Comparing the S1II lineup

Panasonic is now selling three hybrid cameras housed in the exact same body with similar features: the S1II, S1RII, and S1IIE. However, they all have different sensors, making them better suited to a particular type of shooting.

We'll go over those differences and, in the process, discuss who each model is best for.

Overview

All the cameras in the S1II series are generally aimed at hybrid shooters who take both stills and video. What sets them apart are their sensors. The S1IIE has the most familiar option of the bunch, with a standard 24MP BSI CMOS sensor that's also shown up in cameras like the Lumix S9 and S5II.

The S1II is still 24MP but steps up to a 'partially stacked' sensor with faster readout circuitry. It's aimed at people who need higher burst rates or higher framerates in video with less rolling shutter. The S1RII focuses on resolution versus speed and comes equipped with a 44MP BSI CMOS sensor, which will capture more detail in stills and allows for 8K video recording, while the other models top out around 6K.

Photo Burst Rates

All the cameras in the S1II series can shoot at up to 10fps with their mechanical shutters, which are rated for 400,000 actuations and can be configured to close when you shut down the camera to protect the sensor from dust. The differentiation happens when you start using the electronic shutter.

None of the cameras are billed as action cameras, but it's worth noting that their different burst rates and resolutions also affect how many photos you can take before their buffers fill up. The S1II can shoot Raws at its max speed for around three seconds, taking around 200 images, while the S1IIE can go for around six, capturing around 180 images. The S1RII can shoot for around a second and a half at its max burst rate, taking around 70 frames.

Base ISO

The second-gen S1 cameras all have dual conversion gain sensors, which will produce cleaner images at high ISOs. However, each camera has different low and high settings in their standard photo style response mode.

The low and high ISOs will change depending on what response mode you're shooting in and, for the S1II and S1RII, whether you're using their respective Dynamic Range Boost and Expansion modes. It is worth noting that these two modes work quite differently – with the S1II, there isn't even a second gain mode in DR Boost – but we'll cover that in more depth later.

Video Resolution

The S1RII is the only camera in the S1II line that can shoot at 8K UHD, though it can't quite handle DCI 8K; instead it has an 8128 x 4288 '8.1K' mode with the same 1.89:1 aspect ratio. Those could theoretically be delivery resolutions, as there are 8K displays on the market, whereas the >4K options for the S1II and S1IIE are more likely to be used because they offer a bit of extra wiggle-room or detail in post rather than because someone's looking to deliver to a 6K display.

However, those looking for flexibility may also want to use a 3:2 open-gate resolution. Both the S1II and the S1IIE can also shoot 6K open-gate, using the full sensor to produce a 5952 x 3968 3:2 image at up to 30fps. The S1RII can currently shoot in 6.4K open-gate at up to 30p, but Panasonic has promised to add an 8.1K open-gate mode to the S1RII via a firmware update, though the company hasn't given a date for when that will be available.

Video framerates

While the S1II and S1IIE have the same maximum resolution and framerate, the differences become stark the moment you move away from 6K open-gate.

Despite its length, this table only shows a selection of each camera's video modes. However, it is broadly illustrative of their high-level capabilities. The S1IIE can only manage full-with 60p in 4K when using the quite short 'Cinescope' aspect ratio, which still only captures a roughly APS-C-sized portion of the sensor. The S1II, meanwhile, can capture full-width 4K and 5.9K up to 60p without a crop. The S1RII will need to apply a small crop to achieve 60p at those resolutions but actually manages to have a slightly smaller crop than the S1II at 4K120p.

Rolling Shutter

The faster the rolling shutter rate, the less risk there is of getting the jello-effect when panning in video or shooting fast-moving subjects when using the electronic shutter.

When it comes to readout speed, the S1II is the fastest of the bunch; it can read the data it needs for its standard UHD 4K mode in 12.5 ms, something the S5IIE takes 21.6ms to do. The S1RII, meanwhile, takes 23.9ms. While those numbers are generally indicitive of how the cameras compared to each other in rolling shutter performance, the S1II and S1RII both have modes that can drastically reduce their performance. But to talk about those, we need to talk about...

Dynamic Range

Panasonic says the S5II, S1II can capture "14+ stops+ of dynamic range when shooting in V-Log, while the S1RII is capable of 13 stops. However, both the S1II and S1RII have modes that, when activated, will capture an extra stop of dynamic range, at the cost of readout speed and higher base ISOs.

The S1RII's mode achieves this by simply reading out at a higher bit-depth, and Panasonic says the S1II is using some combination of its dual gain readouts, but not in the same way that the GH7 does. This means that you don't have the second gain step when in DR Boost mode.

Conclusion

There's a lot going on in Panasonic's second-generation S1 line, but by and large, the cameras occupy their own space. The S1IIE is a hybrid camera with solid workflow features and ergonomics but an otherwise relatively basic spec sheet, while the S1II is made for speed, and the S1RII is made for high-resolution shooting. All three are extremely capable when it comes to shooting video, though the aforementioned benefits of the non-E models still apply.

Where things are a bit more complicated is price. The S1IIE retails for $2500, which is substantially cheaper than the S1II's MSRP of $3200 and the S1RII's $3300 price tag. The relatively small price difference between the latter two cameras means that your use, not your budget, should be the deciding factor between the two.

Photo: Charles Brooks

The photo above may look like a city or some sort of industrial plant, but it's not: it's actually the inside of a pipe organ, photographed by Charles Brooks. It's one of the many pictures he's taken from the inside of musical instruments, a process that's substantially more complicated than it may seem, especially since he's often working with rare, historically significant objects.

Charles Brooks spent much of his career as a principal cellist, traveling to perform with renowned orchestras from China to Chile and Brazil. But beyond his music, he also has experience with photography, going back to when he was young. It was a natural combination, then, when he stepped back from playing and picked up his camera. The project that kicked things off for him was when he started capturing the inside of instruments. Brooks was kind enough to talk with me over video chat, sharing his background, what drives him, and unique insight into his Architecture of Music series.

"The inside of a heavily restored Double Bass by Charles Theress, circa 1860, one of the finest bass makers in the history of the instrument. Photographed in Wellington, New Zealand, with the aid of it's present owner Matthew Cave." Photo: Charles Brooks

Brooks had been living in New Zealand and photographing musicians when COVID-19 happened, which quickly brought things to a halt. During that time, though, he noticed that since musicians couldn't play, they were sending off their instruments for repair. As a result, workshops were filled with fantastic instruments, sparking an idea. Brooks said he had seen a few photographs of the inside of instruments before, including some taken for the Berlin Philharmonic, but those always looked like parts had been removed to create the images. He wanted to find a way to photograph the inside of instruments with everything intact.

Inside a 2021 Selmer Paris Saxophone. Photo: Charles Brooks

Luckily for Brooks, Laowa had released its first probe lens not too long before. His first attempt was on a cello, an instrument he is very familiar with. "That wasn't too hard, since you can take the spike at the bottom off and getting the probe lens in is easy," he explained. He said he thought it was a nice shot, so he decided to see if he could sell a few and posted it on Reddit. It blew up there, so Brooks started scheming how to continue with other instruments, including smaller ones.

He quickly realized the Laowa probe lens was too big for most instruments. To fix this, the first thing he did was use a heat gun to melt off the waterproof casing to make it a bit smaller (though he doesn't recommend others do this). That allowed him to photograph pianos, but what he really wanted was to capture the inside of a Stradivarius violin. Violins only have a 5mm hole at the bottom, which is much too small for anything except medical cameras (called scopes), which are not made for high-resolution photography. And so began the rabbit hole that Brooks has found himself going down.

"Inside a French violin crafted by Nicolas Augustin Chappuy in 1770. This violin was brought to New Zealand by Le Violin Rouge luthiers (Auckland). They will spend the next year or two restoring it. It's a stunning old instrument that has been unplayed for quite a while and needs careful care and attention to bring it back to a playable state." Photo: Charles Brooks

Brooks says he started by buying 20 to 30 adapters that allow you to attach medical scopes like endoscopes or arthroscopes to cameras. These introduced many problems, though. First, they are made to cover tiny sensors. You could adapt it to a full-frame camera, but most of the resulting image would be black. So he had to find a combination of adapters and magnifiers. "I sort of stacked them on top of each other to get that image circle as large as I could," he said.

"This remarkable photo captures the interior of the first violin I successfully photographed. Initially, it was presented to me as a Hopf, but I believe it is actually a 19th-century replica. This particular violin has been played but never repaired or opened since its creation, a rarity for an instrument of this age. This photograph marks the first time anyone has seen the inside of this violin." Photo: Charles Brooks

Unfortunately, every time you add more glass, it degrades image quality. Making things more complicated, "these scopes are so small, they're right at the limits of diffraction," Brooks explained. "So even if you do blow it up, you're going to get a larger image, but it's not necessarily going to give you any more data. It's just a bigger blurry image." He spent a lot of time playing around with adapters and magnifiers and talking to the manufacturers to see what he could do.

In the end, Brooks decided to use the Micro Four Thirds Panasonic Lumix G9 II with his scope setup. "That's as large as I could get it magnified without it sort of falling to pieces," he explained. Then, he uses the high-res mode to get larger images, which especially helps because there's still some vignetting he needs to crop out.

Unfortunately, figuring out the camera and adapter combination didn't solve everything. He explained that with all the magnification, he was shooting at roughly the equivalent of F250, meaning there was essentially no light. His solution was to use a bunch of flashes at the highest power possible, but that adds a lot of heat, and old instruments don't tolerate heat well. To keep these expensive instruments safe, he has to ensure that the varnish doesn't get over 28°C. So, he constantly measures the temperature and pauses between each shot to keep everything cool.

A photograph of the inside of a Geminhardt Elkhardt Alto Flute, which is the result of combining 960 individual images. Photo: Charles Brooks

After lots of trial and error, Brooks landed on a process involving a combination of focus stacking and panoramic stitching. He uses the probe to rotate around the inside of the instrument, almost like a clock. However, the probe only focuses on roughly 2mm at a time. He wants it all in focus so that it doesn't look like a classic macro shot, so he's taking 20 to 30 images to get it all in focus. He also takes dark frames, like astrophotographers, to prevent hot pixels. Plus, given that the probe lens isn't made for photography, the light transmission isn't even across the frame. So, he photographs a piece of paper to identify where the vignetting starts, determining where he needs to take additional photos to compensate.

