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Photo: Mitchell Clark
Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.
Image Comparison
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Shooting in Raw at its base ISO, the L10 captures a good amount of detail, on par with the Sony and Canon, and slightly more than the LX100 II. Despite using the same amount of sensor area as the LX100 II, it provides an image that's 1EV cleaner thanks to its ability to gather more light by shooting at ISO 100 instead of 200. Likewise, it produces slightly less noise than its Type-1 peers, thanks to its 66% increase in sensor area.
This advantage continues through to higher ISOs, though if you find yourself shooting in the dark often, it's worth considering the noise advantage that APS-C compacts like the Ricoh GR IV or Fujifilm X100VI provide, at the cost of less versatility thanks to their prime lenses. The L10's JPEG engine does a decent job of retaining details while reducing noise, though the older cameras that act as its competition are decent in this regard, too.
Standard Color Profile
L.Classic Neo
L.Classic
L.Classic Gold
The L10 has pleasing colors in its standard color mode, and a variety of other profiles, with the option to experiment further, through the use of uploadable LUT files.
Where Panasonic's processing has improved is when it comes to its JPEG colors. Overall, they're pleasing and more punchy, and we've enjoyed them in the pictures we've taken with it outside of the studio. And if you don't enjoy the colors in its built-in modes, it's almost infinitely customizable thanks to the L10's Real Time LUT system.
Dynamic Range
The L10 provides plenty of latitude to shoot to preserve highlights, then brighten in post.
Panasonic L10 | 75mm equiv. | F2.8 | 1/500 sec | ISO 100 | Edited to taste in Adobe Camera Raw Photo: Mitchell Clark
The sensor used in the L10 has been shown to have great dynamic range in the other cameras we've tested that use it, and we're happy to say the L10 is no exception. While its deepest shadows aren't quite as clean as those of the cameras that use the sensor's entire area, you still have plenty of room to exploit them. There's perhaps not as much difference as we might expect from a camera that can combine high and low gain readout in a 16-bit space, vs the 12-bit, single-read approach from the LX100 II, but they should still be pretty flexible.
Likewise, the sensor has very little read noise, giving you the option to choose an exposure, then lower your ISO to preserve highlights without having to worry about a ton of additional noise showing up in post when you raise the shadows. Shots at ISO 100 pushed 4EV will show a little more noise than shooting at ISO 1600 in the first place, but even by ISO 200 the difference isn't particularly distinguishable.
Lens performance
Image Comparison
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When we reviewed the LX100 II in 2018, we said that camera's 17MP sensor was showing the limits of the lens. With the L10 essentially using the same optics, paired with a higher-resolution sensor, that's even more true today, with noticeable softness in the corners even when stopped down to F4 or 5.6 (though doing so provides noticeable improvement versus faster apertures like F2.8).
The bright, complex, foldable lenses on compacts are quite susceptible to sample variation, and we aren't able to test multiple copies of the camera. Putting it in the studio scene also pits it against extremely high-quality primes, many of which are larger and heavier than the L10 in its entirety, and holds it to a higher standard than most would expect from their real-world shooting. In the process of shooting our sample gallery, we haven't come across many situations where the lens felt inadequate for what we were trying to capture.
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The Viltrox AF 28mm F4.5 "Chip" is finally available for L-mount.
Image: Viltrox
After months of teasing, Viltrox has released the L-mount version of its full-frame AF 28mm F4.5 "Chip" lens. It becomes the company's second autofocusing lens for the system since it joined the alliance in September, 2025, and is a truly tiny option for people with cameras that use the mount.
The lens design has been around for a few years on Sony E and Fujifilm X mounts, and it gets its name and notoriety from its size: it's 15.3mm (0.6") thick, and weighs 60g. That, and its relatively wide focal length, make it an attractive prospect for anyone looking for an as-small-as-possible kit for everyday shooting.
That's an especially interesting proposition on L-mount, where there haven't been that many choices for that kind of lens, despite how much small, gripless cameras like the Panasonic S9 and Sigma BF would benefit from one. Panasonic itself released a relatively small 40mm F2 recently, and there are a few similarly-sized options from other brands, but even those are still noticeably bigger and heavier than the Chip. And while Panasonic's 26mm F8 is similarly-sized, it's quite a bit slower, and manual-focus only.
Image: Viltrox
Conversely, the Viltrox has a voice coil motor (or VCM) for autofocus and can't be manually focused. It also includes an integrated lens cap, which you can deploy by sliding a switch to keep the front element protected if you're sliding the lens into a bag.
The lens is made up of six elements in six groups, with two aspherical and two ED lenses, as well as coatings to reduce reflections and to repel water and oils from the front element. Perhaps its biggest drawback is the aperture: while you may be willing to trade the speed of the ~F2 options for the size and weight savings, it is worth noting that the Chip is a fixed F4.5 lens, meaning you also can't stop it down any further if it's particularly bright or if you want to capture more depth of field or blur motion.
While it's exciting to see Viltrox release a new lens for L-mount, especially one that fits into an underserved niche, this release also highlights the company's relatively slow entrance into the L-mount ecosystem. In the ten months since it announced it was joining the alliance, it's only released this lens and its 16mm F1.8 for the mount, both of which were promised at the beginning. In that time, it has released six other full-frame lenses for other mounts (mainly Sony's E and Nikon's Z), with the only word on L-mount versions coming in the form of responses to Instagram comments.
Still, the release of the AF 28mm F4.5 Chip is a sign that there's at least some work being done at Viltrox for L-mount. It's available today for $99.
Ultra-compact, ultra-light pocket-size full-frame lens built for street photography, travel, or spontaneous everyday shots
Shenzhen, China, June 16, 2026 — Viltrox today announced its new AF 28mm F4.5 Chip L, a full-frame autofocus pancake lens for L-Mount cameras. The lens combines an ultra-slim profile, exceptional lightness, and excellent portability that’s ideal for everyday shooting, travel, and street photography.
With the launch of the AF 28mm F4.5 Chip L, Viltrox further expands its L-Mount lineup. In addition to support for in-camera correction functions, the lens is optimized to work seamlessly with modern L-Mount camera systems, delivering a compact and effortless shooting experience for everyday photography.
Weighing just ~60g and measuring just 13.2mm thin, this ultra-compact autofocus lens is comparable in size to a simple lens cap or camera body cap, transforming a professional mirrorless camera into a pocket-friendly companion. When paired with cameras such as the Panasonic Lumix S9 and Lumix S5II, the AF 28mm F4.5 Chip L creates a remarkably compact full-frame setup, allowing photographers to stay highly mobile with minimal bulk.
An Ultra-Lightweight Pancake Lens for Everyday Creativity
The Viltrox AF 28mm F4.5 Chip L features a fixed F4.5 aperture and a VCM (Voice Coil Motor) autofocus system that delivers fast and quiet autofocus performance. Its versatile 28mm focal length and minimum focusing distance of just 0.32m make it well suited to a wide range of everyday shooting scenarios, providing a natural balance between environmental context and subject emphasis.
To maximize convenience, the lens incorporates a signature slide-lever lens cover design. This built-in mechanism allows users to open and close the integrated lens cover without the need for a separate lens cap, further streamlining the transition from carrying to capturing.
The lens also features a distinctive polygonal aperture plate design that produces recognizable starburst effects around point light sources in backlit and night scenes, adding a unique visual signature to select images.
Learn more: https://bit.ly/4fGYGQh
Pricing and Availability
Viltrox AF 28mm F4.5 Chip L MSRP - $99 / €109 / £90
Amazon Store US: https://www.amazon.com/dp/B0H338KPY6
Amazon Store Europe: https://www.amazon.de/dp/B0H338KPY6
With 100Ws of power and 1/8000s high-speed sync, the NEEWER Z3R 100Ws 2.4G TTL Round Head Flash Speedlite can handle everything from entirely backlit scenes to fill flash for outdoor portraits and fast-moving subjects.
A round head produces softer, more natural light than a traditional rectangular type, while dual LED modeling lamps make it easier to preview the effect of the flash output before you’ve even pressed the shutter button. Add fast recycling, a high-capacity rechargeable battery and an efficient cooling system into the mix and the Z3R can deliver professional-level results in a huge range of situations. Let’s get into the details.
The power you need
The Z3R delivers the output and responsiveness photographers need in demanding conditions. Its 100Ws of power and high-speed sync up to 1/8000s help balance ambient light, maintain exposure and support shallow depth of field photography, making it especially effective for portraits, action and fast-paced location shoots.
Support for both the NEEWER Q and Godox X wireless flash ecosystems means your setup options are expansive, while dedicated Canon, Sony and Nikon versions ensure compatibility with major DSLR and mirrorless camera systems. The result is a flashgun that fits easily into existing workflows without sacrificing control or performance.
