled. "It has many special parts," said Oishi.

The company also redesigned the lens hood, creating an adapter ring that only goes one way, which the rectangular hood then attaches to normally. "With the X100VI, it just attaches by screwing on, which can be quite tough to align. This one has tabs affixed on the lens," so it aligns perfectly every time.

... while still being as compact as possible

"This is not an interchangeable lens, so we can be kind of flexible on the design of the sensor and the lenses," said Yoneda. "So the rear element of the lens is really close to the sensor, which is almost covering the sensor size. That's one of the reasons we can create such a small lens."

"We actually have considered several options for the focal length and aperture, and this was what we can make the most compact lens with the best image quality." It also lets you get away with hand-holding the camera at lower shutter speeds, which is important given the camera's lack of stabilization for the sensor or lens. Unsurprisingly, the exclusions were made to make the camera as small as possible – the company said that adding IBIS would've made the camera noticeably larger and heavier.

Photo: Richard Butler

And if you want a closer field of view? "Since it has the 102-megapixel sensor, we can use the digital teleconverter for the telephoto side," said Yoneda.

As for whether the GFX100RF will ever get add-on optical lenses to change its field of view, similar to those for the X100 series, the company says it thinks the digital teleconverter is the way. "At this moment, we think that because of the 102MP, the digital teleconverter works," said Yoneda. "But depending on the users' feedback, we can, of course, consider any possibility of the wide-angle and teleconverter."

On the aspect ratio dial

The aspect ratio dial has ten options – the nine aspect ratios the camera supports, and a "C" setting that lets you control it with one of the camera's control dials. Photo: Richard Butler

One of the most prominent features of the GFX100RF is its large dial for controlling the aspect ratio of your JPEGs. While the company's GFX cameras have long let you emulate aspect ratios from some of its most famous medium format film cameras, this is the first one with a dedicated physical control for it. "I think this analog dial is kind of a connection between the digital technology and the film cameras we have," said Igarashi.

"We are trying to grab new customers with respect to our medium format cameras," said Yoneda. "So we thought this camera was the best one to install that kind of homage to those cameras."

"We are trying to grab new customers with respect to our medium format cameras"

It's also part of the company's philosophy of helping you produce pleasing images straight out of camera. "We wanted to offer to use this to change the aspect ratio not in post-processing, but when you're starting out with the subject," said Yoneda.

As for why it's a dial? "Actually, I wrote the nine types of format vertically," said Oishi. "And when we discussed how the user should choose between these formats... in a menu, it's quite tough. Even assigning it to a function dial or button or something like that... hmm. And then someone said, 'If we can implement it as a dial, is it easier?' And everybody said, 'Oh yeah, that's it!'"

Why there's no hybrid viewfinder on the GFX100RF

The GFX100RF uses an OLED EVF with 0.84x equiv. magnification. Photo: Richard Butler

Several of Fujifilm's photo-focused cameras feature a hybrid viewfinder, which can act as both an optical viewfinder with an electronic overlay or as a purely electronic one. While it doesn't allow for true rangefinder focusing, it does provide a rangefinder-like experience... which is why we were initially confused that the company didn't include it on a camera whose name explicitly refers to a rangefinder design.

According to Yoneda, there are good reasons for it. "The hybrid viewfinder's structure is a little bit complicated, which means the magnification would be much smaller for such a high-resolution camera," he said. Those differences weren't just theoretical, either. "Of course, we created mockups with the hybrid viewfinder installed."

"Another reason is the digital teleconverter. If it comes with an OVF, we'd have to cover 20mm of range when using the teleconverter, which would make the guide-lines much smaller. So, from a practical point of view, we decided to install the EVF."

Will the GFX100RF get support for content credentials?

At its X Summit event announcing the camera, Fujifilm also mentioned that it had begun testing tools for dealing with content credentials, which can help authenticate a photo as being real versus AI-generated and can also provide a record of how a photo was edited. The company is part of the Content Authenticity Initiative and the Coalition for Content Provenance and Authenticity.

"We are still developing and investigating how to implement the CAI and the C2PA," said Oishi. "Unfortunately, we haven't decided on the final specification yet. But we believe this is a very important thing for photography."

"We have to, as an industry, come up with a standard"

As for whether the tech will come to existing cameras like the GFX100RF, Oishi says it depends on the details. "If we have to pay to implement it, or if users have to pay... not so many will want it. Then it'll only be for professional agencies or something," he said. "But if it is free, then we can manage the picture generation – what is real photography? And that is quite important."

"I think, of course, that will become more and more important, so we can't ignore it," said Igarashi. "So we have to, as an industry, come up with a standard. And be aligned, so we can at least define what AI is and photography is, and we can separate the images that we create."

To him, it's not necessarily about AI versus photography; it's about transparency. "We're not saying AI is not good or anything. It's just knowing what has been done through the process; I think that's important."

Interview conducted by Mitchell Clark at the Fujifilm X Summit in Prague, Czech Republic. Answers edited for flow.

The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor. It's an update to Nikon's entry-level full-frame Z5 and is essentially a version of the Zf that trades retro styling for a more conventional design.

Key Features

• 24MP BSI full-frame CMOS sensor
• In-body image stabilization, rated up to 7.5EV
• Autofocus subject detection with support for 9 subject types
• 11 fps Raw w/ mechanical shutter
• 30fps JPEG-only mode with pre-release capture
• 3.69M dot 60Hz EVF with 3000-nit peak brightness
• 4K/30 full-width, 60p w/ 1.5x crop
• 10-bit N-Log or N-Raw capture
• Dual UHS-II card slots
• Downloadable color mode presets via Imaging Cloud

The Z5II will be available in April and will retail for $1699 – a $300 increase over its predecessor in absolute terms, though a very similar price when considering inflation and its greater ambitions. Kits will also be available with a 24-50mm f/4-6.3 lens for $1999, or with a 24-200mm f/4-6.3 VR for $2499.

Index:

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

What's new

A new old sensor

The Z5II's sensor is one we know well, as it features in cameras like the Zf and Z6 II. While it's certainly not state-of-the-art, it's historically performed excellently and offers noticeably faster readout speeds than the non-BSI sensor found in the original Z5, which hailed from the early 2010s.

That'll be most noticeable in video modes – its readout speeds are still slow enough that you likely won't want to use e-shutter mode unless you really need to shoot silently or are doing JPEG-only bursts where it drops to its faster, 12-bit readout mode. However, the Z5II supports much faster burst rates than its predecessor, shooting in Raw at up to 11fps with its mechanical shutter, where the original topped out at 4.5fps.

Hybrid abilities

The Z5II is a much more capable video camera than its predecessor, which could only manage shooting at 4K/30 with a substantial 1.7x crop. The new model, meanwhile, can shoot full-width 4K at up to 30fp and 120fps in 1080p for slow-motion shooting, double what the Z5 was capable of.