"Deep inside the action (the moving parts) of one of the world's finest grand pianos. Fazioli make around 100 of these instruments a year, each handcrafted with over 8000 individual parts. Shot with a Lumix S1R and a Laowa Probe lens, 100 images at various focal distances have been stacked together for sharpness from front to back, giving a distinct architectural appearance reminiscent of a concert hall or film set." Photo: Charles Brooks

If you're thinking that sounds like a lot of images, you're right. Brooks says that there isn't a single final image with fewer than 100 shots stacked together, and some have more than 1,000 individual frames stacked. It's an incredibly time-consuming and technical process, both while shooting and in post-production.

Every part of his process is intentional because he doesn't want the images to look like miniatures. The focus stacking helps him avoid the typical aesthetic of macro photography by reducing the amount of background blur and focal compression. Creating an image that looks like it was taken with an ultra-wide-angle lens also results in leading lines we associate with normal-sized things, like streets and buildings, which tricks your brain into thinking the subject is not small. He also uses lighting to make it look like the sun is shining down, emphasizing the feeling that you are standing inside something. Finally, when Brooks displays prints, they are massive, adding to the feeling that you are inside a grand structure. For example, one upcoming show will have prints that are five by seven meters (16 x 23').

"This is a photograph showcasing the interior of one of the world's most exceptional violas, a magnificent 1619 creation by Nicolò Amati. The instrument is on a long-term loan from The Adam Foundation to the New Zealand String Quartet. It is presently being played by Gillian Ansell, a founding member of the quartet, and one of the greatest viola players to emerge from New Zealand." Photo: Charles Brooks

His unique way of photographing the instruments is part artistic and part documentary. He's photographing some of the finest instruments in the world. While they may look the same on the outside, with finely polished finishes and pristine surfaces, inside is a historical record. His photographs reveal the maker's marks, repairs, signatures and imperfections from use or cleaning the instruments. Because of this, he has no plans to slow down and has a list of famous instruments he'd like to photograph someday. You can see more of Brooks' photographs and read stories behind some of the instruments on his website.

The Fujifilm X half is a JPEG-only compact camera with a fixed focal length and a vertically orientated sensor, designed to mimic the experience of shooting with a half-frame film camera. It prioritises fun over technical excellence.

Key features

• Vertical 18MP, 8.8 x 11.7mm CMOS sensor
• 32mm equiv F2.8 lens
• JPEG-only output
• 2-in-1 mode combining sequential shots into a 3:2 image
• Tunnel-style optical viewfinder
• Film Camera mode simulates the film camera experience
• 10 Film Simulations
• 18 Filters
• Twin touchscreen interface
• Date stamp option
• 880 shot per charge rating when using OVF
• 'Film advance' lever
• Direct printing to Instax printers

The obvious reference point will, no doubt, be Fujifilm's own X100 series cameras, and we doubt Fujifilm will dislike the comparison, given their popularity. But, whereas the X100 cameras look a lot like miniature Leicas, the cute, boxy X half looks more like a scaled-down Rollei 35.

The X half will have a recommended price of $849 and will be available in black, charcoal or silver. There's no obvious precedent for a camera like this and the uncertainty around the cost of importing items from China into the US makes it a little hard to make sense of, but it seems like a lot for a camera that's putting more effort into being fun than functional.

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Index:

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

What is it?

The Fujifilm X half is a fixed-lens camera built around an 8.8 x 11.3mm sensor. Those dimensions may not sound familiar but it's essentially a 4:3 crop from a 20MP 3:2 Type 1 sensor, turned on its side.

So, when Fujifilm talks in terms of half frame, it's talking about the 3:4 shooting experience you get from shooting half a frame of 135 film, not about mimicking the same capture area that would give.

It has a 10.8mm F2.8 prime lens, and that sensor's 2.94x crop factor means this gives a 32mm equivalent field of view and an F8.2-equiv maximum aperture.

Flicking the film advance lever just after you've taken a shot (or when you're reviewing an image in playback mode) lets you combine that shot with the next one you take. Left image: Provia film sim | F2.8 | 1/800 sec | ISO 200 Right image: Provia film sim | F2.8 | 1/1600 sec | ISO 200 Photos: Richard Butler

You can shoot individual 3:4 vertical images, swiping on the Film Simulation window on the back of the camera to change your virtual film stock. Alternatively, if you flick the film advance lever after taking a shot, you can combine your previous and next images to create a side-by-side diptych. Both individual images are saved to the memory card, in addition to the combined version.

Film Camera mode

The X half is best understood through its Film Camera mode. Engage the mode and you'll be asked how many exposures you want on your virtual film: 36, 54 or 72. If those second two numbers look unfamiliar, remember that this is styling itself as a half-frame camera, so you can fit 72 shots on a '36 exposure' film.

"Once you start shooting, you'll have to use the film advance lever after each shot: the camera won't take another photo until you do"

When in film camera mode, you lose the live view on the back of the camera and have to compose via the optical viewfinder. You also lose the ability to swipe to change Film Simulation or filter: you're using a single roll of 'film,' after all.

And, once you start shooting, you'll have to remember to use the film advance lever after each shot: the camera won't take another photo until you do.

Once you've taken all your photos, you can connect your camera to the app and transfer the photos, at which point you get to see a contact sheet and watch the images 'develop.' That contact sheet image, complete with sprocket holes, frame numbering (with the images numbered as 01, 01A, 02, 02A and so forth), can also be downloaded.

If you lose interest in a project before the end of the roll, you can double-tap the film window screen and the camera will 'rewind' the roll, leaving you with a partially-complete film strip. Fujifilm also warns that removing the memory card or the battery can result in film camera mode being abandoned.

Filters and Film Simulations

One of the X half's main selling points is likely to be Fujifilm's film simulation modes, and the camera includes ten of the most popular ones.

The X half also has a range of Filter modes, including Toy Camera, Vignetting, Light Leak, Halation and Expired Film. These give more extreme looks than the film simulations, but include some fun options such as giving the expired film mode a green or red tint, or the light leak mode that applies a one of a selection red/yellow bursts across each image at random, which are only visible in the final image. Filters can't be combined with Film Simulation modes.

ISO and Autofocus

The camera's base ISO is 200 and there are three pre-defined Auto ISO settings, you choice is essentially whether the camera stops at ISO 800, 3200 or 12,800.

In terms of autofocus, you have a choice of two AF area modes: a large central point or an AF area that can be moved to one of nine positions. There are eye and face detection options on top of this, and the camera will prioritize faces in your scene, regardless of the AF position.

Autofocus is somewhat laggy and distinctly slow, though, so we found the camera to be much more dependable in AF-S mode. This is not a camera for action or moving subjects, really.

Video

The X half can shoot up to 1080/24 footage at up to 50Mbps, captured in a 3:2, 1080 x 1440 format. It can also shoot 2x slowmo footage. These video clips can be combined with still images in 2-in-1 diptychs, output as 2160 x 1440px MOV files. There's a 3.5mm-to-USB-C lead in the box that lets you use an external mic with the camera, if you insist.

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Body and handling

The X half is small, boxy and really rather cute: both its size and looks attract attention. It's also pretty well built. It feels like a lot of it is plastic but it's thick enough that the camera doesn't feel flimsy. It's small enough to fit in a coat pocket, despite the protruding lens.

The lens has an aperture ring around it, controllable in whole stops and with an 'A' position at one end, passing control back to the camera body. There is no other control dial on the camera, so there's no way to gain 1/3EV control of the aperture.

The camera's shutter tops out at 1/2000 sec, so in bright light you'll need to remember to stop down; especially if you're using the viewfinder, where there's nothing to indicate that your shots will be overexposed.

The lens is covered with a soft plastic lens cap. It's not the prettiest or most convenient feature, but ends up highlighting a benefit to the lens design: it doesn't change length. As such you never have to worry about stripping the gears or damaging a motor if you turn the camera on in your pocket or with the cap still attached.

The top of the camera is decidedly simple: a large exposure comp dial, that photo advance lever and an power switch, which releases the level from its stowed position. There's also a cold shoe slot in the middle of the camera. We're not really sure why.

The whimsy continues on the back, with a film-window-style rounded LCD panel that displays the currently active Film Simulation mode or Filter effect. It's a touchscreen, so you can swipe up or down to change mode (unless you're in Film Camera mode).

Next to this is the main display, a small, portrait-orientation 2.4" 640 x 480px touchscreen. In regular shooting mode this shows a live view display, just as you'd expect. Swiping your finger across the screen brings up one of four menus.

Swipe right

Swipe down	Swipe right	Swipe up	Swipe left

Swiping down gives you the choice between connecting to a smartphone and entering Film Camera mode.

Swiping right lets you select whether you're in Film Simulation or Filter mode. There are icons at the bottom of the screen to let you determine which of these modes applies to stills or video shooting. You don't select which of the simulations of filters you're using, just which mode the camera is in.

Swiping up brings up a quick menu, detailing eight of the camera's core settings:

Finally, swiping left brings up the camera's main menu. It's a much-simplified variant of the one from other Fujifilm cameras, divided up into seven catagories: Shooting settings, Movie settings, IQ settings, AF/MF settings, Audio settings, Set up and Networking/USB settings. These catagories are navigated by swiping up and down on the film window, next to the main LCD.

The film advance lever

One of the only physical controls on the whole camera is the film advance lever. In normal camera mode its job is to engage 2-in-1 diptych mode, in Film Camera mode it acts as the film advance lever it mimics. Push the lever in towards the body in normal shooting mode and the camera will show you the last image you took, while the lever is held in. Again, we're not entirely sure why.

Battery

The X half takes the same NP-W126S battery as Fujifilm's other small cameras. It's a relatively large battery for such a small camera, making up something like 1/7th of the camera's volume. This helps power the camera to a rating of 880 shots per charge, if you use the OVF. We've not seen a figure for shooting with live view.

This is enough that you'll essentially never have to worry about charging the battery. The camera can charge over its USB-C socket, so all you need to do is remember to plug it in from time-to-time.

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Initial impressions

The Fujifilm X half is, objectively, a profoundly silly camera. It is, after all, a digital camera with a film advance lever. But that's not to say it's a joke, necessarily.

Whether you think the X half is cute and fun or utterly ridiculous is likely to come down to what you think of its Film Camera mode. If you like the creative challenge and playfulness of a mode where you have to shoot a whole virtual roll's worth of images before 'developing' them on your phone, then you might well really enjoy the X half.

If you find the idea preposterous, worry about it only being able to produce JPEGs, or find yourself thinking 'it's basically half of Four Thirds, doesn't that make it 1/8th frame?' then it's fair to say this isn't the camera for you.

Even without using Film Camera mode, the ability to combine images (with a choice of dividers and widths) prompts you to think about pairs of images that will go well together. Left image: Provia film sim | F2.8 | 1/125 sec | ISO 640 Right image: Provia film sim | F2.8 | 1/125 sec | ISO 640 Photos: Richard Butler

The X half will inevitably ride on the coat-tails of the hugely successful X100 series, but whereas that camera was beloved both by established photographers and newcomers enraptured by its stylish aesthetic and attractive color response; the X half's pull is likely to be much stronger for the latter group.

"Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so"

The pictures aren't great and the camera is distinctly laggy in most of the things it does. If you're coming from a modern mirrorless camera, it might be a bit of a shock. If you've been buying old compacts on eBay, you'll probably feel right at home. And it seems likely that this is the intended audience for this camera: someone who appreciates a small camera with a sense of fun.

Because yes, the Film Camera mode is fun. Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so. Likewise the idea of a retro-feeling compact camera that can deliver Fujifilm's Film Simulation colors is a delightful prospect, even with the X half's drawbacks.

It's hard to get a sense, from pictures, of just how small the X half is. It's not much bigger than the palm of my hand.

Our main concern is the price, though. Even after a surge of inflation that's left us all a little unsure how much our money is now worth, $849 feels like a lot for something so playfully flirting with frivolity. And, on our production camera, albeit with non-final firmware, the lagginess and autofocus speed risks taking some of that joy out of the experience.

The X half doesn't take itself too seriously, and that doesn't in itself make it a joke, but we worry its price tag risks being a punch-line that falls rather flat.

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.

Perhaps unsurprisingly for such a well-established line of cameras, the design study for the new camera looks an awful lot like its predecessor. Image: Ricoh

Ricoh has announced the development of the GR IV, the latest in its long-running and much-loved series of fixed lens compact cameras. An HDF version with built-in highlight diffusion filter will also be offered.

Both cameras will feature a new lens as well as a new sensor and processor, the company says. Ricoh says the GR IV will have a sensor with 25.74 million effective pixels, which is likely to mean the same 26MP BSI chip used in Sony's a6700.

It highlights the core values of the GR series as being "high image quality, quick response and portability," but also says it also includes "the changes and refinements demanded to meet emerging user needs."

Key features:

• 25.74MP APS-C sensor
• 18.3mm F2.8 lens (28mm equiv) with 2EV ND
• New lens with seven elements in five groups (3 asph)
• 5-axis image stabilization
• 1/4000 sec - 30 sec shutter*
• 53GB internal storage and UHS-I Micro SD card slot
• 3.0" 1.037M dot LCD
• FullHD video at up to 60p
• 109.4 x 61.1 x 32.7mm
• 262g with memory card and battery

*as in the GR III, the shutter will top-out at 1/2500 sec at F2.8, offering 1/4000 at F5.6 and beyond

The specs released don't include any mention of a flash: a detail the company said it was wrestling over, when we spoke to them in February.

Ricoh says production of the GR III will end in July 2025, with the successor model due in "autumn 2025." Production and marketing of the GR IIIx will continue for now.

Image: Ricoh

Richo GR IV specifications

Photo: Ippei Naoi / Moment via Getty Images

There's no denying the convenience of using a smartphone camera for travel photography. While dedicated cameras offer advantages regarding quality and flexibility, lugging around an often clunky extra device isn't always ideal. You'll likely have your phone with you anyway, so you might as well pack a few accessories to help you get the most out of it for documenting your travels.

Grip

Photo: ShiftCam

Smartphone grips provide a more camera-like experience for holding your phone, making them more comfortable while putting your hand in a more natural position for taking photos. Made by brands like ShiftCam, Ulanzi and even Leica, some rely on magnets to connect to your phone, while others are more complete cases.

Beyond making your phone easier to hold, most smartphone grips also solve additional problems you may come across when using your phone for travel photography. They typically provide a dedicated shutter button, making it faster and easier to take photos. Many offer a built-in battery, giving your phone more power for your adventures. The full case designs also give your phone a bit more protection.

Power bank

Image: Anker

If you aren't using a grip with a built-in battery, you'll want to make sure you have a portable power bank. After all, using your camera frequently can burn through the battery fast. There are endless options available, with many that are compatible with wireless charging. However, that method won't charge your phone as fast or as efficiently. Instead, you may want to keep a cord on you (or, even better, choose a power bank with one built-in) for those times you need power fast.

Lenses

Anamorphic lenses can be a fun way to create a new perspective. Photo: Dale Baskin

Most phones offer two or three different cameras with unique fields of view (what you'll see of the scene). Those don't always do what you need or want, though. Adding a lens to your smartphone can unlock new possibilities. Smartphone lenses come in many styles, including macro, telephoto, ultra-wide-angle and anamorphic. They can be useful for getting a fresh perspective or giving you more creative control.

Be aware that if you opt for cheap smartphone lenses, you'll be throttling your phone's quality quite a bit. Sandmarc, Moment, Beastgrip, PolarPro and SmallRig are some brands that make quality options worth investing in.

Microfiber cloth

Image: Spudz

Your phone goes through a lot throughout the day. Smartphone cameras seem to attract smudges, which will impact your photo quality. While you could use your shirt to wipe off the camera, that's not always effective and can risk scratching the lens. Instead, keep a microfiber cloth handy to keep your phone's cameras sparkly clean when it's time to take photos.

Tripod or mount

Photo: Peak Design

A tripod or some sort of mount will be a handy addition if you like to be in your photos or take photos in dark conditions. You could opt for a full-size tripod for maximum height, or a tabletop one if you don't want to deal with something so large. Peak Design even makes one that essentially sits flat against the back of your phone, so you can leave it attached without thinking much about it. There are also suction cup mounts or other accessories that allow you to put your phone in places that a tripod may not work, but still let you go hands-free.

Bluetooth remote

Photo: Moment

On top of a tripod or mount, a Bluetooth remote will make your life easier for group photos or selfies. That way, you won't need to rush in front of the phone after setting the timer, or keep going back and forth to take more images. Some watches can function as remotes as well, so you may not need to buy a dedicated device, either.

Final thoughts on smartphone travel accessories

If you're sticking with your smartphone for travel photography, you likely don't want to bring a bunch of extra stuff along. However, a few key accessories can help you get more out of your phone, while still saving you space and weight compared to a dedicated camera and the accessories that you'd need for that.

World Food Photography Awards sponsored by Bimi

The winners of the World Food Photography Awards sponsored by Bimi have been announced, highlighting food photography across the globe. Yotam Ottolenghi, a renowned chef, restaurateur and food writer, revealed the winners at an event at the Mall Galleries, London. The awards showcase a diverse range of images across more than 25 categories, including ones dedicated to street food, cakes, innovation, drinks, food prep, photojournalism, harvest and much more.

This year's contest saw more than 10,000 entries from 70 countries. The submissions were judged by an extensive panel that included photographers, magazine editors, creative directors, film directors, food retailers and chefs. The best overall winner earned a £5000 prize, along with an exhibition at the Mall Galleries, London. Category winners also have the opportunity to have their work displayed in the exhibition and each receives a trophy. There are individual prizes for each of the different categories as well.

To see more of the winning images and learn more about the contest, head to the World Food Photography Awards sponsored by Bimi website.

Overall winner

Category: Overall winner and Food for the Family supported by the Felix Project

Photographer: Xiaoling Li/World Food Photography Awards sponsored by Bimi®

Title: The Elderly Having Delicious Food

Photographer's description: In an early spring afternoon in Shuangliu Ancient Town, Sichuan Province, China, five elderly ladies in their eighties sit together. Wearing colourful jackets and wool hats, they happily eat the famous Sichuan snack 'Spring rolls’. A wrap of thin homemade dough, filled with cucumber, carrot and shredded scallions, drizzled with green mustard, Sichuan pepper, red oil, sweet sauce, and sprinkled with sesame seeds. They are “setting up a Dragon Gate formation” - an expression used in China to refer to neighbourhood friends coming together to chat, gossip and share stories. Food makes these people happy; they enjoy a beautiful and joyful life.

Bring Home the Harvest

Category: Bring Home the Harvest

Photographer: Chang Jiangbin/World Food Photography Awards sponsored by Bimi®

Title: Net Fish in Water Fields

Photographer's description: After the rice harvest, the river water filled the paddy fields, and at some point, some fish from the river ended up here too. After school, the two children went to the field together to catch fish with their covers. Approaching quietly, leaping vigorously, and pouncing towards the target.

Champagne Taittinger Food for Celebration

Category: Đặng Hoài Anh

Photographer: Champagne Taittinger Food for Celebration

Title: Banh Hoi Cake

Photographer's description: Banh hoi is a specialty dish in Vietnam found in many places such as Binh Thuan, Vung Tau, Ben Tre, Phu Yen, Nha Trang and Binh Dinh. The cake is made from rice flour and has an elaborate and meticulous preparation process. Banh hoi is often eaten with scallion oil, roasted meat, grilled meat and pork offal. This is an indispensable dish in holidays, death anniversaries, weddings, and ceremonies at communal houses and pagodas of the people. It is a culinary culture of the locality.

Claire Aho Award for Women Photographers

Category: Claire Aho Award for Women Photographers

Photographer: Lizzie Mayson/World Food Photography Awards sponsored by Bimi®

Title: Delfina, A Pasta Granny

Photographer's description: This is Delfina, I took her portrait as part of a bigger project documenting pasta grannies in Italy. Here, we are in the region of Lazio. On the bed is an angel hair type of pasta called Fieno di Canepina. It is technically very hard to make: Delfina rolls the pasta out, flicks a huge piece the size of the table out like a bed sheet, folds it concertina style, then slices it up finely. The best part is that she makes this huge amount then delivers it to the local church where they cook it up and feed homeless people.

Cream of the Crop

Category: Cream of the Crop

Photographer: Dorien Paymans/World Food Photography Awards sponsored by Bimi®

Title: Flour Swirl

Photographer's description: Part of the series ‘Perfectly Imperfect’ where I captured the process of baking sourdough bread while incorporating the symbolism of the Japanese Ensō sign (imperfect circle). Preparing food and photography are both mindful activities where calmness and creativity exist in the moment of creation. This makes the combination of both so magical.

Overall Winner of Errazuriz Wine Photographer of the Year

Category: Overall Winner of Errazuriz Wine Photographer of the Year (and People sub-category)

Photographer: Heather Daenitz/World Food Photography Awards sponsored by Bimi®

Title: Pinot Noir at Midnight

Photographer's description: Under the glow of a tractor’s lights, vineyard workers handpick Pinot Noir in the cool, misty midnight air at Sanford & Benedict Vineyard in Sta. Rita Hills, an American Viticultural Area (AVA) located at the western end of the Santa Ynez Valley in California's Central Coast wine region. One worker adds his contribution to the back of the tractor, a cascade of Pinot Noir falling from his picking bin.