Designed to support your creativity
Photo: NEEWER
Adjustments are quick and straightforward thanks to an intuitive 2.8-inch full-color touchscreen and one-click TTL/M switch. Dual 3300K +/- 200K LED modeling lamps with 10 brightness levels help you preview light direction and light shape so you can perfectly refine a setup on the fly, without relying on time-consuming test shots.
The round flash head also works with NEEWER CRM2, M12, CRS6, CRS7 and CRB1 mounts, opening the door to a wide range of perfectly matched accessories and creative lighting effects. Plus, the Z3R is compatible with the SEKONIC L-858D Light Meter (RT-GX modules) for ultimate control over flash exposure.
Speed and power without the drawbacks
Photo: NEEWER
The Z3R is built to keep pace during demanding shoots. Its advanced cooling system supports 70–100 consecutive full-power flashes across a 28–105mm focal length range, while the 3000mAh lithium battery is good for up to 500 full-power flashes per charge with a fast 1.7-second recycle time. This combination – plus easy USB-C charging – makes the Z3R ideally suited to high-intensity applications including weddings, events and longer assignments where flexibility and stamina matter.
The Z3R’s round head design and premium quartz flash tube deliver excellent light quality, with a soft spread, clean catchlights and accurate skin tones. And, because it’s rated for 100,000 flashes, you can rely on the Z3R to deliver long-term durability.
Overall, the NEEWER Z3R is a highly capable, well-rounded flash for photographers who need power, speed and flexibility in a compact, affordable unit. From fast recycle times to intuitive controls and broad compatibility, it offers a powerful, flexible lighting solution that adapts easily to portraits, events and demanding location work. With an MSRP of $279.99, the NEEWER Z3R offers pro-level performance at a solid value.
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Image: 7Artisans
Early this year, 7Artisans launched a new series of F1.8 autofocusing APS-C lenses: a 25mm, 35mm and 50mm (38mm, 53mm and 75mm equiv., respectively). They were initially available for Sony E and Fujifilm X mount, but the company has just made them available on Nikon's Z mount as well.
The trio of lenses makes up the company's "Lite" series, owing to the fact that they all weigh around 180g (6.3oz), and are compact to make it easier to carry them around. You can read the full specs, including optical formulas, in our launch coverage for the lenses, but they're designed to be as similar to each other as possible so it's easy to switch between them, especially if you're using a gimbal for video work. They're all 67mm by 51mm (2.6 x 2") and threaded for 58mm filters. They also all use high-refractive-index glass and have nine-bladed apertures.
While the company and other lens makers have provided similar options for the mount before, it's nice to see it continuing to do so with lenses that use its latest optical and industrial designs. It's also interesting that third parties like 7Artisans have continued to make autofocus lenses for Nikon's mount after the company filed a lawsuit against Viltrox and encouraged people to use officially licensed lenses. So far, only Sigma and Tamron have made any claims about their lenses being licensed, and that doesn't appear to be changing today.
Like their counterparts for E and X mounts, the Z mount versions of the lenses cost $125 each. 7Artisans also sells them as a set for $359, letting you save a bit of money if you were already planning on getting all three. They're available to order now from the company's site and other retailers.
Last week, we asked what nature photos you're most proud of taking. Every time we post one of these prompts, I'm pleasantly surprised by the sheer variety and originality of the scenes. This week's entries delivered the full package: stunning landscapes, animals minding their own business as if they hadn't signed a release form, and cloud formations that looked like the atmosphere was showing off a little. Scrolling through the submissions honestly felt more like taking a very efficient world tour from the comfort of my desk.
We actually received so many creature-based photos, we'll be running another mini-challenge in the future with this theme, so get your camera ready!
View the slideshow above of the community's submitted photos to see a great view of Earth's magnificent nature. Many more photos could not be included, so check them out in the forums. We'd love to see you contribute your own nature discoveries, too.
"This image of a gull in the landscape makes me feel mellow and gives good memories of a foggy morning in Tenby, Wales, UK, earlier this year. I tend to photograph birds more intimately, but I was carrying an old Minolta MD 28mm lens adapted to my X-T3, and I wanted views of the fog, sea, rocks, cliffs and beach, with a bird in frame."
"One of my all-time favorite photos shot at Ngorongoro Crater in Tanzania. I love the inclusion of landscape with the wildlife, the atmosphere of low-hanging clouds, and sunrays coming through. It is a magical place, and I don't think we are going back there in the near future. So this remains one of my most cherished photos."
"Different years, different cameras. Mainly the Pentax K-1 MII and cameras with Foveon sensors. Photographs were taken on the islands of Lake Ladoga and in high-altitude beech forests and etc."
"Ten days ago, one of the pair of great spotted woodpeckers that visit our garden was taken by a sparrowhawk. It turned out to be the male of the pair; the adult female continued to visit the garden.
On Saturday, she not only appeared again but this time brought a juvenile with her.
I had a short window of opportunity with my camera, and this is probably my favorite image. In this one, you can see that she (on the right) has just fed junior, as there is a saliva trail between them."
"Right around the corner sits Arthur Marshall Loxahatchee Natural Wildlife Refuge. I call it my backyard. Sitting at the Northernmost tip of the Everglades, America's greatest swamp, it's the home of the American Alligator and hundreds of species of birds. I don't photograph birds or reptiles or animals, I just walk the trails, watch the light, track the seasons. One of America's treasures, greatly underused and underappreciated."
"I'm trying to make a series of photos that combine a close-up of the subject with a blurry evening sun in the background. The sun is therefore greatly enlarged in the shot. So far, I have two photos that I'm somewhat satisfied with."
Adobe has announced a new round of updates for Lightroom and Photoshop, which improve on some of the useful new features it's been rolling out, as well as making them available in more places.
To start, the company says it's improving Lightroom's Assisted Culling feature, which is designed to automatically pick out images that are in focus with proper exposure, so you don't spend your time looking through a bunch of images destined for the bin. The company says it's now "generally available" – previously it was marked as being in early access – and that there's a new "Face View" that will show each person detected in a photo to make it easier to assess for yourself whether the tool was correct about them being in focus, and the subject's eyes being open. The company also says that the stacking feature will now try to show you the best image first out of a batch of near-identical ones.
Image: Adobe
As has been the case since we demoed the feature at last year's Adobe Max, there are lots of controls to customize what the tool will select or reject, and how picky you want it to be.
The company also says you can now use Topaz Lab's "Noise-Aware Sharpen model" from directly within Lightroom, letting you "recover fine details on flower petals, fur, foliage and more with pixel-level precision." This is part of a broader effort for the company to not just integrate its own AI tools into its photo editing tools, but to also offer third-party models that you'd typically have to go into another program to use. However, these often require the use of AI feature credits that aren't included in all Creative Cloud plans.
Finally, Lightroom now supports all of the Raw formats used by the Sony a7R VI, including the company's new "Compressed (HQ)" option. This means they're also supported in the Adobe Camera Raw processing used for Photoshop.
Speaking of Photoshop, the company has updated the Remove tool, which has, for a while, given you the option of using generative AI or not. If you chose to, the program would have to use a model stored on Adobe's cloud, though the company told us it was efficient enough that it didn't cost any credits. Now, however, you have the option to use the generative AI removal algorithm on-device, which could be useful if you'd prefer not to send your image to Adobe's servers, or if you're working offline.
We've had impressive results with Adobe's reflection removal tool in the past, and the company has made it even more versatile. Image: Adobe
Finally, the company has updated the Reflection Removal tool that was originally introduced in Adobe Camera Raw. It says the tool will now isolate those reflections in a separate layer, rather than just hiding them, "giving you precise control over opacity for natural, nondestructive results."
The company says all these updates, plus new features for Premiere and After Effects, will be rolling out to Creative Cloud subscribers throughout the week.
Press release:
From culling to compositing: New Creative Cloud innovations across every stage of your workflow
Have you ever spent hours manually reviewing thousands of photos from an event or portrait shoot to find the selects your clients will love? Redrawn a roto mask from scratch because the footage moved? Taken the perfect street portrait only to notice the shop window reflection cutting right across your subject's face? Every creative project has moments that are essential and moments that are simply necessary, and every minute spent on the latter is time away from the work that matters most to you.
Today we're sharing new features and upgrades designed to remove that friction and keep you in creative control, so you can get back to your craft.
Let’s dive into what’s new this week:
Faster culling, motion editing, and sharper results in Lightroom
We are evolving Lightroom into your complete photography workflow experience where you can organize, enhance, and edit your photos, all without leaving the app. This week’s updates make every stage of your process faster and more powerful:
Assisted Culling is now generally available, ready for the most discerning photo editor with enhancements based on close collaboration with our photo community. New capabilities include:
Face View which isolates each person in a photo and analyzes Eyes Open and Eye Sharpness, making it easier to evaluate shots at a glance.
