Stills from videos: Abby Ferguson

Being in my line of work means that I'm exposed to all sorts of products and companies. Because of that, it's not often that I'm truly surprised by something. Recently, though, I had the opportunity to visit Supersense in Vienna, Austria, and I was left surprised and, frankly, delighted by a company doing something rather special.

I first heard of Supersense a few years ago through the An Impossible Project documentary. Supersense describes itself as an "all analog palace manufactory," focusing on analog products for each of the senses (hence the name). Indeed, if you're someone who loves old technology, Supersense is a dream come true. Chris Holmquist, the Production Manager at One Instant (a part of Supersense), graciously offered to show me around the entire space and share more about what makes Supersense tick.

Found in a historic, Venetian-style building in Vienna, the Supersense space is filled to the brim with analog processes of all types: a print shop with printing presses and die-cutters (touch), vinyl cutting tools (hearing), a restaurant (taste and smell) and One Instant, the makers of the world's only peel-apart packfilm (sight). The space also houses one of just seven 20x24 cameras in existence – a Wisner-based large format giant capable of producing the world's largest instant photographs.

As a photographer who loves anything film-related, I was especially keen to learn more about One Instant. The project was born out of Supersense's founder, Florian 'Doc' Kaps' love of photography and his mission to bring back instant film (which previously led to the revival of Polaroid).

Each piece of Type 100 film takes 20 minutes to assemble, at minimum.

One Instant is a tiny team making peel-apart instant film by hand. None of the process is automated at this point, and so every single step is handled by the team. If you think that sounds painstakingly slow and tedious, you're not wrong. Each piece of Type 100 film takes 20 minutes to assemble, at minimum. And that's only if all of the components are perfectly lined up and ready to go, which is rarely the case, so realistically, it takes much longer.

The handmade process naturally means the film is expensive: a pack of three Type 100 sheets costs $60, and a single sheet of 8x10 film will run you $66. Those are all pre-assembled options, but One Instant also offers DIY kits to offer a somewhat more affordable option, saving users just over $6 per sheet of film. These kits let photographers handle the final assembly process, minus the darkroom-reliant steps, thus keeping costs down.

At this point, One Instant is still using legacy Polaroid materials, including negatives, paper, and the pods that contain the chemistry. The goal is to gradually move away from that, so they aren't relying on old-stock materials, thus making the peel-apart film more future-proof. Given the success of Polaroid film's revival, I look forward to seeing what the future holds for the One Instant project.

You can learn even more about the process and the DIY packfilm specifically in the video below.

Most photographers strive to find a camera system that fits easily into a small bag when traveling. But the people behind the 20x24 Project are traveling the world with a camera so big that it doesn't fit in a plane. The above video from the group is a fantastic introduction to the project, along with the camera's wild history.

The video very briefly walks through the general story of Polaroid and instant photography, but the main focus, of course, is the behemoth of a camera. It touches on the camera's surprising origins, its unlikely rise to fame among some of the most celebrated artists of the 20th century, and how it ended up back in action after years in storage. It's also an exciting look at what's to come from the camera.

The video at the top of the article was the project's introduction, but it is well underway now, and the team has since released several episodes featuring the artists they have worked with so far. You can check out one of those below and see all their videos on the 20x24 Project channel on YouTube.

By the time you're spending over $3,000, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.

For most applications, a camera around $3000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $6000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Canon EOS R5 II
• Another great option: Nikon Z8
• High-spec high res: Sony a7R VI
• The compact option: Sony a7CR
• IQ above all else: Fujifilm GFX 100S II

Best high-end camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

The EOS R5 II is one of the most all-around capable cameras we've tested. Photo: Richard Butler

Read our EOS R5 II Review

See the EOS R5 II Studio Scene

Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2026.

Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality. Photo: Richard Butler

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

A cheaper option?

At $3300, the Panasonic Lumix S1RII retails for substantially less than the Z8 and EOS R5 II while offering similar resolution, speed and video features. But while we found it to be a quite capable camera, its autofocus UI and performance are a fair bit behind what Canon and Nikon offer, to the point where we'd recommend paying the extra if you think you'll be frequently shooting moving subjects. If you mostly shoot still subjects and/or videos, though, it may well be worth considering for the savings.

High-spec high res: Sony a7R VI

66MP Stacked CMOS sensor | >30fps with e-shutter, 10fps mech | >4K/120p video

Photo: Mitchell Clark

It's a camera that focuses mainly on image quality – something it does better than any other full-frame options – but with a sensor fast enough to stretch to shooting action, wildlife and video if needed. Sony has also been less restrictive with what lenses can be made for its mount, meaning you have plenty of options.

Read our Sony a7R VI review

See the Sony a7R VI studio scene

Should I still buy a Sony a7R V?

The Sony a7R V isn't as fast, but, unlike the a7R IV before it, has Sony's latest menu system. If you're only planning on shooting landscapes or other slow-moving subjects, and aren't that interested in video, it may be worth going with the older model and rolling the savings into a nice lens or two.

The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here. Photo: Richard Butler

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

Read our in-depth Sony a7CR review

IQ above all else: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

The Fujifilm GFX 100S II is a 100MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

This camera is perhaps the most specialized pick on this list: it's not especially fast or versatile but in terms of image quality, it essentially offers the best levels of detail we've ever seen. It's a true step up over even the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good).

Why you should trust us

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.

"Another trail hike, another opportunity to photograph my knife and kuksa. This is a Bark River Knives Puukko in CPM-3V steel, and the kuksa is the one I made from cherry burl. The checkered item on the left is the fire steel rod with a handle I made with multiple wood types: maple, black walnut, and padauk." Nikon Z8 | NIKKOR Z 24-120mm F4 S | F4 | 1/320 sec | ISO 320 Photo: Alberto Tanikawa

Alberto Tanikawa specializes in creative still-life photography, with a particular focus on knives and whisky bottles. Much of his work is created in carefully controlled nighttime setups, where he uses RGB lighting, grids and diffusers to craft dramatic scenes and unique color combinations. The images he shared for this article highlight his passion for lighting and detail-oriented product photography.

"I've been a visual guy since childhood, getting started with a film point and shoot in the 80s-90s, then starting a career as a wedding photographer in the early 2000s, and eventually moving to the service side of photography in 2014. I may not shoot professionally anymore, but I think I enjoy my photography even more now that I shoot for myself, not for clients."

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

"This is a custom Spyderco Paramilitary 2 (PM2) pocket knife, lit by three Kelvin RGBACL lights. The deep amber light helped bring out the texture of the knife's shredded carbon scale, while a dark cyan light helped create a sharp line/plane for the knife to stand on. A “bluerple” light overhead helped fill in some of the contours on the dark top area." Nikon Z8 | NIKKOR Z 50mm F1.2 S | F5.6 | 1/60 sec | ISO 800 Photo: Alberto Tanikawa

Meet Alberto Tanikawa

Home base: United States

Favorite camera and lens: "I had been shooting forever with my Nikon D3, but yearned for higher res AND fast frame rates. When rumors of the Z8 began circulating, I started saving for the day it would be released. It's a very capable hybrid camera."

"I would say today's mirrorless autofocus is so good that I can now get so many more keepers when shooting fast lenses than I ever could in my DSLR days. But I've become more selective of what I keep, sometimes to a detriment. Lens flares, for example, were something I always avoided like the plague, but recently I saw that they could add interest to my photos."

What's in Alberto's bag

Alberto's camera bag Photo: Alberto Tanikawa

Primary cameras: Nikon Z8

• Lenses:
  • Nikkor Z 50mm F1.2 S
  • Nikkor Z 24-120mm F4 S
  • Nikkor Z 135mm F1.8 S Plena
• Support gear: Alberto's kit varies depending on the shoot. For still life and light painting work, he relies on Kelvin Play RGBACL lights, using grids and diffusers to precisely control lighting and create a wide range of color effects. For video projects, he rigs out his Nikon Z8 and carries an external monitor, sound recorder, microphones, cables and a V-mount battery. When light painting, he uses PocketWizard III radio triggers along with multiple Kelvin RGBACL lights, valuing their dependability and range.
• Camera bags: Alberto typically carries either a Think Tank Photo DarkLight 20L or a Retrospective 30 V2. The DarkLight 20L is his choice for hikes and travel because it remains compact while carrying plenty of gear and fits under an airplane seat. The Retrospective 30 V2 serves as his everyday shoulder bag, offering space for camera equipment and essentials like a water bottle, plus additional lens storage.

"Steel and caffeine. A deep blue light overhead set to its lowest setting helps give the knife blade the tint I desired. The knife is a Bark River Knives JX6 II in Magnacut steel. Two opposing 5600K lights with diffusers (top left and bottom right) help light the coffee beans and shine a light on the rest of the knife materials." Nikon Z8 | NIKKOR Z 50mm F1.2 S | F5.6 | 1/100 sec | ISO 12800 Photo: Alberto Tanikawa

What caught your eye with knives and whiskey bottles as a main theme?

How do you adapt your setup to different situations?

"If I'm hiking for a while, or am limited in some way on what I can bring, I carry my Z8, Z 24-120 F4 S, and an extension tube for closeups. If shooting video, however, I bring my Z8 in a rig, and the accessories (external monitor, sound recorder, mics, cables, lenses and V-mount battery) in my backpack. For light painting, I use my old Pocket Wizards IIIs along with multiple Kelvin RGBACL lights. Radio triggers are great for their bulletproof dependability and range, by the way."

"Shot of my Bark River Knives JX6 II out on a trail. I found a tree stump, stuck the knife there and started shooting. This was shot on my Nikon Z8 and Z 24-120 F4 S. I noticed a ladybug crawling on the knife, so I kept shooting. I composited five images to give the impression of multiple ladybugs, when in fact it's the same one." Nikon Z8 | NIKKOR Z 24-120mm F4 S @ 120mm | F4 | 1/400 sec | ISO 200 Photo: Alberto Tanikawa

When capturing that perfect shot, what techniques come to mind?