Hotel Art Group Food Stylist Award

Category: Hotel Art Group Food Stylist Award

Photographer: Costas Millas/World Food Photography Awards sponsored by Bimi®

Title: Put All Your Pasta In One Basket

Photographer's description: Part of a wider food story concept titled Spaghetti. Traditionally styled in strands and swirls, the concept of pushing how we could capture spaghetti was the focus here. The aim was to painstakingly weave groups of spaghetti strands into this striking graphic pattern.

Jamie Oliver Youth Prize 13 -17

Category: Jamie Oliver Youth Prize 13 -17

Photographer: Indigo Larmour/World Food Photography Awards sponsored by Bimi®

Title: Early Morning Puris, Delhi, India

Photographer's description: Pooris are a staple breakfast dish in the winding alleyways of Old Delhi. Frequently cooked in huge vats of boiling oil on street corners and served with chole, a chickpea dish.

Marks & Spencer Food Portraiture

Category: Marks & Spencer Food Portraiture

Photographer: Simon Détraz/World Food Photography Awards sponsored by Bimi®

Title: Crispy Kale

Photographer's description: A drizzle of olive oil, oven at 180°C, salt and pepper, 10 minutes... delicious and so crispy!

MPB Award for Innovation

Category: MPB Award for Innovation

Photographer: Pieter D'Hoop/World Food Photography Awards sponsored by Bimi®

Title: Laundry Day

Photographer's description: Sometimes I have some weird ideas that randomly come to my mind. I had an idea of putting an octopus inside a washing machine or tumble dryer. This is one of the results.

Politics of Food

Category: Politics of Food

Photographer: Jo Kearney/World Food Photography Awards sponsored by Bimi®

Title: Afghan Refugee Women Wait for Free Bread

Photographer's description: Afghan women sit and wait for free bread handouts at the market as it's difficult for them to earn money.

Production Paradise Previously Published

Category: Production Paradise Previously Published

Photographer: Diego Papagna/World Food Photography Awards sponsored by Bimi®

Title: Sky Mushrooms

Photographer's description: Mushrooms enveloped in steam, immersed in a play of light and transparency, evoking the warmth of the kitchen like a sun in the sky.

Street Food

Category: Street Food

Photographer: Debdatta Chakraborty/World Food Photography Awards sponsored by Bimi®

Title: Ramadan Special Parantha Halwa

Photographer's description: During the Ramadan months, Kolkata turns into a foodie's paradise. Just after noon, huge ovens are lit and giant paranthas are prepared for the iftar. Not only Muslims, but people from all communities, throng around the food stalls, making it a culinary haven.

The James Beard Foundation Photography Award

Category: The James Beard Foundation Photography Award

Photographer: Luke Copping/World Food Photography Awards sponsored by Bimi®

Title: Tom Moriarty - Moriarty Meats and Cafe Bar Moriarty, Buffalo NY

Photographer's description: Tom Moriarty and his wife, Caitlin, own Moriarty Meats and its adjacent restaurant, Cafe Bar Moriarty. Moriarty Meats is a whole-animal butcher shop in Buffalo, NY, sourcing local meats and inspired by traditional European butcheries. Tom and his team work exclusively by hand.

Tiptree Cake Award

Category: Tiptree Cake Award

Photographer: Audrey Laferrière/World Food Photography Awards sponsored by Bimi®

Title: Pavlova’s Arabesque

Photographer's description: None

The Philip Harben Award for Food in Action supported by International Salon Culinaire

Category: The Philip Harben Award for Food in Action supported by International Salon Culinaire

Photographer: Diego Marinelli/World Food Photography Awards sponsored by Bimi®

Title: La Matassa. A Real Work of Craftsmanship

Photographer's description: Fresh pasta is a symbol that represents the cultural richness of the Italian territory. An image of its processing becomes a means to telling history, traditions and centuries-old passions. Matassa pasta is made in Irpinia in southern Italy with a truly exceptional technique.

World of Drinks

Category: World of Drinks

Photographer: Alessandra Bartoloni/World Food Photography Awards sponsored by Bimi®

Title: Sunshine Gin

Photographer's description: Sun, ice and a gin tonic. Condensation drips, the table’s a mess, and the afternoon heat is winning the battle. But who cares? It’s cold, it’s strong and it’s exactly what this day needed. Cheers to the simple pleasures!

The Bimi® Prize

Category: The Bimi® Prize

Photographer: Ryan Kost/World Food Photography Awards sponsored by Bimi®

Title: Buddhist Offerings

Photographer's description: Monks at a temple in Angkor Wat, Cambodia prepare traditional Buddhist offerings. This practice is deeply symbolic in Buddhism, often representing celebration, gratitude, respect and devotion to the Buddha, and the teaching and monastic community. The intricate arrangement of fruits and flowers emphasises mindfulness and respect.

Logo: Adobe

Adobe is shaking up its Creative Cloud subscription tiers in North America, doing away with the current All Apps plan and introducing two tiers in its place: a 'Standard' plan, which will cost less, and a 'Pro' plan, which will cost more.

To set the stage, the current All Apps plan, which will be available until June 17th, costs $59.99 a month if you have an annual plan. As the name implies, it includes access to pretty much every Creative Cloud app, as well as 100GB of cloud storage and 1000 generative AI credits per month.

The main differentiation between the new plans is – what else – AI. Until now, Adobe's been playing things a little loose with features like Generative Fill in Photoshop and the ability to extend videos and audio in Premiere; you could use them without thinking too much about it. Now, they're getting segmented. There are "Standard" features like Generative Fill and text to vector, and "Premium" ones like generating video or audio with Adobe Firefly, using third-party models, or extending video in Premiere.

The new Creative Cloud Standard plan will give you 25 Standard credits a month; each use of a Standard feature costs one credit. With Creative Cloud Pro, you get unlimited use of standard AI features plus 4000 Premium credits. That may seem like a lot, but it's not one-credit-per-use like Standard features; for example, it costs 100 credits to generate a second of 1080p, 24fps video, 20 credits to generate an image using the company's Image Model 4 Ultra and five credits per second of audio translation.

Beyond AI, the major difference between the plans is access to the web and mobile versions of the apps. Both plans include full access to desktop apps and Acrobat on mobile and web, but with Standard you're limited to the free features for the mobile and web versions of Lightroom, Photoshop, Illustrator, Express and Fresco.

If you're currently using the All Apps plan and have an annual subscription to it, you'll automatically have the benefits of the Pro plan without the subsequent price increase until your next monthly or annual renewal date. So, for example, if you renew your annual plan on June 1st, 2025, you'll essentially have the Pro plan at the old price until June 1st, 2026. If you sign up on June 18th, 2025, however, you'll have to pick from the Standard and Pro plans.

Currently, you can only choose to renew with the Standard plan by contacting Adobe support, but the company says a self-service option is coming within the next few days.

For those on the Photography plans, there won't be any changes

For those on the Photography plans, there won't be any changes, though after June, 17th, new subscribers will get fewer monthly generative AI credits. Adobe updated the pricing for those plans in December, so it would've been surprising to see another change so soon after.

If you're outside North America, there will be a few changes to Creative Cloud plans. The company says that new subscribers to its Photography plans, single app plans, and Lightroom Mobile Premium, Photoshop Express and Illustrator on iPad subscriptions, will receive fewer monthly generative AI credits. Creative Cloud for teams Pro edition is also being rebranded as Creative Cloud Pro Plus for teams.

Apart from that, "there will be no plan, naming, or pricing changes for all other existing subscribers outside of North America at this time," according to an Adobe support document.

Photo: William Brawley

Finding the perfect camera for travel is often a Goldilocks scenario. You generally want something relatively small and lightweight so that it's easier to carry around. However, you still want flexibility and good image quality to capture your travels successfully. Some people bill GoPros and other action cameras as ideal options, but you may wonder if they are actually worth buying for travel.

Benefits of GoPro cameras for travel

GoPros are very compact and easy to use. Photo: William Brawley

There are certainly qualities that make GoPros ideal for travel. First and foremost, they're tiny; it's easy to throw your GoPro in a small bag or even your pocket without having to worry about its size and weight. No matter how light you're traveling, you probably have room to bring a GoPro along.

Action cameras are designed for adventures, so they're built to be extremely durable. They can handle lots of falls, drops and bumps and are generally waterproof to depths of several meters without any extra protection, so you won't run into issues whether you accidentally drop it in a stream or purposefully take it snorkeling.

GoPros are also easy to use with minimal options in the settings menu. You can start taking photos or videos without thinking much about settings. They are relatively easy to use, even if you don't know anything about cameras. If you want something to simply point and shoot on your adventures, GoPros are a good option.

Downsides to using a GoPro as a travel camera

GoPros are good at capturing sweeping views, but not at highlighting specific subjects. Photo: William Brawley

Unfortunately, there are also plenty of GoPro qualities that make them less than ideal for travel. First, action cameras use ultra-wide-angle lenses that capture broad, sweeping views. While they often offer multiple fields of view settings (how much of the scene is captured), even the narrowest options are still quite wide.

While that broad view is ideal for some situations, it isn't good for many others. It will make everything look further away from you, which isn't what you likely want for many travel photos or videos. Unless you can get close to your subject, or are simply trying to capture an entire scene, GoPros won't give you the images you're after. Plus, it's not the best choice if you want to take flattering portraits or selfies.

Partly because of the wide-angle lens, GoPros aren't good at capturing detail by default. They can only focus as close as 30cm (12"), have a fixed aperture and don't allow you to choose where the camera is focusing. They will essentially capture everything in the scene in focus, so you won't be able to highlight smaller details or clearly isolate your subject from the background. The latest models are compatible with a macro lens accessory that allows you to focus as close as 11cm (4.33"), but that involves an extra piece of equipment you need to buy and keep with you.

GoPros aren't going to give you very flattering selfies, but are useful for quick snaps. Photo: Mitchell Clark

GoPros aren't good in low-light situations, partly because of their small sensors. Shooting in dim conditions will introduce a lot of noise, taking away from image quality. It will also limit when and where you can take photos or videos, which can be frustrating.

Despite their video focus, GoPros can take photographs, though they won't provide the greatest experience or image quality. Your phone will give you better results with more flexible options in terms of the look of the images as well as a more familiar field of view. After all, most phones offer multiple cameras with different focal lengths and specific modes for portraits, macro and more.

Finally, while the lack of settings makes them easier to use, it limits your control over the visual style of your images and videos. If you want to manage things like exposure and focus points to dictate the style of the image, a GoPro isn't for you.

Is a GoPro good for travel?

Photo: William Brawley

The short answer to whether GoPros (and other action cameras) are good for travel is: It depends. If your type of travel is highly adventurous and requires a durable, compact device, then a GoPro will be a good choice. Likewise, if you are mostly concerned with documenting your trips and don't want to think about settings or having control over the style of your images and videos, then bringing a GoPro on your trips would be smart.