Stacking automatically groups similar images and recommends the strongest one, so you can manage near-duplicates in a few clicks.
Customizable filters, precision dials, selection overrides, and more give you control over the entire process.
Photo to Video brings your images to life, transforming any photo into polished b-roll or reels with AI-generated motion powered by Firefly and Google Veo. Use smart prompts based on your image or input your own creative direction to achieve your own vision.
AI Sharpen brings Topaz Labs’ Noise-Aware Sharpen model directly into Lightroom, no exporting required, to recover fine details on flower petals, fur, foliage and more with pixel-level precision.
All Sony RAW formats on the recently announced Sony a7R VI are now supported across Lightroom, Lightroom Classic, and Adobe Camera Raw, so you can move from import to export without missing a step.
From the timeline to the audio track, Premiere's latest updates are built around how editors actually work
With updates across Premiere this week, you now have faster AI masking, new effects, smarter audio controls, and tighter connections to Stock and Firefly, all without pulling you out of the timeline:
Global Audio Mute lets you silence audio across the entire app in one click. Marker Search lets you pull up any marker by color or name across every open project.
With Channel Blur, Gradient, and Noise FX, you can handle precise compositing or add organic animated texture right inside the timeline.
3D Spinback and Slide transitions give you dynamic motion with professional-grade easing controls built directly into your editing workflow.
Single Word Captioning puts you in control at the word level without disturbing the broader caption block.
The new Stock Panel Checkout lets you preview and license Adobe Stock assets without leaving Premiere. When you send multiple assets into a project through Firefly Boards, a sequence is created for you automatically.
Object Mask is now faster and more refined. You get softer, more natural masks, and if media goes offline and gets relinked, you can regenerate the mask without starting over.
The Sequence Index Panel gives you long-form edit control in one place. A/V Display Mode shows video and audio waveforms together in the Source Monitor, so complex timelines are easier to read and navigate.
Latest tools in After Effects make complex motion work faster, smarter and more connected
From rotoscoping to 3D rendering to vector workflows, After Effects' latest updates this week remove the tedious work that creates friction and slows down your creative process:
Object Matte reimagines rotoscoping with four AI-powered tools, Object Selection, Quick Selection, Selection Brush, and Refine Edge, replacing the brush-only Roto Brush with the same AI precision already available and loved in Premiere.
3D in After Effects is getting a major upgrade, bringing your motion design work closer to full 3D production. You can now add real surface depth with Displacement Maps, apply cinematic Depth of Field across models, meshes, text, and shape layers, and use scripting APIs for Parametric Meshes for more control over complex scenes.
You can now import SVG files directly into After Effects as editable shape layers, with gradients, strokes, and transparency all intact. And with a new copy-paste workflow from Illustrator, you can bring vector content across without any conversion.
More control with image editing in Photoshop
Photoshop's latest updates available now, give you more precise control over cleanup and reflection removal:
Reflection Removal automatically detects and removes reflections from images shot through glass. Reflections are isolated in a separate layer, giving you precise control over opacity for natural, nondestructive results.
Remove Tool now gives you access to a generative AI model on-device and offline, so your editing workflow doesn’t have to wait for a connection.
Illustrator's newest tool removes the friction between a rough concept and a finished vector
We know designers want tools that remove friction and speed up tedious workflows, without sacrificing creative control.
We recently introduced the new Concept to Vector feature, available now in Illustrator, to help professional designers move faster from rough concepts to usable work. Concept to Vector turns sketches or low-quality assets into clean, editable vector drafts, or can generate multiple stylistic variations from a single sketch or source image – directly within Illustrator.
Explore what’s new and let us know what you think
The latest Creative Cloud updates are rolling out this week. Together these bring you more creative control with less friction. Explore what's new and tell us what you think
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What are the best (and worst) photography-related gifts you've received?
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
I was somewhere way back at the end of this line of photographers on a photowalk. Photo: Zach Sawyer
Confession: I'm an introvert. I like – and often thrive on – my alone time. Putting myself in situations to meet people doesn't come naturally. That's especially true when it comes to meeting other photographers. And as someone who has moved every three to four years in my adult life and works from home, connecting with other photographers is even more difficult. While that solitude can be valuable in certain doses, it can become isolating, and it also may not be the best way to build a sustainable relationship with photography.
That's where community comes into play. The importance of community has become especially clear to me over the past year or so and has inadvertently become a recurring theme in my life. It's come up in various ways, but most notably, it's been a consistent theme as I've been taking part in some local photography clubs for the first time ever.
Taking the first step
The first meetup I attended was on a beach to photograph storm-damaged houses. Photos: Abby Ferguson
Last year, I connected with a local photographer via Instagram who invited me to a group chat filled with photographers of all levels who participated in photo walks through a handful of casual clubs in the area. I conversed in the chat, but I purposefully avoided joining the photowalks that were posted. To be honest, going on a group walk with people I didn't know was intimidating, and I was unsure if it was something I would enjoy. After all, photography is often a solitary endeavor for me.
Despite my reluctance, I knew meeting other photographers would only be a good thing. Plus, as this is a place my husband and I will be for the long term, I wanted to set down some roots and finally make some connections here. And so, last fall, I finally put aside my reservations and attended a meetup.
A group shot (excluding me) of that first meetup that I attended. Photo: Abby Ferguson
The walk was a smaller, more casual one than most; there were only five of us, which was part of what pushed me over the edge to attend. We met in the evening and grabbed some dinner before heading to a beach where some houses had been left abandoned or in disrepair after hurricanes a few years ago. Cameras ranged from 35mm point-and-shoots to full-frame DSLRs and even a 4x5 view camera, and conversation was easy as we all meandered and, at times, did our own thing.
Overall, the meetup hit the sweet spot of being with others while still allowing me to focus on my own images if I wanted to.
Shared interests matter
A group shot from the first larger photowalk I attended. Photo: Jeremy McGuire
That initial meetup left me feeling inspired and connected with new friends who also love photography. It also gave me the confidence to try something new and join larger photo walks on a somewhat regular basis. Knowing a few people makes it easier, of course, but I also now know I can still do my own thing to get images I'm excited about, without feeling trapped by the group.
I also take part in regular conversations about photography in the group chat, everything from answering questions to geeking out about something (especially new film). I've met some very good friends through the group chat and the meetups. It's through these groups that it's really hit home how important it is to build community, especially community around shared interests.
Another bonus of hanging out with fellow photographers is that no one cares when you stop to take photos. And you may even get photos of yourself in action. Photo: Marcelo Murillo
Like other hobbies or specialties, photography has highly specific jargon and gear. To someone who isn't interested in photography, it can be like a foreign language. It makes a significant difference being able to talk to people who understand why you care about cameras, composition, prints, editing, lenses or waking up early to catch the good light.
Even if you aren't a gearhead, having people who understand the specific joys and frustrations of photography can make the practice feel less lonely. Being able to share an image I worked hard to get with a fellow photographer is very different from sharing with someone who doesn't care about or understand photography.
Motivation and accountability
Photowalks give me the opportunity to scratch my portrait itch more often, too. Photo: Abby Ferguson
I've written a fair amount about working through creative droughts or doubts with photography, and community can be a significant factor in getting out of those times.
Knowing there are regular photo walks gives me a reason to get out with a camera, even when I might otherwise talk myself out of it. That said, it's not accountability in a strict sense. After all, no one is checking whether I show up or thinking less of me if I don't. But having a group of people making plans, sharing images and talking about photography keeps the medium more present in my everyday life, which can keep it fresh and interesting.
Don't forget about online communities
I met these two through Flickr (which they also met through). This image was taken in 2012, not long after we first met in person, on a Lomo LC-A borrowed from Tim, on the right. Photo: Abby Ferguson
I think there is real value in connecting with people face-to-face and building community locally. However, I'm also of the internet age and recognize the importance of online communities, too. Some of my best friends in real life are people I've met online first (shoutout to Flickr for being the start of this). I also found my local photography groups because I connected with someone on Instagram.
I also recognize that not everyone has access to local photography groups with in-person meetups. I'm extremely fortunate to have multiple groups that hold meetups within a few hours' drive, but that's not the reality for many. Online communities, such as ours here at DPReview, can be excellent stand-ins and supplements to in-person connection.
Solitude and community can coexist
To be clear, I still very much value the solitary aspects of photography. I don't want every outing with my camera to be a social event. But joining my local photography groups has reminded me that it doesn't have to be an isolating medium. Sometimes being around others who care about the same strange, oddly specific things can make photography feel more fun and energizing, and it's worth getting out there when possible.
DJI and Insta360 have filed patent infringement suits against each other in the U.S., just days after Insta360 launched its new Luna gimbal camera line and amid the buildup for the Osmo Pocket 4P. Indeed, the two devices are remarkably similar: they are both handheld vlogging cameras with two lenses and integrated gimbals, and a similar form-factor.