It also has a slate of advanced video features such as a product-priority focus mode, electronic stabilization, 10-bit N-Log, waveform monitors and even N-Raw. While the Z5II's target audience likely won't find much use for those later modes, it's hard to complain about their inclusion.

However, while its sensor has good readout speeds, it isn't anything near as fast as the one on the more expensive Z6III. That means you'll see more rolling shutter in full-width 4K, and will have to deal with a 1.5x crop if you want to shoot 60p, though the Z5II is at least capable of the higher framerate.

Latest-gen processor

The Z5II has Nikon's latest processor, the same one that powers cameras like the Z8 and Z6III. That means it largely has the same autofocus capabilities as those more expensive models. It supports the same subject recognition types – the Z5 only recognizes humans and animals, while the Z5II can also detect birds, cars, bicycles, motorcycles, trains and planes.

It also gains a 30fps JPEG-only mode, which supports pre-burst capture. The Z6III's faster sensor gives it a leg up in this area, though: it can shoot full-resolution JPEGs at up to 60fps and can hit 120fps by dropping down to an APS-C crop.

The company also claims the Z5II supports more advanced noise reduction, putting out cleaner JPEGs at high ISOs, and has added an AF-A mode, where the camera decides whether to use single or continuous autofocus.

A bright viewfinder and a more flexible screen

Nikon says the Z5II's viewfinder can reach a brightness of up to 3000 nits, which should help when shooting in harsh daylight. The company doesn't quote brightness figures for the Z5's EVF, though it otherwise has similar specs – both cameras use a 3.69M dot display running at 60Hz.

There are also some changes to the Z5II's LCD. At 3.2", it's the same size as the Z5's, but it's higher resolution and fully articulated, while the original's screen was limited to tilt adjustments.

How it compares

While the Z5II isn't as cheap as its predecessor, it is still among the least expensive full-frame ILCs ever released. Some other cameras on that list, like the original Z5 and Canon's EOS R8, are among its competitors.

At $2000, Panasonic's S5II has a substantially higher MSRP than those cameras and, before the Z5II, offered a more complete package than any full-frame camera in the sub-$2000 range. The S9, which is based around the same sensor, is closer in price to the Z5II but is aimed at a more video-focused audience, as it lacks both an EVF and a mechanical shutter. Given that, it didn't feel as appropriate for this list. While the S5II frequently goes on sale, street prices for cameras drop relative to their MSRPs – a camera that starts off at $1700 is likely to end up significantly cheaper than one that started life at $2000.

The one exception to that rule is if a camera sticks around long enough to get a permanent price cut to reposition it when its replacement arrives. That's essentially what's happened with Sony's a7 III, which was originally released in 2018. It shows its age in many ways but is still in a similar class to the other cameras in this comparison.

With the upgrades it gains over its predecessor, the Z5II has become one of the most complete full-frame options for under $2000. You're not giving up IBIS, battery life and an autofocus joystick like you would be with the EOS R8, and you're not giving up an EVF and dual top-plate control dials like with the Panasonic S9. It's relatively evenly matched with the S5II, though we've generally found Nikon's autofocus performance to be more reliable.

The a7 III may still seem like a worthy competitor on paper, especially considering that Nikon and Canon can't match E-mount's wide range of lenses. However, other brands have caught up to its once class-leading autofocus system, and its menus were dated and annoying to use even back in 2018. The once enthusiast-focused Sony is really showing its age.

Body and Handling

The Z5II's design is relatively unchanged from its predecessor, though that isn't a complaint. It has a standard mode dial with three custom slots, as well as two top-plate dials for controlling your exposure settings. The camera also comes with a wide variety of buttons, including two customizable ones on the front near the lens mount.

Nikon has added its Picture Control button, which debuted with the Z50II and lets you easily control your JPEG color mode. While the Z5II comes with Nikon's classic range of color modes built-in, you can also download more via the company's Nikon Imaging Cloud service and create or customize your own using the company's desktop software.

Out of camera JPEG, shot using the 'Deeptone Monochrome' color mode. Nikkor Z 50mm F1.8 S | F5.6 | 1/2000 sec | ISO 100 Photo: Mitchell Clark

This setup provides a fair amount of flexibility and control over the look of your out-of-camera JPEGs, though it doesn't come with the freedom and enormous back-catalog of the industry-standard LUTs that companies like Panasonic let you use.

Handling

The Z5II is a solid camera with a deep grip, which fits well in the hand. It's sturdy – Nikon says the front, back and top covers are made from magnesium alloy – and sealed against moisture and dust. We shot our sample gallery in light to medium rain with no issues.

The control layout is the same one that Nikon has used across much of its Z lineup – anyone familiar with the original Z5 or Z6 series will be instantly familiar with it. Most of the buttons on the back are generally easy to access while shooting, as is the autofocus joystick. The Z5II also supports using portions of its touchscreen to control the autofocus point. The one button that can be difficult to reach in general use is the Picture Control button, as its position on the top plate will likely require you to re-adjust your grip to hit it.

Viewfinder

The Z5II's viewfinder is high-resolution and has a relatively high magnification, but where it really sets itself apart from the crowd is in brightness. It has a peak brightness of 3000 nits, which means it should still be clearly visible, even on a bright, sunny day.

The panel runs at 60Hz. While that's not as fast as the 120Hz mode found on Nikon's higher-end cameras, it should be responsive enough for all but the most fast-paced situations.

Screen

The Z5II features a large, high-resolution, fully-articulated display. While it doesn't provide stills shooters with the ability to tilt up or down in a single motion, once you flip it out, you can use it at pretty much any angle. It also lets you monitor video you're taking of yourself, an essential feature for anyone looking to try their hand at vlogging.

Ports and slots

Again, the Z5II's port selection remains largely unchanged from its predecessor's. It retains the dual UHS-II SD card slots, headphone and microphone jacks, USB-C socket and micro HDMI port. Overall, it's hard to find fault with this selection.

Battery

The Z5II uses the same 16Wh EN-EL15c battery as many of Nikon's other full-frame cameras. It's CIPA-rated to get around 330 shots on a single charge. While you can generally expect to get a fair bit more than the literal number of rated shots, the rating provides a consistent benchmark we can use to measure cameras against each other.

We'd consider a rating around 300 to be acceptable for a day of shooting or a weekend where you're occasionally taking photos, but anything more, and you'll probably want to keep an extra battery or USB-C battery bank at hand.

If you routinely have marathon shooting sessions, the Z5II can be fitted with the sold-separately MB-N14 battery grip, the same that's used for cameras like the Z6 II and Z6III. It should roughly double your battery life and lets you hot-swap in a fresh battery without cutting power to your camera.

Initial Impressions

The Z5II seems like an extremely calculated move in that it fits precisely into Nikon's lineup and the full-frame camera market as a whole. It's a budget-ish model that gives you one or two good reasons to pay a bit more for it than its competitors while not being so good as to dissuade those with deeper pockets from buying a more expensive model like the Z6III.