"If shooting a still subject, take the time to fix any undesirable reflections, hairs, dust, etc, during the shoot. Thinking 'I'll just fix it in post' might sound easy in this age of AI editing, but I would rather fix things right there and then. Besides, I don't want to subcontract my thinking or creativity to AI – hopefully that keeps my brain active and sane for longer."

How should other photographers capture the best light possible?

"Don't be afraid to experiment, but do it safely, and think things through. There are apps like PhotoPills, which help photographers figure out location and time to shoot that perfect Manhattanhenge, for example, and other apps that help locate astronomical events. There are so many sources of knowledge around the web, DPReview being a prominent one."

"Don't be afraid to experiment, but do it safely, and think things through."

"Kuksas and hazmat whiskey. Kuksa is the Finnish word for wooden cup, and I carved these two by hand out of cherry burl and apple wood (left to right). The board, the kuksas, and the bottle were also among my creations (in black walnut). I used all of my Kelvin RGBACL lights and one small camping light to get this look in my darkened living room." Nikon Z8 | NIKKOR Z 50mm F1.2 S | F1.8 | 1/50 sec | ISO 3200 Photo: Alberto Tanikawa

"One thing I did while learning the ropes of wedding photography was to look at magazine photos and try to figure out how they were lit. This served as a great exercise and also helped me curate the lighting styles I found most pleasing. I've used this knowledge to apply to my current photography of still life subjects."

Alberto really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Alberto, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

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.

Submit your photos and story to be featured in 'What's in your bag?'

The Rialto 65 sensor block will mount on Sony's Venice 2 camera, which currently offers modules based around 50MP and 24MP full-frame fully-stacked sensors. Image: Sony

Sony has announced the Rialto 65: a large format sensor module for its Venice 2 cinema camera. The "Rialto" will be built around a 53.75 x 35.83mm sensor, making it comparable in size to the 53.4 x 40mm (essentially 645) sensors its semiconductor division makes for the likes of the Phase One IQ4.

More to the point, it's very close in size to the dimensions of the Arri Alexa 65, a rental-only cinema camera used in very high-end Hollywood productions. That has a 54.12 x 25.58mm sensor. The Rialto sensor uses a taller 3:2 aspect ratio than the Arri camera.

Sony UK says the module will be able to shoot 9.6K open-gate footage, which would imply a resolution of around 61MP, which isn't an obvious multiple of any common output formats, perhaps suggesting it could be used for applications other than just video. There's no word on technology, but it's probably safe to say it won't be the relatively slow readout designs used by Phase One and Fujifilm's smaller-sensor GFX Eterna cameras.

Sony says the sensor "block" will be available in the first half of 2027, with it being on show at the Cine Gear Expo show in Los Angeles later this week.

At present, the Venice 2 is available with stacked 35 x 24mm sensors that closely match the spec of the a1 II and a9 II photo cameras.

What is 65mm?

The Arri 65 uses a ∼54 x 26mm sensor which, like the Rialto 65, mimics the size of a vertically-fed strip of "65mm" film. Image: Arri

As if we weren't having enough fun judging digital cameras by the dimensions of film formats over on the stills side of things, Sony is careful to point out that "65mm" refers to "a class of imaging area derived from the 65mm film format," rather than actually being a dimension of the sensor size (a footnote the camera industry might consider applying to its inch-type sensor size nomenclature).

As with "35mm" film, 65mm can be used in a variety of ways. Both Arri and Sony are mimicking the 5-perf vertical usage when they refer to 65mm. Illustration: based on images by Mliu92 - Own work, CC BY-SA 4.0, Link

As with "35mm" film, the 65mm format is named after the full width of the film, including the sprockets. And, as with 35mm, which can be used vertically, using four perf(erations) to give the "Super 35" movie format, that's roughly the same size as APS-C, or horizontally, using eight sprocket holes per frame to give the 36 x 24mm format we call full-frame, 65mm can be used in a number of ways.

The most common are 5-perf vertical, giving a roughly 52.6 x 23mm widescreen frame, or the vast 15-perf horizontal IMAX format that Christopher Nolan seems determined to maintain, single-handedly. This is a vast 70.4 x 52.6mm. If you know anything at all about the exponential costs of making larger sensors, you'll understand why Sony is mimicking the former.

Why Rialto?

While, for Brits at least, the world 'Rialto' may evoke crumbling former cinemas in faded seaside towns, the name actually derives from Venice's historical theatre district. And this sensor block fits into the Venice 2 camera. Clever, eh?

Sony hasn't given details of price but we'd assume it's as close to the cost of one of Venice's islands as the price of your current camera.

What are your favorite weather conditions for photography?

Photo: Collage of entries for this week's Question of the week article

Last week, we asked you what your favorite weather events are for taking photographs. From stormy seas to picturesque forest hillsides, a wide range was depicted. Initially, when we said "weather events", all we thought we might get were tornadoes, floods and other disaster scenes. You surprised us with a truly wide palette to appreciate.

View the above slideshow to check out the 15 selected memorable photographs. Many more could not be included, so check them out in the forums. We'd love to see you contribute your own weather experiences, too.

Share your favorite weather events!

Shrouded city skyline

Photo: AshleyMC

"Any weather condition that is not life-threatening. :)"

Share your favorite weather events!

Shrouded Swiss mountains

Photo: 99tollap

"I live in the Swiss mountains, and for me, changeable cloud cover, revealing hidden mountain features, with occasional isolated bursts of sunlight, is the best."

Share your favorite weather events!

Frosted window

Photo: Maoby

"The days of extreme cold and seeing the frost on the windows from the warmth of inside, with a good coffee."

Share your favorite weather events!

Low clouded valley

Nikon Z f | Nikkor Z 26mm f/2.8 @ 26mm | F11 | 1/200 sec | ISO 100

Photo: AWG_Pics

"Any weather is workable, but skies with interesting clouds are fun!"

Share your favorite weather events!

Romantic forest mountain view

Sony ILCE-7M3 | Nikkor DX 24mm f/3.5 @ 24mm | F10 | 1/160 sec | ISO 100

Photo: Jefenator

"Call me a romantic drama addict; I'm all about that blend of sunlight and clouds."

Share your favorite weather events!

Firey town sunset

Photo: GinoSVK

"Sunset just after major rain, as surprising as it is bountiful."

Share your favorite weather events!

Ocean dock view sunrise

Canon EOS R8 | 600mm | F11 | 1/1600 sec | ISO 1600

Photo: kodakrome

"Depends on what I'm shooting. For birds, I like a clear day. For general scenery, partly cloudy is my friend."

Share your favorite weather events!

A snowy good time

Panasonic DMC-G3 | 45mm | F5 | 10/1600 sec | ISO 160

Photo: richj20

"Fog and snow. Unfortunately, where I live in So. California, those are rare conditions."

Share your favorite weather events!

Dramatic lightning event

Canon EOS 5D Mark II |24mm | F13 | 8/1 sec | ISO 100

Photo: Zeee

"Mostly fog and mist. Dark skies with frost. Sometimes lightning."

Share your favorite weather events!

Frosty mountain snow town

Pentax K-1 | 37mm | F8 | 25/1 sec | ISO 250

Photo: KPM2

"It doesn't happen often here where I live, but at that special night the moonlight was beautiful. And in long exposures, clouds sometimes blur very subtly."

Share your favorite weather events!

Huge tornado approaching

Apple iPhone 16 | 2.22...mm | F2.2 | 1/99 sec | ISO 160

Photo: Howard V

"This forming tornado missed us by about three miles while we were on vacation at a rodeo in South Dakota."

Share your favorite weather events!

Summer tropical getaway

Panasonic DMC-GX8 | 20mm | F4 | 10/10000 sec | ISO 200

Photo: tranceliner

"Several have mentioned a dislike for cloudless, blue skies. I agree - for the most part. However, a cloudless sky can help emphasize the scene being photographed."

Share your favorite weather events!

Deep blue morning

Panasonic DC-G9 | 8mm | F2.8 | 2/5 sec | ISO 200

Photo: GrayCard

"I really like very early mornings, regardless of the season, sometimes right after a storm, when the light is at its most gentle. Blue Hour at Meadowlark Gardens."

Share your favorite weather events!

Stormy seaside

Photo: tranceliner

"Very often depends on the mood. I love strong gale winds, especially if I am heading towards the Grand Harbor, Malta."

Share your favorite weather events!

Dramatic cloud-covered sunset

Canon EOS R6 | RF 70-200mm F4 L IS USM @200mm | F4 | 1/500 sec | ISO 100

Photo: tommo_k

"Generally speaking, I like dramatic skies, either the colors or cloud shapes, to have some interest in the skies. As many in this thread, I love dramatic mountain landscapes enriched by clouds. Mountains and sunsets are a great combo, too."

Share your favorite weather events!

Photo: Dale Baskin

The original Camp Snap camera was a surprise hit, a minimalist camera that succeeded largely because of what it lacked. Originally marketed as a low-cost, screen-free camera for kids to take to summer camp, where devices with screens are sometimes banned, it found a second audience among adults drawn to its no-frills, toy camera simplicity.

The Camp Snap 2 is built around the same basic hardware, but has a slimmer design that takes cues from classic rangefinder aesthetics, and includes several small but meaningful improvements. It's a likable little camera, though with a sensor much smaller than a typical point-and-shoot, image quality isn't the reason to buy one.

Key features

• 8MP, Type 1/3.2 image sensor (15.7mm²)
• 26mm (equivalent) F2 lens
• Dual-tone LED flash (6500K cool / 3000K warm)
• 6 present 'Filters' for different photo looks, changeable in-camera
• Screw-lockable door to access memory card and date/time settings
• 30.5mm filter thread
• Tripod socket
• 4GB microSD card included
• USB-C port

The Camp Snap 2 is available in nine colors, including translucent options, and costs $70. It can be ordered directly from Camp Snap.

The case for a dedicated summer camp camera

Before diving into the camera, it's worth some context, particularly for those outside North America. Summer camp is a big tradition in the US and Canada, with kids spending anywhere from a few days to a few weeks at outdoor camps. For many kids, it's the highlight of the summer.