DJI fired first, filing two lawsuits on June 10, the same day the Luna Ultra went on sale, in the Eastern District of Texas. The complaints allege that the Luna Ultra, its accessories, and app "blatantly copy DJI's patented inventions," including its subject-tracking system, follow/lock gimbal modes, and overall physical design. DJI is seeking a permanent injunction that would ban the accused products from the U.S. market, along with damages.
Insta360 isn't backing down, though. It pushed back today with two countersuits of its own, asserting five patents against DJI. The company claims DJI's products, including the Osmo Pocket, Ronin/RS, Osmo Mobile and Osmo 360, infringe its patents covering gimbal stabilization and directional control, among other technologies.
The suits from both companies are ongoing
Insta360 CEO JK Liu rejected DJI's infringement claims, saying Luna Ultra development began in 2020 and is the result of "years of independent R&D, not a response to any competitor's product." He characterized DJI's decision to file on launch day as "exposing their fear of competition from a highly competitive product."
According to the complaints, DJI sent Insta360 a letter on May 26 putting the company on notice about the patents two weeks before the Luna Ultra launched. That suggests the lawsuits were not filed without warning. The suits from both companies are ongoing, and it remains to be seen how the courts will rule on the competing claims.
This book has been one of my prized possessions since I bought it nearly two decades ago. Photo: Abby Ferguson
Sitting on my bookshelf immediately behind my desk is a copy of Duane Michals' The House I Once Called Home, inscribed to me by the artist himself. I've had it for nearly two decades, and I still pick it up from time to time because it has had such a significant influence on me as an artist and photographer. And so, it was with deep sadness that I learned Michals passed away on June 9.
The DC Moore Gallery, which represented Michals, confirmed his death at the hospital following a short illness. He was 94.
For anyone who has spent serious time studying the art of photography, Michals is one of those artists who fundamentally changes how you think about what the medium can do. His influences were more literary and surrealist than photographic, including William Blake, René Magritte, Lewis Carroll and Joseph Cornell. He published more than forty books over his career and continued exhibiting well into his 90s.
He came to prominence in the early 1960s, when photography was largely defined by documentation and reportage, but he wanted no part of that. Instead, he built sequences of staged black-and-white images that played out like short films, frequently using multiple exposures. These were often accompanied by handwritten text that told you, as he put it, "what you can't see."
"You are either defined by the medium, or you're redefining the medium."
Michals was self-taught, never belonged to a movement, and didn't seem particularly interested in fitting in anywhere. As he once said, "You are either defined by the medium, or you're redefining the medium," and he truly lived that throughout his career.
I had the chance to see Michals lecture when I was in undergrad, and I distinctly remember his wit. It was there that he signed one of my favorite photography books. He was one of my very first photographic influences, inspiring me to explore concepts of memory more deeply and leading me to start employing multiple exposures in my work. In fact, those multiple exposures were part of what led to my acceptance into graduate school and became the basis for my graduate thesis work.
Photography lost one of its true originals this week. But his books, and the boundary-pushing ideas within them, aren't going anywhere.
Camera companion apps can unlock useful features such as remote camera control, wireless image transfers, GPS data and more, but that's only if they work well. Nikon's primary app, SnapBridge, has been around for roughly a decade, but that doesn't necessarily mean all the kinks are worked out.
It currently supports all Nikon Z-series cameras, though support for older DSLR and compact models is more limited. I've spent some time with the app to see how it performs and what features it offers. All of my testing was done on the Google Pixel 10a and iPhone 15 Pro with the Nikon Zf. Your specific smartphone and camera may change your experience and the features available.
Bluetooth connection is just as simple as pairing other standard Bluetooth devices.
When initially setting up SnapBridge, you can choose to connect via Wi-Fi and Bluetooth or Wi-Fi only. Bluetooth establishes a constant connection between the camera and smart device, enabling automatic downloads of small files, along with remote control and location data. Wi-Fi is required for larger image transfers and remote live view functionality. I opted for that combination for my testing.
The initial Bluetooth connection is very straightforward and quick. The process requires a few steps on both the camera and app, but instructions are clear, and it paired quickly. Once connected, the Bluetooth connection was stable and reliable. I even have two phones paired, and while I had to manually select the phone I wanted at times, I had no issues with Bluetooth connecting quickly and staying connected.
Wi-Fi connectivity
To get my Wi-Fi connection to work, I needed to turn off encryption by navigating the following path: 'Network Menu' > 'Connect to smart device' > 'Wi-Fi connection'> 'Wi-Fi connection settings' > 'Authentication/encryption' > 'Open'
Wi-Fi pairing was a far different story. A colleague and I had the same difficulties connecting across multiple cameras using multiple phones. Unfortunately, these problems couldn't be easily solved through troubleshooting. A Nikon representative suggested changing from the default WPA2/WPA3 Wi-Fi encryption to open authentication. This solved the issue on the Zf that I was testing with, but it does mean that the connection is less secure.
STA mode changes what tools you have available in SnapBridge.
It's also worth noting that some Nikon cameras offer two Wi-Fi options: AP mode and STA mode*. AP mode is a direct Wi-Fi connection using the temporary network process as outlined above, while STA mode uses an existing network, such as your home Wi-Fi. STA mode is fast and easy to set up, with far fewer initial issues than AP mode during my testing.
While STA mode is quick to establish, reliable, and means your smart device remains connected to Wi-Fi, there are limits to what you can do in SnapBridge with it. You can't download firmware or use Bluetooth remote control, and automatic photo downloads are limited to 2MP, instead of the 8MP available in AP mode (though only some cameras support 8MP).
* STA mode is available on newer Z-series bodies, but it isn't available on all Nikon cameras at the time of writing. You can see what SnapBridge features are compatible with your camera on the support website.
If you switch between connection types or connected devices, you'll need to access the camera menu quite frequently.
Frustratingly, there's a fair amount of manual selection required when switching between connection options. For example, connecting to Wi-Fi via STA mode automatically turns Bluetooth off on the camera. If you want to go back to Bluetooth, you'll need to navigate to the Network Menu on the camera, turn Bluetooth back on and also select 'Exit Wi-Fi STA mode' in SnapBridge.
Transfer, editing and sharing tools
Auto link uses Bluetooth connectivity to automatically transfer photos to your phone.
SnapBridge lets you wirelessly transfer images and videos from your camera to a smart device in two ways. One is 'Auto link,' which automatically downloads new photos to your connected phone or tablet. SnapBridge offers two Auto link options: in the background (transfers occur even when your phone is in sleep mode) or in the foreground (transfers only occur when you are in the app).
There are some pretty significant limitations to Auto link, though. First, it isn't available when the camera and phone are connected via Wi-Fi AP mode, so you'll have to use Bluetooth or STA mode. It also doesn't support Raw, TIFF or video files, and limits photos to 8MP on most newer Z-series cameras and 2MP on all others. Newer Z-series cameras support automatic transfer of HEIF images alongside JPEGs.
The auto-downloading of photos via Bluetooth is reliable, though with a caveat: you have to keep your phone and camera relatively close together. If I walked to another room in my house with my phone, the syncing would stop. My house isn't all that large, and the range would have been close enough for a speaker or headphones to keep working, but not so for syncing photos to SnapBridge.
The STA Wi-Fi mode also offers an auto download function, though only at 2MP. However, despite having this turned on, I was never able to get the app to sync new photos when connected via STA mode on both the iPhone and Pixel.
Downloading images manually allows you to sync Raw files.
If you want larger files, you'll need to transfer manually, which requires one of the two Wi-Fi connections. Manual transfers in SnapBridge support Raw files from all Z-series bodies, but not DSLRs or older compacts. That said, by default, the view for transferring images is filtered to JPEG only. If you shoot Raw or HEIF, it will appear as though you don't have any images to choose from until you change the display options via the top menu.
Manually saving files to my phone was also easy. Tapping on an individual image from the grid opens it larger with a 'Download' button at the bottom. You can then choose which size and file format you want to download. Raw files naturally take more time, but even when downloading a handful at once, it wasn't unreasonably slow. I never tried to download more than 10 at a time, but for that volume, it's a reasonably fast process.
You can share photos to various apps and sync images to Nikno's Image Space, that's the extent of the options in SnapBridge.
The SnapBridge app is quite limited in terms of what you can do with your photos beyond syncing them to your phone. You can share files to various apps such as Instagram, Facebook, email and more, but that's all.
There are no editing tools, so you'll need a different app if you want to edit on your phone. There's also no way to transfer Look Up Tables (LUTs) or color profiles from your phone to the camera via SnapBridge.
If you're looking for a more robust image transfer, Nikon's direct camera-to-cloud service, Imaging Cloud, is the better option. It offers automatic full resolution uploads to third-party services like Lightroom, Google Photos, Dropbox and OneDrive. Imaging Cloud also supports user-created image presets, which you can't access in SnapBridge.
