Which design do you prefer? Photos: Mitchell Clark
Last year, Fujifilm released the X half – a quirky camera that leans heavily on retro styling, and that emulates a more analog shooting process, especially in its film camera mode. It'd be a stretch to say that it's the type of thing we expect from the company, but it didn't completely shock us like it would've had it come from another company with less of a history in mimicking film cameras.
Perhaps we should start getting used to the idea.
Canon is showing off a concept at its booth at CP+ that takes the metaphor even further. Design-wise, it looks like an old camera with a waist-level viewfinder, but rather than using film, it has a Type 1 (117mm²) sensor. According to a diagram displayed alongside it, light from the lens (a manual focus-only 50mm equiv. F1.8) bounces off a mirror, and up into the viewfinder. But flip a lever on the side, and another mirror directs it to the sensor.
The prototype attendees got to handle was much less polished than the ones under glass.
To be clear, we're a long way from this – or even anything similar – being an actual product, if that ever happens at all. The one I got to play with seemed like it was at least partially 3D printed, and had a display that didn't do anything; the live view was shown on a TV, with a signal passed along a cable plugged into the side of its body. I'm not sure it could even actually take a picture, and the buttons on the back didn't seem to do much beyond making the camera switch into modes that didn't actually work.
However, it's interesting to see Canon even displaying it, and asking attendees to vote on which of two potential designs they like best. The mock-ups on display are more refined, seeming to feature actual shutter buttons and a large knob on the side, though its purpose is unclear. The survey also asks questions about what you'd look for in this kind of camera and how much you'd be willing to pay for one, were it to actually make it to market in some form. To me, that indicates that it's not just a fun toy the company's engineers cooked up solely to give people something to play with at its booth.
The booth drew a lot of attention; we'd be surprised if Canon didn't take notice of how many people wanted to play with it.
Canon has said before that it sees itself as a company that's always looking forward, despite a somewhat traditional approach to product designs. Some have used that perception to dismiss the idea it would ever release a throwback camera like the Nikon Zf or Pentax 17. But this camera shows a more playful side of the company, and even if we never see this particular model again, it makes us wonder if the X half was just the start of something, rather than an odd one-off.
Canon's PowerShot G7 X III may be almost seven years old, and lacking the autofocus and processing capabilities found in the company's more recent cameras, but that hasn't stopped it from flying off the shelf. It seems that tech isn't a big selling point for the type of person buying it, but in an interview with Canon executives at the CP+ show, we were told that the company's next compact may focus on it.
"The current customers of compact cameras are not really our past customers. These are totally new customers," said Go Tokura, Executive Vice President, Head of Imaging Group, Chief Executive and Chief Executive of Imaging Business Operations. "So it is going to be the role of the next camera we release that can offer new technologies or a new use case. That's the new role of the next compact camera."
It's exciting news to hear that the company is working on a new compact camera and that it will potentially be more up-to-date than the ones the company currently offers. Of course, there are no promises that it will be aimed at enthusiasts looking for a small option to carry around with them. Last year, the company released the PowerShot V1, which, while using much of Canon's current technology, is much better-suited to shooting video than stills.
We're looking forward to sharing more of the interview in the near future, covering more of the company's compact plans, the state of the camera market and its approach to making lenses and cameras.
Photo hosting community Flickr has announced Mode by Flickr, an in-person "photo festival" taking place in Minneapolis, Minnesota, in late September 2026. The company says its goal is to bring the spirt of online photo sharing "away from devices" so photographers can connect "in the real world."
The three-day event will include keynote speeches from guest photographers, such as Chris Burkard and Penny De Los Santos, along with activities including workshops, editing tutorials, film screenings and photowalks. Flickr's COO Ben MacAskill describes it as "a festival built for creativity and the future of photography and visual arts."
The festival is structured around seven themes, covering a broad range of photography topics, from art and technique to technology and gear, and the business of making a business out of your work. The themes are described by the company as follows:
Change: spotlighting world-shifting storytelling
Next: focused on emerging tools and technology
Money: exploring the business of photography
Motion: celebrating video and moving images
Culture: capturing the music, fashion, food, and moments that shape us;
IRL: honoring analog processes
Earth: dedicated to the intersection of the environment, sustainability, and art
Flickr, which has been owned by photo hosting company SmugMug since it was sold by Yahoo! in 2018, is now in its 22nd year, having launched in 2004.
Three-day passes start at $330, with a $30 discount for Flickr Pro subscribers, though the cheapest tickets only get you access to "select events."
Press release:
Flickr Announces MODE Festival: Leading Photographers, Chris Burkard, Brooke Shaden, Penny De Los Santos, and Jimmy Steinfeldt Headline Minneapolis' New Three-Day Experience
The citywide celebration blends culture, creator-led programming and photography events across downtown Minneapolis this September
SAN FRANCISCO, Feb. 26, 2026 /PRNewswire/ -- Today, Flickr announced the launch of MODE by Flickr, an immersive three-day photography festival taking place September 18-20, 2026, in the heart of Minneapolis. The inaugural lineup includes keynotes from Chris Burkard, Keith Ladzinski, Minneapolis native Jimmy Steinfeldt, and Brooke Shaden as MODE's Artist-in-Residence, alongside special programming in partnership with Black Women Photographer's Polly Irungu and Inside Out Project, with sponsorship support from Fujifilm, HOVERAir, and additional partners. The festival will also feature leading photographers including Sandro Miller, Art Streiber, Penny De Los Santos, Rob Grimm, David Johnson, and more. Designed as a first-of-its-kind photography festival, MODE will bring together craft, community, and visual storytelling like never before.
"MODE is photography in motion – alive, interactive, and deeply rooted in community," said Ben MacAskill, President, COO at SmugMug & Flickr. "For more than 20 years, Flickr has brought the world's photographers together online. Now, we're bringing that spirit away from devices and connecting in the real world with a festival built for creativity and the future of photography and visual arts."
From workshops led by industry legends to hands-on demos with emerging tools and gear and immersive exhibitions, MODE will create spaces for learning, exchange, and shared creative energy, anchored in community and underscoring the belief that photography thrives in culture, not in isolation.
MODE brings the full spectrum of photography to life through its seven thematic pillars – Change, spotlighting world-shifting storytelling; Next, focused on emerging tools and technology; Money, exploring the business of photography; Motion, celebrating video and moving images; Culture, capturing the music, fashion, food, and moments that shape us; IRL, honoring analog processes; and Earth, dedicated to the intersection of the environment, sustainability, and art. Across these tracks, attendees will experience hands-on workshops, live portrait shoots, tech demos, editing workshops, photojournalism panels, film screenings, gear demos, darkrooms, instant-film activations, photo walks, and climate-focused conversations.