I have some personal perspective here: not only did I attend summer camp as a child, but I ran one for several years. Back then, if kids brought cameras, they used film and waited until they got home to see the results.

The Camp Snap 2 camera is designed for kids to take to summer camps with a screen-free policy, but it has found a second audience as a fun toy camera. Camp Snap 2 camera | F2 | 1/1700 sec | ISO 100 Photo: Dale Baskin

Today, many camps prohibit devices with screens, including smartphones and most digital cameras. They want to keep kids engaged with each other and the outdoors rather than staring at screens or messaging friends at home. That's the scenario the Camp Snap was designed for.

What's new

If you're familiar with the original Camp Snap, here's what's changed.

The most important addition is a dedicated on/off switch. On the original, the shutter button doubled as the power switch, which was awkward and potentially confusing. The Camp Snap 2 also gains an automatic sleep mode, so a forgotten power-off won't drain the battery.

The back of the Camp Snap 2 camera is as simple as it gets. An on/off/flash switch (upper left), a tunnel-style viewfinder, a tiny LCD frame counter, and a button to change the filter style of the images (center right). There's also a speaker that emits shutter sounds when the shutter button is pressed. Photo: Dale Baskin

Filter presets (color modes) can now be changed in-camera. The original required a computer connection to change modes, and if you wanted to change it, you had to reconnect to the computer. The Camp Snap 2 offers six: Standard, Vintage 1, Vintage 2, Vintage 3, Analog, and Black & White, cycled through using a button to the right of the frame counter. Holding it for 10 seconds locks it, useful if you'd rather your kids not fiddle with the settings.

Like the original, the Camp Snap 2 has a small screw securing the card slot door, and the new model adds a conventional slide-lock so you can remove the screw if you prefer.

Also new: a 30.5mm filter thread and a tripod socket. I don't anticipate many people will use this camera with screw-on filters, but Camp Snap has strongly hinted that it plans to release some. The tripod socket is of limited utility without a self-timer or a way to remotely trigger the shutter.

In use

The Camp Snap 2 is exceptionally easy to use because there's so little to control. It's the closest thing to a 'plastic fantastic' disposable camera you'll find in the digital world. The only controls are the shutter button, the power switch (which also activates the flash), and the filter button. A tiny LCD on the back displays the shot count and the active filter.

"It's the closest thing to a 'plastic fantastic' disposable camera you'll find in the digital world."

Since there's no LCD screen for composing shots, you frame photos through a simple tunnel-style viewfinder. It's not fancy, but it works, which is all it needs to do.

The camera includes a 4GB microSD card, which Camp Snap says should hold around 2,000 photos. That's plenty for a week at camp, and you can always use a larger card if needed.

The bottom of the Camp Snap 2 houses the USB-C port, tripod socket, and a screw-locked door covering the memory card slot and date/time controls. The screw discourages kids from opening it, but can be removed if you'd prefer Photo: Dale Baskin

The card lives behind a panel that screws shut, and that's very much by design. From personal experience running a summer camp, I can tell you that kids are remarkably good at losing things. Placing a screw on that door is a meaningful deterrent between a curious kid and the only copy of their photos.

Of course, there's no guarantee they won't lose the entire camera (because: kids), but if they do, it was only $70 to start with.

Camp Snap 2 camera | F2 | 1/2500sec | ISO 100 Photo: Dale Baskin

The flash is an LED type, similar to a smartphone flash, which can produce that same washed-out look. Auto flash mode is gone this time around, which is a minor loss. That said, given the limitations of the LED unit, leaving it off unless it's absolutely needed is probably the right approach anyway.

The camera runs on an internal battery charged via USB-C, which is one less thing for kids to lose. Camp Snap rates it at around 500 shots, which seems reasonable in my experience.

Image quality

It's important to set appropriate expectations for image quality. It's an inexpensive camera that's designed mostly for kids to capture memories, with the idea that it's potentially disposable should disaster happen.

Don't expect the same level of image quality that you would get from a modern smartphone or even a retro point-and-shoot camera, though. The camera's imaging sensor is tiny. In fact, it's smaller than the ones used in most smartphone cameras, and it doesn't benefit from any of the computational photography techniques those devices use to improve image quality.

It's worth illustrating this with some real-world examples. In the table below, you can compare the Camp Snap 2's sensor and lens to other cameras that have lenses with similar focal length, including the Kodak C1, the Olympus Tough TG-5, a rugged camera introduced in 2017, and the iPhone 13, a several-year-old smartphone.

In general, the more light a camera gets, the better the image quality, and the numbers on the last line tell a clear story: the Camp Snap 2's sensor captures roughly half the light of the TG-5 and less than a third of what the iPhone 13 captures – and that's before the iPhone's computational wizardry kicks in. The Kodak C1's BSI sensor gives it a slight edge over the Camp Snap 2 despite their similar size, along with a flip-up LCD screen, for just $50 more.

Of course, what none of those cameras can provide is the simplicity and screen-free experience of the Camp Snap 2, and if a screen-free camera is what you need, or simply the experience you're after, it stands out.

The Camp Snap 2 is prone to clipping bright highlights, like clouds. Camp Snap 2 camera | F2 | 1/1150sec | ISO 100 Photo: Dale Baskin

In most cases, the Camp Snap 2 does a good job of getting exposure correct, but it struggles with strongly back-lit scenes, and while the white balance is generally on target, photos can occasionally exhibit a slight color cast.

The most visible artifacts you're likely to encounter are clipped highlights on bright objects or JPEG compression artifacts, which are obvious if you pixel peep images at magnification.

Verdict

The Camp Snap 2 is a good camera to send to camp with your kids, particularly if there's a no-screens rule. It's incredibly easy to use and lets kids capture memories that last a lifetime. Older kids, or those with some photography experience under their belt, might find it too simplistic and would be better served by something with a bit more control.

However, it has a fun factor, and if you're buying it for your child to take to summer camp – or even for yourself to have some fun – it's up to the task. When I look back at photos I took at summer camp as a kid with a film camera, the image quality leaves a lot to be desired. But adult me doesn't care one bit about that. The purpose of those photos was never to be fine art. It was to capture memories of something that mattered, and they do exactly that. The Camp Snap 2 can do the same.

Winners of the 2026 World Food Photography Awards sponsored by Bimi

The winners of this year's World Food Photography Awards sponsored by Bimi have been announced, celebrating food storytelling across the world. The winners of the 27 categories were unveiled by chef and food writer Gennaro Contaldo at the Mall Galleries in London this evening.

"These Awards highlight the power of photography to tell food stories from around the world," says Dave Samuels, Brand Director of Tenderstem Bimi Broccolini and headline sponsor of the Awards. "The remarkable images remind us of the essential role food plays in communities across the globe - through growing, harvesting, cooking, eating, celebrating and surviving. Whatever changes the world goes through, food remains central to our lives."

This year's edition of the contest saw nearly 9000 entries from over 50 countries. The judging panel was chaired by David Loftus, a legendary food photographer, and included Claire Reichenbach, CEO, James Beard Foundation; Tom Athron, CEO, Fortnum & Mason; Rein Skullerud, Senior Photographer & Photo Editor, World Food Program; Jamie Oliver, Chef, Restaurateur; and Olia Hercules, Food Campaigner, Activist, Author and Chef.

An exhibition of all 203 finalists will be on view at the Mall Galleries, London, from June 3 to June 7. We've included a selection of the category winners below, but you can see all of the 2026 finalists and category winners on the contest website.

Overall Winner and Fortnum & Mason Food at the Table

Title: A Woman Eats in the Canteen of the Soviet-era Sanatorium

Photo credit: Jo Kearney / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: The Khoja Obi Garm sanatorium (health hotel), Tajikistan, is a brutalist concrete monstrosity built on hot radon gas-infused springs in the mountains. During Soviet times, communist workers were given two weeks annual holiday here. Today, its low price - $28 per day including full board and treatments - attracts ordinary Tajiks plus tourists from the neighboring 'Stans' and the odd backpacker. Treatments include hot pools and steam rooms, wax wraps and tanning barrels, plus hearty, healthy meals.

Instagram: @jokearneyphotography

Cream of the Crop

Title: Ine Fishing Village, Kyoto, Japan

Photo credit: Albert González / World Food Photography Awards sponsored by Bimi

Nationality: Spanish

Description: Squids drying in the sun using the traditional Japanese technique of Himono in the fishing village of Ine, Kyoto Prefecture, Japan.

Technical details: Canon EOS 6D | EF 70-200mm F4L IS USM | 89mm | F6.3 | 1/3200 sec | ISO 125

Instagram: @leckerstudio

Cake Award

Title: A Mid-Century Man and His Cake

Photo credit: Claudia Anton / World Food Photography Awards sponsored by Bimi

Nationality: Australian

Description: This image creates a cinematic mid-century mood with high contrast, warm tones and textures. The cake is the centerpiece with symmetrical lines and buttercream swirls glowing in the firelight. The scene is filled with hidden vintage surprises, family heirlooms and trinkets. A nod to the era and a moment in time.

Instagram: @thesugarologist

Bring Home the Harvest

Title: Early Morning Catch, Hooghly River

Photo credit: Marco Rutten / World Food Photography Awards sponsored by Bimi

Nationality: Dutch

Description: At sunrise beneath Howrah Bridge, a small crew hauls in their nets on the Hooghly River. River fish remain everyday food and income here: catches from boats like this are sold in nearby markets and prepared that very morning in Bengali kitchens. A quiet, collective harvest beneath the city’s busiest crossing.

Technical details: Canon EOS 6D Mark II | EF 24-105mm F4L IS II USM | 35mm | F7.1 | 1/80 sec |ISO 100

Instagram: @marcophotoworld

Champagne Taittinger Wedding Food Photographer

Title: Twin Bridesmaids Enjoy Canapés, Devon, UK

Photo credit: Emma Stoner / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: May 2025. Twin bridesmaids enjoy canapés of 'Proper Crisps' at Jess & Tom's wedding. They are pictured in the gardens at The Grain Store in Devon, UK.