However, if you want more control over your photographs and videos, want to capture more than broad views, need the flexibility of shooting in a variety of lighting conditions, or mostly take still photos, you're better off with a different travel camera.

2025 Milky Way Photographer of the Year

The winners of the 2025 Milky Way Photographer of the Year contest have been announced, highlighting epic imagery of the Milky Way from around the world, and even from above it. The contest, hosted by travel photography blog Capture the Atlas, is in its eighth year.

This year, the contest received 6,000 entries from photographers of 16 different nationalities. Images spanned 25 locations around the globe, including Chile, the United States, Greece, Switzerland, Guatemala, New Zealand, Taiwan, Yemen, Chad, India, Namibia, Spain and more. Plus, an image taken from space was included in the collection for the first time. Some photos captured celestial events like a comet, a meteor shower and a lunar eclipse.

Dan Zafra, the editor of Capture the Atlas, curates the annual list based on image quality, the story behind the shot and the overall inspiration it provides. Zafra says the project's goal is to inspire people to connect with the night sky and "to encourage photographers to explore and photograph the Milky Way from new angles."

You can see all of the winning images at Capture the Atlas, along with tips on how and where to photograph the Milky Way.

One in a Billion by Don Pettit

Photographer: Don Pettit

Image title: One in a Billion

Image location: ISS (International Space Station)

Camera settings: 8 sec, F1.4, ISO 6400

Gear: Nikon Z9, Sigma 14mm F1.4. Sky Watcher modified tracker

Caption: I float in the Cupola, looking out the seven windows composing this faceted transparent jewel. While my mind is submerged in contemplation, my eyes gorge on the dim reflections from a nighttime Earth. There are over eight billion people that call this planet home. There are seven of us that can say the same for Space Station. What a privilege it is to be here. I used an orbital star tracker to take out the star streak motion from orbit.

Tololo Lunar Eclipse Sky by Petr Horálek

Photographer: Petr Horálek

Image title: Tololo Lunar Eclipse

Image location: Cerro Tololo Observatory, Chile

Camera settings: ISO 8000, 81 x 10 sec (single exposures stitched to panorama). Moon is result of HDR work.

Gear: Canon Ra, Sigma Art 35mm F1.8

Caption: On March 14, 2025, a total lunar eclipse occurred, especially visible over the Americas and the Pacific Ocean. I was fortunate to observe this particular eclipse from the NSF Cerro Tololo Inter-American Observatory in Chile. You can see how epic the sky was during totality, as the Moon darkened enough for the majestic Milky Way, the faint belt of Zodiacal Light, and prominent airglow to stand out.

Boot Arch Perseids by Mike Abramyan

Photographer: Mike Abramyan

Image title: Boot Arch Perseids

Image location: Alabama Hills, CA, USA

Camera settings: Sky: Mosaic of 9 images at 50mm, 92 sec, F2, ISO 400; Foreground: Mosaic of 4 images at 50mm, 92 sec, F2.8, ISO 400; Meteors: 14mm, 15 sec, F1.8, ISO 400

Gear: Sony A7IV Astromodified, Sony 50mm f/1.2 GM, Benro Polaris, Leofoto LS-324C, Sony A7IV, Sony 14mm 1.8 GM

Caption: The Perseid Meteor Shower occurs every August, raining down hundreds of meteors over a few nights. In 2024, I had planned to photograph it from the Canadian Rockies, but wildfires forced me to change my plans at the last minute. After checking wildfire maps, I found a safe haven in the Eastern Sierra Nevada.

After three full nights of capturing meteors, I created this image. Sitting on the rock is my friend Arne, who often joins me on these adventures, gazing up at the magnificent core of our galaxy. Each meteor is painstakingly aligned to its true location in the night sky. The final depiction shows all the meteors I captured, combined into one frame—as if the Earth hadn’t been rotating and all the meteors had fallen at once.

Bottle Tree Paradise by Benjamin Barakat

Photographer: Benjamin Barakat

Image title: Bottle Tree Paradise

Image location: Socotra, Yemen

Camera settings: Foreground (blue hour): 10 sec, F8, ISO 400; Sky: 5x 120 sec, F2.0, ISO 400

Gear: Sony A7IV, Sony 14mm F1.8, Sunwayfoto T2840CK, MSM Nomad

Caption: Socotra is one of my favorite places on Earth, but when it comes to a specific location, this one stands out. It doesn’t have an official name, as it’s not a destination for the few fortunate tourists who visit Socotra. After shooting there for the past four years and scouting the island, I’ve discovered hidden gems like this one, which I call Bottle Tree Paradise.

Bottle trees are unique to Socotra, a result of the island’s long isolation from the mainland. This separation allowed them to evolve distinctive features, such as their water-storing, bottle-shaped trunks, which help them survive Socotra’s harsh, dry climate. They are believed to have originated from ancient plant species that adapted to the island’s unique environment over millions of years.

Double Milky Way Arch Over Matterhorn by Angel Fux

Photographer: Angel Fux

Image title: Double Milky Way Arch Over Matterhorn

Image location: Zermatt, Switzerland

Camera settings: Both arches share the same Exif: 20mm, F5.6, 127 sec, ISO 2500; Foreground / Landscape: 15.5mm, F5, 1/5 sec, ISO 800

Gear: Nikon Z6 Astromodified (for the sky part), NIKKOR Z 20mm F1.8, Nikon Z8 (for the landscape part), NIKKOR Z 14-24mm F2.8, Benro Polaris Astro Kit, Peak Design travel tripod

Caption: This image captures the rare Double Arch Milky Way, where both the Winter Milky Way (with Orion rising) and the Summer Milky Way (with the Galactic Center) appear in the same night—a seamless transition between seasons.

Taken at 3,200 meters in the heart of winter, the night was brutally cold, testing both my endurance and equipment. This is a time blend, preserving the real positions of both arches by combining frames taken hours apart, with the foreground captured at dawn for the best detail.

Zermatt and the Matterhorn have been photographed countless times, but I aimed to create something truly unique—an image captured under conditions few would attempt. I’m incredibly proud of the effort and patience it took to bring this vision to life.

Valle de los Cactus by Pablo Ruiz

Photographer: Pablo Ruiz

Image title: Valle de los Cactus

Image location: San Pedro de Atacama, Chile

Camera settings: Sky: 9 x 240 sec, F2.8, ISO 800, 14mm; Foreground: 9 x 120 sec, F2.8, ISO 2500, 14mm

Gear: Nikon D810, Nikon Z6 A, Nikkor 14-24 F2.8 ,Rollei Gamma, Sky Watcher Star Adventurer

Caption: A panoramic shot of the Milky Way in a remote area of the Atacama Cactus Valley, known for its large concentration of cactus plants. I love this place with its countless possibilities. The panorama was taken just as the galactic center began to rise, with the spectacular Gum Nebula visible on the right.

It was an especially bright night with a breathtaking sky. The valley isn’t easy to navigate, but it’s always worth trying to find new compositions in such stunning locations beneath the night sky.

Cosmic Fire by Sergio Montúfar

Photographer: Sergio Montúfar

Image title: Cosmic Fire

Image location: Volcán Acatenango, Guatemala

Camera settings: 10 sec, F2.8, ISO 3200

Gear: Canon 6d Astromodified, Samyang 24mm F1.4, Sirui tripod

Caption: On the early morning of June 2, 2024, I summited Acatenango Volcano for the first time, hoping to witness the fiery beauty of the neighboring Volcan de Fuego against the Milky Way’s backdrop. That night, the volcano was incredibly active—each thunderous explosion reverberated in my chest, while glowing lava illuminated the dark slopes. Above, the Milky Way stretched diagonally across the sky, a mesmerizing band of stars contrasting with the chaos below. As the volcano erupted, the ash plume rose vertically, forming an acute angle of about 45 degrees with the galaxy’s diagonal path, creating a stunning visual contrast between Earth’s fury and the cosmos’ serenity.

Capturing this required a fast, wide-angle lens (f/2.8), an ISO of 3200, and a 10-second exposure to balance the volcanic glow with the starlight. The challenge was timing the shot during a new moon and aligning the right moment for the Milky Way to cross the frame next to the volcano. I used Lightroom as the editor. This image is special for its storytelling—the raw power of Volcan de Fuego meeting the tranquil expanse of the galaxy.

A Sea of Lupines by Max Inwood

Photographer: Max Inwood

Image title: A Sea of Lupines

Image location: Lake Tekapo, New Zealand

Camera settings: Sky: 30 sec, F2.0, ISO 3200; Foreground: 30 sec, F2.4, ISO 6400

Gear: Canon 6D Astromodified, Sigma 28mm F1.4 Art, Samyang 14mm F1.4 XP, iOption SkyGuider Pro

Caption: The annual lupine bloom in New Zealand is spectacular, with fields of colorful flowers stretching across the Mackenzie Basin. This region, located in the heart of the South Island, is renowned for its dark skies, making the scene even more surreal at night.

I had to wait until the early hours of the morning for the wind to calm down, but eventually everything became still, and I was able to capture this image. Above the flowers, you can see the band of the outer Milky Way, alongside the constellations Orion, Gemini, and the Pleiades. Joining them are the bright planets Jupiter and Mars, with a strong display of green airglow visible along the horizon.

Diamond Beach Emerald Sky by Brent Martin

Photographer: Brent Martin

Image title: Diamond Beach Emerald Sky

Image location: Great Ocean Road, Australia

Camera settings: Sky: 13 frames x 3 rows, @ 20mm, F3.5, ISO 1600, 60 sec tracked exposures; Foreground: 13 frames x 2 rows, @ 20mm, F2.5, ISO 1600, 60 sec exposures.

Gear: Sony A7III Astromodified, Sony 20mm F1.8 G, Sky-watcher Star Adventurer 2i

Caption: With a clear night forecast and the Milky Way core returning for 2025, I set out to explore the Great Ocean Road. After a few setbacks—such as a failed composition and getting the car stuck on a sandy track—I almost gave up. However, I pushed on and found a great spot above the beach to capture the scene.

The night was full of color, with Comet C/2024 G3 Atlas and a pink aurora in the early hours, followed by the Milky Way rising amid intense green airglow near dawn. Despite the challenges, the reward of this stunning image and the memory of the view made it all worthwhile.

Blossom by Ethan Su

Photographer: Ethan Su

Image title: Blossom

Image location: Hehuan Mountain Dark Sky Park, Taiwan

Camera settings: Sky: 1 row tracked panorama at F2, 90sec, ISO 800; Foreground: 2 row panorama and focus stack, F2.8, 60 sec, ISO 6400; 65 images in total.

Gear:

Caption: After three years of waiting, the Yushan alpine rhododendrons are finally in bloom once again on Taiwan’s 3,000-meter-high Hehuan Mountain. On this special night, distant clouds helped block city light pollution, revealing an exceptionally clear view of the Milky Way. A solar flare from active region AR3664 reached Earth that evening, intensifying the airglow and adding an otherworldly touch to the sky.

Together, these rare natural events created a breathtaking scene—vivid blooms glowing softly beneath a star-filled sky.

The Night Guardians by Rositsa Dimitrova

Photographer: Rositsa Dimitrova

Image title: The Night Guardians

Image location: Easter Island, Chile

Camera settings: Blend of 2 shots: foreground: 88 sec, F3.5, ISO 3200; sky: 20 sec, F2.0, ISO 2000

Gear: Sony A7iii Astromodified, Sony GM 14mm F1.8

Caption: Easter Island had been on my bucket list for a long time, and it once seemed almost impossible to reach. On our first night there, the weather forecast looked promising, so we decided to go ahead with the tour our group had booked 4–5 months earlier. However, Rapa Nui sits in the middle of the Pacific Ocean, where the weather is notoriously unpredictable. When we woke up at 3 a.m. in our hotel, the sky was completely covered in clouds. Still, we decided to take the risk, knowing the forecast for the next few nights was even worse.

An hour later, we were frantically photographing the statues at Rano Raraku—the quarry where nearly all of the island’s 900 statues were carved—when the sky suddenly began to clear. By 5 a.m., it was completely clear, and we had less than two hours to capture all the shots we wanted. We felt incredibly lucky to be in the right place at the right time.

Evolution of Stars by Kavan Chay

Photographer: Kavan Chay

Image title: Evolution of Stars

Image location: Otago, New Zealand

Camera settings: Sky RGB: 4 frames x 3 rows, each shot at 40mm, F1.8, ISO 1250, 50 second exposures; Sky (Rho region): Stack of 10 frames, each shot at 40mm, F1.8, ISO 1250, 60 second exposures; Foreground: 4 frames x 3 rows, each shot at 40mm, F4, ISO 2000, 60 second exposures.

Gear: Nikon Z7 (astromodified), Sigma Art 40mm F1.4, Benro GX-35 ballhead, Sirui AM-254 tripod legs, Sky-Watcher Star Adventurer Pro 2i

Caption: The first image I captured from this spot is the one I feel truly kickstarted my astrophotography journey years ago. It was the first time I shot a tracked panorama using a “longer” focal length lens (50mm). The set of sea stacks provided a prominent foreground subject facing the right direction, and being a local spot relatively free of light pollution, it was the perfect location to capture the Milky Way core.

It felt fitting to try again with a few extra years of experience and an astro-modified camera, which allows for easier capture of hydrogen-alpha-rich regions of the sky (like the reddish nebulae around Zeta Ophiuchi, as seen in the image). The years of experience certainly made panoramic shooting and editing easier, though the shoot wasn’t without its challenges.

I managed to drop a tiny screw adapter in the dark, so I had to improvise a quick solution to make use of the star tracker. With a dying headlamp and the mysteries of wildlife lurking in the dark, all while the tide rapidly rose, it felt like enough adventure for a weekday night.

Winter Fairy Tale by Uroš Fink

Photographer: Uroš Fink

Image title: Winter Fairy Tale

Image location: Dobratsch Nature Park, Austria

Camera settings: Sky: ISO 800, F1.8, 90 sec, 8 panels, low exposure frames for brighter sky parts (30 sec) + lee soft 5 for stars (ISO 3200, F1.8, 20 sec); Foreground: ISO 1250, F2.2, 80s, 8 panels + multi exposure frames for lightning the hut (80 sec, 20 sec,10 sec,5 sec,2 sec,1 sec)

Gear: Nikon Z, Sigma 20mm 1.4 Dg Dn, Megadap tze21, Fornax Lightrack 2i, Sunwayfoto t3240ck, Lee soft 5 filter for stars, Focus on star mask

Caption: Undoubtedly my wildest location this winter: Austria’s Dobratsch mountain! If I had to describe it in two words, it would be a “Winter Fairytale”!

Despite a 5 a.m. work shift, I drove to Austria by 1 p.m., worried about my fitness and lack of sleep. After a 2-hour hike through the snow with a 22kg backpack and sled, the stunning views kept me energized.

Arriving at the cabin (where I had planned my winter panorama two years ago), I was greeted by untouched snow, completely free of footprints. I spent the evening exploring compositions, and this is my favorite: a panorama of the winter Milky Way with reddish nebulae, stretching above Dobratsch Mountain.

I captured the Zodiacal light and even the Gegenschein glow! The sky was magnificent, with Jupiter and Mars shining brightly. In the foreground is the cabin, where I spent 3 freezing hours (-12°C), waiting for the perfect shot of the Milky Way’s core. It turned out exactly as I envisioned—a true winter fairytale.

Echiwile Arch by Vikas Chander

Photographer: Vikas Chander

Image title: Echiwile Arch

Image location: Ennedi, Chad

Camera settings: Sky Exposure: 300 sec, F2.8, ISO 800, stack of 6; Foreground exposure: 480 sec, F2.8, ISO 800, LENR, LLL; Software: Pixinsight and Photoshop

Gear: Sony A7rV Ha modded, Sony 12-24 F2.8 GM, Rainbow Astro RST 135e

Caption: When one first Googles information about visiting Chad, the results aren’t very encouraging from a safety perspective. Nevertheless, the intrepid astrophotographer in me decided to take the chance and visit this landlocked country, specifically the Ennedi Massif in the north.

Sparsely populated and completely devoid of light pollution, the three-day drive from the capital, N’Djamena, was well worth the troubles and risks involved. The region is filled with numerous rock formations, shapes, and arches, offering an abundance of options for foreground elements to frame the dramatic night skies. Seen here is a small arch in the shape of a hoof in the Ennedi region.

Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls by Xingyang Cai

Photographer: Xingyang Cai

Image title: Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls

Image location: California, USA

Camera settings: Sky: Stack of 20 images, each at ISO 1600, F1.4, 4 sec; Foreground: Stack of 10 images, each at ISO 3200, F1.4, 20 sec

Gear: Sony A7 III (astro-modified), Sony 14mm F1.4

Caption: Capturing this image was a race against time, light, and distance. With Comet Tsuchinshan–ATLAS (C/2023 A3) making its approach, I knew I had a rare opportunity to see it with the naked eye before it faded into the cosmos. I embarked on a five-hour round trip to McWay Falls in Big Sur, one of the few Bortle 2 locations accessible along California’s coast. My window was narrow—just six precious minutes of true darkness before the Moon rose and washed out the night sky. But those six minutes were unforgettable.

In that brief span, the Milky Way arched high above the Pacific, Venus shimmered as it set over the ocean, and the comet streaked quietly across the sky—a celestial visitor gracing this iconic coastal cove. The soft cascade of McWay Falls and the stillness of the starlit ocean created a surreal harmony between Earth and sky. It was one of the most vivid and humbling naked-eye comet sightings I’ve ever experienced—an alignment of cosmic elements that felt both fleeting and eternal.

Image: Cosina Voigtländer

Cosina Voigtländer announced a new offering that gives users more control over their images. The Portrait Heliar 75mm F1.8 is the company's first lens with controllable spherical aberration, allowing photographers to adjust the look of the bokeh.

Image: Cosina Voigtländer

Cosina designed its Portrait Heliar 75mm F1.8 lens for full-frame Sony E-mount cameras. As expected of a Voigtländer lens, it relies on manual focus and features an aperture control ring. Additionally, the front of the lens features a spherical aberration control ring marked 'over' and 'under.' Turning that ring allows photographers to under- or overcorrect spherical aberration, changing the look of out-of-focus areas. Rotating to ‘under’ produces soft, rounded out-of-focus areas, while shifting it to ‘over’ creates a sharper, less rounded bokeh.

Changing from "under" to "over" adjusts the look of the out-of-focus areas along with contrast, overall sharpness and vignetting. Image: Cosina Voigtländer

Adjusting the spherical aberration does more than just change the bokeh. Setting the ring to 'under' produces images with less sharpness and contrast across the entire image. The 'normal' position results in the greatest sharpness and contrast. Turning the ring also shifts the focus position and reduces the peripheral light intensity, resulting in vignetting. Cosina also says the spherical aberration ring changes the f-stop by 1/3 EV, so photographers will need to adjust exposure after rotating that ring.

A sample image from the Portrait Heliar 75mm F1.8. Image: Cosina Voigtländer

At the 'normal' setting, the Portrait Heliar 75mm F1.8 functions like any other lens. It features six elements in three groups, and Cosina promises high resolution and well-controlled color shifts. It features a nine-blade aperture. While it is manual focus, the lens has electronic contacts to pass along Exif data. A built-in distance encoder supports the camera's five-axis image stabilization and allows users to see a magnified image when adjusting focus.

Cosina says the lens will be available in June of this year. The company has not provided US pricing information, though PetaPixel reports it will cost £750 in the United Kingdom before VAT.

Panasonic Lumix S1RII | Panasonic Lumix S 24-60mm F2.8 @ 60mm | F2.8 | 1/80sec | ISO 80 Photo: Richard Butler

Last week, Panasonic announced its S 24-60mm F2.8 lens, which is meant to provide an option between the variable aperture Panasonic 20-60mm F3.5-5.6 and the higher-end S Pro 24-70mm F2.8.

We were able to take a few sample pictures with it, and run them through our standard Capture One processing flow. You can check them out below to get a feel for how it performs, especially when it comes to rendering bokeh.

See the sample gallery

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

Image: Nick Merc

Photographing birds can be thrilling and frustrating at the same time. These creatures are fast and unpredictable, so documenting them requires more than a sharp eye. You need the right camera settings to freeze motion, capture fine detail, and handle challenging light. Whether you're tracking birds in your yard or out in the wild, photographing them perched or in flight, the right combination of shutter speed, aperture and autofocus can make all the difference when getting the shot. Here are some quick recommendations to get you started.

Camera settings for bird photography

Your camera settings will depend on the conditions, but there are some general rules of thumb. First, choose a shutter speed that, at minimum, matches your focal length to avoid camera shake. For example, if you're using a 400mm focal length, choose a shutter speed of at least 1/400s. In some scenarios, IBIS may let you get away with slower shutter speeds, but given how quickly birds move, you'll likely want to avoid those if you're trying to capture birds in flight or in action. For moving birds, something around 1/2000s or faster will typically be necessary to freeze the motion.