Passes are available now, starting at $300.00 for Flickr Pro Members and $330.00 - $660.00 for general admission and VIP passes. For ticketing information, visit http://modefestival.com/. Additional speakers and workshops will be announced throughout the year.
"Minneapolis is proud to host the inaugural MODE Festival," said Mayor Jacob Frey. "This is a city that believes in artists and backs them up. From downtown to neighborhoods across Minneapolis, MODE will showcase the creativity, small businesses, communities, and public spaces that make our city special. We're excited to welcome creators from around the world and show them what Minneapolis is all about."
MODE was created to celebrate creativity and community while prioritizing accessibility, inclusion, and safety. The festival features accessible venues, diverse and thoughtfully curated programming, and a talent selection process rooted in artistic quality and representation. Sustainability measures, from recycling to reduced single-use materials, are built into every layer of planning, alongside comprehensive safety and emergency protocols to ensure a smooth, secure experience for all attendees.
The first day of CP+ has come to a close. During it, we got the chance to see some of the lenses announced during the show in-person, so here’s a closer look. If you have any questions about them, be sure to leave them in the comments below!
DPReview community member Ciaccio (Mario Ciaccia) has a fascinating photography career based in Milan, Italy. He has been a professional photographer since 1998, working for Tutto Mountain Bike and other companies, including the motorcycle magazine Motociclismo. He now runs his own site while balancing commissioned work with a personal need to capture everyday moments through his camera.
Favorite camera and lens: Fujifilm X100V with its 35mm equivalent lens, or Sony a7C with the 14mm F1.8 or 135mm F1.8.
Typical photo scenes: Motorcycle travel and events, vast landscapes from Patagonia to the Himalaya, the quiet moods of the River Po, and spontaneous family life.
Although inspired by classic Leica photojournalists and the black-and-white work of Don McCullin, Ciaccio admits he sees only in color. He also says he forced himself to use the Fujifilm X100V to train his eye for 35mm, despite his natural pull toward extremes.
"I see beautiful black and white photos taken with 35mm, but then, when it's my turn to take them, I'm more inspired to use a 14mm and color."
Ciaccio edits in Lightroom and Photoshop, keeps accessories minimal, and carries only what helps him get that great shot.
Sunrise on Monte Jafferau, in the Western Alps, Italy, September 2014. We climbed a hill and were greeted by a pair of formidable French mountains, Barre des Écrins and Pelvoux.
Sony NEX-6 | 210mm (315mm equiv) | F6.3 Photo: Ciaccio
"I carry very few pieces of gear, precisely because I have to seize the moment. I always carry a tiny Manfrotto tripod and, when I am working alone, a normal tripod. The a7C batteries last so long that I no longer need to carry many extras."
"In my bag there are also practical things: wet wipes, rain gear, a sweatshirt, thin gloves in winter, a headlamp for night photos and even a small screwdriver because sometimes the memory card door on my cameras gets stuck. If I have to wait hours at an event, I bring a folding chair so my back survives.”
“For years I have been obsessed with finding a light, fast system that lets me react immediately,” says Ciaccio. His Rotation 34 backpack uses a rotating waist pack that gives instant access to three cameras, even while seated on a motorcycle. The pairing of ultra-wide 14mm and 135mm telephoto reflects his visual instincts: dramatic perspectives or tight subject isolation with strong bokeh.
Rothang La, Himalayan pass 3,980 meters above sea level. I wanted to convey the vertigo I felt every time I encountered a truck or bus, and they didn't even slow down, despite the high risk of hitting me and sending me over the edge. After all, Rothang means ‘pile of corpses’.
Sony NEX-6 | 10mm (15mm equiv) | F4 Photo: Ciaccio
What stands out with the Fujifilm X100V and Sony a7C?
"If someone told me I could only keep one camera for the rest of my life, I would choose the Fujifilm X100V. With a 35mm lens, you can tell any story."
"For my Sony a7C, the high quality of the full-frame sensor allows me to have narrower focal lengths with little cropping. The 135mm seems like a weak telephoto lens, but the bokeh effect is such that I don't miss a 200mm or 300mm."
"I tried to do the same with the Sony a7 III, but it's too big: I'm one of the rare cases where the a7c is indispensable. If I wanted the same things but in an even smaller size, I could switch to APS-C: Sony a6700 with Sony 11 mm F1.8 (tiny!) and an 85 mm F1.8, which could be Sony or Viltrox."
“If someone told me I could only keep one camera for the rest of my life, I would choose the Fujifilm X100V.”
In October 2025, we challenged the steam train that runs from Novara to Varallo Sesia, in Piedmont, Italy. The challenge was to photograph it with the motorcycles at 13 different points.
Sony a7C w/ FE14mm F1.8 GM | F1.8 | 1/4000 sec | ISO 250 Photo: Ciaccio
How do you adapt your setup to different situations?
“It depends on the season and on what I am doing. If I travel alone like an explorer, I reduce everything to the minimum. If I have to photograph an organized event and stay in one place for three or four hours, I bring what makes the wait comfortable."
"My strength is that I always have the right focal length ready. The cameras are set in manual mode, usually with the aperture wide open. If necessary, I close it, but I like to isolate the subject and react quickly.”
Murzuq Desert in Libya, November 2008. I wanted to convey the feeling of being in the presence of immense chocolate flows.
Canon EOS 40D | 70mm (113mm equiv) | F8 | 1/640 sec | ISO 100 Photo: Ciaccio
Ciaccio's advice for other photographers
“Since I started in digital in 2004, technology has improved enormously. Today, we have more than enough performance. Ten frames per second is already a lot. Twenty-four megapixels are already excellent. At a certain point, it is not the equipment that changes your photography."
"Travel, look around you, and shoot. I have photographed Patagonia, the Himalayas and the Libyan desert, but I have also learned that beauty is behind my house. The important thing is to be ready when the moment arrives.”
If you’d like to share your photography setup, tell us about your main camera, lens choices, key settings and photography strategies. You could be featured next!
Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.
Today marked the beginning of the 2026 CP+ show. While we're typically fond of seeking out cameras and lenses that have been cut in half, we found that particular trend had (mostly) fallen by the wayside this year. Instead, many of the manufacturer's booths featured diaromas large and small, often complete with tons of foliage.
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Photo: Mitchell Clark
7Artisans showed off several new lenses at its booth at CP+, introducing two new autofocus models that are, in some ways, polar opposites. Both are for full-frame, but one aims to be as small and light as possible, while the other is for those who aren't afraid of a little heft.