Technical details: Canon EOS 5D Mark IV | EF 24-70mm F2.8L II USM | 35mm | F3.5 | 1/1000 sec | ISO 500

Instagram: @emmastonerphotos

Food Influencer

Title: Noodles

Photo credit: Maja Lewicz / World Food Photography Awards sponsored by Bimi

Nationality: Polish

Description: Dark, moody noodles with texture that you can almost feel. Mysterious, bold and irresistible.

Technical details: Canon EOS 6D Mark II | EF 50mm F1.8 STM | F10 | 0.3 sec | ISO 100

Instagram: @veggie_intervention

Louis Jadot Wine Photographer of the Year - Overall Winner (and People)

Title: In the Depths of the Deposit

Photo credit: Juan Miguel Ortuño Martinez / World Food Photography Awards sponsored by Bimi

Nationality: Spanish

Description: During the cleaning of the underground tanks, Pedro goes down and cleans the walls and floor of the remains of the previous wine with pressurized water. Once clean, his partner lowers a small bucket with a sponge inside to collect the remains that are left in the lower corner.

Technical details: Canon EOS R5 | EF 24mm F1.4L II USM | F1.6 | 1/125 sec | ISO 6400

Instagram: @ortunojuanmiguel

Louis Jadot Wine Photographer of the Year - Places

Title: The Hidden Vineyard, Pokolbin NSW, Australia

Photo credit: Chris Elfes / World Food Photography Awards sponsored by Bimi

Description: This vineyard is just beside a main road, but you can't see it unless you stop. It is sort of hidden. This image was taken while Mount Pleasant Wines picked their Semillon grapes. I stopped to shoot the ground action, but the drone gave me a great perspective, and nature did its best to help me.

Technical details: DJI Air 2S | 22mm equiv. | F2.8 | 1/800 sec | ISO 200

Louis Jadot Wine Photographer of the Year - Produce

Title: In the Eye of the Kvevri

Photo credit: Luke Carver / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: Point-of-view shot from inside a traditional kvevri during the 2025 grape harvest in Georgia.

Technical details: Canon EOS 6D | EF 16-35mm F2.8L II USM | 16mm | F2.8 | 1/800 sec | ISO 12,800

Instagram: @lukecarverphoto

The James Beard Foundation Photography Award

Title: At the Register

Photo credit: Daniel D Kwak / World Food Photography Awards sponsored by Bimi

Nationality: American

Description: A moment of respite from the line at Hadja Marley, an authentic Senegalese eatery in Brooklyn. This portrait captures the daily rhythm of life on Fulton Street, focusing on the steady presence of the staff and the traditional West African flavors that bring the local community together. A study of neighborhood service.

Technical details: Canon EOS 5D Mark IV | 24-70mm F2.8 | 51mm | F3.2 | 1/500 sec | ISO 3200

Instagram: @foodcre8ive, @dkcre8ive

Hotel Art Group Food Stylist Award

Title: Raw Pairing No.2

Photo credit: Styling: Sarah Ghijselinck | Photo: Sandra Declercq / World Food Photography Awards sponsored by Bimi

Nationality: Belgian

Description: Instead of presenting a finished dish, this image focuses on the ingredients behind the pairing. Salt, fat and vegetal bitterness are arranged in balance, illustrating how wine pairing originates in the interaction of fundamental flavors rather than the final recipe.

Technical details: Canon EOS R | EF 100mm F2.8 Macro USM | F20 | 1/125 sec | ISO 100

Instagram: @sarahghijselinck.foodstyling

Food in the Field

Title: Dusty Journey

Photo credit: Serkan Dogus / World Food Photography Awards sponsored by Bimi

Description: Every morning, hundreds of sheep arrive in the village from the high pastures of Mount Nemrut for milking. After the milking is completed, at sunset, the sheep set out once again toward Mount Nemrut, and their dusty journey begins.

Technical details: Sony a7R III | FE 70-200mm F2.8 GM OSS | 164mm | F8 | 1/400 sec | ISO 100

Claire Aho Award for Women Photographers

Title: Granny's Welcoming Gift of Love

Photo credit: Kellie Carter / World Food Photography Awards sponsored by Bimi

Nationality: American

Description: This home affirms the true meaning of family. Where home is sustained by generosity, where love is expressed through making, sharing and showing up again and again. Where Granny's smile, fresh-baked cookies and a cold glass of milk can make even the bleakest of days bright again.

World of Drinks

Title: Campari Barmen, Milan

Photo credit: Marie-Louise Moutafchieva / World Food Photography Awards sponsored by Bimi

Nationality: Canadian/Bulgarian

Description: I happened by chance to turn my attention to the local bar on the corner of Galleria Vittorio Emanuele II, Camparino. The expression of the barman and the waiter dressed in white tuxedos instantly created a story I had to capture. It was one of those moments where I found myself in the right place at the right time.

Technical details: Sony a7 III | FE 24-70mm F4 ZA OSS | 70mm | F6.3 |1/160 sec | ISO 320

Instagram: @marielouphotography

Food for the Family supported by The Felix Project

Title: The Final Touch

Photo credit: Michela Balboni and Federico Borella / World Food Photography Awards sponsored by Bimi

Nationality: Italian

Description: Little Asilbek touching the hot bread, straight out of the family tandoor. In Samarkand (Uzbekistan), the 'non' is unlike any other: round, dense, with a thick, chewy crust, and always marked in its center with black sesame seeds.

Technical details: Leica SL2-S | Vario-Elmarit-SL 24-70mm f/2.8 ASPH. | 35mm | F5 | 1/320 sec | ISO 800

Instagram: @_michelabalboni_

Jamie Oliver Youth Prize 13 - 17

Title: Chhath Puja Offerings

Photo credit: Indigo Larmour / World Food Photography Awards sponsored by Bimi

Nationality: Irish

Description: During Chhath Puja, food offerings are held by devotees, who stand in bodies of water as they pray to the sun god, Surya. This Puja is predominantly performed by women, and is always vibrant and colorful, particularly when observed in a rural setting, such as this in West Bengal, India.

Technical details: Nikon D600 | AF-S Nikkor 24-120mm F4G ED VR | 24mm | F4 | 1/640 sec | ISO 250

Instagram: @i_larmour

Politics of Food

Title: Irebero Miller

Photo credit: Glenn Vanderbeke / World Food Photography Awards sponsored by Bimi

Description: Portrait of a female miller after processing grains into cornmeal. At Vocational Training Center Irebero, single women are trained as millers.

Technical details: Canon EOS 600D | Tokina atx-i 11-16mm F2.8 | 11mm | F3.2 | 1/40 sec | ISO 400

M&S Food Rising Star

Title: The Making of Granola Bars

Photo credit: Sarah-Vanessa Schneider / World Food Photography Awards sponsored by Bimi

Nationality: Swiss

Description: This image captures the process of making granola bars, highlighting the warm afternoon light spilling across a rustic setting dominated by browns and blues. The human element grounds the quiet mood of the scene. Sometimes a story isn't told in the finished dish, but in the act of making it.

Technical details: Canon EOS 5D Mark IV | EF 85mm F1.2L II USM | F3.5 | 1/10 sec | ISO 100

Instagram: @velvetandvinegar

unearthed Food for Sale

Title: Cabbage Market. Mohastangor, Bogura, Bangladesh

Photo credit: Kazi Mohammad Golam Quddus / World Food Photography Awards sponsored by Bimi

Nationality: Bangladeshi

Description: In Mahasthangarh, Bogra, a large vegetable market comes alive each morning. Farmers bring in their freshly harvested cabbages, usually transported by rickshaw vans, and gather for the daily cabbage market. Traders buy the produce here and supply it to Dhaka and other major cities.

Technical details: Hasselblad L2D-20c | 24mm F2.8 | F5.6 | 1/80 sec | ISO 400

Production Paradise Previously Published

Title: Poaching

Photo credit: Erik Lafontaine / World Food Photography Awards sponsored by Bimi

Nationality: Belgian

Description: A poached mackerel emerging from a deep, shadowed broth. Controlled lighting sculpts texture and surface tension. The image plays with darkness and stillness, turning humble preparation into a study of depth, contrast and restrained drama.

Technical details: Fujifilm GFX 100S II | GF 55mm F1.7 R WR | F4 | 1/125 sec | ISO 100

Instagram: @helloeriklafontaine

RPS Student Food Photographer of the Year

Title: Red Cocktail

Photo credit: Lara Zeh / World Food Photography Awards sponsored by Bimi

Nationality: German

Description: A sophisticated, monochromatic study of heat and elegance. This deep crimson composition uses a precise spotlight to highlight the glass’s silhouette and create depth. Featuring a hand-crafted chili-sugar rim, the image focuses on geometric symmetry and rich textures, translating the cocktail’s spicy character into a bold, artistic statement.

Technical details: Canon EOS R6 Mark III | RF 24-70mm F2.8 L IS USM | 70mm | F18 | 1/250 sec | ISO 640

Instagram: @_larazeh_

The Philip Harben Award for Food in Action

Title: Proven Recipe

Photo credit: Lehóczki Balázs / World Food Photography Awards sponsored by Bimi

Nationality: Hungarian

Description: I had planned this image for six to seven years, but kept postponing it, feeling unworthy of capturing them. Now, because of their age, I couldn’t wait. Grandma went to the hairdresser, Grandpa shaved, and I filled their kitchen with studio gear. When she saw the photograph, my grandmother called me an artist.

Technical details: Fujifilm GFX 100 | GF 45mm F2.8 R WR | F4.5 | 1/125 sec | ISO 640

Instagram: @lehoczkistudio

World Food Program Food for Life

Title: The Open Air Hotel

Photo credit: Mithail Afrige Chowdhury / World Food Photography Awards sponsored by Bimi

Nationality: Bangladeshi

Description: An open-air restaurant owner serves food to her customers. She sells at a low price so that daily laborers who work at the Gabtoli coal station can afford it. The photograph was taken in Dhaka, Bangladesh.