Remote control and live view
The Bluetooth remote is as simple as it gets.
The SnapBridge app offers two remote options: one with live view and one without. Bluetooth connectivity is used for the remote trigger option, which lacks live view or any access to settings. It does support interval timer shooting, time-lapse video recording, and focus shift shooting, though. It also features a "Press halfway" button to focus, though you can't change your focus point, so you'll have to set that on the camera.
Oddly, the Bluetooth remote also lets you pull up the playback menu on the camera from afar, with the ability to zoom in and out, scroll forward and back, and show or hide information.
All of the features in the Bluetooth remote option work seamlessly. The autofocus is responsive when I tap to half-press, the shutter triggers right when I tap the button, and the small selection of additional modes also works well.
The Wi-Fi-based remote gives you more control over settings, but doesn't have some of the features found in the Bluetooth remote.
The other option, which is labeled 'Remote photography' in the app, adds much more control from your smart device. It requires a Wi-Fi connection, but once connected, you'll have access to live view and the ability to change the shutter speed, aperture, exposure compensation, ISO and white balance. You can also change between manual, shutter priority, aperture priority and program (there is no option for auto).
The Wi-Fi version of the remote also lets you choose if you want to automatically download the photos, and if you want those to be 2MP, 8MP or the original format. However, those files will be JPEGs or HEIFs, as Raw files are not supported here. This remote option also gives you the ability to use a self-timer, and you can change the focus point by tapping anywhere on your phone screen.
I found the 'Remote photography' feature to be highly responsive. The live view instantly adjusts to any reframing or exposure changes, and the autofocus is also very snappy. Having the instant image download option turned on slows down the process of taking photos a bit, since it loads for a split second after I tap the shutter, but that's the only slowdown when using the remote with live view.
It was also very stable, staying connected for long periods with no issues. Plus, as long as I didn't end the Wi-Fi connection, I could leave the remote to use other parts of the app and instantly jump right back into remote shooting.
GPS sharing
SnapBridge supports location data, meaning you can sync your phone's GPS data to the camera so that your images have a location tied to them. When using Bluetooth connectivity, the app lets you choose if you want high, medium or low accuracy. High accuracy will use more battery in both the camera and smart device, though with more precise location data, while low will use less battery with less precise data.
There's also a battery saving mode, which pauses the location data link to save battery if the camera isn't used after a period of inactivity (Nikon doesn't specify the time limit). Using the camera will automatically reconnect the feature.
I have the location data set to medium, and it is still incredibly precise. It did drain my phone's battery faster than usual, but I still wouldn't have any reservations about setting it to that unless I knew I wouldn't have access to power for a while.
Firmware updates
Firmware updates are simple through the SnapBridge app.
SnapBridge supports firmware updates, so you don't have to fuss with downloading firmware to your computer and transferring it to the camera. However, it's important to note that you must use the AP mode, not the STA or Bluetooth connections. I only had one firmware update to install, but the process was straightforward and quick, with the new version ready to use in a few minutes.
While firmware updates through SnapBridge are easy, they aren't automatic. If you want your firmware to stay updated without any input from you, Imaging Cloud is what you'll want to use.
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Photo: Dale Baskin
Recently, Panasonic released firmware V2 for the Panasonic S9, which lets you use the camera with the latest version of the Lumix Lab app. That makes it a pretty exciting update, as Lumix Lab V3 adds a ton of new features, like the ability to edit Raws, download images via a wired connection, edit your custom color modes with the app and more. However, if you're trying to update your camera, you'll want to do so using a computer, rather than the app.
Panasonic posted a notice to its site saying it's "identified an issue with the DC-S9 version 2.0 firmware update released on June 9, 2026," specifically when updating via Lumix Lab. According to the warning, the ability to update using the app should be turned off, but if for some reason it still lets you do it, you should probably cancel the operation.
While there are several people who say they successfully updated their camera with Lumix Lab, there are also a few reports on social media from people experiencing major issues after doing so, with their cameras rendered essentially unusable.
Panasonic says you can still update the camera's firmware by using a computer to download the file, then copying it onto a memory card. It also says it's working to fix the issue so people will be able to update their camera's firmware with Lumix Lab in the future.
DJI has been teasing a new version of its gimbal vlogging camera, the Osmo Pocket 4P, with two cameras for a while now, and we've finally been able to go hands-on with one. DJI invited our Director of Video and Social, Mykim Dang, to an event in Toronto where she was able to use it and take some photos of it.
While DJI has said that members of the press are allowed to share images of the camera, the actual technical details about its sensors, lenses, and operation are embargoed for a later date. Stay tuned, as we'll be going in-depth on the additional 3x camera and how the package as a whole competes with a modern high-end smartphone as soon as we're able. For now, enjoy some product shots, then check out our coverage of the original Osmo Pocket 4.
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Magliano, Tuscany, Italy
"Same night as the church star trail, before leaving, I tried this photo, and then at home I discovered the amazing details of the external Milky Way visible in the roof hole, sometimes you get nice photos when you least expect them!"
Sony a7R IV | Viltrox 16mm F1.8 FE | F1.8 | 13 sec | ISO 6400 Photo: Giacomo Farabegoli
Combining a love of hiking with a passion for photography, community member Giacomo Farabegoli ventures into the outdoors to capture landscapes at all times of day. His photos reflect a real passion for landscape and astrophotography, a perfect fit for our Nature Photography Day Question of the week, which we just published.
"I got started by finding my mom's old Nikon F601 in a cabinet at home. After a couple of film rolls, used to figure out various combinations of aperture and shutter speed, I decided to go full analog by buying an Olympus OM-1 (the '70s version, not the digital). After some years, I finally went digital with a Nikon D5000. At first, I was all for street photography since I was living in Milan. Then, in 2021, I moved to Trentino-Alto Adige, surrounded by mountains, and there I fell in love with Nature photography. I found the need to change systems and bought a used Sony a7R IV."
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.
"It was in November, and I spent several hours hiking to this spot. I pitched the tent and waited. I've done the Milky Way shot with the tent blending three exposures (foreground, tent and sky), and two different sessions for the star trails (one with the tent and one only mountains). I stayed up till 3 am and didn't sleep because of the freezing night at 2600 meters!"
Sony a7R IV | Viltrox 16mm F1.8 FE | F1.8 | 6 sec | ISO 3200 Photo: Giacomo Farabegoli
Meet Giacomo Farabegoli
Home base: Val di Fiemme, Trentino-Alto Adige, Italy
Favorite gear: "I think the Osprey Camera Chest Rig is my favorite item since it's really comfortable during long hikes, and I can have my camera ready quite fast, but at the same time well protected. The rig conveniently connects directly to just about any backpack's shoulder straps."
"While I was living in the city, I tended to focus more on portraits and street photography, but since I moved closer to nature, I started to do landscape photography. This resulted in a change of gear as well. I didn't need any more flashes or fast 85mm lenses, so I shifted more to wide-angle fast primes and lightweight zooms for day hikes. An expensive shift, but completely worth it."
Support gear: "My new kit is built around landscape and astrophotography, with the need for it to be portable for hiking. I have a Heipi 3-in-1 carbon tripod that provides a sturdy support system for long treks. An intervalometer (auto-shutter trigger) is always packed for star trail photography, along with spare batteries for extended nights in the field. For more detailed deep-sky work, a star tracker is included (usually). A particularly useful addition is a tent string tensioner, which can be used to secure and stabilize the tripod against rocks during windy conditions. I'm not going to lose my equipment to a cliff face fall..."
Camera bags: "I use different packs depending on the length and purpose of the trip. A Manfrotto Pro Light Backloader is reserved for paid shoots and travel, thanks to its gear capacity and airline-friendly dimensions. For hiking, I tend to an Osprey Talon 26L for day trips, a Millet Ubic 35L for overnight photography outings, and an Osprey Atmos AG 50L for multi-day adventures."
"I should note that camera gear is protected inside these packs using a Lowepro GearUp Box or, when minimizing weight is a priority, a Spinn Design Wrapper. For quick access on the trail, take a Peak Design Capture Clip or an Osprey Camera Chest Rig, as these keep the camera readily available."
Corno Nero, Oclini, Alto Adige, Italy
"I was trying to shoot a comet that night and while I was waiting I got this beautiful sunset with the low moon (it was a Supermoon the day after), I went back hiking during the night in the snow because I didn't want to pitch the tent in the cold."
Sony a7R IV | Sony FE 70-200mm F2.8 GM II | F2.8 | 1/320 sec | ISO 320 Photo: Giacomo Farabegoli
How has your photography changed since you started?