The first is the AF 40mm F2.5, which the company says is part of its "Lite" series, alongside the set of three F1.8 primes it announced earlier this year. While those lenses barely tipped the scales, this new offering is even smaller and lighter, coming in at just 90 grams.
This is one of the clickiest function buttons I've ever experienced. Photo: Mitchell Clark
Despite the focus on size, the lens has a fair number of features, including a clicked aperture ring, autofocus / manual focus switch and even a programable function button (though it's much smaller than is typical, feeling more akin to the reset switch you'd find on the bottom of some electronic device).
The lens has seven elements in six groups, with three high-refraction elements and one aspheric, and can focus as close as 0.4m (15.7"). It uses a stepper motor for autofocus, and has a nine-blade aperture, which the company says will provide a "bubble bokeh" effect.
The AF 40mm F2.5 is available now from the 7Artisans website for $159. Initially, it'll be available for E mount, though a representative said it will later come to L-mount and Nikon's Z-mount.
Photo: Abby Ferguson
The company also showed off an upcoming lens: the AF 135mm F1.8. Unlike the 40mm, it's not particularly light or compact; while there aren't official specs available for it yet, I was allowed to hold it and it's a substantial piece of glass (though it's still noticeably smaller and lighter than Sigma's 135mm F1.4).
The lens will be available for Z mount, L mount and E mount, and features two function buttons and an aperture ring (or a programable control ring on the version for Nikon). The company plans to release it in the second half of the year. A placard said it will retail for around ¥120,000 including tax, which is around $770 at today's exchange rates, and says it'll have a minimum focusing distance of 0.68m (26.8"). It seems like a relatively ambitious lens, so it'll be interesting to see if it delivers on image quality and user experience.
Photo: Abby Ferguson
In addition to the two autofocus lenses, the company showed us an interesting manual focus lens called the Dionysus. It's an 18mm F6.3 lens for APS-C, and is, essentially, a decorative lens cap that you can use to shoot a picture with if you're in a pinch or are looking to achieve a certain aesthetic. To that end, it's available with red or yellow engravings, though the company says it may add more colors in the future. The representative showing it off also said it doubles as a fidget toy; when you turn the focus ring it clicks, providing haptic feedback, and when you let go it springs back to its starting position.
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A Sony RX1R III cut in half in a display case at CP+. The lens sits almost directly on top of the sensor, requiring precise, micron-level adjustments for each unit to ensure sharp image quality.
Photo: Dale Baskin
We've long known that compact cameras like the Sony RX1R require immense levels of precision manufacturing, but in an interview with DPReview at CP+, a Sony executive shared a detail that illustrates it perfectly.
Speaking about the different considerations when making a compact and an interchangeable lens camera, Yasufumi Machitani, General Manager of the Camera Business Department of Sony's Imaging Entertainment unit, said: "Each lens and image sensor position is precisely adjusted with micron-level precision. That's why the RX1R series is very sharp, even in this very small form factor."
It's no surprise that micro-adjustments are required on a camera-by-camera basis to ensure that each sensor and lens pair is achieving maximum possible image quality. At the launch for a previous generation of the RX1R, we were told that the rear element of the lens is so close to the sensor that you might have difficulty fitting a single sheet of paper in between the two.
We'll be conducting more interviews with manufacturers throughout the week, so stay tuned. We're also looking forward to publishing our full interview with Sony, covering a wide range of topics about the company's cameras, lenses and the camera market as a whole.
CP+ is officially underway, and LK Samyang has unveiled the AF 60-180 F2.8, its next lens made in collaboration with Schneider Kreuznach. The company also mentioned that an L-mount version of its AF 14-24mm F2.8 would be coming soon.
Details on the Schneider Kreuznach x LK Samyang AF 60-180 F2.8 are slim for now, but we were able to get hands-on with the lens. It features an AF/MF switch, a customizable Fn button and a zoom lock switch. It's relatively compact and lightweight, balancing well on the Sony a7C that was used in the display. A representative at the booth said that it will be available for E and L-mounts sometime in the second half of the year, likely between June and August.
Image: Mitchell Clark
The AF 14-24mm F2.8 FE was the first collaboration lens between LK Samyang and Schneider Kreuznach. It was announced at CP+ last year. Now, the company is using the event to unveil the L-mount version of the lens. It will be coming sometime in late May.
In addition to chatting with us about the upcoming lenses, a representative mentioned that LK Samyang is looking to expand its lens mount offerings. E-mount models will continue, but it hopes to provide additional mounts in the future, as much as they are able. It could also mean that the company is considering making L-mount versions of the lenses currently only available on E-mount.
As the CP+ show opens in Yokohama, Japan, Sigma has announced it's working on an 85mm F1.2, which it says will complete its trio of 35, 50 and 85mm super-fast primes.
The Sigma 85mm F1.2 DG Art will be available for both Sony E and the Leica, Panasonic, Sigma L mounts. This means that all four major full-frame mirrorless lens mounts will have an 85mm F1.2 option available, as both Canon and Nikon currently offer their own comparable optics.
The company hasn't revealed much detail, beyond the basic concept of the lens, its use of a linear motor and the fact that it will complete a trio of F1.2 lenses. The company says the new lens will go on sale in September 2026.
Sigma Announces Development of 85mm F1.2 DG | Art Lens for Full-Frame Mirrorless Cameras
Ronkonkoma, NY, February 25, 2026 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to announce the development of the Sigma 85mm F1.2 DG | Art, a large-aperture medium-telephoto lens designed for full-frame mirrorless cameras.
The lens will be exhibited at the Sigma booth during CP+ 2026, which will be held from February 26 to March 1, 2026 in Yokohama, Japan.
The Sigma 85mm F1.2 DG | Art is a large-aperture medium-telephoto lens designed for full-frame mirrorless cameras. With the latest optical design, the lens delivers exceptional resolution even at maximum aperture, enabling striking portrait photography with the distinctive depth of field unique to F1.2.
Featuring a compact, lightweight design and fast, precise autofocus driven by dual HLA (High-response Linear Actuator) system, the lens offers reliable performance for professional applications.
With the addition of this lens, Sigma's lineup of F1.2 prime lenses is now complete, joining the Sigma 35mm F1.2 DG II | Art and Sigma 50mm F1.2 DG DN | Art.
Available mounts: L-Mount, Sony E-mount Launch: September 2026
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What are the best (and worst) photography-related gifts you've received?
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
While Abby, Dale and Mitchell are in Japan to cover CP+, it also provides an excellent opportunity to get out and test some photo gear. The evening before the show, the crew hit the streets of Yokohama's Chinatown to get some shots of the neon lights and reflections.
You're sure to see more images from the photowalk in our full sample galleries for the Viltrox 16mm F1.8 for L mount, Sigma 15mm F1.4 DC DN and Viltrox 35mm F1.2 Lab for Z mount, but for today, here are some of our favorite photos we took while out on the town.
Sample gallery
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During our hunt to find Abby Ferguson a film camera in the used camera stores of the Shinjuku district in Tokyo, we ended up at Five Star Camera where Dale Baskin also found something worth taking home.
Panasonic has announced the DMW-DMS1, a microphone designed to attach to the digital hotshoe on recent Lumix cameras. It features support for 32-bit float recording on certain cameras and has a four-microphone array, allowing for multiple computational pickup patterns.
The microphone is small, measuring 45 x 64 x 74mm (1.8 x 2.5 x 2.9"), and weighing just 100g (3.5oz) without the included windscreen. It plugs directly into the hotshoe, without the need to run a separate cable down to the camera's microphone input jack. It has physical switches for wind reduction, noise reduction and gain, as well as a gain dial.
Image: Panasonic
On the back are six backlit buttons that control the pickup pattern. The buttons' brightness can be adjusted for indoor or outdoor working. The microphone has different modes for capturing sounds and subjects in front of and/or behind the camera, while suppressing noises from other directions.
The capsules are 10mm, which Panasonic says strikes a balance between cost, quality and dynamic range.
The company says this is possible thanks to "beamforming technology," which we suspect is similar to how other companies implement similar features on cameras with built-in multi-capsule microphones. The capsules themselves are 10mm, which Panasonic says it chose to strike a balance between cost, quality and dynamic range.
The microphone combines dual analog-to-digital converters with 32-bit float recording, which come together to capture both loud and quiet sounds separately with plenty of latitude to prevent clipping. While the microphone capsules themselves can still clip – Panasonic says this happens above 120dB, which is around the loudness of an emergency vehicle's siren – anything the microphones are physically capable of picking up can be recorded. Of course, it can also record in a more traditional 24-bit mode, too, which is where the gain dials come into play.
It also includes a wind noise canceler, which Panasonic says uses a new method that's better at isolating the wind, without adjusting or muffling the sounds you're actually trying to record. Of course, as a software solution, it can only do so much, but thankfully, the company includes a fluffy windscreen with it.
The microphone supports four-channel recording, and can use two of the channels as a backup track.
The microphone supports four-channel recording, with the option to use two of the channels as a backup track. These are primarily designed for use in 24-bit mode, and give the options to either record the results of omnidirectional pickup to two channels, one at reduced volume, or to mimic the main recording but 20dB quieter, to protect from clipping.
The microphone itself doesn't have any built-in memory, so the recordings are done in-camera. The settings for 32-bit float and backup recording are managed in-camera, a decision Panasonic says was made after consulting with audio professionals.
The capsule itself is vibration-damped as it goes into the body of the microphone, rather than the damping happening where the unit itself connects to the camera. In theory, this makes it less likely for it to pick up handling sounds if you flip a switch or press a button on the microphone.
Image: Panasonic
When it launches, the microphone will be compatible with the Panasonic S1II, S1RII, S1IIE, S5II and S5IIX, though the latter two don't support 32-bit float recording or the backup function. The cameras will require a firmware update to use it, which will be available on March 9th. Panasonic says the GH7 and G9II will gain support for the microphone at an unspecified point in the future, and told us that it'd be safe to assume that the former will have support for 32-bit float.
The DMW-DMS1 will be available in March and will retail for $399.
Press release:
Panasonic Introduces New Digital Shotgun Microphone: DMW-DMS1
Newark, N.J. (February 24, 2026) – Panasonic is pleased to introduce the new LUMIX DMW-DMS1, an all in-one microphone for any shooting scenario. The DMW DMS1 is designed for creators and professionals who want uncompromising audio quality without complexity. Whether you’re filming a travel vlog in a busy city, recording an interview in a quiet studio, or capturing the excitement of a live event, this microphone adapts to your needs so you can focus on your story. As of February 2026, the DMW-DMS1 is compatible with LUMIX S1II, S1RII, S1IIE, S5II and S5IIX. *1 Compatibility with GH7 and G9II is planned in the future.
The DMW-DMS1 features a newly developed large-diameter 10mm microphone array that delivers crisp, focused audio even in challenging environments. For run-and-gun workflows, an internal floating shock-mount minimizes vibration noise from movement, while the included windscreen reduces wind interference. The new wind noise cancellation system leverages float-recording technology, suppressing wind without compressing the intended signal, maintaining an open, natural vocal tone even in adverse weather.
To accommodate a wide range of recording situations, the DMW-DMS1 offers six directional modes, reducing the need for additional accessories and setup. It supports 32-bit float recording*2 to capture audio without distortion at sound pressure levels up to approximately 120 dB, comparable to a front-row concert or close proximity to an emergency siren — conditions that can challenge conventional microphones.
To prevent any missed takes due to accidental setting errors, or to capture ambient sound, the device offers two backup recording modes*2. When recording in 4-channel mode, channels 3 and 4 can be used as backups to reliably capture important audio.
Lightweight at approximately 100g, the compact form factor draws power and transmits digital audio via the hot shoe, eliminating cable management. Physical switches are intuitive, and directional mode buttons feature adjustable brightness for low-light environments. A dedicated pouch provides convenient storage and transport with the windscreen attached.
Main Features
1. High Sound Quality
High-precision sound captured with large-diameter 10mm mic array
Minimizes vibration noise thanks to an internal shock-mount mechanism
Minimizes wind noise using a windscreen
2. Flexible Directionality and Professional Reliability
Six directional modes for any recording situation (Forward Directionality Cardioid/ Stereo/Wide Stereo/ Forward Directionality Supercardioid/ Rearward Directionality Supercardioid/ Bidirectional Supercardioid)
32-bit float recording and backup recording mode*2
3. Easy-to-use Design
Cable-free hot shoe connection
Intuitive physical switches
Pocket-sized design (approx. 73.7 x 45 x 63.7mm, approx.100g)
*1 Firmware must be updated to the latest version which will be released on March 10th, 2026.
*2 Compatible cameras for this feature (as of February 2026): DC-S1M2, S1M2ES, and S1RM2. Firmware must be updated to the latest version.
As the team settles in and gears-up for the start of the CP+ show, Abby took the chance to explore some of the second-hand camera stores in Tokyo's Shinjuku district, to see if she could bring home a classic.
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Updated: February 24, 2026
Whether you're just sharing clips with friends or you're launching an online on-camera career, vlogging matters. And there's a point at which your smartphone may not give you the look, control, or flexibility you're after. With 180-degree selfie screens, wide-angle lenses, microphone inputs and great video quality, more and more dedicated cameras are catering to people who want to take video of themselves and post it online.
The meaning of vlogging has changed over the years, so our picks cover a variety of styles – we'll explain what makes each camera good for vlogging, and what key features each has that make taking video of yourself easier. We've also included videos shot on the cameras in question when we have them to give you an idea of what kind of performance to expect.
DJI’s Osmo Pocket 3 is a stabilized handheld vlogging camera, designed for on-the-move vlogging. It’s built around a type 1 (13.2 x 8.8mm) sensor mounted on a tiny gimbal, meaning it can deliver stabilized footage with smoother motion than any conventional camera or phone.
The small sensor means the Pocket 3 works better in well-lit situations, though a reasonably bright F2.0 lens means it's usable indoors, too.
It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera's movement, and tapping the joystick button flips between the camera pointing toward you or away from you.
Its reliance on contrast-detection autofocus means its focus can be prone to hunting, though its face-detection mode works well enough that this is rarely a problem when talking to the camera.
In addition to the smooth stability of its gimbal and its genuine pocketability, one of the Osmo's main benefits is that it's compatible with a series of Bluetooth microphones, meaning you can capture good-quality audio without the need for additional transmitters or receivers.
The video quality isn't always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket 3 as a package is really hard to beat.
The Canon PowerShot V1 is a mid-sized vlogging compact with a relatively large sensor and wide zoom lens.
It offers a competitive suite of vlogging features, a built-in ND filter and good stabilization options. It's also comfortable to hold pointing towards you, and lets you access key settings from the touchscreen. It includes microphone and headphone jacks and a fan for extended recording sessions.
AF performance is good, with reliable tracking AF and effective subject recognition. The camera is generally pretty responsive, with the zoom reacting quickly to input.
The V1's wide lens means you can crop-in for its 4K/60p mode and still maintain a wide-angle view. The full-sensor footage exhibits quite high levels of rolling shutter, so you may have to use the cropped 50/60p mode for capturing shots with lots of movement.
The V1 is a capable option with a useful zoom range, and there's a lot to be said for an all-in-one option. You do give up some flexibility for other types of filmmaking, but it should cover most of your bases when it comes to vlogging.
We also considered Sony's range of entry-level vlogging cameras with Type 1 sensors, the ZV-1, ZV-1F, and ZV-1 II. The latter is the best pick of the bunch, given its wideangle zoom lens and built-in ND, but it's hard to recommend. Its quality will be slightly better than that of a flagship phone, but if you're going to be carrying an extra gadget around anyway, it's probably best to spend a bit more for a more flexible or capable camera.
For ambitious vloggers and videographers: Sony ZV-E10 II
The Sony ZV-E10 II is focused on vlogging, with solid 4K/24p and 4K/60p shooting capabilities, and a suite of features for taking footage of yourself.
The ZV-E10 II has an excellent grip, easy-to-hit buttons and a touchscreen that lets you control the most important settings without turning the camera around. The zoom rocker is great for power zoom lenses.
Subject tracking autofocus is fast, sticky, and accurate, though it doesn't have all the modes available on other Sony cameras. Product showcase prioritizes items held up in front of your face and has lots of options. Menus are easy to learn and responsive, and battery life is good.
The ZV-E10 II pairs useful, video-focused features with excellent hardware, making it an excellent vlogging camera depending on your style.
The rolling shutter performance is good, bordering on excellent. The lack of IBIS can make handheld footage look shakey, and electronic stabilization is only useful for stable shots. The built-in microphone is good, and the camera has headphone and mic jacks.
The ZV-E10 II brings many – but not all – of the a6700's vlogging features to a more compact and less expensive body. If you can live without IBIS and built-in ND, it's a solid interchangeable lens vlogging camera.
We also considered Canon's (noticeably cheaper) EOS R50V, but chose the Sony because of its much faster sensor that provides better rolling shutter performance and requires less cropping to shoot at 4K/60. We also looked at Nikon's Z30, but its lack of headphone socket and 10-bit video means we lean towards the Sony. The Nikon Z50II has strong video specs and some of the features the Z30 lacks, such as a headphone jack, but its form factor and heavy crop in its 4K/60 mode make it not particularly well-suited to vlogging.
Best high-end vlogging camera: Nikon ZR
24.5MP full-frame 'partially Stacked' sensor | 7.5EV IBIS | R3D (NE) Raw video codec
The Nikon ZR is a video-focused camera built around a 24.5MP full-frame 'partially Stacked' CMOS sensor, with up to 7.5EV of stabilization.
Despite the Red branding, the ZR has a lot more in common with Nikon's mirrorless cameras, which is a benefit to vloggers. It has the ability to shoot 4K/60 with no crop and excellent rolling shutter in all its video modes. The ZR also supports 32-bit float audio recording, essentially eliminating the risk of clipping, which can be a real benefit when shooting run-and-gun.
The ZR features Nikon's subject detection autofocus for people, animals, vehicles and planes, and includes an "Auto" mode to switch between them. It also has a "product review mode" that will override face detection if you hold an item up to show the camera.
The ZR also makes provision for more serious productions, such as its inclusion of a choice of Raw recording formats. While vloggers and, realistically, most videographers won't need to shoot Raw often, but for those that feel they need it, it's nice to have the option. It certainly makes the ZR a versatile option.
We haven't fully finished evaluating the Nikon ZR, but have enough experience with it and the Z6III upon which it's based enough to know that it deserves a place on this list.
This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
We're in Japan for the CP+ Expo and took two of our editors, Abby and Mitchell, on their first trip to Yodobashi Camera, Tokyo's biggest camera store. See what they discovered.
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Photo: Zeiss
Zeiss has announced the Otus ML 1.4/35, a fast, manual focus 35mm prime for full-frame mirrorless cameras. It will be available for Canon RF, Nikon Z and Sony E mounts.
The 35mm F1.4 very closely resembles the existing 50mm F1.4 Otus ML, with the exception of having a petal-style hood befitting its wider angle of view. It shares the same metal construction and distance scale as the existing 50mm and 85mm lenses.
The lens features 15 elements arranged in 11 groups in what the company describes as an aspherical Distagon lens.
Zeiss suggests the lens is well suited to street, travel, or documentary work, with the option to de-click the aperture ring (using a small supplied tool) if you want to use the lens for video work.