Technical details: iPhone 12 Pro Max | 26mm equiv. | F1.6 | 1/120 sec | ISO 50

Instagram: @mithail_afrige

Street Food

Title: Kyoto Street Vendor

Photo credit: Kara Baird / World Food Photography Awards sponsored by Bimi

Nationality: Australian

Description: Shot in Kyoto, Japan in September 2025, this image was taken in a split second as I moved through the packed, sweaty crowd at Nishiki Market. With barely any space to stop, I raised the camera and captured a brief, unfiltered moment of the energy and intensity of the market at its busiest.

Instagram: @karabairdphotography

The Bimi Prize

Title: Candied Pear

Photo credit: Anne Mason-Hoerter / World Food Photography Awards sponsored by Bimi

Nationality: Canadian

Description: I wanted to create a unique image of candied fruit, and I have always been fascinated by the transparency of colors revealed through the process. I began by slicing a pear very thinly and boiling the slices in a mixture of sugar and water. Once the slices became transparent, I laid them out to dry on paper. The image was created using sugar water and a pear slice placed on a glass sheet, along with coloured plastic in front of a table lamp. I photographed the setup multiple times from different angles, and finally, I used Photoshop to combine the various images.

Instagram: @annehoerter

Image: GoPro

GoPro is coming off of what may be one of its most exciting product announcements in years, but its most recent communication to investors and regulators could cast a shadow over the launch. In it, the company says that new market forces "raise substantial doubt about the Company’s ability to continue as a going concern," citing "unprecedented increases and volatility in memory costs" that have seen price increases of up to 115%.

There's a fair amount of nuance and complexity to the situation, most of which is pretty deep in the financial weeds. The upshot is that the company's management is taking several steps to try and avoid defaulting on loans, including exploring a sale or merger, investigating "opportunities within the defense and aerospace sector," selling "certain non-critical assets" and negotiating with lenders. It also says that it's "reducing operating expenses through disciplined cost management," citing its recently announced layoff of 23% of its workforce.

Despite this, GoPro says that some of its plans "are dependent upon factors outside" its control, and that there are no assurances it'll be able to continue as a going concern. If it can't, the company says it "may be required to significantly reduce, restructure,
cease operations, or seek protection under the Federal bankruptcy laws," though it points out that it hasn't started on any specific bankruptcy plans.

In the document, GoPro says it "expects to continue to incur operating losses and negative operating cash flows" due to lower-than-expected sale throughout the first few months of 2026. Hopefully, the company can find a way to turn things around soon, though if memory pricing is a major factor, it may be a while before things really improve.

Image: Really Right Stuff

Really Right Stuff (RRS), known for its premium camera support systems, has announced its most affordable carbon fiber tripod lineup yet. The Core Line includes two tripods to start, the Benchmark and the Benchmark Inverted, with RRS promising more in the future.

Both the Benchmark and Benchmark Inverted use the company's in-house carbon fiber technology. RRS says the entire carbon manufacturing process is now done in its facilities in Lehi, Utah, from raw fiber selection to finished tubes. It says that bringing production in-house allowed for significantly reduced costs while maintaining its high quality standards, resulting in what RRS says is a 32% lower price than the most comparable RRS substitutes.

The Benchmark Inverted features an inverted leg design that aims to make leg adjustments faster. Image: Really Right Stuff

The Benchmark Inverted is a three-section carbon fiber tripod with an inverted leg design, which allows users to extend or collapse the legs from the top without needing to reposition or bend down. It uses the company's twist lock system (Tacti-Stop), which provides tactile feedback when they are loosened enough, preventing users from twisting the locks too far. Those locks are also weather-sealed.

The inverted model offers four leg angle selections (24, 44, 64 and 84 degrees), which is up from three on previous models, making it easier to level the tripod on uneven terrain. It features magnetic pull tabs that are easy to adjust, even when wearing gloves.

The tripod weighs 1.6 kg (3.6 lbs) and has a working load capacity of 40 lb. It offers a minimum height of 11.8 cm (4.6") and a maximum height of 155.2 cm (61.1"), and measures 67.3 cm (26.5") when folded down. While it has a similar weight to some travel options, its folded size means you probably won't be able to fit it in a backpack, so you'll need to consider how to attach it to your bag.

The Benchmark is the more traditional tripod without an inverted leg design. Image: Really Right Stuff

The Benchmark is similar in most ways, though it features four-section legs instead of three, and doesn't have the inverted design. It features the same Tacti-Stop twist locks with weather sealing, four leg angles to choose from and magnetic pull tabs for easy leg angle adjustments.

Those with heavier rigs or who want a bit more reach will benefit from the non-inverted Benchmark. It offers a 34 kg (75 lb) maximum capacity, a minimum height of 10.7 cm (4.2") and tops out at 177 cm (69.7"). Of course, that comes with added bulk, too. It weighs 1.7 kg (3.8 lbs) and folds down to 60 cm (23.6"). Like the inverted model, the weight isn't out of the question for hiking and travel, but it isn't very compact when folded.

The Benchmark tripod starts at $945 without a head. It can also be bundled with RRS's Anvil-30 ARC ballhead for $1290, or with the BH-40-LR-II ballhead for $1360. The Benchmark Inverted starts at $795 for the tripod, or can be bundled with the same ballheads for $1150 and $1215, respectively.

Image: Microsoft

Microsoft has made a few attempts to compete with the Apple Silicon-powered MacBook Pros that many photographers know and love, but its latest effort may be the most tempting option yet. It features a 15-inch mini-LED display that can achieve up to 2000 nits peak brightness in HDR mode, an SD card slot for offloading images from cameras, and a chip from a surprising partner: Nvidia.

It's called the Surface Laptop Ultra*, and, from the outside, it seems to continue a lot of Microsoft traditions. It has a hypermodern design with a rectangular metal build, a large trackpad and a 3:2 display that gives you plenty of vertical real estate. It also has a good selection of I/O, with several USB-C ports, a USB-A port for older devices, HDMI output, a headphone jack and an SD card slot, though there aren't currently any details on what speeds you can expect from any of them.

It's under the hood that things start to look a little different. Rather than using a processor from one of the usual suspects – AMD, Intel or even Snapdragon – Microsoft has partnered with Nvidia to use its new RTX Spark system on a chip. While the company is a big player in the graphics card industry and has dabbled in CPUs in the past, it's been a long time since we've seen it make something designed for a consumer PC.

According to Nvidia, the CPU portion of Spark was made in collaboration with MediaTek and features 20 cores, which use the same ARM base as Apple's custom silicon. The GPU is a more familiar affair, though both parts of the chip share a pool of memory – up to 128GB in the Surface Laptop Ultra – which can help if you're trying to render giant photo or video projects. (Of course, it's also useful for running local AI models, a use case Microsoft and Nvidia both give ample time to in their press releases.)

Adobe says it will "rearchitect" Photoshop and Premiere to deliver better performance on the chip, especially when doing tasks that can be accelerated by the graphics processor, like color correction, compositing, using "live filters," and working in HDR. That's not just relevant for people interested in the Surface Laptop Ultra, though, as Nvidia says other manufacturers like Asus, Dell, HP, Lenovo, MSI, Acer and Gigabyte will be using the Spark chips in some of their laptops, too, when it launches in the fall.

Part of Microsoft's pitch for the Surface Laptop Ultra as a tool for creatives is its ability to accelerate AI tasks like "noise reduction, intelligent masking, video upscaling, and AI-assisted code completion directly on-device." Image: Microsoft

There are only a few other details currently available about the Surface Laptop Ultra. Microsoft says it will weigh less than 2kg (4.5 lb), and features a new cooling system to help keep the Nvidia Spark running at peak performance. And, unlike Apple's laptops, it features a replaceable SSD. The company also promises "all-day" battery life.

The big question, of course, is price, especially in the age of ultra-expensive memory. It's also not clear what the base specs will be; sure, the Laptop Ultra can be optioned with 128GB of memory, but what will it start with?

The Surface Laptop Ultra will be available "later this year"

It'll also be interesting to see how the RTX Spark's performance stacks up against the options from more traditional manufacturers. While it'll likely have a leg up when it comes to AI tasks, how will it perform in everyday computing, or while editing large batches of high-resolution photos or rendering a video? We've seen other ARM chips designed for Windows computers, like the Snapdragon X Elite, compete with Apple's base-level M chips, but so far, there hasn't been any real competition for its Pro or Max chips until you get to more traditional x86 designs from AMD and Intel.

We may have to wait a bit to find out. Microsoft says the Surface Laptop Ultra will be available "later this year," and Nvidia says the RTX Spark will start arriving in systems this fall.

* - No, it's not lost on us that Apple has famously helped pioneer the use of the word "Ultra" in its branding.

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Sony a7R VI
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which, while excellent, don't come cheap.

The GFX 100S II has improved autofocus and burst rates compared to its predecessor, but its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Smaller, less expensive options

While the GFX100S II's image quality is unassailable, it's also relatively large, heavy and expensive. If you mostly shoot landscapes, but don't want quite as much bulk or cost, consider Sony's a7R V and a7CR. The cameras share a 61MP full-frame sensor, are much cheaper than the GFX, and use less expensive full-frame lenses. The a7CR is smaller than the a7R V, but uses a less flexible fully-articulating screen (versus the larger camera's tilting/fully-articulating), has a smaller, lower-res viewfinder, and doesn't have a mechanical front-curtain shutter.

Best camera for landscapes and more: Sony a7R VI

66MP Stacked CMOS sensor | >30fps with e-shutter, 10fps mech | >4K/120p video

The Sony a7R VI is a high-resolution full-frame camera with a stabilized 66.8MP stacked CMOS sensor.

Like previous a7Rs, it has strong landscape credentials as the highest resolution full-frame camera on the market, with the ability to read out both of its gain steps to let you exploit the deepest shadows. It's not just limited to static scenery, though; its sensor and autofocus are fast enough that it's capable of shooting faster-moving subjects and video, too.