"While I was living in the city, I focused more on portraits and street photography, but since I moved near nature, I have only been doing landscapes or nature-focused photography. This resulted in a change of gear as well. I didn't need any more flashes or fast 85mm lenses, so I shifted more to wide-angle fast primes and lightweight zooms for day hikes."
"I shoot usually in mountain scapes, away from people and urban areas. I often find myself surrounded by snow during winter shootings, freezing in the cold, but with a lot of clear skies to keep my attention on while I also try to keep warm."
How do you adapt your setup to different situations?
"In 2025, I went for a long hike in the Dolomites near where I live. I've done some pretty extreme climbs of 85 kilometers with 6000 meters of elevation gain in 5 days with a 20kg backpack full of camping and photography gear."
"Depending on what type of hike I'm doing, for a day hike I bring only my camera with the 24-105mm and a spare battery. On multi-day hikes, I bring more batteries and a couple of lenses (usually 24-105mm and 14mm). If it is a night shooting for star trails and Milky Way, I go with two camera bodies and even three lenses, depending on the subject (like the 70-200mm if I want to do moon or deep sky), an intervalometer and a star tracker."
Magliano, Tuscany, Italy
"An abandoned church in Tuscany, saw the spot from the road and went the same night to try this photo, I was lucky to get a perfect, clear sky."
Sony a7R IVA | Viltrox 16mm F1.8 FE | F8 | 61 sec | ISO 2000 Photo: Giacomo Farabegoli
When capturing that perfect shot, what techniques come to mind?
"I like to go explore before actually going shooting, if possible. I don't bring the camera; I just go there and start exploring the surrounding area to find the perfect spot for the tripod and the tent. If I can't explore beforehand, like on a vacation trip, I use different apps, Photopills and ThePhotographerEphemeris, to virtually explore the area and find potential spots before I arrive. Once I have the spot in mind, it's then all in the hands of Mother Nature to give me the ideal conditions to shoot a perfect photo."
How can print photographers learn from digital photographers?
"As I'm organizing workshops, I often see that a lot of people starting digital photography lack those little details that I learned when I was shooting analog. Using the camera in Manual mode to achieve the desired exposure, rather than relying entirely on Auto mode. A good exercise is to turn off the camera's image preview and check what you have done when you go back home."
"A good exercise is to turn off the camera's image preview and check what you have done when you go back home."
"Another piece of advice is that every setup depends on what you want to shoot. I do landscapes and prints, so I need high image quality and a lot of megapixels. A street photographer, though, needs to focus more on portability, as a sports photographer does on a faster camera."
"And last but not least, you don't need to spend thousands of dollars to start. My first camera was 120€ with two lenses (unheard of these days, I know), start low and then improve your gear only when you've improved your technique!"
Karersee, Alto Adige, Italy
"Sunset over Karersee Lake, waited 3 hours for the perfect light."
Nikon D800E | Sigma 20mm F1.4 DG HSM Art | F13 | 1/15 sec | ISO 100 Photo: Giacomo Farabegoli
Giacomo really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Giacomo, 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.
Apple says its new Raw processor offers much better denoising, even when dealing with images from cameras that have "non-traditional sensor patterns." Image: Apple
Apple had some splashy announcements at its Worldwide Developer Conference keynotes regarding AI and the future of its software, but, as is often the case, some of the most interesting developments were saved for later in the week, in the developer sessions. Case in point: Apple has apparently reworked the pipeline for processing Raw images that powers not just its own apps like Photos and Pixelmator Pro, but also third-party ones that choose to integrate Apple's tech.
In a video titled "WWDC26: Enhance RAW image processing with Core Image," the company not only walks through the changes it's making, but also provides a pretty good summary of how Raw data gets turned into a visible image through demosaicing, denoising, applying white balance and other adjustments, and more. But the meat of the video is the discussion around the 9th iteration of its Raw processor, which it characteristically calls its "biggest update yet."
The company says it's building machine-learning powered denoising straight into the demosaicing step, leading to sharper images in most situations, and dramatic improvements to rendering very noisy photos. That'll be especially important when, say, trying to process photos shot with the relatively small sensors found in the latest iPhones, though Raw 9 supports more than just Apple's cameras. The company says it can deal with Raw files from "hundreds" of cameras from "all major professional camera vendors," and promises that more will be added as time goes on.
AI-powered denoising has become a major part of photo editing these days. Major photo editing software like Photoshop and DxO are gaining built-in support for it, and even standalone denoising apps like Topaz Labs are getting some buzz. It's no surprise that Apple is building the tech into its own Raw processor, though it's interesting that it essentially seems to be baking it in, without offering a ton of control over how it's applied (though apps will still be able to offer sliders for luma noise reduction).
Raw 9 will be included on new operating systems like iOS, iPadOS and macOS 27
As for where Raw 9 will show up, you'll likely start seeing output from it in Apple's apps first, once its new operating systems like iOS 27 and macOS 27 "Golden Gate" are released this fall. It's used not only in editing apps like Photos, but to allow you to view Raw images in the file browser, and in Preview.
Third-party developers will also be able to use it in their apps when dealing with Raw files, though it apparently won't be the default, potentially thanks to the increased processing requirements versus Raw 8. And while we wouldn't expect companies like Adobe to ditch their custom-made Raw convertors for it anytime soon, many indie photo editing apps on Apple's platforms will likely use it, gaining better Raw output without requiring much extra work on the developers' part.
As a heavy user of Apple Photos – I have over 20,000 Raw images stored in it going back to 2012 – I'm excited for this change. As Apple points out, part of the beauty of shooting Raw is that you can breathe new life into old photos by reprocessing them, and I'll be very interested to see if I notice the difference in my strolls down memory lane.
The DJI Osmo Pocket has been the default choice for gimbal camera shooters for years, but Insta360 is now making a direct play for that market. The Luna Ultra is the company's first gimbal camera, and it features Leica branding, 8K video and a dedicated telephoto lens.
The launch appears to have been pulled forward after a creator purchased the camera from B&H before its official release date – while it was still under embargo – after retailer listings went live ahead of schedule.
The Luna Ultra features a dual-camera system, competing against the Osmo Pocket 4's single camera. That said, DJI is gearing up to launch its own version with two cameras, so this won't be an edge for long. The main camera uses a Type 1 (128 mm²) CMOS sensor with a 20mm equivalent focal length and F1.8 aperture. The dedicated telephoto camera provides a 60mm equivalent focal length and uses a smaller, Type 1/1.3 (69 mm²) sensor and F2.0 aperture. Beyond those two focal lengths, Insta360 says it offers 6x lossless and 12x hybrid zoom.
Insta360 sells various accessories for the Luna Ultra. Image: Insta360
The camera records 8K/30p videos with Dolby Vision and 10-bit I-Log for greater flexibility while editing. The 8K resolution could appeal to those after extra quality, as the Osmo Pocket 4 tops out at 4K, albeit at 240 fps. The Luna Ultra also offers a 'PureVideo Mode,' which Insta360 says reduces noise and improves brightness for low light shooting up to 4K/60p.
On the stills side, the camera can capture up to 37MP, though that's in Insta360's "UltraPhoto" mode. Insta360 doesn't specify what this mode is, but we suspect it's a computational multi-frame capture mode. Standard photos max out at 9MP. It also offers 200MP panoramic shots.
Stabilization comes from a 3-axis gimbal combined with electronic image stabilization, promising smooth footage even while moving. It also uses Insta360's Deep Track 5.0 for subject tracking, which includes various specific tracking features, such as modes for groups, zooming, auto framing and more.
The touchscreen is detachable and able to function as a remote for the camera gimbal. Image: Insta360
The Luna Ultra features a detachable 2-inch OLED touchscreen, which Insta360 says is an industry first. The touchscreen can then function as a remote that works up to 20m (65') away. It certainly adds some convenience for solo creators. The company also offers a separate POV Head Tracker that can automatically move the camera based on your head movements.
Insta360 says the camera gimbal is co-engineered with Leica, and it features Leica-branded Summicron lenses. It also brings Leica's color profiles to the tiny camera gimbal, including Leica Natural, Leica Vivid and Leica Chrome. The company says that it's compatible with professional color workflows, including ACES (Academy Color Encoding System). It also features built-in time code for syncing multiple devices and a QR code system for sharing color settings between devices.
Image: Insta360
The camera includes 47GB of internal storage and is compatible with microSD cards up to 1TB. Insta360 promises four hours of battery life.
Beyond some camera benefits over the Osmo Pocket 4, the Luna Ultra has one other key lead over DJI's camera gimbal in the US market: it's available. New DJI products have not been officially available in the US since the FCC blocked the company from receiving equipment authorization in December 2025.
The Luna Ultra starts at $770 and comes in white or black. For comparison, the Osmo Pocket 4 launched at £445 (roughly $596) in the UK, though DJI has not set a US price. A close competitor, the dual-lens Pocket 4 Pro, is also expected, and although we don't know the official price yet, Chinese retail listings suggest it will sit in a similar range to the Luna Ultra.
Insta360 Launches Luna Ultra: Leica Co-Engineered Gimbal Camera Built for Next-Generation Mobile Filmmaking
Insta360 today announced Luna Ultra, its flagship gimbal camera co-engineered with Leica, built to combine professional imaging, 3-axis stabilization, and flexible creative tools in one portable device.
Featuring a dual-lens design with a pro-grade telephoto lens, it's built for everyday creators and mobile filmmakers.
With 1" 8K imaging, Leica Summicron lenses, a detachable OLED touchscreen, and advanced AI-powered tracking, Luna Ultra brings Insta360's imaging expertise into a new category for creators who want smooth, high-quality video and photos wherever they go.
Luna Ultra will be available starting June 10 via the Insta360 Store, Amazon, Best Buy, and select retailers worldwide, with availability in some markets to follow at a later date. Pricing for the U.S. market starts at US$769.99.
Advanced Imaging and Optics
Luna Ultra features a Leica Summicron lens paired with a 1" 8K sensor for high-resolution video and photo capture, and a secondary telephoto lens system with a 1/1.3" sensor and F2.0 aperture, enabling natural bokeh across five focal lengths, with up to 12× zoom, including 6× lossless zoom.
"Luna Ultra marks Insta360's arrival in the gimbal camera space, backed by the full strength of our imaging expertise. We believe this category is ready for a new standard, defined by smarter technology, stronger performance, and a more intuitive user experience. Luna reflects our vision for the future of gimbal imaging, built to help people capture what matters with greater ease, confidence, and authenticity." — Max Richter, VP of Marketing and Co-Founder of Insta360.
Video capabilities include 8K30fps recording with Dolby Vision and support for 10-bit I-Log capture for greater color information and flexibility in post-production. With up to 14 stops of dynamic range, the system preserves rich detail in both highlights and shadows. For photography, Luna Ultra supports 37MP UltraPhotos and 200MP Scenic Panorama photos.
Low-light performance is enhanced by PureVideo Mode, which reduces noise and improves brightness and detail up to 4K60fps. Luna Ultra also features a Triple AI Chip to support advanced image processing and overall performance.
Design and Stabilization
Luna Ultra features a compact, lightweight design at just over 200g, making it as easy to carry as a modern smartphone.
An industry-first detachable 2" OLED touchscreen enables remote monitoring and control with HD transmission up to 20 meters, for more flexible shooting angles and solo capture.
It also features a 1550mAh battery for up to four hours of use, with fast charging to 80% in approximately 23 minutes. Built-in storage provides 47GB of usable space, with support for up to 1TB via microSD.
A 3-axis stabilization system, combined with electronic image stabilization, ensures smooth footage during movement. Deep Track 5.0 enables precise subject tracking, with features including Auto Tracking, Active Zoom Tracking, Group Tracking, and Smart Framing to help keep subjects in frame and in focus.
Creative Tools and Professional Workflow
Luna Ultra incorporates Leica color profiles, including Leica Natural, Leica Vivid, and Leica Chrome, alongside a range of cinematic filters for flexible in-camera looks. It also supports professional color workflows, including ACES (Academy Color Encoding System).
Built-in timecode enables multi-camera synchronization and supports editing in software such as Final Cut Pro and Adobe Premiere Pro. Additional tools include QR Color Share for sharing color settings between devices and AI-assisted editing within the Insta360 app, which identifies key moments and generates ready-to-share edits.
For audio, Luna Ultra features a built-in wind guard for clearer outdoor recording, along with direct compatibility with Insta360 Mic systems for single or dual-transmitter setups.
A dedicated accessory lineup further expands creative options, including a POV Head Tracker for hands-free capture, Black Mist filters for cinematic diffusion, a Wide-Angle Lens that expands the field of view to 108°, and ND Filters for exposure control and motion blur.
A Six-Year Partnership in Imaging Innovation
Insta360's partnership with Leica spans six years and five co-developed products, combining Leica's optical heritage and iconic color science with Insta360's Emmy Award-winning imaging technology. With Luna Ultra, the two companies bring that collaboration into a new category, pairing professional optics with compact, AI-powered gimbal camera design.
Luna Ultra was unveiled at Leica's Headquarters in Wetzlar, underscoring the close partnership behind Insta360's first Leica co-engineered gimbal camera.
"This launch represents more than a new product announcement. It reflects the shared vision and long-term collaboration between Insta360 and Leica, combining optical heritage with a new generation of intelligent imaging technology." — Marius Eschweiler, VP of Business Unit Mobile at Leica Camera AG.
Availability & Pricing
Luna Ultra will be available starting June 10 via the Insta360 Store, Amazon, Best Buy, and select retailers worldwide, with availability in some markets to follow at a later date. - Luna Ultra – US$ 769.99
It will be available in Cosmic Black and Stellar White.
The DJI Osmo Pocket has been the default choice for gimbal camera shooters for years, but Insta360 is now making a direct play for that market. The Luna Ultra is the company's first gimbal camera, and it features Leica branding, 8K video and a dedicated telephoto lens.
The launch appears to have been pulled forward after a creator purchased the camera from B&H before its official release date – while it was still under embargo – after retailer listings went live ahead of schedule.
The Luna Ultra features a dual-lens system, competing against the Osmo Pocket's single lens. That said, DJI is gearing up to launch its own two-lens camera gimbal, so this won't be an edge for long. The main camera uses a Type 1 CMOS sensor with a 20mm equivalent focal length and F1.8 aperture. The dedicated telephoto camera provides a 60mm equivalent focal length and uses a smaller, Type 1/1.3 sensor and F2.0 aperture. Beyond those two focal lengths, Insta360 says it offers 6x lossless and 12x hybrid zoom.
Insta360 sells various accessories for the Luna Ultra. Image: Insta360
The camera records 8K/30p videos with Dolby Vision and 10-bit I-Log for greater flexibility while editing. The 8K resolution could appeal to those after extra quality, as the Osmo Pocket 4 tops out at 4K, albeit at 240 fps. The Luna Ultra also offers a 'PureVideo Mode,' which Insta360 says reduces noise and improves brightness for low light shooting up to 4K/60p.
On the stills side, the camera can capture up to 37MP, though that's in Insta360's "UltraPhoto" mode. Insta360 doesn't specify what this mode is, but we suspect it's a computational multi-frame capture mode. Standard photos max out at 9MP. It also offers 200MP panoramic shots.
Stabilization comes from a 3-axis gimbal combined with electronic image stabilization, promising smooth footage even while moving. It also uses Insta360's Deep Track 5.0 for subject tracking, which includes various specific tracking features, such as modes for groups, zooming, auto framing and more.
The touchscreen is detachable and able to function as a remote for the camera gimbal. Image: Insta360
The Luna Ultra features a detachable 2-inch OLED touchscreen, which Insta360 says is an industry first. The touchscreen can then function as a remote that works up to 20m (65') away. It certainly adds some convenience for solo creators. The company also offers a separate POV Head Tracker that can automatically move the camera based on your head movements.
Insta360 says the camera gimbal is co-engineered with Leica, and it features Leica-branded Summicron lenses. It also brings Leica's color profiles to the tiny camera gimbal, including Leica Natural, Leica Vivid and Leica Chrome. The company says that it's compatible with professional color workflows, including ACES (Academy Color Encoding System). It also features built-in time code for syncing multiple devices and a QR code system for sharing color settings between devices.
Image: Insta360
The camera includes 47GB of internal storage and is compatible with microSD cards up to 1TB. Insta360 promises four hours of battery life.
Beyond some camera benefits over the Osmo Pocket 4, the Luna Ultra has one other key lead over DJI's camera gimbal in the US market: it's available. New DJI products have not been officially available in the US since the FCC blocked the company from receiving equipment authorization in December 2025.
The Luna Ultra starts at $770 and comes in white or black. For comparison, the Osmo Pocket 4 launched at £445 (roughly $596) in the UK, though DJI has not set a US price. A close competitor, the dual-lens Pocket 4 Pro, is also expected, and although we don't know the official price yet, Chinese retail listings suggest it will sit in a similar range to the Luna Ultra.
Insta360 Launches Luna Ultra: Leica Co-Engineered Gimbal Camera Built for Next-Generation Mobile Filmmaking
Insta360 today announced Luna Ultra, its flagship gimbal camera co-engineered with Leica, built to combine professional imaging, 3-axis stabilization, and flexible creative tools in one portable device.
Featuring a dual-lens design with a pro-grade telephoto lens, it's built for everyday creators and mobile filmmakers.
With 1" 8K imaging, Leica Summicron lenses, a detachable OLED touchscreen, and advanced AI-powered tracking, Luna Ultra brings Insta360's imaging expertise into a new category for creators who want smooth, high-quality video and photos wherever they go.