The new lens has a diameter of 77mm (3.0") and is 101mm (4.0") long in E-mount form. It weighs around 698g (24.6oz), depending on the mount. It can focus down as close as 0.3m (11.8"), giving a 1:5.72 magnification ratio.
The Zeiss Otus ML 1.4/35 will be available from "Spring" 2026 at a recommended price of $2299 (exc tax) or €2399 (inc tax).
ZEISS Expands Otus ML Lineup with the New 1.4/35
A new storytelling lens for mirrorless cameras, bringing the distinctive ZEISS look to Sony1 E, Canon 2 RF and Nikon 3 Z Mount.
ZEISS is expanding its Otus ML lens family with the introduction of the new ZEISS Otus ML 1.4/35. This manual-focus lens is designed for photographers who live to tell visual stories with deliberate narratives – from street and travel to documentary work. Inspired by the legendary Otus lineage, the ML generation brings ZEISS’ renowned optical excellence and mechanical precision to the latest mirrorless systems, with mounts available for Sony1 E, Canon 2 RF and Nikon 3 Z.
The ZEISS Otus ML series continues to deliver natural color rendition, exceptional sharpness, and signatured micro contrast. A fast f/1.4 aperture provides accurate depth of field control, directing the viewer’s attention with clarity while producing a soft, elegant bokeh that separates subjects from the background. An advanced aspherical Distagon lens design minimizes distortion and chromatic aberrations, further enhancing image fidelity. Combined with the legendary ZEISS T* coating, reflections are reduced, flare is minimised, and both contrast and color accuracy are elevated.
Manual focus as a creative tool
Manual focusing with the ZEISS Otus ML series is not just a technique – it is an artistic process. Photographers can make precise adjustments that ensure each shot is captured with intention. True to the ZEISS legacy of precision optics, the Otus ML 1.4/35 features millimetre-accurate control. The tech becomes invisible, giving you more creativity to tell the stories that matter.
Building on the 1.4/50 and 1.4/85, the new ZEISS Otus ML 1.4/35 expands a compelling range of storytelling tools for photographers who create across different genres. From vibrant street scenes to immersive documentary environments, this focal length offers the perfect balance: wide enough to set the scene, yet tight enough to isolate key subjects.
Optical excellence for the finest details
Engineered for exceptional performance even at f/1.4, the ZEISS Otus ML lenses reveal remarkable detail and texture, especially in low-light environments where the human eye begins to struggle. Distortion and chromatic aberrations are effectively reduced, resulting in sharper images and cleaner color transitions.
The ZEISS T* anti-reflective coating further ensures clarity by reducing stray light and ghosting, enabling photographers to maintain full control across challenging lighting conditions.
The distinctive ZEISS Look: Vivid. Sharp. Nearly three-dimensional
Otus ML lenses deliver the unmistakable ZEISS visual language. Their combination of true color reproduction, outstanding sharpness, and unparalleled micro-contrast creates images with an almost three-dimensional character. Subjects stand out with powerful presence, separated smoothly from the background by a beautifully rendered bokeh shaped through a 10-blade aperture.
This shallow depth of field when shot on fast aperture not only enhances storytelling but guides the viewer’s eye to what truly matters.
Precision engineering, purpose-built for mirrorless systems
The ZEISS Otus ML series carries forward the craftsmanship of the legendary Otus family, known worldwide as best-in-class manual prime lenses. The new ML design features a smooth metal focus ring with helicoid mechanism, providing a precise rotation range that enhances focusing accuracy. An aperture de-click option allows seamless and quiet transitions—ideal for both photography and videography.
Built with a full-metal construction, the lenses deliver exceptional durability and a premium tactile feel. Optimized for modern mirrorless cameras, they offer a uniquely connected shooting experience. Clearly marked yellow scales ensure quick, accurate adjustments in any environment
A legacy reimagined
ZEISS’ heritage in optical design, decades of pioneering research, innovation, and precision engineering, forms the foundation of the Otus ML line. The distinctive quality of the classic Otus family has been carried to Otus ML for the needs of the modern mirrorless era, combining tradition with cutting-edge performance.
The ZEISS Otus ML trio
ZEISS Otus ML 1.4/50 – Explore your story.
A foundational tool in every photographer’s kit. Its smooth manual focus enables images with exceptional depth, emotion, and nuance—perfect for portraits, streets, and cinematic visuals.
ZEISS Otus ML 1.4/85 – Portray your story.
The portrait specialist. With its ability to isolate subjects beautifully, the 1.4/85 captures detail, character, and emotion with powerful clarity.
ZEISS Otus ML 1.4/35 – Compose your story.
A storyteller’s lens. Ideal for street, travel, or documentary work, it transforms fleeting moments into intentional compositions, bringing geometry, light, and expression together in a single frame.
Prices and availability
The new ZEISS Otus ML 1.4/35 will be available from specialist retailers from Spring 2026 at an RRP of €2,399 (incl. 19% German VAT) / $2,299.
For more information about the ZEISS Otus ML and its specifications, please visit www.zeiss.com/otus- ml.
Further product and application images are available for download here.
Product exterior with lifestyle and studio images: Click here to download (the download starts automatically).
Images shot on ZEISS Otus ML 35: Click here to download.
1 Sony is a registered trademark of Sony Corporation. 2 Canon is a trademark or registered trademark of Canon Inc. and/or other members of the Canon Group. 3 Nikon is a registered trademark of the Nikon Corporation.
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Image: Sigma
Sigma has updated one of its key prime lenses, making a 35mm F1.4 that's smaller, lighter and faster than its predecessor. It will be available for the Sony E-mount and the L-mount shared by Leica, Panasonic and Sigma.
The Sigma 35mm F1.4 DG II Art is an updated version of its designed-for-mirrorless lens, last updated in 2021. It uses the newer "Dual HLA" linear actuator motor as found in the 35mm F1.2 DG II and a completely new optical design.
The lens is around four-fifths the size and weight of the previous version, measuring 96 x 73mm (3.8 x 2.9") and weighing 530g (18.7oz). The new lens accepts the same 67mm diameter filters that the previous version did.
Like its predecessor it has a 15-element design but a completely new optical formula sees those elements arranged in 12, rather than 11 groups. The latest design includes four aspheric elements and two SLD elements, and features the company's new "Advanced Amorphous Coating" to better control ghosting and flare caused by light hitting the glass at low angles of incidence.
The body features a pair of custom function buttons, positioned so that one can be accessed from both the portrait and landscape orientation. It also has a switch that locks the aperture ring in or out of its 'A' position and another that engages and disengages the ring's click mechanism.
The lens has been designed to exhibit minimal focus breathing which, along with the de-clickable aperture control, makes it work well for video as well as stills shooting.
The lens comes with a petal-style hood that locks into position and features a dust and splash-resistant design.
The 35mm F1.4 DG II Art will be available from mid April 2026 at a recommended price of $1059, an 18% increase over the old version.
Sigma Launches 35mm F1.4 DG II | Art, a Revision of Sigma’s Original Flagship Lens
Ronkonkoma, NY, February 24, 2026 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to announce the Sigma 35mm F1.4 DG II | Art, a large-aperture, wide-angle lens for full-frame cameras that combines outstanding resolution with a compact, lightweight design.
The 35mm F1.4 DG II | Art is the newest addition to Sigma’s Art line of lenses, as the Type II successor to the Sigma 35mm F1.4 DG DN | Art released in 2021. This lens features an even more compact and lightweight design compared to the original iteration, reducing the overall length by approximately 14% and weight by approximately 20%. In addition, optical performance is also superior to the original, making this lens a true upgrade from its predecessor.
This classic focal length prime lens is extremely versatile and ideal for any creator pursuing high-quality work across diverse genres, including portraits, street photography, landscapes, and fashion. Featuring the same Dual HLA (Hypersonic Linear Actuator) focus motor found in Sigma’s 35mm F1.2 DG II | Art, the new 35mm F1.4 DG II | Art achieves exceptionally fast and quiet autofocus with minimal focus breathing. This Dual HLA is what allows this lens to achieve a substantial reduction to its size and weight while maintaining such extremely high optical performance.
Key features expected from the Art line are present on the 35mm F1.4 DG II | Art as well, such as two AFL buttons, a focus mode switch, aperture ring click and aperture ring lock switches, and dampened focus and aperture rings for superb operational feel. Like all Sigma Art line lenses, the 35mm F1.4 DG II also features a dust- and splash-resistant structure in addition to water- and oil-repellent coatings on the front elements for peace of mind while shooting in harsh environments.
As the latest evolution of the “35mm F1.4” – the origin of the Sigma Art line, renowned for its overwhelming optical performance – this lens is the next step in flagship representation for Sigma. Scheduled for release on April 16, 2026, the 35mm F1.4 DG II | Art will be available at authorized Sigma dealers in the US for a retail price of $1059 USD.
Available mounts: L-Mount, Sony E-mount Launch: April 16, 2026
Key features
The best optical performance ever in Sigma’s 35mm F1.4 Art line
A refined compact and lightweight design
Designed for comfortable shooting of both stills and video
Exceptional resolution across the entire frame from maximum aperture
Built on Sigma’s latest optical design technology, the completely redesigned 15-element, 12-group construction delivers extraordinarily detailed rendering that surpasses previous generations of 35mm F1.4 Art line lenses. By incorporating new glass materials that were previously difficult to process, together with four high-precision aspherical elements and two SLD glass elements, the lens thoroughly suppresses aberrations, particularly axial chromatic aberration, which is often prominent in large-aperture lenses.
Sigma’s rigorous Art line standards ensure outstanding resolution across the entire frame, even at maximum aperture.
Rich and beautiful bokeh without color bleeding
By thoroughly correcting axial chromatic aberration, the lens suppresses color fringing not only in the in-focus plane but also in out-of-focus areas, producing beautifully natural bokeh. The lens features an 11-blade rounded diaphragm, which maintains a round shape even when stopping down from maximum aperture. In addition, by refining the surface accuracy of the aspherical elements to the highest level, the lens enables smooth and beautifully round bokeh.
Newly developed AAC (Advanced Amorphous Coating)
The newly developed AAC (Advanced Amorphous Coating) features a low-refractive-index amorphous layer that dramatically reduces reflections responsible for ghosting and flare, delivering exceptionally clear, high-contrast image quality.
A refined compact and lightweight design
Pursuing uncompromising compactness and lightness
By adopting a floating focus system, the lens achieves both enhanced optical performance and a more compact, lightweight design. Compared to the previous model―the Sigma 35mm F1.4 DG DN | Art, it is approximately 14% shorter and 20% lighter. The mechanical design incorporates numerous space-saving innovations down to the smallest details, ensuring truly uncompromising compactness and portability. This agility empowers photographers to pursue their creative vision.
Fast and quiet autofocusing with dual HLA system
The lens employs Sigma’s dual HLA (High-response Linear Actuator) system, which drives its large and heavy focus group with high power and speed. Even as a large-aperture lens where the focus group tends to become heavier, it delivers fast, accurate, and quiet AF for both stills and video—ensuring that the user can capture decisive moments reliably.
Designed for comfortable shooting of both stills and video
A long-lasting, reliable tool for photographic expression
By assembling high-precision parts made of aluminum, TSC*1, and other materials, the lens achieves the high level of rigidity, durability, and build quality expected of the Art line without compromising portability. As a photographic tool, it offers the reliability needed for long-term use.
Various shooting assist functions
The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch*2 and a click switch to turn the click on and off.
Designed to minimize focus breathing
Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.
Dust- and splash-resistant structure*3 and water- and oil-repellent coating
In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.
Petal-type hood with locking mechanism
The Sigma 35mm F1.4 DG II | Art comes with a dedicated petal-type hood that shields the front element from stray light to reduce the chances of unwanted flare. The hood attaches securely to the lens with a locking mechanism.
*1 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.
*2 If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.
*3 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.
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Image: Sigma
Sigma has announced the 15mm F1.4 DC APS-C prime, giving a new wide-angle option and bringing a welcome update to its affordable primes series. It will be available for Sony E, Canon RF and Fujifilm X mounts.
The lens presents a slightly wider alternative to the company's existing 16mm F1.4 DC DN, introduced back in 2017. It's part of the company's mid-priced Contemporary range, and gains the aperture ring and weather resistance that have been a feature of Sigma's recent DC lenses. The RF-mount version features a control ring, rather than the dedicated aperture ring.
The lens replaces the 16mm with an option that's wider (giving a 22.4mm equiv field of view on E and X mounts, and 24mm equiv. on Canon RF), while also being around 30% shorter and 45% lighter than the existing lens. The new lens also uses a smaller, 58mm filter, rather than the 67mm one used by its predecessor.
The lens uses three double-sided aspheric elements, three SLD and one LFD element, with the company saying it had particularly focused on delivering edge-to-edge consistency and low coma, with the aim of improving on the optical performance of the previous lens.
At 220g for the E-mount version, it's the lightest lens in the series, which Sigma says makes it ideal for applications such as travel and handheld video shooting. To this end, Sigma says the lens has been designed to exhibit minimum focus breathing.
The lens will be available from mid March 2026 at a recommended cost of $579, a 7% increase over the price of the existing lens. There's currently no word of a Nikon Z mount version, though Nikon did license Sigma to make a Z-mount version of the 16mm F1.4 DC DN.
Sigma Launches New Large-Aperture, Wide-Angle APS-C Lens: 15mm F1.4 DC | Contemporary
Ronkonkoma, NY, February 24, 2026 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to announce the launch of the Sigma 15mm F1.4 DC | Contemporary, a new large-aperture, wide-angle lens designed for APS-C cameras.
The 15mm F1.4 DC | Contemporary lens is the newest addition to Sigma’s lineup of fast-aperture prime lenses for crop sensor mirrorless cameras, and is the second such lens to feature a dedicated aperture ring (or control ring on Canon RF Mount versions) following the 12mm F1.4 DC | Contemporary released in 2025. Compared to the popular 16mm F1.4 DC DN | Contemporary, the overall length has been reduced by approximately 30%, and the filter diameter is significantly smaller at 58mm (down from 67mm).
Weighing just 220g, it is the lightest in the F1.4 DC Contemporary series, and is ideal for handheld video shooting and travel. The combination of a lightweight focus element and a high-performance stepping motor enables high-speed and high-precision autofocus, and the optical design effectively suppresses aberration fluctuation and focus breathing. Additionally, the dust- and splash-resistant structure ensures confidence even when shooting in harsh environments.
This new model combines uncompromising optical performance with excellent portability to allow for effortless creative expression. Scheduled for release on March 12, 2026, the 15mm F1.4 DC | Contemporary will be available at authorized Sigma dealers in the US for a retail price of $579 USD.
Available mounts: Sony E-mount, FUJIFILM X Mount, Canon RF Mount Launch: March 12, 2026
Key Features:
Outstanding portability allowing for creative freedom.
Uncompromising sharpness across the entire image.
Designed for comfortable shooting of both stills and video.
Sigma F1.4DC series – Expanding creative possibilities with APS-C cameras.
Outstanding portability allowing for creative freedom
An all-round wide-angle lens with exceptional portability
This lens delivers a large F1.4 aperture and a focal length equivalent to 22.5mm on full-frame (24mm on Canon RF Mount), all in a compact, palm-sized body measuring just 64.8mm in length and weighing only 220g*1.
Whether shooting everyday street photography, portraits, travel landscapes, or cinematic video production—even for live commerce and webinars—this lens delivers high-quality performance.
Its combination of outstanding portability and image quality makes professional-level expression possible wherever you go.
Approximately 50% lighter, delivering greater flexibility
As a frequently used focal length, this lens pursues uncompromising compactness and lightweight design.
One FLD glass element, three SLD glass elements, and three double-sided aspherical lenses are effectively arranged to achieve an approximately 30% shorter length and 50% lighter weight compared to the predecessor, Sigma 16mm F1.4 DC DN | Contemporary.
As the lightest lens in the Sigma F1.4 DC series, it accelerates creative freedom by further enhancing the mobility of APS-C cameras.
Uncompromising sharpness across the entire image
Pursuing even higher optical performance
The Sigma 15mm F1.4 DC | Contemporary was developed with the goal of surpassing the highly acclaimed optical performance of its predecessor, Sigma 16mm F1.4 DC DN | Contemporary. Particular emphasis was placed on improving edge-to-edge performance while thoroughly suppressing sagittal coma flare, which is often noticeable in large-aperture wide-angle lenses.
The lens maintains uncompromising sharpness across the entire frame, even when shooting wide-open, delivering consistent performance from everyday street photography to starry landscapes.
Rich expressive power with a large F1.4 aperture
The lens delivers high optical performance even at its maximum aperture, allowing you to fully enjoy the distinctive rendering of F1.4. It excels in low-light conditions, such as dim indoor environments or nighttime street photography, while the nine-blade aperture produces beautiful circular bokeh that makes subjects stand out and adds a sense of depth, whether shooting stills or video.
Designed to minimize flare and ghosting
Using advanced simulation technology, flare and ghosting have been largely eliminated, ensuring that the lens renders clear, high-contrast results in any lighting condition.
Designed for comfortable shooting of both still and video
Ideal for high-quality video production
The Sigma 15mm F1.4 DC | Contemporary, with its combination of portability and outstanding optical performance, enables high-quality video capture in any scene. Its F1.4 aperture creates a shallow depth of field that enhances three-dimensionality, producing impressive visuals. The lens is also well-suited for gimbal-based shooting, providing flexibility even in environments that demand mobility.
Furthermore, the lens delivers stable, high image quality for business applications such as live commerce, webinars, and corporate promotions, making it ideal for creating engaging and realistic content.
Smooth, responsive autofocus powered by a stepping motor
High-speed, high-precision autofocus is achieved by driving a lightweight focus lens with a stepping motor that enables precise control. The Sigma 15mm F1.4 DC | Contemporary captures important moments without missing a beat, even in fast-moving scenes, while delivering excellent tracking performance for high-quality video production.
Minimal focus breathing
The lens is designed to minimize changes in the angle of view caused by focusing, enabling smooth, natural-looking focus pulls when recording video.
Aperture ring or control ring with various functions
Equipped with an aperture ring for intuitive control of the aperture. The Canon RF Mount version has a control ring instead of an aperture ring, allowing customizations of functions based on the user’s preferred settings.
Dust- and splash-resistant structure*2 / water- and oil-repellent coating
In addition to a dust- and splash-resistant structure*2, the frontmost surface of the lens has a water- and oil-repellent coating applied, allowing photographers to shoot without concern even in harsh outdoor environments.
Sigma F1.4 DC series – Expanding creative possibilities with APS-C cameras
A full range of F1.4 prime lenses for APS-C, covering ultra-wide to mid-telephoto
Sigma’s Contemporary line offers a wide range of F1.4 prime lenses for APS-C cameras, combining excellent resolution with compact, lightweight designs.
12mm F1.4 DC: An ultra-wide-angle lens that captures expansive landscapes
15mm F1.4 DC: A wide-angle lens ideal for everyday street photography
23mm F1.4 DC DN: A versatile lens with a natural field of view suitable for a variety of subjects
30mm F1.4 DC DN: A standard lens that naturally captures everyday scenes
56mm F1.4 DC DN: A mid-telephoto lens that emphasizes subjects with beautiful bokeh
With the addition of the Sigma 15mm F1.4 DC | Contemporary, the lineup of the Sigma F1.4 DC series has expanded further, enriching creative expression for APS-C cameras from ultra-wide-angle to mid-telephoto.
*1 The figures are for Sony E-mount
*2 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.
Connexion