The a7R VI captures tons of detail and dynamic range, especially when shooting with its mechanical shutter. Its autofocus is also some of the best out there, and is heavily customizable, with the ability to fine-tune the auto subject recognition modes and more. It also offers features like pre-capture and Speed Boost, which lets you temporarily increase or decrease your burst rate, to help make sure you get the shot without filling your memory cards too quickly.

It's a landscape camera that can stretch to other uses

Its electronic shutter modes don’t have the fastest rolling shutter speeds, but they’re controlled enough that you should be able to capture all but the fastest subjects without distortion. This is true in its video modes as well, even the 8K capture, which is oversampled from an 8.2K region.

While other cameras outperform the a7R VI in things like video or action shooting, it’s one of the most capable landscape cameras we’ve seen that can also stretch to those uses without too much effort.

Click here to read our initial review of the Sony a7R VI

Click here to see the Sony a7R VI studio scene

Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II studio scene

Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II studio scene

The compact option: Fujifilm X-T5

Photo: Richard Butler

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 studio scene

Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

There's a lot of rigging equipment in this GoPro video. Image: GoPro

GoPro has released an epic 7 minute long video to mark the launch of its next-gen Mission 1 and Mission 1 Pro action cameras, and to further tease the interchangeable lens model that's due out later this year. As you'd probably expect, it contains a lot of footage shot on the cameras, but it also has some behind the scenes shots that reveal exactly who its interchangeable lens camera is aimed at.

A quick refresher: the Mission 1 series cameras are built around a 50MP Type-1 (128mm²) sensor, and can shoot at 4K/120 open gate, and up to 960fps in FullHD. The Pro models can also shoot 8K open gate, while the standard Mission 1 is limited to 16:9 8K. While the Mission 1 and Mission 1 Pro have the integrated wide-angle lens we'd expect from an action camera, the Mission 1 Pro ILS instead has a Micro Four Thirds mount.

Back to the video. A lot of it is what you'd expect from GoPro: lots of slow-motion, people doing things that most of us would break our necks attempting, etc. And while the standard action cams are shown being used in a variety of ways, most of the Mission 1 Pro ILS' screen time is in a rig. Someone's either using it with a top handle an external monitor, flying it on a crane or wire, or holding it with a follow-focus.

There are a few fleeting shots of people using it as just a handheld camera with no accessories, but the message is pretty clear: the ILS is a camera mainly for professionals, and is designed to work on productions with a crew. It's not an action or vlogging camera, it's an inexpensive cinema tool that you can put anywhere to get decent-looking slow-mo, without being tied to the typical ultra-wide look that's been a staple of the company's previous products.

This is one of the few shots in the video where we see the Mission 1 Pro ILS being used without a ton of accessories, but it's still in the hands of a professional who seems to be shooting a commercial. Image: GoPro

Of course, it's not like companies never use pro-looking setups to market cameras to consumers. Apple famously shoots its events using iPhones (and thousands of dollars of accessories, grip and lighting equipment), and uses the fact that some directors shoot movies and TV with them in its marketing. But I don't think that's what's happening here, at least for the ILS.

For one, we've seen no indication that it'll include any sort of autofocus capability – the cameras in the video clearly don't have any pins for lens communication – which would exclude most of the audience looking to use it as a pocket cam. If that's the case, anyone seriously using it will also probably need to rig it out with at least an external monitor; try pulling focus using the built-in 2.59" display.

It was also launched at the NAB Show, an event put on by the National Association of Broadcasters that mainly focuses on pro video gear. GoPro's website also specifically calls out that the ILS is designed to provide "versatility for professionals."

It's exciting to see GoPro taking the cinema market really seriously

As a photography enthusiast, it's a bit of a disappointing message to receive. My last bits of hope about this being a workable tiny ILC for photography are pretty much dashed, though I'm sure there will still be people who will try using it for that purpose.

But as something of a videographer myself, it's exciting to see GoPro taking the cinema market really seriously. Sure, shots from its action cams have shown up in lots of movies already, but it seems like the Mission 1 Pro ILS will be much more capable for a wider variety of shots, rather than being relegated to the crash cam that captures a crucial half second of footage before being written off on the insurance.

The Mission 1 Pro ILS is due out in Q3 this year, so there's still a while to wait and see whether GoPro's bid to court professional videographers will be successful. If it is, the company may have just found a way to stay competitive in a market with an increasing number of very good options.

TJ Walton, Xiaomi's Senior Product Marketing Manager and Global Spokesperson (center) and Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division (right), answer questions from the press. Photo: Abby Ferguson

The best camera, as the saying goes, is the one that's always with you. For most of us, that's a smartphone, and it's been that way for years now. Smartphones haven't just made photography more accessible, but have fundamentally changed the way we communicate.

And, of course, we all want our smartphone cameras to get better – many of us fantasize about the day our phone will rival our dedicated camera – and the smartphone manufacturers know it. That's why every one of them dedicates an outsized portion of each product launch to camera upgrades.

Smartphone cameras have been getting better, but as any camera enthusiast knows, what you can eke out of these cameras is, to some degree, gated by physics. In recent years, the conventional wisdom has been that most improvements to smartphone cameras will come from software, including improved computational techniques, machine learning and AI.

It's certainly a topic we've covered here at DPReview on multiple occasions. But it's not just us: computational photography is widely understood to be the key to smartphone image quality.

In recent years, smartphone manufacturers have largely depended on computational photography and AI technologies to improve image quality. The diagram above illustrates how Google Pixel's Night Sight feature combines data from multiple images to create a single, higher-quality image. Image: Google

This week, a senior Leica engineer offered a counterpoint to that conventional wisdom: that lenses in smartphone cameras still have room to meaningfully improve.

At a joint Xiaomi/Leica launch event for the new Xiaomi 17T and 17T Pro smartphones, Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division, told DPReview:

"There's still a lot of room for improvement in smartphone optics. Of course, the miniaturization is always a challenge, not only in optics, but also in the rest of the components, like the sensor, the focusing motor, stuff like that. Leica will do its best to keep improving where we have the expertise, which is the design of lens elements, to produce the best image possible."

"There's still a lot of room for improvement in smartphone optics."

That's notable because one thing we don't often hear smartphone manufacturers talk about is optics or lenses. They love to talk about computational techniques like multi-frame stacking, scene detection and night modes, and they love to talk about sensors, including the fact that they're making them bigger, faster, and, most importantly (at least from a marketing perspective), at ridiculously high resolutions.

In fact, in most cases, the only thing we hear about lenses has to do with increasing zoom ranges, and those headline zoom numbers are often digitally derived rather than optical. (Smartphone manufacturers might also reliably predict that consumers' eyes will glaze over the moment someone starts talking about optical formulas in the middle of a keynote.)

Hearing Leica's head of engineering for mobile say optics is still a bottleneck cuts against that grain.

We spoke with Pablo Acevedo Noda (right), Head of Development and Engineering for Leica's mobile division, at a joint Xiaomi/Leica event in Vienna, Austria. Photo: Abby Ferguson

What makes the comment noteworthy is its source. Acevedo Noda isn't a marketer – he's the lead engineer for Leica's mobile business, the optical side of the Xiaomi/Leica partnership. And he's stating that there's "still a lot of room for improvement in smartphone optics" at a co-branded launch event focused on camera features.

Leica and Xiaomi began co-engineering smartphone cameras in 2022, with Xiaomi's flagship phones featuring Leica-branded cameras. So when Acevedo Noda suggests there's still room for improvement, he's talking about hardware his own team has been working on for four years.

To be clear, Acevedo Noda isn't claiming optics are the biggest limitation on smartphone image quality – he even highlighted the importance of computational photography in smartphones – but he's calling out that the optics still have meaningful room to improve. Of course, Leica is an optics company, so you might expect it to say that, but if any company has earned the right to say it cares about optical quality over the years, it's Leica.

"If any company has earned the right to say it cares about optical quality over the years, it's Leica."

But it's also true that smartphone lenses have to cope with some pretty brutal design constraints. Lenses can only be as deep as a phone's design allows, and we all know manufacturers love making thin devices (I'm looking at you, Apple). That's a real engineering problem: working within a few millimeters of space, engineers turn to things like aspheric elements and exotic coatings to squeeze more out of a lens formula.

One thing we took away from the Xiaomi/Leica event is that Leica definitely has an opinion on what photos should look like, and Acevedo Noda wasn't the only Leica executive to weigh in on the company's image quality philosophy. Marius Eschweiler, Vice President of Leica's mobile business unit, explained that the company had to have "a very tough conversation" with Xiaomi about the look of photos from its co-branded phones.

Although that comment was made in the context of the aggressive processing and tone curves typically applied to smartphone photos, it suggests that Leica isn't just stamping its logo on a phone as a marketing exercise, but has a real interest in making sure images hold up to its own vision of what a camera should produce, optically and aesthetically.

If Leica can leverage its century-plus of optical design experience to develop lenses or lens technologies that advance smartphone image quality, that's a win, not just for its own customers, but for customers of other brands that are trying to keep up with the Joneses. Or, in this case, the Leitzes.

DPReview's Community Manager, Mathew Anderson, shamelessly presenting an ice cream cone as if it were part of Ikea's product lineup. Ice cream cone courtesy of Ikea's cafeteria. A symbol of his light-hearted but still serious attitude toward community development. Photo: Mathew Anderson

Greetings, DPReview community!

A lot happens across the community every month: lively discussions, feature articles spotlighting community members and their gear, photo events and more, and much of it naturally won't be seen by everyone. As DPReview's Community Manager, I want to change that as much as possible. In this "What you missed" roundup, I'll highlight some of the best community activity from the past month, including some of the things that didn't make it into articles.

Here's just a sampling of what happened in May.

What's in your bag? A community member spotlight

Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series tells the story of your trials and tribulations getting that perfect shot, and highlights their favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.

As with many of our other community initiatives, we often don't get a chance to cover every detail of a community member's story, so we're selecting an additional photo from each of the previous month's posts that you haven't seen yet. Check them out below.