It's one of the most remarkably complete full-frame cameras that you can get for under $2000, and that makes it easily fit into a flowchart. Care about video and shooting fast-moving subjects? That rules out the Z5. Want IBIS? The EOS R8's out. Want a viewfinder, mechanical shutter and modern menus? Well, that leaves the Z5II. But what if you just have to have full-width 4K/60p, faster burst rates and an even better viewfinder? Well, Nikon will be more than happy to sell you a Z6III for $700 more.

Of course, there are more options if you're willing to consider other sensor sizes. Fujifilm's APS-C X-T5 is a similar class of camera, and the lenses for it are generally going to be less expensive if budget is a big concern for you. Nikon sells the APS-C Z50II, which has surprisingly similar capabilities, is smaller and is almost $800 cheaper. For those set on full-frame, though, the Z5II remains a very well-rounded entry point.

The Z5II is a much more ambitious camera than its predecessor

It's easy to overstate the importance of the price bump from the Z5 to the Z5II. The original was the second cheapest full-frame mirrorless camera ever released, and its successor is coming out after several years of high inflation at a time when the economy doesn't seem to be doing so well. It's also a much more ambitious camera; it's extremely similar to the Z6 II, which launched for $2000 in 2020, except it comes with a better viewfinder and vastly improved autofocus. Sure, people will wish all that was available for the same price the Z5 launched at (or less), but the reality is that even with its higher MSRP, the Z5II is still one of the least expensive full-frame mirrorless cameras at launch.

The one final wrinkle is the Nikon Zf, a camera that is, by all important metrics, the same as the Z5II but with a higher price tag. It comes with a style that the rest of the cameras we've talked about today can't match; it looks like a classic film SLR with all the dedicated dials, but it can also be used like a modern twin-dial mirrorless camera.

Some people won't care about or for that design, and that's great – they can get the Z5II and never think about the Zf again. Others will care about that and pay extra to get it – or wish they could and feel slightly bad about it. Either way, it's the one competitor that requires an emotional decision, not a logical one.

Pre-Production Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Image: Viltrox

Yesterday, Viltrox had some fun with April Fool's Day and announced a lens in its Air lineup that was, well, literally air. But today, the company has revealed a real addition to the Air series of compact and lightweight lenses. The AF 50mm F2.0 Air was initially announced and displayed at CP+, though details were extremely slim at that point. Now, though, things are more official, with full details available.

The AF 50mm F2.0 Air is available for Z-mount and E-mount. It joins the 20mm F2.8 and 40mm F2.5 full-frame lenses already in the lineup, along with 25mm F1.7, 35mm F1.7 and 56mm F1.7 APS-C Air lenses. The 50mm focal length, affectionately called the nifty fifty in the photography world, is a versatile option. It's ideal for everything from street photography and travel to portraits and more.

Image: Viltrox

Viltrox's take on this classic focal length is compact and lightweight, with the E-mount model weighing 205g (7.2oz) and the Z-mount version weighing slightly more at 220g (7.8oz). The optical design features thirteen elements in nine groups, which include three ED lenses, four high-refractive elements, and one aspherical element with HD nano-coating. Viltrox says it will provide "vivid, distortion-free images."

The lens offers an aperture range of F2.0 to F16 and it features a nine-blade aperture, resulting in what Viltrox says is "stunning bokeh." An STM motor drives autofocus, which works with eye and face detection, promises minimal focus breathing and supports in-body image stabilization. It can focus as close as 0.51m (20").

The Viltrox AF 50mm F2.0 Air is available today. It's currently on sale for $183, though it will cost $199 at full price.

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Photo: Richard Butler

Some years ago, when I was relatively new to the camera industry, I wrote a post for DPReview's short-lived blog, suggesting it was high time someone re-thought the way camera interfaces work.

I used Apple as an example of a company making inroads into an established market by developing a completely different way to interact with a device. I had no idea, back then, just how much impact the iPhone would go on to have, of course. The iPhone 3G, the first to offer competitive communication speeds, had only been launched a few months earlier and it seemed impossible that the likes of Nokia would be swept away by a relatively small computer company.

I explicitly wasn't advocating for cameras to move to a smartphone-style touch interface, more for a blank-sheet reconsideration of what a camera needs to provide and how best to prioritize those things.

When I wrote a blog post in 2008 asking for an Apple-style re-think of the way cameras operate, I had no idea just how significant the iPhone would go on to become. Rendering: Apple

Sixteen years later, no one's really attempted it. A lot of cameras still operate like film cameras with a dizzying array of digital functions clumsily added on top. Most manufacturers haven't significantly re-thought menu systems originally designed for 20-or-so options despite them now having to accommodate around 100. Arguably none of them work well at this point: the difference is in just how badly they cope.

The result is cameras that are only really usable by people who've spent quite a lot of time learning how to use them, which is why I quietly seethe every time I hear a camera being described as 'intuitive.' Photography's core elements are complex enough that there'll always be something of a learning curve, but there's probably a middle-ground between a smartphone that does everything from focus and exposure to adaptive processing for you and a camera that operates like a 1980s SLR with a text-based choose-you-own-adventure computer game glued to the back.

Small steps

There has been some innovation since then, of course: Pentax created the TAv (time and aperture priority) exposure mode that has now become commonplace in the form of allowing Auto ISO while in Manual exposure mode. And its Hyper Program mode where you could override its aperture or shutter speed decisions while retaining a high degree of automation.

Likewise, Canon introduced its Flexible Priority exposure mode (along with the disappointingly useless M-Fn swipe bar) on the EOS R, which let you select which of aperture value, shutter speed and ISO you controlled and which were automated, on-the-fly. I'll confess I never quite managed to get my head 'round using it quickly enough for it to be beneficial.

The Sigma BF is not the answer

With its dedicated settings screen, the Sigma BF represents a radical new approach to camera operation. Photo: Richard Butler

The Sigma BF is one of the most radical attempts I've witnessed to re-think how a camera operates. That's why I've put so much time into making videos about it over the past few weeks: because it's so different to anything you might have used before that it's hard to appreciate without seeing it in action.

To be absolutely clear: it is not the future of photography. It's a fascinating, back-to-fundamentals way of controlling a camera that makes you really think about shutter speed, aperture and exposure compensation (and by extension, ISO), in a way I've found quite inspiring. However, it engenders (perhaps even enforces) a slow, contemplative way of shooting that wouldn't be appropriate for most photography or most photographers.

I'll admit when I first heard the underlying specs of the BF I was worried Sigma had somehow taken five years to make a more limited version of the fp, which would appear to be a complete waste of everyone's time. But when I got to actually use it, the interface turned out to make it one of the most interesting cameras I've used in years. Again, not as an all-round, do-anything camera: even if you added a mechanical shutter, it wouldn't be that. But as an attractive device for documenting the world, it's strangely compelling.

All about the detail

Whatever you might think about the BF, a little bit of time spent using it reveals just how much thought has gone into its interface. Learning to operate each function one at a time through the dedicated settings display, then using the main LCD solely for composition and focus, with no incomprehensible icons distracting you, is unexpectedly engaging.

Whereas on the single-dial Panasonic S9 I find myself constantly frustrated, pressing buttons, cursing and wishing for a second control dial, on the BF I've found myself intentionally passing the aperture control back to the camera's single dial. It's difficult to rationalize, and yet, it makes sense when the camera is in your hand.

There are two details that have jumped out at me. The first is that: when you half-press the shutter, just as you're about to take your shot, the BF switches the dial's function to exposure compensation. It's a lovely little touch: it assumes you've selected the aperture and/or shutter speed you want, creatively, but makes it easy to give it a little tweak at the last moment, if needed.

It just works

But the detail that really stood out to me is the way White Balance is handled. Not something you might usually notice or pay attention to, but the way it's handled on the BF is so clever that it makes you realize how much thought has gone into it.

When you first turn the camera on, the White Balance icons are arranged in order of color temperature, so that you can scroll from correcting too much orange light to correcting too much blue. That's standard enough.

Custom White Balance presets get saved along the white balance continuum in the menus. You can tap the trash icon to delete them.

But what jumped out at me is what happens when you set a custom white balance. For this you have to bring up the 10-setting function menu to access the Custom WB option, but whatever value it records is then saved as a preset, in sequence along the color temperature spectrum.

So if you set a custom white balance that isn't quite as cooling as the Incandescent preset, that custom preset will now appear between the Incandescent and Fluorescent settings as you scroll through your white balance options. If you find you no longer need that preset, you can delete it.

Becuase the custom presets appear in sequence, they can be easily selected from the dedicated settings screen at the top corner of the camera. The two presets displayed in Kelvin are custom settings I've created. Animation: Richard Butler

Manually defined white balance values are treated a little differently: they still appear in their relative position on the scale, but have to be selected from the function menu because, once selected, the rear dial adjusts their value, rather than jumping between presets. I was annoyed by this inconsistency at first, but it makes sense that you're more likely to want to constantly fine-tune a white balance value you've chosen yourself, rather than setting from a grey card.

Ultimately, the handling of white balance is a tiny little detail for a setting most people don't regularly interact with, but a detail that's redolent of the degree of consideration that's gone into ensuring the BF can be operated using a screen that displays a single parameter at a time.

There's still need for revolution

As I hope I've made clear, I'm not saying the Sigma BF is the iPhone of the camera industry: far from it. But sixteen or so years after asking for it, it's lovely to see someone willing to radically rethink how a camera could work. And I want to acknowledge Sigma and whoever designed the BF's White Balance system for doing so.

Image: Adobe

The National Association of Broadcasters (NAB) is still a few days away, but Adobe has announced updates coming for video users in anticipation of the annual trade show. Most of the changes are focused on Adobe Premiere Pro. The latest features, all of which have already been available in beta, aim to streamline the editing process even more with the help of various AI-based tools. Frame.io is also getting a few updates, making collaborating and controlling your files easier.

Adobe Premiere Pro updates

Image: Adobe

One of the more exciting beta tools that is getting general availability is Generative Extend. Powered by Adobe Firefly, Generative Extend uses AI to create a few extra frames when clips are just a bit too short. Firefly essentially uses the audio and video from your clip as a prompt and adds a few frames. It's ideal for holding on to a character reaction for an extra beat, extending sound effects or cutting an awkward gesture or facial expression right at the end of a clip.

DPReview's Mitchell Clark tested Generative Extend when it was announced at Adobe Max last year and was quite impressed. At the time, there were quite a few limitations, but luckily, Adobe addressed those. Now that it's moving out of beta, it works with up to 4K video and also works on vertical videos. It also works in the background, so you can keep editing while it processes.

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Adobe says Generative Extend is safe for commercial use and that appropriate Content Credentials are embedded in the file. Adobe has also said that your content remains your own and is not used to train these AI models. The tool is free to use for now, though, after a "limited time" (Adobe didn't provide any more detail), Generative Extend will require Firefly generative credits. Pricing will vary based on the format, frame rate and resolution of your video.

Media Intelligence, an AI-powered search tool, is also coming out of beta. A search panel in the upper right-hand corner of Premiere Pro allows users to search for everything in one spot, with the AI recognizing the content of your clips, including objects, locations, camera angles and more. Adobe released the beta version of Media Intelligence and the AI-powered search panel in January, but now there will be full access to the feature.

Image: Adobe

Media Intelligence allows you to search using natural language, and it will find any matching visuals, spoken words or even embedded metadata. The AI recognition happens locally, so no internet is required. It promises to significantly speed up the editing workflow for those who need to pull from large libraries or are working on big projects.

Image: Adobe

Caption Translation, yet another January beta release, is also coming out of beta. This tool allows for AI-powered multilingual caption generation, saving users quite a bit of time when translating captions. It currently supports 27 languages and can be accessed in the Text Panel. You can even display multiple visible caption tracks simultaneously for greater flexibility.

Finally, a non-AI-based tool is also on the list of beta features going mainstream. Adobe's new Color Management feature allows users to transform Log and Raw from nearly any camera to SDR and HDR without LUTs. Adobe says it is a simple and approachable feature with six presets that any video editor can use, no matter their experience level. It also says it will be easier to match videos from different cameras and to define the look and feel of your videos.

All of the new Premiere Pro features are generally available today.

Adobe Frame.io updates

Frame.io is Adobe's take on collaborative media management. Last fall, Adobe added Lightroom integration for the platform, making it more usable for those who need access to more than just video work. Now, the company has added more tools for collaboration. Many of the tools are only available (or applicable) to larger teams, but there are some useful features even for smaller collaborations.

An example of the watermarking tool in Frame.io Image: Adobe

Admins now have the option to create brand templates that any user can apply, making it easier for teams to create consistent content with a branded visual identity. It's also possible to protect work-in-progress content with custom watermarks, though you'll need a Pro, Team or Enterprise account to use those.

While you may want to share your files with collaborators, you don't necessarily need everyone to have editing or even commenting access. Adobe has added restricted folders, which allow you to keep things organized while protecting sensitive assets and discussions. These folders will allow you to set customizable permissions, changing who has access to view, comment or edit.

The Frame.io features are generally available today.

Image: Falcam

Working with lights can be challenging for many reasons, but partly because of the manual adjustments necessary as you dial in your setup or when changing your lighting. Accessory maker Falcam, a sub-brand of Ulanzi, aims to take some of that work out of the equation with its latest release, the Move LightGo.

The Move LightGo essentially adds a motorized head to your light stand, giving you remote access to angle adjustments. The device mounts to the light stand and attaches to the front of the light via Bowens mount. Unfortunately, lights with other mounts aren't compatible with the Move LightGo.

