Panasonic L10 | 50mm equiv. | F2.7 | 1/60 sec | ISO 1250 | Flash Photo: Richard Butler

We're hard at work at finishing our review of the Panasonic L10, and, in the process, have been taking quite a few pictures with it. We've updated our sample gallery with some of the best ones, including a few taken with flash, and some Raw conversions that exploit its dynamic range capabilities.

If you want to dive deeper into the L10's image quality, we've also added it to our studio scene, and you can read our writeup about it here.

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

Image: Adobe

Adobe has announced that it's bringing its AI "creative agent" to the desktop version of Photoshop, after it debuted on the web version of the app earlier this year. While the software is still in beta, it shows that the company is moving forward with its plans to add an increasing number of AI-powered features into its photo editing software.

The goal of the assistant is to provide a chat interface that lets you ask the software to carry out various tasks for you. These could be relatively simple menial tasks – adjusting a photo's brightness, organizing layers, applying edits to make the subject stand out – or relatively complex tasks, like figuring out error messages, coming up with captions for your photo for social media, or identifying fonts in an image.

Image: Adobe

When we spoke to a Photoshop project manager at Adobe's Max conference last year after the feature's announcement, they made it clear the company viewed the AI tool as a way to automate tasks, rather than a guide to teach you the software. And while it can act as one – it describes the edits it makes, which are often applied as layers and effects that you can then tweak – the company is clearly continuing along that line, pitching it as a way to let you focus on your craft, rather than the boring parts of editing.

Of course being an AI system, and a beta one at that, there are still plenty of warnings that results may be inaccurate, and that it can make mistakes. We found that to be true when we tried out the version of the tool available on the web earlier this year, though we wouldn't be surprised if Adobe has made some progress on that front since then.

The AI assistant is currently available in Photoshop Beta for Creative Cloud subscribers.

The name Phaos comes from the ancient Greek word for light, and the logo is made to represent the interaction between a photon and a silver halide crystal. Logo and photo: Danielle Honan

Ask a photographer how they feel about Instagram, and you're likely to get groans. Many of us, at best, have a love-hate relationship with the app, especially since the CEO announced in 2021 that the platform would focus on video going forward. Now, the photographs you're proud of may not even be shown to everyone who's chosen to follow you, thanks to the opaque and increasingly mutable algorithm.

For film photographers, the frustration with social media platforms like Instagram is compounded by the challenges associated with the medium. Managing scans of rolls of film can be quite difficult and requires lots of organization or time, or you're left with camera rolls and hard drives filled with images without any clear information or context.

While there have been social media apps meant for film photographers in the past, few have taken off, and none have really stuck. Danielle Honan hopes to change that with Phaos – a platform built not around the logic of social media, but around the logic of film. I sat down with Honan to find out what drove her to build it, and where she sees it going.

What Phaos does differently

The Phaos platform can serve as both an archive and a social media platform. Image: Danielle Honan

In terms of design, every decision in Phaos reflects how film actually works, rather than how general social media works. For Honan, having the roll as an integrated unit was very important, and so she designed the app to allow users to upload an entire roll at once. "It has inspired me to shoot more film," she said. "When I get a roll, I'm super excited to have the pictures together in one place."

When uploading a roll of film, you can add a range of useful information. Screenshot: Abby Ferguson

When you upload an entire roll, it is formatted as a contact sheet with specific looks for 35mm, 120 and large format. It also gives you the opportunity to add information such as the camera, film stock, development lab, if it was expired, any pushing or pulling information, development date and general notes. You can choose to publish the roll to your profile for public view, or simply keep it as part of your personal archive.

There are more traditional social media app features, too. You can still post individual photos without uploading an entire roll, and can like and comment on individual images. There's also a feed of people you follow, with photos shared chronologically, and a feed to discover new photographers whom you don't follow. "I like the idea of seeing pictures in the order they were posted," said Honan. "That's how Instagram started, and now I don't even know how I'm seeing things on my feed. It's really nice to see it when someone posts a new picture."

Phaos has a feed of people you follow, and a feed to discover new photographers. Images: Danielle Honan

That focus on discovery is an important one for Honan. When I asked her how she wants users to feel as they scroll through the feed compared to Instagram, she focused on inspiration. "I definitely want them to be inspired and to engage with other photographers, to learn from them and connect with them," she explained. "For example, someone posted a fantastic photo with Harman Red film stock and I was like, 'Oh, I have to try this.' So finding inspiration to shoot film more, try different things, and learn."

"I wanted to create a space that appreciated the intentional, slow process of film"

Creating a slower pace was also a critical feature for Honan as she developed Phaos. "I wanted to create a space that appreciated the intentional, slow process of film and where I could look back at what I did," she said. Honan explained that she sees the chronological feed as a way to create that slower pace. "You're only posting when you have pictures, so you're not generating new content all the time," she said. "You're not going to get stuck doomscrolling like you would on Instagram." There are also no ads or videos in Phaos, giving a much different experience from today's Instagram.

Honan has found that the ability to see an entire roll has a similar slowing-down effect. Taking the time to look at all 36 exposures from a roll makes you move a bit slower than quickly scrolling through disparate images, and it gives you a new perspective on someone's work. She also purposefully didn't include a carousel-like feature. "I got rid of the carousel; on the iOS app, you scroll through it more like a gallery to create a more intentional experience," she said.

Identifying the gap

A view of the profile page in the iOS app. Image: Danielle Honan

Hona's decisions about the design and functionality of Phaos are inspired by film, but they also come from experience with other apps. Like many of us, she took to Instagram to share her photographs, but it became increasingly frustrating. She explained how, unless you're a giant account, your work simply doesn't get seen. The app's move to video was a tipping point. "When I started attempting to create Reels on Instagram, I was like, 'I'm spending way too much time trying to share my work on a platform that is not making it possible,'" she said.

In 2022, she discovered a web app called Grainery, which became quite popular with film photographers. There was a premium version that cost $3 a month, and Honan (and others) liked it enough that they were paying that fee. The solo developer released a beta for the iOS app, but then they basically disappeared, and no final version was ever released. The web app isn't receiving any updates, either.

"I'm spending way too much time trying to share my work on a platform that is not making it possible"

Since then, other apps have appeared, some of which seem to copy Grainery quite closely. But with all of those, Honan felt like they were missing the mark. She wanted something that went beyond a typical social platform for film, and instead added useful features tailored specifically to film photographers. In her mind, there should be an app that looks at the roll as a unit, a personal archive you can look back through.

Managing files is a challenge for all photographers, but film photographers have some added layers of complexity. Honan described the process of getting a WeTransfer link back from a lab and dumping all the images into her camera roll. Unless you take the time to set up a specific organizational structure, those images end up buried, with no metadata to help you remember information like camera, lens and lab.

The app and web versions let you upload an entire roll to view it as a contact sheet, or tap to view a single image at a time. Image: Danielle Honan

"I feel like the gap is putting your rolls together, not just single posts, but posting an entire roll of photos together and being able to look back at those as your own personal digital archive, like a contact sheet," she explained. "I felt like I would get the most value out of that personally because I don't have a way to track or organize my rolls in my camera roll. I was actually shocked that didn't exist in another film social media platform yet."

What's next

Image: Danielle Honan

Phaos is still very much in its early days. Honan started building the platform in March, and she has big plans for it. So much so that she decided to take some time off from her economic consulting job. "I think part of why I left was that I just wanted to create things and build things, and working full-time, I wasn't able to do all the stuff I wanted to do," she told me.

Thanks to previous platform development time, Honan said it took roughly two weeks to build the initial version of Phaos. She has been iterating ever since and now has both a web platform and an iOS app with around 100 users at the time of writing. She also plans to start work on an Android version soon.