Feeling artsy Photo: Roberto De Micheli (roby17269)

Roberto De Micheli, who goes by the username roby17269 in the forums, switched from wildlife photography to focus on his passion for fashion. He also dabbles in travel and kids' photography (mainly family outings). Roberto submitted a wide range of photography on these subjects to us for this article, but we focused on the fashion segment as it's his most recent work.

"Fashion shoots happen in studios or on location. In my heart, though, I still remember my two safaris in Africa (Kenya and South Africa) most fondly, which can be a magical place. The safaris were during my wildlife 'phase'. I was absolutely floored by how rich, colorful and amazing nature was in those places."

Read more about Roberto's photography

The photographer who never stopped chasing the unique shot Photo: Josh S. Rose

Josh S. Rose has been capturing visceral reactions since the 1970s, when he wandered around a racetrack park as a kid to explore the event. He found himself hanging out at the photo booth and loved to watch a team develop film after each race, calling up the winners to the announcer upstairs, then hearing the crowd wildly react. His career kept him intrigued by those early moments of capturing scenes on film.

"In the beginning, I tried to minimize mistakes. Because I shoot dance and movement a lot, this is exacting work, especially when you're inside – low light and fast movement is a nightmare for a camera. So, I kind of treated dance as one would sports, reaching first and foremost for clarity, focus and split-second timing. It isn't all that hard, honestly. It just takes a certain number of reps."

Read more about Josh's photography

This photographer uses an 800mm lens to lock onto nature's special moments Photo: Alan Randle (AJRimages)

Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.

"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."

"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve been asked by docents if I want to check my ‘luggage’ to make life easier!"

Read more about Alan's photography

How this photographer sets up to capture life at the speed of the streets Photo: Kevin Zhang (fatplanediaries)

Kevin Zhang, known as fatplanediaries in the wider community, began photographing at a young age under his father's influence, a dedicated Leica street photographer. What started as a focus on street photography evolved over time, especially after a chance moment in Shanghai, when he experimented with panoramas using only a prime lens. Since then, his work has developed into a distinctive blend of candid street scenes and highly detailed panoramic images, each discipline informing the other.

"I like to shoot candid street subjects, but I'm often pretty shy about approaching people to get the right shot. The best alternative is to get hired for events instead; everyone's vying to have you shoot them in those kinds of situations. I've had a lot of good practice at my friends' parties before getting to events as a photographer."

Read more about Kevin's photography

Brian Ormerod, who goes by the username ikon44, has a love of architecture of all types and periods across northern Europe. Over the decades, he has traveled extensively, meticulously planning trips to capture selected projects in Vienna, Barcelona, Prague, Paris, Istanbul and beyond. His work has evolved from casual holiday snapshots to carefully composed architectural studies at the School of Architecture in Nottingham, UK.

"I went with an architect friend to Barcelona, which I found to be an architectural wonderland. We photographed works by Antoni Gaudi, but by pre-planning we were also able to visit a number of other projects, including the IMO Eye Hospital by Josep Llinas, The University of Pompeu Fabra Library, which is a spectacular arcaded masonry structure, the Santa Caterina Market, a neo-classical building refurbished by Enrique Miralles and the Fira de Belacaire flea market with a spectacular, fragmented mirrored canopy."

Read more about Brian's photography

Question of the week: we ask, you tell

Every other week, we ask the community a question about their photography, usually on a specific topic, with the results spotlighted on DPReview's front page and in the forums the following week. There are often many great photos submitted that we don't get a chance to spotlight them all in a single article.

Here is a newly revealed reader's photo from each of the previous two weeks' questions.

What accessories are must-haves in your kit?

From 'The surprise camera accessories our readers keep with them at all times' Photo: cbf_si

Featured quote: "Different accouterments. A chamois, a laptop, a notebook and a pen (sometimes two; private and business), tissues, paracetamol (just in case ;-)), and some small things I can't remember. A Wuchuan canvas messenger bag with a Billingham insert and lots of useful pockets. It serves me well, carrying a D850 with one prime (24, 35, 58 or 85, depending on mood and plan, if any)." - Michiel953

Share your answer to this question

What photo book or article has supercharged your photography?

From 'The photographer's eye: The books that changed your photography forever' Photo: Andreas Feininger

Featured quote: "The foundation came before I even owned a camera: Total Picture Control by Andreas Feininger. His main message is that the photographer transforms a moving, three-dimensional world of color into a frozen, 2D (and in the late 1950s) monochrome picture. To communicate what you saw, you need to translate the lost dimensions (depth, movement and color) into your photograph."- Klaus dk

Share your answer to this question

Photo threads of the month: new types of challenges

"May we never forget." Photo: BluesJake

Also every week, new photo thread discussions and mini-photo challenges pop up across the forums, generated by community members. Usually, these start as a discussion about a particular camera brand or type of photography. Our community has hundreds of topics to choose from, so there's no shortage of photography show-and-tell opportunities!

For the month of May, we wanted to highlight BluesJake's Post your Memorial Day photos thread, where community members have been contributing to pay their respects to veterans who lost their lives in conflicts and other events around the world.

Visit our Community photo threads index for all the latest opportunities to share an interesting photo from your collection. To contribute to most of these community initiatives, simply read the OP's (Original Poster) posting guidelines (if there are any) and then reply to the thread with your contribution.

We would also love for you to participate in DPReview's own photo initiatives: Photo exhibitions and the new Collaborative photo chain.

Discussion of the month: Sony's new a7R VI

On May 13, 2026, Sony announced the a7R VI full-frame mirrorless camera. The community was so excited about the news that they beat us to the punch and immediately started discussing the camera in the forums. Here is a peek at what they had to say:

PWPhotography: Nice! $4499, $500 'cheaper' than initially rumored, and it's slightly lighter than a7R V.

CanadianLongbowman: So the TL;DR is that it's a high-res version of the a7R V, in essence, with a similar readout speed and a few extra perks.

In response, PWPHotography said, "I hope so. However, the a7R V uses a partially stacked sensor, while the a7R VI uses a fully stacked sensor. Fully-stacked sensors, as in the A9 and A1 series, used to have a little DR penalty. Sony appears to have overcome this issue by combining the readouts of its low and high gain steps as in a7R V."

kbrkr: Sony announced the a7R VI today, and my mind automatically went to Nikon challenging it with a Z7 III. Some of the features of the Sony are quite impressive, such as 68MP, 30 fps Raw, pre-capture, and speed boost. I hate these leapfrog games, but I really wish Nikon had a high-megapixel camera to replace the Z7 II.

Discuss the Sony a7R VI

I'd like to consider writing an article like this one on a monthly basis. Future editions could include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.

For even more content posted directly by our readers, join the discussion forums and share your camera gear and photography curiosities!

When trying to capture this scene, most phones would probably try to brighten the shadows. The Xiaomi 17T Pro, shooting in the Leica Authentic color mode, didn't. Photo: Abby Ferguson

One of the big conversations around mobile photography relates to how images are processed, with many bemoaning the unnatural look that some phones produce by dramatically brightening shadows. Apparently, Leica isn't necessarily a huge fan of the look, either. According to Marius Eschweiler, Vice President of the company's mobile business unit, it had "a very tough conversation" with Xiaomi about how photos from its co-branded phones should look.

The comment was part of an interview at the launch event for Xiaomi's latest phones, the 17T and 17T Pro, which feature Leica's "Vibrant" and "Authentic" profiles. Eschweiler, responding to a question about what the company's goal was with the latter color mode, says it was meant to show the real colors and shadows of a scene.

Leica executives participated in a group interview with Xiaomi for the launch of the 17T. Photo: Abby Ferguson

The last part was apparently what prompted the discussions with Xiaomi. "That was a very tough discussion we had with the Xiaomi engineering team at the very beginning, because coming from the smartphone world, colorful, shiny images were seen as a benchmark," he says. "Then we came into play and said, 'yeah, but if you see it from the serious photographer's point of view, it's okay that some shadows are maybe not perfectly lightened up to let you see every detail.'"

"That computational imaging was getting too much in the picture for our taste"

Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division, adds: "Leica Authentic was made more for photographers coming from the photography world," explaining that phones need to do a lot of computational photography to make up for their smaller sensors and lenses. "That computational imaging was getting too much in the picture for our taste."

The solution, he says, was processing the images in a completely different way than the vibrant ones. "In the end, we had to do two different pipelines. The image signal processor (ISP) has two different processing pipelines. One is the authentic, one is the vibrant. They share some common blocks, but the base is different."

A photo taken in the Leica Vibrant mode on the Xiaomi 17T Pro. Photo: Abby Ferguson

He also says Leica had a hand in tuning the imaging pipeline for the phone's Live Moment feature, which captures a video before and after the shutter is pressed. The feature existed on Xiaomi products before, but now it includes the Leica color profile throughout. According to Noda, the company helped improve the resolution and HDR processing for the feature, as well as the exposure and white balancing for human subjects.

Eschweiler says Leica wants to give photographers a choice: they can go with the Leica Authentic for a more traditional photographic look, or the Vibrant for a more saturated aesthetic that mobile photographers will be familiar with. "It's a different philosophy, and I believe it's good that customers have the choice."

He echoes this sentiment about users having options when discussing the role of AI in mobile photography, after Xiaomi and Google touted the 17T's ability to use generative AI to transform images taken with the phone into videos, or to reimagine them. "Whether you take a serious image or whether you would like to create something with generative AI, I think that's a different use case," he says.

"It's a different philosophy, and I believe it's good that customers have the choice"

"You likely won't see that on a Leica M, but I think on the 17T series it makes sense," he says. Noda also adds that part of the point of features like Content Credentials, which Leica attaches to photos taken with its cameras, is to make it obvious when someone has tampered with a photo, using generative AI tools or otherwise.