Image: Falcam

Once attached, you can control the Move LightGo with a wired remote (included), a wireless remote with up to 30m (98.4') of range (for purchase separately), or an app with up to 10m (32.8') of range. It supports dual-axis movement with 170 degrees of tilt and 450 degrees of panning. Having the option to rotate and tilt the light without having to physically be near it could save a lot of time. Perhaps even more helpful, though, is the option for remote adjustment when the light stand is extended and out of arm's reach.

Falcam explains that the Move LightGo even adds tilt capabilities. Most light setups can't adjust a full 170 degrees with certain lighting modifiers attached because the stand gets in the way. However, since the Move LightGo extends the light away from the stand, it allows for extra tilt when working with larger modifiers.

The MoveLight Go Wireless Remote. Image: Falcam

The Move LightGo allows users to assign unique numbers to each unit, so if they have multiple, they can control each one individually. You can also save and recall preset light positions for even faster adjustments. It also features screw holes and Arri location holes for adding additional accessories.

The device requires power, but it is compatible with multiple power solutions. That includes AC power input with USB-C connection (a standard power cable is included), power-sharing modules or a V-mount battery or power bank. Falcam sells two power adapter modules – the Move LightGo Cannon 600 and DC 200 – both of which are available for purchase separately for $15. It can hold up to 6kg (13.2lbs) and weighs 1.68kg (3.7lbs).

The Move LightGo is available for purchase starting today for $249. It includes a wired controller, but from April 2nd to April 13th, Falcam is including a free wireless remote control with every Move LightGo order.

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GCCA Concrete in Life 2024/25 photography competition winners

Photo contests typically have some sort of central theme or guiding topic, but that isn't often centered around a building material. The Concrete in Life contest, however, does just that. Run by the Global Cement and Concrete Association (GCCA), the contest aims to highlight concrete's beauty and essentiality worldwide. The winners of the sixth annual running of the contest have been announced, having been selected from more than 20,000 entries.

"The stunning images highlight concrete’s positive impact on our lives right across the planet," said Thomas Guillot, GCCA Chief Executive who helped to judge this year’s competition. "Whether it’s the vital infrastructure such as bridges, railways and roads that we travel along or the homes, offices and schools we inhabit, concrete is a truly versatile material. Our competition gives anyone with a smartphone as well as professional photographers, the chance to show just how essential concrete is to our lives, as well as how beautiful it can be."

The contest is open to any type of camera, from smartphones to professional equipment. The contest awards an overall winner with a prize of $10,000. There are also four category winners – Urban Design and Use, Concrete Infrastructure, Concrete in Daily Life and Beauty and Design – with one winner per category winning $2,500. Finally, a People's Choice award winner receives $5,000.

You can see all of the shortlisted winners and learn more about the contest at the GCCA Concrete in Life website.

Concrete in Life Photo of the Year 2024/25: Henrik Hagerup

Photographer: Henrik Hagerup

Image title: Venice Beach Skating

Image location: Venice Beach, Los Angeles, USA

Description: A magical morning where the skaters work their magic on the concrete rink with the Pacific Ocean as a backdrop, the picture illustrates the professional skater and the little boy who dreams big dreams.

Statement: I am truly honored, overjoyed, and deeply humbled that you have chosen my image as the Overall Winner of the Concrete in Life 2024/25 Competition.

I captured my picture at Venice Beach in Los Angeles, a vibrant destination where people from all over the world come to enjoy the sun, the ocean and not least, the iconic skate park, this vibrant space is a magnet for creativity, where something exciting is always unfolding. When in L.A. I often spend hours here, camera in hand, patiently waiting for the perfect moment to emerge. 

From the very start, I noticed a young boy who I instinctively knew could become an essential part of my story. Through this image, I aimed to illustrate how concrete shapes the lives of those who play, dream, and push the limits of possibility. The experienced skater, who has mastered the smooth surface through dedication and skill, stands as an inspiration to the child, whose hopes and ambitions are just beginning to take form.  

My image is a tribute to the way concrete, when embraced by creativity and passion, fosters connection, dreams, and boundless potential not just in skate parks, but in communities across the world.

Urban Design and Use winner: Anvar Sadath TA

Photographer: Anvar Sadath TA

Image title: Urban Flow

Image location: Dubai, UAE

Description: The iconic Burj Khalifa rises above the futuristic skyline, framed by surrounding architectural marvels and concrete curves, all mirrored in the shimmering waters of the city.

Statement: I am honored to be the winner of the Concrete in Life 2025 competition in the Urban Concrete category! My winning photograph captures the dynamic relationship between concrete structures and the vibrant cityscape, reflecting how concrete shapes our urban experiences.  

This recognition reinforces my passion for storytelling through photography, and I hope my image inspires others to find beauty in the everyday structures that define our cities. My heartfelt thanks to the GCCA for this incredible honor. I also extend my sincere gratitude to the judges and the entire GCCA team for supporting photographers and celebrating visual storytelling.

Concrete Infrastructure winner: Wentao Guo

Photographer: Wentao Guo

Image title: Structure as Aesthetics

Image location: Washington D.C. USA

Description: In Harry Weese’s Washington subway station, concrete transcends time and function: its light and shadow align precisely with the motion of countless trains passing through; its rectangular division aesthetically resonates with the sense of security and austerity of the mass transportation station in the United States’ capital city.

Statement: I took this photo at one of the Washington DC subway stations designed by Harry Weese. I was captivated by the moment when the transience of transportation runs into the permanence of concrete. Its obscurity becomes its greatest presence: its functionality, its aesthetic and its enduringness. Concrete is such an essential part of our lives and it constructs so many characters of our built environment. I am very honored to be a winner of the Concrete in Life 2425 competition, having a valuable opportunity to reveal the essence of concrete in our built environment through my lens.”

Concrete in Daily Life winner: Wellington Kuswanto

Photographer: Wellington Kuswanto

Image title: Daily Life in Bedok Jetty

Image location: Bedok Jetty, Singapore

Description: Bedok Jetty serves as an urban public space in Singapore, offering people a serene retreat for fishing, sport & leisure activities, and scenic waterfront view. Urban public space like this is vital for fostering community engagement, social interaction, and a sense of belonging among people.

Statement: I’m truly thrilled that the judges selected my photo as the winner in the daily life category. 

Bedok Jetty holds a special place for me, as I cycle and hang out there every weekend. It inspired me to submit the image of this particular place for the competition, as it showcases a public space made of concrete structure that is actively used by many people engaging in various activities as part of their daily lives

Beauty and Design winner: Artemio Layno

Photographer: Artemio Layno

Image title: Broken Building

Image location: Amsterdam, Netherlands

Description: Valley is a residential and office tower on the Zuidas in Amsterdam. The three towers are respectively 100 metres (north), 66 metres (west) and 76 metres (south) high. The 75,000-square-metre building, which was recently declared the world’s best new skyscraper by the Emporis Awards, stands out in Amsterdam. The construction of Valley took four years, with the first residents and entrepreneurs moving into the building at the end of 2021.

Statement: I am really happy and grateful that my photo is chosen to be a winner of the Concrete in Life 2425 competition. I took the photo at Amsterdam, Netherlands and I was amazed how creative and modern the design of the building is, it looks like it was cut-out and separated in the middle of the main structure, the design is created by a large number of terraces. Concrete is not just used as a necessity in creating structures but it can also be used to showcase artistic works that are amazingly beautiful.

People's Choice winner: Mohamed Rafi

Photographer: Mohamed Rafi

Image title: Fluttering Through Life

Image location: Pondicherry, India

Description: When I saw this wall near Pondicherry Beach, I waited for someone to enter the frame. I captured a few casual shots, then this elderly woman walked in. Dressed in a floral outfit with a black shawl, she moved with quiet grace. I clicked my shutter as much as possible, not wanting to miss the moment. For me, it was a powerful intersection of reality and art, symbolizing unseen strength and the beauty of everyday life.

Statement: I am truly honoured to win the People’s Vote Category of the Concrete in Life 2024/25 competition. This photograph, taken in Pondicherry India, captures an everyday moment transformed by art: an elderly woman walking past a mural, unknowingly aligning with its butterfly wings painted in a wall. To me, it symbolizes resilience, unseen beauty, and how our surroundings shape us in ways we don’t always realise. Street photography is about finding meaning in fleeting moments, and I’m thrilled that this image resonated with so many people.

Shortlist: Febina Nabeel

Photographer: Febina Nabeel

Category: Beauty and Design

Title: Where Nature and Architecture come together!

Image location: Abrahamic Family House, Abu Dhabi, UAE

Description: Abrahamic Family House combines the three Houses of Worship - Eminence Ahmed El-Tayeb Mosque, St.Francis Church and Moses Ben Maimon Synagogue.

The olive tree representing peace and friendship.

Shortlist: Edwin Loyola

Photographer: Edwin Loyola

Category: Beauty and Design

Title: The Oculus

Image location: New York City, USA

Description: The World Trade Center’s Oculus, designed by the visionary Spanish architect Santiago Calatrava, is a triumphant transportation hub that embodies the unbreakable spirit of New York City. Situated in the heart of Manhattan, the Oculus serves as a vibrant gateway to the city, seamlessly connecting millions of people to 12 NYC Transit subway lines, while also offering an unparalleled shopping and dining experience.

Shortlist: Jason Balaba

Photographer: Jason Balaba

Category: Beauty and Design

Title: Futuristic Ithra Library

Image location: Dhahran, Saudia Arabia

Description: The futuristic design of Ithra Library is inspired by natural, organic shapes, and the building as a whole feels like it is in constant transformation, symbolizing progress and cultural growth.

Shortlist: Ee Long Tan

Photographer: Ee Long Tan

Category: Concrete in Daily Life

Title: Colorful Stairs

Image location: Batu Caves,Selangor, Malaysia

Description: The most striking thing in the photo is the bright colors of the stairs,red,orange,yellow,green,blue,and purple,with distinct layers,as if a rainbow fell from the sky. These colors not only make the stairs more beautiful,but also give it deeper cultural and religious significance.

Shortlist:

Photographer: Ricardo Funari

Category: Concrete in Daily Life

Title: Maracanã

Image location: Outside Maracanã stadium, Rio de Janeiro, Brazil

Description: My eyes were attracted by the curious and funny shadow of the boy playing with his soccer ball projected by the mid-afternoon sun on the concrete floor surrounded by palm trees at Maracanã stadium in Rio de Janeiro.

Shortlist: Shibasish Saha

Photographer: Shibasish Saha

Category: Concrete in Daily Life

Title: Drying incense sticks

Image location: Hanoi, Vietnam

Description: Quang Phu Cau Incense Village is a picturesque place where vibrant red incense sticks are laid out under the golden sun, creating a surreal scene. The air is filled with a calming aroma as friendly artisans dye and dry the incense with skilled, rhythmic movements. The village buzzes with quiet activity, children's laughter, and the warmth of a timeless Vietnamese tradition. It's a beautiful, unforgettable experience.

Shortlist: Ian Payne

Photographer: Ian Payne

Category: Concrete Infrastructure

Title: Hyperboloid

Image location: Slough, UK

Description: A beautiful summer's day with the temperature around 30°C, I did what any sensible person would do, walk around an industrial estate to photograph newly painted concrete cooling towers. The heat shimmered off the tarmac, but the towers stood out, sharp and clean against the sky. Worth the sweat? Absolutely.

Shortlist: Serdar Aydin

Photographer: Serdar Aydin

Category: Concrete Infrastructure

Title: Varyant

Image location: Izmir, Turkey

Description: In İzmir, Türkiye, buses navigate a winding road called Varyant. This uniquely shaped route, made of concrete and asphalt, might be an uncomfortable ride for passengers, but from above, it offers a stunning view.

Shortlist: Anna Kropf

Photographer: Anna Kropf

Category: Urban Concrete

Title: Arch_ES_Valencia

Image location: Designed by Santiago Calatrava and Félix Candela. Museu de les Ciències Príncipe Felipe (2000) – an interactive museum of science that resembles the skeleton of a whale.

Description: The City of Arts and Sciences (Valencian: Ciutat de les Arts i les Ciències, Spanish: Ciudad de las Artes y las Ciencias)[a] is a cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia and one of the 12 Treasures of Spain.

Shortlist: Jacob Surland

Photographer: Jacob Surland

Category: Urban Concrete

Title: Door to the Unknown

Image location: Aalborg, Denmark

Description: I shot this photo in February 2024. It is of a side door to the old power plant Nordkraft (North Power). It is now a recreational and cultural center including a cinema and concert hall. When I was a child, it was the new Power Plant and it was a Monument of the city and the first thing you would see, when driving towards Aalborg. It was a sign that told you, that you were soon home.

Photo: Dale Baskin

On a recent trip to Japan, I found myself in one of those situations universally dreaded by travelers: showing up for an international flight with a pocketful of unspent local currency and nowhere to spend it except a duty-free shop. I was swimming in a Scrooge McDuckian sea of unused Yen.

The idea of bringing home yet another Toblerone bar, that triangular brick of duty-free despair, was soul crushing. I desperately searched for something – anything – else to needlessly throw my money at.

Then I saw the Hello Kitty Toy Camera, a small rangefinder-shaped camera complete with an optical viewfinder and removable memory card. You can find these toy cameras all over Japan at stores like Bic Camera, but I never considered buying one until I was in a use-it-or-lose-it cash scenario.

Given the choice of drowning my sorrows in yet another Toblerone bar, snagging a box of Tokyo Bananas or dropping a pocketful of Yen on the Hello Kitty camera, my duty to DPReview came first. Which is why, dear readers, I'm going to tell you about yet another camera you never knew you didn't want.

Key specifications

• 1.3MP Type 1/10 CMOS sensor (approximately 1.28 x 0.96mm)
• 3.2mm F2.8 fixed-focus lens
• Optical viewfinder
• ISO 100 (fixed)
• Single Micro SDHC card slot
• Video capture (720x480/30p)
• Fake buttons and controls
• Pink Hello Kitty styling

How it compares

It's hard to find cameras that are directly comparable to the Hello Kitty Toy Camera, so we decided the best course of action would be to compare it to another rangefinder-style camera: the Fujifilm X100VI.

As the table below illustrates, we can make the Hello Kitty camera appear competitive with the more expensive X100VI by picking just the right specs to compare.

On paper, both cameras earn superlatives in some areas. While the Fujifilm wins on key specs like sensor size and resolution, it's hard to ignore the price tag and uber-light weight of the Hello Kitty camera. Along with the fact that the Hello Kitty camera can fit in a real pants pocket, not the ambiguous 'jacket pocket' reviewers always talk about.

The number of existential mid-life crises induced in a camera reviewer is a spec that's often overlooked in reviews. The Hello Kitty camera definitely wins here. As long as we're clear that by 'wins', we mean 'loses'.

Body and handling

Photo: Dale Baskin

The Hello Kitty camera is a rangefinder-shaped camera with silver-colored top and bottom plates and an optical viewfinder. I call it a 'rangefinder-shaped' camera because it's not actually a rangefinder. But, then again, neither is the Fujifilm X100VI.

You won't use the viewfinder. It's either so bad that it makes you dizzy, or it's a window into 4-dimensional space the human brain isn't wired to comprehend. Either way, it will drive you to madness.

The optical viewfinder is a nice touch, but trying to use it will drive you to madness. Photo: Dale Baskin

The camera includes two functional controls along with two other controls that are just for show. The On/Off button on the top plate doubles as the shutter button, and the Mode button adjacent to it lets you switch the camera between photo, video and audio recording modes.

The other controls are fake, fooling absolutely no one.

The 3.2mm F2.8 lens, which I'm pretty sure is made of a chunk of polished candy, has ridged edges that beg to be rotated. But trying that would be a mistake as it would break the camera. You just have to embrace it for what it is.

Here's a picture of the Hello Kitty camera that better illustrates its size. Yep, it's that small. Also, that lever on the front is fake. Photo: Dale Baskin

Taking photos is best accomplished with a 'spray and pray' approach. You point, shoot and hope. I say 'hope' because the camera doesn't actually take a photo of what's in front of you but something off to one side. It's like having an integrated AI that guesses what you're trying to photograph, then fails spectacularly every time.

Image quality

No DPReview camera review would be complete without our studio test scene.

A quick glance at the studio scene doesn't reveal anything except digital despair. The camera captures light, but it's notably short on fine detail. Or any detail. The sensor's dynamic range can best be described as 'on' or 'off'.

I have to come clean. I didn't take this photo in our studio because I couldn't justify the time it would have taken to do so. Instead, I used a life-sized print of the studio scene I keep at home, captured using a $45,000, 150MP Phase One camera. Don't worry; you won't be able to tell the difference in the images from the Hello Kitty camera.

For that matter, you probably wouldn't be able to tell the difference between the real studio scene and an impressionist painting of it.

The photos from the Hello Kitty camera are so bad as to border on some kind of avant-garde art. Photo: Dale Baskin

The one redeeming quality I can see in the images is that they're so bad as to border on some kind of avant-garde art. They have a certain je ne sais quoi, if the 'quoi' is 'blurry, pixelated and eye-watering.'

Video

It's incredible that this camera even shoots video, capturing 720x480 resolution, which I'm pretty sure is the same resolution my not-inexpensive Panasonic DVX100 video camera captured about 20 years ago. Though the Panasonic had the advantage of being a 3-CCD system. And having a lens that could fully resolve an image of an avocado.

If your idea of quality video is watching a bootleg copy of the movie ET your parents recorded on network television in 1984, you'll be delighted with the results.

Conclusion

With my journalistic integrity now hanging by a thread – or a pink piece of yarn – I have to find some way to wrap up this review. My professional reputation is in the hands of an animated cat, and I'm strangely OK with that.

Photo: Dale Baskin

I'm not sure if this camera is a toy or a subtle form of psychological warfare aimed at photographers. I've temporarily convinced myself it was a sound purchase, knowing a crushing pink wave of buyer's remorse will eventually hit me like a pixelated tsunami; after all, this is one of the worst photography products I've ever used.

And yet, I have a weird affinity for it.

My six-year-old niece loves using the Hello Kitty camera. So does my cat. But instead of taking photos, he mostly just wants to kill it. I don't know if he has some kind of Hello Kitty issue he's working through or if it's just because cats are basically little killing machines who happen to be cute.

But it does make me wonder if it might actually be possible to put a price on happiness: $45 (plus the cost of therapy).

Sample Gallery

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Photo: Abby Ferguson

As Women's History Month comes to a close, it's a fitting time to celebrate the incredible contributions of women in photography. Despite gains, women still face significant underrepresentation and inequality in the photography industry. A study by Women Photograph found that in 2023, only 21.5% of front-page images in major newspapers were taken by women. Euro News reported in 2022 that only 15% of professional photographers worldwide are women, even though roughly three-quarters of photography students are women.

We've rounded up some outstanding women photographers worth following on Instagram (and beyond). There are, however, countless more, so feel free to share your favorite women photographers in the comments as well.

Lynsey Addario

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Lynsey Addario is a renowned photojournalist whose work has been published in prominent publications like The New York Times, National Geographic, and Time. She documents conflicts, humanitarian crises and women's issues around the Middle East and Africa, highlighting the human elements of war and crisis. She wrote a New York Times Bestselling memoir in 2025 and has received numerous awards, including a MacArthur fellowship and two Emmy nominations. She was also part of the New York Times team to win a Pulitzer prize for overseas reporting from Afghanistan and Pakistan and holds three Honorary Doctorate Degrees.

Patience Zalanga

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Patience Zalanga is a freelance photographer from Minneapolis-St. Paul, Minnesota. Her work is documentary in style, and, for the past six years, primarily focuses on capturing social movements across the United States. Zalanga's images have been featured in Time, The New York Times, NPR, Buzzfeed News and more.

Luisa Dörr

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Luisa Dörr is a Brazilian photographer known for her powerful portraiture and storytelling, which often focuses on themes of femininity, cultural identity and resilience. She has been widely published in outlets such as Time, National Geographic and The New York Times. Additionally, she has received international recognition for her Firsts project with Time magazine, where she photographed 46 trailblazing women and has received numerous awards, including a World Press Photo Award for her series on Falleras.

Cassy Athena

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A post shared by Cassy Athena Photo 📸 (@cassyathenaphoto)

Cassy Athena is a Los Angeles, California-based photographer renowned for her sports photography, specifically with the NBA. She has captured candid and personal moments of some of the NBA's biggest stars, including LeBron James, Kevin Durant and Stephen Curry. Her work has been featured in Sports Illustrated, Slam Magazine and Billboard, and she is also a Getty Images contributor. Athena has also collaborated with brands like Nike, Under Armour and Jordan Brand.

Kim Powell

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A post shared by Kim Powell Photography (@kimi_powell)

Kim Powell is an architectural photographer based in Greece. She, along with her partner, Thomas, captures a variety of projects, working with architects, interior designers and home builders. Her imagery is clean and fresh, highlighting the unique characteristics of each space.

Tawni Bannister

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Tawni Bannister is a photographer and director based in Los Angeles and New York. She works across various genres, including commercial, editorial and fashion. Her photographs blend elements of fine art and documentary photography, embracing color and texture to showcase personality. Bannister's images have been featured in publications like Vogue, Harper's Bazaar and The New York Times, and she has worked with Allbirds, Allure, Athleta, Climique, J.Crew, Samsung and more.

Jamie Beck

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Jamie Beck is an American photographer, visual artist and author who is currently living and working in Provence, France. She is known for her romantic and expressive style, drawing inspiration from classical art and nature. Her floral still-life images and self-portraits are reminiscent of classical paintings, with rich texture and dramatic light. Beck's photographs have been featured in Vogue, The New York Times, Fobes, Travel + Leisure and more. She, along with her husband, Kevin Burg, created the Cinemagraph, a hybrid of photography and video.

Emily Maye

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Emily Maye is a photographer and film director known for her narrative-driven approach to capturing athletes. Her images show the humanity behind the athletes' discipline, focusing on intimate, behind-the-scenes moments rather than traditional action shots. She has photographed Serena Williams, Usain Bolt, Jayson Tatum, Steve Nash and more and has collaborated with Nike, Adidas, Lululemon, Rapha, The North Face, Gatorade and Puma.

Cig Harvey

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A post shared by Cig Harvey (@cigharvey)

Cig Harvey is a fine art photographer, writer and educator. Her imagery is deeply personal and evocative, exploring themes of nature, family, belonging and the passage of time. She is known for her rich use of color and natural light, capturing the magic in the mundane with a dreamlike quality. Harvey has exhibited her work internationally and received numerous awards.

Alison Arena

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A post shared by Ignite Media- Al Arena (@ignitemediaphoto)

Alison Arena is a professional photographer and founder of Ignite Media, a full-service agency. Much of her work is centered around motorsports, creating photographs and videos for clients such as Mazda, Red Bull, Ferrari NA and Wired. She travels around the country to capture IMSA events, the Spec Miata Series, the 24 Hours of Daytona and more.

Emily Howe

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A post shared by Emily (@thevetiver)

Emily Howe is a Brooklyn-based photographer and award-winning creative. Her photographs span multiple genres, including portraiture, travel and street photography, all with a focus on storytelling. Her work has been featured in Time, NY Mag, Refinery29, Google and Netflix.

Jasmine Quiñones

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Jasmine Quiñones is a Texas-based filmmaker and director. She crafts commercial and narrative film projects with a gritty, documentary-based style. Quiñones often combines sports and urban lifestyle into her projects and has worked with various clients, including Fujifilm, Nike, Ladder and more.

Mykim Dang

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Mykim Dang is a media producer and full stack creator who works across mediums. She is currently the Director of Video and Voices here at Gear Patrol and DPReview, crafting much of the video content that you see on the site and our social media channels. Beyond her video work, she also takes spectacular photos with an eye for storytelling.

Image: TTArtisan

TTArtisan is no stranger to making L-mount lenses, but those have always been manual focus options. That's no longer the case, though, as the budget third-party lens maker has released an autofocus lens for L-mount cameras. TTArtisan originally released the AF 75mm F2 prime lens in September 2024 for Sony E and Nikon Z-mount.

The L-mount version of the AF 75mm F2 weighs 329g (11.6oz), which is slightly less than the Z-mount model. Aside from the weight difference, the L-mount version shares the same specifications as the other mounts. It uses a stepper motor for autofocus, which TTArtisan says is fast, quiet and accurate. The lens supports eye, animal and vehicle AF detection as well, and it can focus as close as 0.75m (2.5').

Image: TTArtisan

The lens features ten elements in seven groups, including one extra-low dispersion (ED) element and four high index elements, promising to reduce chromatic aberration and improve overall image quality. It has nine diaphragm blades and an aperture range of F2 to F16.

TTArtisan's AF 75mm F2 offers a clicked aperture ring, with no option to de-click it for silent operation. It uses all-metal construction for better durability, and a USB-C port allows for firmware updates.

The TTArtisan AF 75mm F2 lens is available for purchase today for $178.

Buy now:

Photo: Mitchell Clark

We've been using the Panasonic Lumix DC-S1RII in a range of circumstances, shooting galleries, covering trade shows and photographing weddings, in addition to our standard tests. We take a look at how it works, what it does well and where it worries us.

Autofocus operation

The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.

The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.

There's a twist, though: the S1RII can either be set to use its focus tracking system or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.

This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.

AF interface

The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.

When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them. Photo: Mitchell Clark

If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.

Autofocus performance

Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.

In our standard tracking test we found the S1RII had a tricky time of following the subject – it lost track of the subject on half of the runs we performed. The camera would typically lose the subject as the rate of approach changed as the target turns a corner.

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Human detection did a better job but could still be prone to losing the subject mid-run (it did so in one of the four runs we conducted). This is consistent with our other usage of the camera: it can be very sticky once it's found a subject, but it doesn't always successfully find subjects, and it can lose track of them as you're shooting. The camera also appears to have struggled to judge subject distance consistently, resulting in some softness when the subject's approach speed varies.

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Perhaps the most concerning behavior, though, was one we've seen in other recent Panasonic cameras, where tracking AF will fail to find something to focus on at all and will simply present a red flashing box and make no further attempt to focus. This is offputting enough to undermine our faith in the reliability of the camera, probably out of proportion to how often it occurs. Just knowing that the camera will sometimes fail to focus and make you wait a few moments is an unpleasant thought to have lingering in the back of your mind and not something we're used to encountering on a modern camera.

This month, we're looking for pictures that feature a red, green and blue color palette. This photo was taken on a hike with friends in Glacier National Park while I was testing the Sigma 28-105 F2.8. Unintentionally, they happened to color-coordinate their backpacks to fit this theme Photo: Mitchell Clark

The theme for our April's Editor's challenge is 'RGB,' or red, green and blue.

We're looking for photos featuring a red, green, and blue color palette. Think an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time.

You can submit photos to the competition starting Sunday, April 6th. The last day for entry will be Saturday, April 12th (GMT).

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

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see all the rules