Luna Ultra will be available starting June 10 via the Insta360 Store, Amazon, Best Buy, and select retailers worldwide, with availability in some markets to follow at a later date. Pricing for the U.S. market starts at US$769.99.
Advanced Imaging and Optics
Luna Ultra features a Leica Summicron lens paired with a 1" 8K sensor for high-resolution video and photo capture, and a secondary telephoto lens system with a 1/1.3" sensor and F2.0 aperture, enabling natural bokeh across five focal lengths, with up to 12× zoom, including 6× lossless zoom.
"Luna Ultra marks Insta360's arrival in the gimbal camera space, backed by the full strength of our imaging expertise. We believe this category is ready for a new standard, defined by smarter technology, stronger performance, and a more intuitive user experience. Luna reflects our vision for the future of gimbal imaging, built to help people capture what matters with greater ease, confidence, and authenticity." — Max Richter, VP of Marketing and Co-Founder of Insta360.
Video capabilities include 8K30fps recording with Dolby Vision and support for 10-bit I-Log capture for greater color information and flexibility in post-production. With up to 14 stops of dynamic range, the system preserves rich detail in both highlights and shadows. For photography, Luna Ultra supports 37MP UltraPhotos and 200MP Scenic Panorama photos.
Low-light performance is enhanced by PureVideo Mode, which reduces noise and improves brightness and detail up to 4K60fps. Luna Ultra also features a Triple AI Chip to support advanced image processing and overall performance.
Design and Stabilization
Luna Ultra features a compact, lightweight design at just over 200g, making it as easy to carry as a modern smartphone.
An industry-first detachable 2" OLED touchscreen enables remote monitoring and control with HD transmission up to 20 meters, for more flexible shooting angles and solo capture.
It also features a 1550mAh battery for up to four hours of use, with fast charging to 80% in approximately 23 minutes. Built-in storage provides 47GB of usable space, with support for up to 1TB via microSD.
A 3-axis stabilization system, combined with electronic image stabilization, ensures smooth footage during movement. Deep Track 5.0 enables precise subject tracking, with features including Auto Tracking, Active Zoom Tracking, Group Tracking, and Smart Framing to help keep subjects in frame and in focus.
Creative Tools and Professional Workflow
Luna Ultra incorporates Leica color profiles, including Leica Natural, Leica Vivid, and Leica Chrome, alongside a range of cinematic filters for flexible in-camera looks. It also supports professional color workflows, including ACES (Academy Color Encoding System).
Built-in timecode enables multi-camera synchronization and supports editing in software such as Final Cut Pro and Adobe Premiere Pro. Additional tools include QR Color Share for sharing color settings between devices and AI-assisted editing within the Insta360 app, which identifies key moments and generates ready-to-share edits.
For audio, Luna Ultra features a built-in wind guard for clearer outdoor recording, along with direct compatibility with Insta360 Mic systems for single or dual-transmitter setups.
A dedicated accessory lineup further expands creative options, including a POV Head Tracker for hands-free capture, Black Mist filters for cinematic diffusion, a Wide-Angle Lens that expands the field of view to 108°, and ND Filters for exposure control and motion blur.
A Six-Year Partnership in Imaging Innovation
Insta360's partnership with Leica spans six years and five co-developed products, combining Leica's optical heritage and iconic color science with Insta360's Emmy Award-winning imaging technology. With Luna Ultra, the two companies bring that collaboration into a new category, pairing professional optics with compact, AI-powered gimbal camera design.
Luna Ultra was unveiled at Leica's Headquarters in Wetzlar, underscoring the close partnership behind Insta360's first Leica co-engineered gimbal camera.
"This launch represents more than a new product announcement. It reflects the shared vision and long-term collaboration between Insta360 and Leica, combining optical heritage with a new generation of intelligent imaging technology." — Marius Eschweiler, VP of Business Unit Mobile at Leica Camera AG.
Availability & Pricing
Luna Ultra will be available starting June 10 via the Insta360 Store, Amazon, Best Buy, and select retailers worldwide, with availability in some markets to follow at a later date. - Luna Ultra – US$ 769.99
It will be available in Cosmic Black and Stellar White.
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What are the best (and worst) photography-related gifts you've received?
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
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Image: Laowa
When Laowa released its 180mm F4.5 1.5X Ultra Macro APO lens last year, it offered autofocus, but not at macro distances. For those extra close subjects, manual focus was required. Now, Laowa is fixing that limitation with a firmware update.
Laowa's 180mm macro lens supports a minimum focusing distance of 0.3m (11.8"), but its autofocus only engaged from 1.5m (4' 11") and beyond. That's a pretty good gap between how close you can focus and how close autofocus works. Because of that, subjects at macro distance would require manual focus, which may not be ideal for some photographers and situations.
A small note on Laowa's product page says that new firmware is available, "enabling autofocus for macro photography," so that limitation is now gone, potentially making it easier for photographers to get in focus images. The firmware update also unlocks macro focus bracketing, which is a useful tool for macro photographers. Interestingly, the page still warns that "auto-focus is only available for subjects from 1.5m to infinity," though we suspect this applies only to the old firmware version.
The firmware update is now available for download for Canon EF-, Nikon Z-, and Sony E-mount versions of the lens. The RF and L-mount versions of the lens are manual focus only, so this update does not affect them.
Thanks to DPReview reader Stig Nygaard for the tip.
Apple Photos is getting two new AI-powered features, along with updates to the existing "Clean Up" tool. Image: Apple
Apple has announced iOS 27, the latest version of its mobile operating system, which focuses more on stability and refinement rather than loading up with new features. However, it shared a few additions, including one that raised a few eyebrows at DPReview: generative AI-powered photo editing.
The first change is an update to the "Clean Up" tool, which lets you remove unwanted elements in your image. Apple says the new version will provide "better quality and more realistic infill," even in complex scenes. The company is also adding an "Extend" tool, letting you effectively do a negative crop and use AI to add a simulacrum of what was outside the frame of your original image. Apple pitches it as a way to give your subject a bit more space, or to level an image without changing the composition.
When using Spatial Reframing, the blurry areas indicate where the photos app will have to use generative Extend.
While both features likely sound familiar to anyone who's spent any time in modern Photoshop, the company's last feature, "Spatial Reframing" is a bit more advanced. It uses AI to essentially change perspective, letting you virtually move the camera around to reframe a subject, and having AI fill in the background needed to sell the effect.
While the "Spatial" branding makes it seem like it uses the depth data that powers other features like virtual bokeh, that doesn't seem to be the case. Apple says you'll even be able to reframe older images, and ones taken using other cameras.
Apple says any images made using these features will include "a hidden SynthID watermark" to mark them as having been edited with AI. The company also says that some AI features, like image generation, will have "daily usage limits" because they rely on server-side processing. It's currently unclear what those limits are, exactly which features they'll apply to, or how much they'll be extended if you pay for the company's iCloud+ plans.
In many ways, this is Apple playing catch-up with other phone makers, as companies like Google and Samsung have introduced slews of AI-powered features*, like the ability to add the photographer into a group photo, combine several photos into a single image where everyone is smiling and looking at the camera, and resize/move elements of an image and clean up the background. But it's also interesting that there's one line Apple isn't crossing in the Photos app: giving you a tool to add generated imagery into your pictures, something both Google and Samsung let you do.
When it was introducing the features, Apple said it had a "deep respect for the craft of photography," and that it wanted to give photographers AI tools that "enhance their images in ways that respect the original moment."
This isn't a new take from Apple – in 2024, it said photos should be things that "really, actually happened" – but it's also not a hardline one. It's hard to ignore that, literally less than two minutes earlier in the presentation, there was a demo of using Apple's Image Playground app to add an AI-generated cake into someone's hands to create a birthday party invite. So while that functionality may not exist in the Photos app, it's clear Apple isn't taking a fundamental stance against using generative AI to completely alter an image and the context around it.
If there has to be a dedicated Siri mode in the camera app, surely it shouldn't come before actual photographic options like portrait and panorama mode. Image: Apple
Aside from the editing tools, it doesn't seem like Apple's making too many changes to the photography experience, which isn't necessarily a surprise given it completely redesigned the camera app last year. It's adding a new Siri mode to the camera, which may be annoying for those who already find the interface cluttered, though we'll have to wait for the beta versions to be released to know for sure whether it can be removed as an option.
It's also possible we haven't seen everything new with iOS 27 yet. Apple will occasionally hold back announcing new features tied to hardware, so it's possible that there'll be further changes if, say, the company announces a new form-factor phone later this year (whatever that may be).
* Arguably, one of Google's most useful AI features is a virtual "Coach" that suggests how to improve your image as you're taking it; who needs Spatial Reframing when your phone was smart enough to tell you how to frame it in the first place?
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