The next primary feature that she's working on is a forum. "It'll be a place for things like 'film versus digital' or 'film versus iPhone' comparisons and more in-depth discussion about your work," she explained. "It gives you a way to recycle your work, like adding your photos to a communal album of 'red tone' photos and seeing what others uploaded."

She's also focused on the experience of using Phaos and how she can make it easier to use than other apps. "I hate the effort required to post on Instagram. One thing I'm considering is having a separate gallery within Phaos of all your film once you upload a roll, making it easier to select from that to create posts," she said.

Even though it's in its early days, the Phaos app allows for a fair amount of customization, including three background color options. Images: Danielle Honan

As with any app, there's always the question of how it can be financially sustainable. It's still so early that Honan hasn't solved that, but she is clear that she wants it to remain free. "I've intentionally avoided monetizing for now," she explained. "Film is already so expensive; I'm not trying to profit off people like me. Maybe in the future, it could be a way for photographers to sell prints or host a portfolio. I really believe the core product should be free."

"I want to build a strong, robust community around film that's eager to engage"

Honan says she wants to make the platform strong enough to serve as a full replacement for other social media apps. "I want to make it feel like the only platform you need," she told me. Even more important, though, Honan wants Phaos to be the landing spot for film photographers of all types and levels. "I want to build a strong, robust community around film that's eager to engage and be genuine," she said.

From a personal standpoint, an app tailored to film photography, with a better way to organize and revisit my rolls, is exactly what I've been looking for. Finding community around a shared passion is never easy, and if Phaos can be that place for film photographers, it's worth keeping an eye on.

If you're interested in checking it out, head over to the Phaos website or download the iOS app.

Image: VSCO

VSCO has long been an app photographers turn to for film-inspired presets, but now the company is making a pivot toward something far more ambitious. This week, it announced two interconnected products that aim to serve photographers far more broadly: Studio Pro, a dedicated professional batch-editing app, and VSCO One, an all-in-one platform launching later this month that bundles editing, client galleries, booking and more.

Studio Pro is the more immediate piece of VSCO's new platform. At launch, Studio Pro is fairly limited in features, with a primary focus on editing colors and making minor tweaks to JPEGs. VSCO says it's intentionally shipping the first version now so that it can gather feedback before rolling out additional features. It says it plans to regularly release improvements and new features "based on real-world professional workflows."

Image: VSCO

To start, one of its primary features is batch editing, allowing photographers to apply VSCO's film presets and adjustments like HSL, grain, exposure, contrast and white balance on up to 100 images at once with one tap. The tool is aimed at portrait, wedding, sport and event photographers who need to be able to quickly edit larger sets of images.

Studio Pro also offers Style Match, which analyzes a previously edited reference image and replicates its color and tonal character across new images. The tool promises to make it easier to achieve a consistent look across image sets, allowing photographers to develop a distinct style. Lastly, the app will allow photographers to post images to VSCO Galleries, making it easier to share finished work with clients.

Image: VSCO

Raw file support, something most professional photographers would consider a must-have, is listed as a planned future feature, not something available immediately. Likewise, manual culling with star ratings, custom crop tools, tethering and advanced export options such as file renaming and resolution control are all slated for the product roadmap. There's also a macOS desktop version planned for later this year.

Studio Pro enters a crowded and competitive field that includes Lightroom Mobile, Darkroom and Halide, apps with more mature feature sets and, in Lightroom's case, years of well-established professional workflows behind them. Whether photographers find enough in Studio Pro's current iteration to trial it depends largely on how central VSCO's preset aesthetic already is to their work. For shooters already living in the VSCO ecosystem, the batch workflow could be a meaningful upgrade. For everyone else, it may be worth revisiting when Raw support arrives.

For everyone else, it may be worth revisiting when Raw support arrives.

What could be enticing to photographers, though, is the promise of a more complete ecosystem under one umbrella. Historically, photographers have had to stitch together various tools from different companies to manage all aspects of the business. That could mean Lightroom for editing, Pixieset for gallery delivery, HoneyBook for contracts and invoices, Squarespace for websites, and the list goes on, with each carrying its own subscription. VSCO puts the costs at $800 to $3200 annually.

Image: VSCO

VSCO's upcoming ecosystem, VSCO One, aims to ease those costs and the pain points of dealing with multiple subscriptions with what it's calling the "Connected System for Photographers." The platform is designed to cover the complete photography workflow, from creative to business needs, and it bundles the company's existing offerings under one subscription that costs $500 a year.

VSCO One isn't launching until the end of June, but it will include two editing programs (Studio Pro and AI Lab), galleries for client delivery and sharing, portfolio websites, client collaboration and creative planning tools, a camera app and community.

Additionally, the subscription will include VSCO Workspace, a tool for client management, booking, scheduling, invoicing, contracts and studio operations. It will also provide access to The Freelance Photographer, a business education and mentorship platform that VSCO acquired last year.

VSCO's new Studio Pro is available for free on iOS now, though you will need a subscription for some features, such as the company's full preset library. VSCO One will be available at the end of the month.

"U2; Concert for Obama, 2009, Washington, D.C. It was 10 seconds before they went on, we were all standing on wood planks and frozen ground, feeling history at the same time." Canon EOS-1D X | EF 70–200mm F2.8L IS II USM | F2.8 | 1/200 sec | ISO 640 Photo: Brian Ach

Brian Ach, known as Achman in the wider community and contributor at DPReview.com, loves to cover raving stadium shows and gain backstage access at major cultural events for clients like Getty and AP. In contrast, his personal work takes things down a notch in speed and seriousness. Street, travel and fine art photography give Brian room to go back to when he first learned photography: shooting film in New York City on his daily commute with a 35mm camera.

"After I was a couple of blocks from the WTC on 9/11, I decided life was short and graphic design wasn't for me. I left the full-time job and became a freelance photographer."

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.

"Venice Beach; California. For me, there is nothing better than exploring the world with TriX." Canon F1 | Canon FD 35mm F2 | Tri X ISO 400 Photo: Brian Ach

Meet Brian Ach

Home base: United States

Favorite camera: "It's not related to my work or these photographs, but I’ve had my original Yashicamat for 30 years – it’s more than just a camera to me, it feels like a friend."

What's in Brian's bag

Brian's camera bag Photo: Brian Ach

Cameras for work: Canon R5 ("two of them, actually")

• Lenses:
  • Canon RF 24–105mm F4
  • Canon RF 14–35mm F4
  • Canon RF 70–200mm F4
  • Canon EF 135mm F2
  • Plus a classic FD 35mm F2 for adapted and film-era work

Cameras for play: Yashica Mat, Canon VI-L and a Canon F1

• Lenses:
  • Summaron 35mm F2.8
  • Canon 35mm F2

• Support gear: Brian's kit shifts depending on assignment. For commercial and editorial stills, he travels with a streamlined pro setup built around the R5 system, backed by a Pelican Air carry-on, a MacBook Pro, a Wi-Fi hotspot and a 2TB Samsung SSD for fast offload and backup in the field. Lighting is handled with a Profoto B2, including two packs and four heads.
• Camera bags: "Like many others in the DPReview community, I'm a fan of the ThinkTank ShapeShifter and a blue Pelican 1535 Air. The ShapeShifter is a flexible day-to-day carry solution for moving between shoots, and the Pelican serves as a convenient travel-and protection-first case, especially on long-duration flights."

"Taylor Swift; NYC, 2010. Sometimes you have minutes to make a portrait; here I had 15 seconds." Canon EOS-1D X | EF 85mm F1.2L II USM | F2.8 | 1/250 sec | ISO 1600 Photo: Brian Ach

What's your preferred shooting scene?

"My work is pretty divided into work and play."

"For work, I shoot for Getty, AP, and editorial and commercial clients. I've been around the world on these jobs, working as Prince's European tour photographer alongside other major names like Jay-Z and Journey. And also big brands and events from Jaguar/Land Rover to Samsung to New York Fashion Week and the MTV VMA awards. I like to say I've shot everything and everyone."

"Film forces me to really shoot with intention, to dissolve into the process and be deliberate about what I'm doing."

"For play, I like street, travel and fine art. I started in film, and it is still what really gets me going. Film forces me to really shoot with intention, to dissolve into the process and be deliberate about what I'm doing. I started learning by shooting street in NYC with a rangefinder and a 35mm lens on the way to and from work every day. It trained my eyes to be soft and let the image find its way to my shutter. This early work informed my process to this day, even in my professional work."

Have you taken any particularly memorable trips?

I visited 12 countries in 24 days quite a few years ago, and recently visited 9 countries in less time, including India and Japan. I'm a travel junkie. Many times, I only took the film cameras out, and it was just great. Sometimes you would see a shot you wanted to get, but you weren't able to because of what you had, and it was good to be able to let go of that, because professionally, I can't.

"Shadow Dancer; Chelsea Flea Market, NYC, 2002. Yashicamat, TriX. I was born on this street." Photo: Brian Ach

How has your photography changed since you started?

"Shooting for clients all the time has definitely made me shoot less for fun. Carrying a lot of gear to a job often means no room for a fun camera, even if it is small. I just don't want to carry another thing. So, it's a sad but true thing that I shoot less of the 'fun' stuff. It does make it more special when I choose to do it, though."

"When I started out professionally, I was concerned about creating a certain 'look'. Something people would know is from me. I quickly started shooting like my heroes, Callahan, Mary Ellen Mark and learned from each of them. But if I could tell myself how it really works, I would say: 'Learn and move on.' Your style will become clear after years of shooting. Don't get hung up on that."

"Learn and move on. Your style will become clear after years of shooting."

"My shooting has improved for simple reasons – experience has taught me to understand what the shot I'm seeking really is, and when to take it. I shoot fewer frames than ever because I am not searching as much. With clients, I've probably thought more about their shoot than they have by go time, and it makes it easier."

You clearly have a distinct shooting method. What's your secret?

"I think through the job or the trip multiple times, pack everything I want to take, and then take stuff out of the bag or case depending on what conclusions I come up with."

"I teach my method, which I call 'Content meets Context', in workshops. I use this every time I shoot to create 'intentional' photographs. Content is nothing without context, especially nowadays. An example would be Prince performing at the Stade de France. A picture of him on stage performing would be great, but there is no context – nothing to indicate it is in the iconic arena. I went and shot him wide, from behind (thanks, all access) as he turned around, so you can have the context of the arena in the shot."

"Prince; Stade de France, Paris 2011; This was the first show on the European Tour, the first time I had photographed him in concert." Canon EOS-1D X | EF 17–40mm F4L USM | F4 | 1/320 sec | ISO 2000 Photo: Brian Ach

"For all photographers: shoot more, be open to criticism and learn how to self-critique. Like a musician who knows their keys and scales by rote, you need to know your cameras the same way. Practice, refine, grow and get the work out there. Happy shooting!"

Brian really enjoyed participating in this spotlight article and would be grateful for you to join him in discussion in the forums.

Brian's work

You can check out his other work at brianach.com. He will also have an exhibit opening at The Garrett Museum of Art on July 10, which includes many of these photos as well as a talk back on the stories behind the Prince prints on July 11. And he'll be the keynote speaker at the International Photography Hall of Fame Induction ceremony in Indianapolis on October 3.

Also, check out Brian's stories of getting the right shot on DPREview TV:

Thanks again, Brian, 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?'

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.

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

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.

Exposure Latitude | ISO Invariance

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

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.

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.

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Viltrox AF 28mm F4.5 Chip Specifications

Photo: NEEWER

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.

Shop Now at NEEWER.com

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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.

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Specifications

What nature photos are you most proud of?

Sony DSC-RX10M4 | F4 | 1/500 sec | ISO 800

Photo: hwvlover

Happy Nature Photography Day!

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.

Share your finest nature shots!

Flower in the dark

NIKON D800E | Tamron SP 70-300mm F4-5.6 Di VC USD (A005) | F10 | 1/160 sec | ISO 100

Photo: giacomofarabegoli

Share your finest nature shots!

Flower moth

Photo: ellittnewcomb

Share your finest nature shots!

Tenby, Wales, UK cliffs

Photo: fuji_phil_e

"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."

Share your finest nature shots!

An odd 'duckling'

Nikon Z7 II | NIKKOR 400mm F2.8G ED VR | F2.8 | 1/25 sec | ISO 5000

Photo: Bearly There

"Barred Owl siblings - one of them is not like the others."

Share your finest nature shots!

A mad gathering of Koi

OM-1 | Olympus M.Zuiko 8-25mm F4.0 PRO | F6.3 | 1/320 sec | ISO 200

Photo: Iokatz

"Koi, Ritsurin Garden, Takamatsu, Shikoku, Japan"

Share your finest nature shots!

Sunlit fall river

Photo: AshleyMC

Share your finest nature shots!

Tanzania Plain Zebras

Photo: GrayCard

"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."

Share your finest nature shots!

Lake Ladoga

Photo: dpreviewblog

"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."

Share your finest nature shots!

Pollin-covered bee

Nikon COOLPIX P950 | 70mm equiv. | F3.5 | 1/800 sec | ISO 100

Photo: gordonpritchard

Share your finest nature shots!

Baby Barred Eagle Owl

Olympus E-PL7 | M.Zuiko Digital ED 75-300mm F4.8-6.7 II | F6.7 | 1/80 sec | ISO 2500

Photo: LarsPolarBear

Share your finest nature shots!

A mother's love is everlasting

Pentax K-5 | Pentax FA 77mm F1.8 Limited | F9 | 1/1000 sec | ISO 400

Photo: KPM2

Share your finest nature shots!

Bird eating bee

Fujifilm X-T2 | Fujinon XF100-400mm F4.5-5.6 | F5.6 | 1/2000 sec | ISO 3200

Photo: pentax mono

Share your finest nature shots!

Solitary winter tree

Photo: Joachim Wulfers

Share your finest nature shots!

Great Spotted Woodpeckers

Photo: hwvlover

"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."

Share your finest nature shots!

Morning dew at a wildlife refuge

Photo: DuckShots

"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."

Share your finest nature shots!

Dandelion sunset

Sony SLT-A99V | Sigma AF 105mm F2.8 EX DG Macro | F2.8 | 1/1600 sec | ISO 100

Photo: cbf_si

"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."

Share your finest nature shots!

Logos: Adobe

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.

Image: Westend61 / Westend61 via Getty Images

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.

Click here to answer the Question of the week

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.

Product renderings: Insta360 and DJI

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.

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A post shared by Duane Michals (@theduanemichals)

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.

Photo: Richard Butler

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.

Index:

• Connectivity and reliability
• Transfer, editing and sharing tools
• Remote control and live view
• GPS sharing
• Firmware updates

Connectivity and reliability

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.

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.

Photo: Mykim Dang

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.

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.

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Catinaccio range, Val di Fassa, Italy "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."

What's in Giacomo's bag

Giacomo's camera bag Photo: Giacomo Farabegoli

Primary cameras: Sony a7R IV (primary), Sony a7C II (secondary)

• Lenses:
  • Sony 14mm F1.8 GM
  • Sony 24-105mm F4 G OSS
  • Sony 70-200mm F2.8 GM II
  • Sigma 105mm F2.8 Macro
  • Viltrox 85mm F1.4
• 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.

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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.