A relatively wide aperture, such as F5.6, will allow plenty of light through your lens while blurring the background to keep your bird the star of the image. Finally, a low ISO will help you maximize image quality. However, depending on how bright it is outside, you may need to raise your ISO to compensate for the lack of available light.

Canon EOS R5 | Canon RF 800mm F11 STM | 1/1600 sec | F11 | ISO 800 Image: Richard Butler

There are more settings to consider beyond exposure, too. Autofocus settings are especially important. Single-point autofocus is ideal for small or well-camouflaged birds, while zone or area autofocus is best for flocks. You'll also want continuous autofocus so that the camera adjusts focus as the bird moves. Finally, choose a burst or continuous drive mode so that you can take multiple shots in rapid succession, giving you better chances of documenting the perfect moment. If your camera offers a pre-burst mode, it can help you get the shot even if you're a little late to the shutter button.

Wrapping it up

In bird photography, even small tweaks to your settings can lead to big improvements. With the right shutter speed, aperture and focus mode, you'll be better equipped to capture sharp, striking images of your feathered friends. Practice, patience and the ability to improvise as conditions change will help immensely.

If you're also looking to expand your bird photography gear or learn more about how to find birds, be sure to check out our additional guide.

Read our tips on bird photography

The patient cyclist This photo was taken during a late-night walk through Miami Beach, where plenty of people were out walking, biking, skateboarding and more. Even though it was November, it was warm enough that plenty of people were wearing shorts and T-shirts – that's Florida for you. Sony a1 II | Sony FE 28-70mm F2 GM @ 64mm | 1/80 sec | F2 | ISO 2500

Submissions have closed for our May editor's challenge, where we were looking for photos of human-powered travel. That means it's time to vote for your favorites submitted by the community.

You can head to the challenge page to see the entries and to vote on them. User votes don't determine which photos end up getting selected to be displayed on our homepage next week – it is the Editor's challenge, after all – but they do help show support for community members who share their photography. The voting period will end on Saturday, May 24th.

See the submissions

While you're there, don't forget to check out some of the other community-run contests. The "Look What I Have For You!" challenge hosted by RHES is currently open for voting, and submissions have opened for DrLex's bird-focused "A Big Year 2025" challenge and RHES' "A Bench or Table" challenge.

Panasonic S1IIE | Lumix S Pro 16-35mm F4 @35mm | F4 | 1/100 sec | ISO 100 Photo: Mitchell Clark

This week, Panasonic announced the Lumix S1IIE, which features the same sensor found in the S5II and a host of other cameras. We've been able to spend some time shooting with it to get a feel for what kind of images it produces and to see how the updated body changes the experience of using it.

Our sample gallery also includes examples taken with the 96MP handheld high-resolution multi-shot mode.

See the sample gallery

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

A promotional image for The Odyssey, which will feature Matt Damon as the titular Odysseus. Image: Universal

Here's some exciting news for film Friday: Christopher Nolan's upcoming movie, The Odyssey, will be the first commercial feature film to be shot entirely using Imax film cameras, according to The Hollywood Reporter. While many of Nolan's previous blockbusters have made extensive use of the 65mm format, they've also had a varying number of scenes shot on 35mm film, due to the practical limitations of shooting with the large, noisy Imax cameras.

Imax CEO Rich Gelfond reportedly told members of the press at Cannes that the director asked the company to improve its cameras and workflow, according to The Hollywood Reporter, and it obliged. The cameras Nolan is using to shoot The Odyssey are reportedly lighter weight, 30% quieter and, currently, exclusive. THR says the new models have been set aside for him until the movie finishes filming, after which they'll be available for other directors to rent.

The company has also apparently improved how it processes and scans the film, which should help with the dailies process where filmmakers watch back the footage they shot the day before.

A frame of Imax film from Interstellar. This scene appears to have been shot on 35mm film, as it does not fill the entire film frame and has black borders on the top and bottom. Photo: Mitchell Clark | Interstellar: Paramount Pictures

Theaters that can actually exhibit an Imax film movie in its original format are few and far between, using it for the entire movie has a benefit that pretty much all theater-goers may be able to enjoy. In previous Nolan movies, the aspect ratio has changed dramatically between shots filmed on 35mm and shots filmed on Imax. With The Odyssey, that likely won't be the case.

While Nolan's next movie may be the first feature-length commercial movie shot entirely with Imax film cameras, there is a reason the statement is so specific. Plenty of films have been shot entirely on Imax film; they've just been documentaries, the types of things that museums with Imax screens would show, rather than something general audiences would go to a theater to see. That barrier has also been crossed if you're willing to look outside of film: 2018's Avengers: Infinity War holds the title of the first Hollywood movie shot entirely with Imax cameras, though those were of the digital variety.

Plenty of films have been shot entirely on Imax

Still, it's exciting news for fans of films shot on... well, film. Even as other directors have increasingly moved towards digital production, Nolan has been a steadfast proponent of the format, and it's nice to see that he and his team are still pushing it forward.

If you're interested in learning more about the process of shooting and distributing a movie in Imax, director Ryan Coogler recently worked with Kodak to put out a great video on the topic. YouTuber Radioactive Drew also has a fascinating behind-the-scenes look at the projection process for Oppenheimer, Nolan's previous film.

The Odyssey is scheduled to be released in theaters on July 17th, 2026.

Nick Ut speaks with the press. Image: Wikimedia Commons

In response to claims made in a documentary, World Press Photo has suspended its official attribution for one of the most famous photographs of the 20th century. The Stringer, which premiered at the Sundance Film Festival in January, raises questions about who took The Terror of War, an image that's become known as Napalm Girl.

The 1972 photo of a naked nine-year-old girl, Phan Thi Kim Phuc, fleeing a napalm attack has long been credited to Nick Ut of the Associated Press (AP). However, the film alleges the photo may have been taken by Nguyen Thành Nghe, a freelance driver for NBC during the Vietnam War. According to the film, Nghe sold his pictures to the AP without receiving credit.

The Stringer presents testimony from Nghe's family and former AP colleagues, as well as forensic analysis from the NGO Index, which concluded that it was "highly unlikely" that Ut captured the image. An internal review cited technical analysis indicating that either Nghe or Huỳnh Công Phúc was better positioned to capture the image, whose authenticity remains undisputed by World Press Photo.

The AP has rejected the claims. Its vice president, Derl McCrudden, said the organization conducted two in-depth reviews and found no evidence that questions Ut's authorship. "It makes no difference to us if we changed the credit, but it has to be based on facts and evidence," McCrudden said. Ut has also continued to assert that he took the photo. "This whole thing has been very difficult for me and has caused great pain," he told the AP.

World Press Photo now lists the author of The Terror of War as unknown. The organization stated that the image remains a contested piece of history and that a true photographer may never be definitively confirmed.

Image: Leica

Like many companies, Leica is making pricing adjustments in the US due to the ever-changing tariff situation the country. After raising the price of its D-Lux 8 to $2790 earlier this month, the company tells DPReview it's lowering it by $875 to $1915: still $320 more than its original MSRP.

The company is also adjusting the price price of its Lux Grip for phones. After initially raising it from $329 to $625, it's now lowering it to $395. The new prices for the US will go into effect on Monday, May 19th.

The D-Lux 8 is assembled in China, unlike many other Leica cameras that are put together in Germany. President Trump's original tariff plan called for a 20% tax on products imported from the European Union, but the rates on Chinese goods may end up being much higher. After back-and-forth sparring between the US and China, the rate settled at 145%, though the countries have since negotiated a 90-day stay, during which the rate will be 30%.

Leica isn't the only camera company being impacted by the US tariffs. Canon and Sigma recently announced that they would have to raise prices in the country in response, while Tamron announced that it would be shifting its lens production. Fujifilm and Nikon have warned investors that the tariffs could eat into their profits by tens of millions of dollars.

Even at its original price, the D-Lux 8's price tag was hard to swallow – when naming the camera as his Gear of the Year, Richard Butler called it "somewhere between fanciful and absurd." Post-tariffs, the value proposition is looking even worse, especially considering how similar it is to the now nearly seven-year-old Panasonic LX100 II, which retailed for $1000 (and currently still sells for around as much on eBay). Of course, the costs brought on by tariffs aren't something the company has control over.

Leica is leaving the door open to the prices changing again as the tariffs evolve.
"As the tariff situation evolves, Leica Camera North America will continue to evaluate and adjust pricing accordingly," it said in its statement to DPReview. Normally, that may be a signal to potential buyers that they should act fast before prices go up again, but both the D-Lux 8 and Lux Grip are out of stock at most retailers and have been for a while.

Panasonic S1IIE vs S5II: what's the difference between the full-frame hybrids?

Panasonic recently announced the S1IIE, a full-frame camera that has the same sensor – and therefore similar capabilities – as the S5II and S5IIX. However, it's paired with a newer processor and a upgraded design, which bring with them some differences that make shooting with it a noticably different experience.

In this article, we'll break down what features the cameras have in common, and the differences that set them apart.

Body

The S1IIE uses the same body as the rest of the second-gen S1 cameras, which is a minor refresh of the one used for the S5II-series. The S1II models have a slightly deeper grip, which makes the camera easier to hold when paired with a big lens, as well as a higher-resolution EVF. The display also gets an upgrade: the S5II's is fully articulated, but the S1IIE adds the ability to tilt it in line with the EVF, without sacrificing the ability to view it from the front.

The S1IIE has a beefier shutter that Panasonic says should be good for up to 400,000 shots. Unlike with the S5II, you can set it to close when you turn the camera off, helping keep the sensor clean when you're changing lenses. Panasonic says the S5II is dust and splash resistant, and the S1IIE adds freeze resistance.

Controls

The S1IIE's controls are largely the same as the S5II's, but there are some key differences. Like the rest of the S1II line, the S1IIE has a lock switch, which you can customize to only lock certain controls in specific modes. The shooting and drive mode dials also have toggle locks, which lets you prevent them from accidentally switching settings while you're shooting or taking your camera in and out of a bag. The S1IIE gains a separate dial to switch the camera between stills, video and slow and quick mode; on the S5II, this was handled by the mode dial.

The S1IIE's (pictured) top plate is similar to the S5II's but with locking dials.

That gives the S1IIE room for two more custom mode settings, for a total of five. It also has an additional record button on the front left corner of the camera, which makes it easier to start shooting video if you have the camera facing you or mounted on a rig.

Battery

The two cameras use the same DMW-BLK22 batteries, though use two different battery grips: the DMW-BG1 for the S5II-series, and the DMW-BG2 for the S1II series. The later also allows you to hot-swap batteries, essentially letting you run the camera indefinitely.

The S1IIE is rated to get slightly more shots out of a single charge when using the screen than the S5II, though it will get noticeably fewer if you're mainly using the higher-resolution EVF.

Ports

The S5II and S1IIE have the same selection of ports, but they're arranged slightly differently. Compared to the S5II, the S1IIE's USB and HDMI ports have swapped places. The port doors are also different; two flaps cover the S5II's ports, while each port gets its own door on the S1IIE.

Even more different is the storage configuration. The S5II has dual UHS-II SD card slots. The S1IIE swaps one of those out for a faster CFexpress Type B slot.

Video Recording

The S5II and S1IIE have similar resolution and framerate options, but the latter gains a new 2.4:1 "Cinemascope" aspect ratio, along with a new CineLikeA2 color mode designed to give you more dynamic range, but without having such low contrast that it's not output ready; it's a midpoint between the CineLike D2 and CineLike V2, similar to Fujifilm's Eterna or Sony's S Cinetone response curves.

The S1IIE will also support a paid upgrade that adds Arri's LogC3 for anyone needing to match their footage to that of a high-end cinema camera.

The S5IIX comes with All-I and ProRes codecs built-in (which also available on the S5II via a paid upgrade) and has the ability to record video to an SSD and output Raw video via HDMI. The S1IIE has those features, too, but can also internally record ProRes Raw to its CFexpress card.

The S1IIE can also record 1080p proxy video files to the SD card when you're shooting in some formats, giving you smaller files that can be easier to edit, or that don't have a LUT baked in.

Video Workflow

The S1IIE has several additional features not found on the S5II which make it a bit easier to shoot video. This includes:

• Support for 32-bit Float audio via the add-on XLR2 adapter, which all but eliminates the risk of clipping
• LEDs on the front and back that act as tally lamps
• A false-color overlay that helps show what's clipping and where your skin tones should be.

Stabilization

The S1IIE's in-body stabilization system is rated for 8EV of stabilization at the center, which is 3EV more than the S5II's system. However, it's worth noting that the S1IIE's rating drops to 7EV at the periphery and that it's tested to a newer version of the CIPA standard, so it's not necessarily a 1:1 comparison, as the new test is a bit harsher.

It does, however, have video stabilization features the S5II doesn't, like:

• Cropless e-stabilization, which is mainly meant for use with wide-angle lenses and corrects for distortion at the edges; only compatible with Panasonic S-series lenses
• Improved e-stabilization performance with anamorphic lenses
• Can use "High" e-stabilization mode with anamorphic lenses

Autofocus

The S1IIE's autofocus system has some upgrades from the S5II's, with the company promising improvements to human face and eye recognition. It also gains an 'Urban Sports' human detection mode, which is meant to be better at recognizing people moving their bodies in out-of-the-ordinary ways, such as when skateboarding or breakdancing.

The S1II series also includes a relatively major change to the autofocus user experience. When subject detection was turned on, the S5II would fall back to its generic tracking system if it didn't detect a subject in the scene, so your focus point would still attempt to follow whatever you had placed it over. This isn't the case with the S1IIE: if you have subject detection active and place your focus point over something the camera doesn't recognize as a subject, the camera won't track it and your focus point will stay in the same position in your frame.

HDR

Both the S5II and S1IIE have several options for recording HDR video, but the newer camera also includes support for saving 10-bit HEIF files with the HLG tone curve for stills. While HEIFs are less widely compatible than JPEGs, you can use them to produce straight-out-of-camera images that pop on displays that support HDR.

Panasonic was one of the first brands to output 10-bit images with the HLG curve, but the adoption of the HEIF format brings them into line with Sony and Nikon, increasing the chances of more widespread adoption.

Connectivity

The S5II supports live streaming via Wi-Fi for services and apps that support the RTMPS protocol. The S1IIE adds on to this with support for USB-tethering with UVC/UAC, which lets the camera show up as a webcam when you plug it into a computer, without the need for additional drivers or software.

Panasonic has also added support for some additional third-party accessories. The S1IIE is validated to work with Godox's X3 flash trigger and V10 on-camera flash, and you can use Atomos' UltraSync Blue with it to wirelessly synchronize timecode with other devices.

Extra features

The S1IIE includes an important feature for studio photographers: support for tethering with Capture One. It also gains a few other workflow-related features that could be useful for pros, such as the ability to import and export its settings to and from other S1II-series cameras via an SD card and to copy individual files from your CFexpress or SD card to an external SSD via USB-C.

It also comes with an AI-powered white balance feature, which Panasonic says can help nail white balance in tricky lighting situations. It's only available when reprocessing a Raw, not while shooting, but if you found that the camera's auto white balance didn't quite get it right, the AI white balance may do a better job, saving you from having to fix it manually.

Conclusion

While they share a lot of similarities, the S1IIE is a bit more than just the S5II in a fancier body. If you're trying to decide between the two, however, you will have to decide how much value you place on those differences. Even comparing MSRPs, the S1IIE is notably more expensive, coming in at a $500 premium over the standard S5II, and costing $300 more than the S5IIX. However, the S5II cameras are a few years old at this point, and can often be found on sale for hundreds of dollars off, which may change the calculus even further – at least until the S1IIE also starts to go on sale.

S1IIE:

S5II:

S5IIX:

Image: Mammut

Outdoor gear brand Mammut has opened entries for its 2025 Photo Contest. It's a global competition that invites professional and amateur photographers to capture their connection to the outdoors. This time around, there's an additional worldwide scavenger hunt offering the brand's gear and Leica cameras as prizes.

Photographers can submit images in any of the six themed categories, including landscapes, wildlife, hidden natural spots and even outdoor meals. One category is limited to Instagram entries. Submissions will be judged anonymously by a panel of outdoor professionals, Mammut brand ambassadors and photographers.

Mammut's photo competition has been going for 15 years. This year introduces a new element. Alongside the contest, the brand is launching Finders/Keepers, a global scavenger hunt for high-end gear.

Athletes and creators, including Adam Indra, Kate Burrell, Lena Drapella and Jérémie Heitz, have hidden 24 packages containing Mammut equipment and Leica cameras in remote locations around the world. Mammut CEO Heiko Schäfer took lead by example to a new level and also contributed by placing one of the prize packages on the Eiger North Face. Clues to their whereabouts will be posted on the brand's social media channels.

The 2025 Photo Contest's grand prize includes a Leica SL2-S Camera Kit with a 24-70mm lens, two SWISS Economy Class tickets, a Mammut Deluxe Summer Kit and guided mountain adventure with ZERMATTERS. The total prize value exceeds €12000. Additional prizes will be awarded to category winners and finalists.

Entries must be submitted on the contest's site by 11:59 pm CEST (5:59 pm EST/2:59 pm PST) by July 15. While the gear hunt is a separate activity, Mammut encourages participants to use any equipment they find in their photo submissions.

Photo: Barney Britton

If you're gearing up for a flight, you may be trying to figure out the best way to pack your camera gear. After all, cameras and lenses are generally expensive, and repairing or replacing them isn't easy. Plus, you don't want to arrive at your destination only to discover that something was broken in transit, leaving you without a functional system to document your travels.

While keeping your gear in your carry-on is generally best, sometimes checking it is necessary. You are allowed to keep your camera gear in checked bags, but they can have quite a tumultuous journey. You can, however, take steps to keep your cameras and lenses protected even when they have to go in your checked luggage.

How to protect your gear in your checked luggage

Pelican makes quite a few camera-specific cases for travel. Just be sure to pack it more snugly than this. Photo: Abby Ferguson

First and foremost, a hard case is best. That way, when other bags inevitably get stacked on top, your camera and lens(es) won't be crushed beneath that weight. You could opt for something like a Pelican case, which is purpose-built for traveling with equipment and comes with various methods of interior protection and organization. Or you could choose a hard-sided suitcase, especially if you already have one on hand.

If you go for a general-purpose suitcase, you'll need to figure out how to pack your equipment. The primary consideration is ensuring everything is snug and padded so that things don't move around or crash into each other when your bag is tossed around. Instead of tossing your gear loose inside the suitcase with all your clothes and toiletries, putting it inside a small camera bag or case that fits inside the suitcase adds an important layer of protection.

Photo: Jackyenjoyphotography / Moment via Getty Images

That case within the suitcase could be a compact hard case with built-in padding, a camera-specific packing cube or even a dedicated camera bag. Of course, you won't be able to go too large since it needs to fit inside a suitcase. No matter what, though, the key is ensuring there isn't much movement once you have it all packed away. Dividers are also important, as you don't want your lenses or camera bumping into each other.

Keep in mind that things aren't packed tightly enough if you hear thumping or feel movement when moving your bag. If that's the case, you may need to use your clothes or other soft items to create a more snug fit. That's true even when using something with dedicated dividers or compartments.

Another important thing to remember is that your bag may be out on the tarmac in wet conditions during loading and unloading. If you aren't confident that your bag is waterproof, it could be worth picking up a Nylofume Liner Bag or wrapping your gear in trash bags to ensure no water makes its way to your camera or lens.

Is it okay to keep your lens attached when flying with a camera?

Don't forget to put on a body cap and rear lens cap when traveling with a camera and lens in checked luggage. Photo: Abby Ferguson

Keeping your lens attached to your camera body is typically not recommended when putting a camera in checked luggage. Those bags get tossed around a lot, which could put pressure on the lens and camera body in ways they aren't built for, thereby bending the lens mount. Because of that, it's best to remove your lens when checking your equipment. Just be sure to put a body cap on the camera and rear lens cap on the lens to keep debris away from your sensor and glass.

Additional considerations when checking your camera gear

Photo: miodrag ignjatovic / E+ via Getty Images

As with carry-on bags, airlines typically have checked bag size restrictions. This can vary for each airline, but most require checked bags to be smaller than 158cm (62") in overall dimensions (length + width + height). Weight restrictions are also in place, with most not allowing bags heavier than 23 kg (50lbs). Budget airlines may have lower limits and be more strict about those numbers, while first and business class generally have greater allowances. Make sure to check the rules with your particular airline before flying.

Beyond packing your bag, there are some additional security-related things to consider. It's not a bad idea to lock up your checked bag to help prevent theft. Be aware, however, that you will need an airport security-approved lock. If authorities need to inspect your bag for any reason, they will simply cut the lock or damage the bag to get access. Locks approved by security agencies can be opened using a universal master key, giving agents access without destroying your lock or bag.

Small trackers like AirTags, Chipolos and Tiles are also helpful for a bit of peace of mind, allowing you to keep track of where your bag is. Finally, while gear insurance is a good idea no matter what, it's especially important if you need to check your camera equipment. That way, if something does get lost or damaged during your travels, you won't need to pay for repairs or replacements out of pocket.