The answers offer a look at some of the considerations traditional camera companies face when deciding to co-brand a phone. There are some fundamental differences in how those devices will produce images compared to a traditional camera, as well as different expectations from consumers, but the Leica name and branding come with their own set of expectations. Of course, not everything will come down to decisions around processing and software, but we'll cover the choices around hardware in a separate article.

Related: What's a 'real' Leica and is your brand just a badge?

Image: Lecia

Leica has announced a new finish option available for the M11-P, Q3 and D-Lux 8: "Metal Gray." (Calling it a new color would be a touch generous; it's no Safari green or burgundy.) The company says the new paint was "specially developed at the Leica factory," and will be available as an option alongside the existing finishes for each of the products.

The Metal Gray M11-P will be the first camera available with the finish, but the changes aren't limited to just a coat of paint. Rather than the leatherette-style wrap, it has what Leica calls "diamond-patterned leather," which has a pattern similar to the one found on the Q3.

Given that it's an interchangeable lens camera, it makes sense that Leica is also launching a color-matched lens: the APO-Summicron-M 50 F2 ASPH. Like the silver version of that lens, its focal length and the feet distance markings will be red. It will also have a gray front lens cap.

Image: Leica

The Q3, meanwhile, basically looks like an inverted image of the original, which had a black body with a gray wrap. The Metal Gray version, meanwhile, has a gray body with a black wrap. The control dials and lens remain black, but the yellow accents on the lens are now a deep red, instead. The D-Lux 8's design is very similar to the Q3's: gray body, black grip and lens, though the company also says its function buttons will be gray as well.

Of course, Leica doesn't expect people to buy a gray camera and then use accessories that don't match. A gray battery will be available for the M11-P (since it has a plate that's visible from the bottom of the camera), and there are dark brown protective cases for the M11 and Q3, and a "cognac" one for the D-Lux 8. There will also be a variety of black and brown straps available.

The Metal Gray M11-P, and its corresponding lens and accessories, will be available starting today, while the Q3, D-Lux 8 and their accessories are coming on July 16th. In the US, the cameras cost the same as their black counterparts – silver typically comes with a bit of an up-charge – while the lens will cost $45 more than the black version. Given that both lenses are around $10,000, though, that only represents a 0.45% increase.

Leica M11-P Metal Gray

"This may look like we were directly on the beach, but actually quite a distance away." Phase One IQ180 | 50mm | F11 | 1/500 sec | ISO 35 Photo: Roberto De Micheli

Roberto De Micheli, who goes by the username roby17269 in the forums, switched from wildlife photography to more recently focusing on his passion for fashion. He also dabbles in travel and kids' photography (mainly family outings). Roberto submitted a wide range of photography on these subjects to us for this article, but we focused on the fashion segment as it's his most recent work.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

"I love the mood and color of this one, which was shot in the attic of an old building." Canon EOS-1D X | Canon TS-E 24mm f/3.5L II | F3.5 | 1/50 sec | ISO 1600 Photo: Roberto De Micheli

Meet Roberto De Micheli (roby17269)

Home base: Jersey City, USA

Favorite camera and lens: Roberto’s current favorite setup is the Hasselblad X2D II 100C paired with the XCD 90mm f/2.5. For fashion work, he also regularly uses the XCD 35–100mm, appreciating the look and rendering that medium format delivers.

I am a sucker for big sensors, so currently the X2D II is my favorite tool. Plus, it is undoubtedly the most gourgeous camera on sale right now.

What's in Roberto's bag

Roberto's camera bag Photo: Roberto De Micheli

• Primary cameras: Hasselblad X2D II 100C, and Canon EOS R5 for travel
• Lenses:
  • Hasselblad XCD 50mm f/2.5 (primary fashion and editorial lens)
  • Hasselblad XCD 20-35mm f/3.2-4.5
  • Hasselblad XCD 35–100mm f/2.8–4
  • Canon RF 50mm f/1.2
  • Canon RF 85mm f/1.2
  • Canon RF 100–500mm
  • Canon RF 35mm f/1.4 (travel)
• Support gear: Roberto’s fashion setup includes a heavy Manfrotto tripod with a geared head for catalog and studio work. For lighting, he uses Broncolor Siros L 800 strobes and a Profoto B1 500, paired with a variety of modifiers for both studio and location shoots. When traveling, he’ll often pack a drone, typically either a DJI Mavic 4 Pro or Mini 5 Pro, to complement his still photography.
• Camera bags: Roberto currently uses an older backpack that has stayed with him through years of shoots and travel. While he appreciates beautifully designed, high-end gear, he values intentional shooting and adaptability far more than carrying excessive equipment.

"I am a sucker for big sensors, so currently the X2D II is my favorite tool. Plus, it is undoubtedly the most gorgeous camera on sale right now."

"A lot of work went into setting up the table and the style of all four models. Group shots are tricky to make all the models look good at the same time." Photo: Roberto De Micheli

What types of scenes do you like to focus on (pun intended)?

"My father was a film photography hobbyist, but somehow his passion never rubbed off on me. With the advent of digital photography, something clicked in my engineer brain and I bought a Sony DSC-F717 around 2003. I started with opportunistic travel photography and the compliments I received went straight to my head. From there, things started snowballing onwards with more professional opportunities every year."

"Fashion shoots happen in studios or on location. In my heart, though, I still remember my two safaris in Africa (Kenya and South Africa) most fondly, which can be a magical place. The safaris were during my wildlife 'phase'. I was absolutely floored by how rich, colorful and amazing nature was in those places."

"Experimental" Phase One IQ180 | 300mm | F9.5 | 1/350 sec | ISO 35 Photo: Roberto De Micheli

When capturing that perfect shot, what techniques come to mind?

"For fashion, I do not have a preferred recipe. The best 'technique' I know is to work with great talent and to create a good atmosphere on set. I will also be bold and try different angles, poses and light setups. For travel, I like taking panoramas with a long lens (RF 100-500). For kids, I like to 'disappear' and take photos while they play for the best expressions. For drones, practice those flying maneuvers!"

Should photographers spend what they can to get the best shot?

"I'd say two things: don't spend too much until you find your niche and decide to be serious about it, and learn to take control of your photography!"

Roberto really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. You can also visit his work at rdmfashionphoto.com. Thanks, Roberto, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

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.

Submit your photos and story to be featured in 'What's in your bag?'

Left: Xiaomi 17T Pro. Right: Xiaomi 17T Photo: Abby Ferguson

Xiaomi has announced the latest entries in its extensive phone lineup: The 17T and 17T Pro. The updates are overall fairly incremental over the 15T series of phones (Xiaomi skipped 16 in its lineup), but brings its 5x Leica co-branded telephoto camera to the base model for the first time.

The main change on the 17T in regard to cameras is the telephoto lens. The 15T featured a 46mm equivalent (2x) telephoto camera, which doesn't offer a true telephoto view. Now, like the Pro model of the T lineup, the base phone features a 5x, or 115mm equivalent lens. That comes with a bit of a tradeoff, though, as the aperture is now F3.0 compared to the F1.9 of the wider lens. Otherwise, the 17T keeps the same main and ultrawide cameras as the previous generation.

The 17T Pro has even more subtle changes to its camera system. Xiaomi upgraded the sensor in the main camera from its Light Fusion 900 to Light Fusion 950, though it isn't clear what the practical implications of that are. The aperture of the main camera has also been ever-so-slightly changed, moving from F1.62 on the 15T Pro to F1.67 on the new model. Otherwise, the telephoto and ultrawide cameras remain the same as the last generation.

Beyond camera hardware, Xiaomi has added what it's dubbed "Leica Live Moment" to both of the new T-series phones. While the previous generation supported live photos (which capture a short video clip around a still image), those did not have specific Leica color profiles associated with them. Now, users can select between the Leica Authentic and Leica Vibrant profiles even when Live Moment is turned on.

The 17T Pro gets a new chip, the MediaTek Dimensity 9500, which also features an updated image signal processor (ISP). The new chip and ISP promise to bring some processing and autofocus improvements to the table, in addition to providing general speed and efficiency gains. The 17T also gets a new chip, though it's more of a modest refresh. Xiaomi also updated the batteries on both phones, promising slightly longer battery life. The 17T still lacks wireless charging, though.

The Xiaomi 17T will be available in blue, purple and black at a starting price of €749, while the 17T Pro comes in purple, white, blue and black for a starting price of €899. These prices represent a move up-market for the T series, as the previous versions started at €649 and €799, respectively.

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Image: 7artisans

Earlier this year at CP+, 7artisans showed off a full-frame autofocusing 135mm F1.8 lens. Now, the company is launching it for Nikon's Z mount, and has fully unveiled the specs and price.

The AF 135mm F1.8 (7artisans occasionally adds "Max" to the end of the name, but not consistently) has 16 elements in 13 groups, with six extra-low dispersion lenses and five high refractive index elements. It has a 0.68m (2' 3") minimum focusing distance, and can achieve up to 0.25x magnification. Its aperture has 12 blades, which the company says will provide "naturally circular bokeh" and 12-point starbursts.

Autofocus duties are handled by a stepper motor, and the lens has a switch for going between manual and auto focus. It also has two function function buttons, though it's not entirely clear whether they can be programmed to do different things, or if it's the same function but easy to access whether you're shooting in portrait or landscape. It also has a customizable control ring.

Image: 7artisans

At 1014g (35.8oz), it's relatively hefty, though a touch lighter than Viltrox's AF 135mm F1.8 Lab. Part of that is likely down to its aluminum construction. It's 130mm (5.1") long, and accepts 82mm filters. The company says the mount has a gasket to keep out dust, and that the front element has a coating to repel fingerprints, moisture and oils.

At CP+, the company said the lens would also be coming to L and Sony E mount, and there are references to those versions in recent Instagram posts and product photos. However, at time of writing those don't appear to be available for sale yet. Those versions will have a dedicated aperture ring, rather than the Z mount version's customizable control ring.

The Z mount version of the lens is available now for $690. That's quite an aggressive price point, as Samyang's 135mm F1.8 retails for around $800, with the Viltrox option selling for $100 more.

7artisans AF 135mm F1.8 specifications: