We recently launched the new DPReview website with a beta logo at the top of the page. The site is in beta for a reason: we’re aware that there are things to fix and improve, and our team is actively working to address outstanding issues. The beta logo reflects our ongoing effort to improve functionality, features and the overall user experience.

To make sure you know where to find the latest updates, report bugs or usability issues, or discuss changes to the site, we’ve set up a dedicated forum section to consolidate this information in one place.

Keep updated on changes

Progress updates: To see the latest updates from our team, visit the dedicated Change log thread. This is where we’ll post updates to let you know what changes, updates or bug fixes we’ve made to the site. We are making updates on a rolling basis based on a combination of prioritization and ease of fix. We expect this process to go on for quite some time.

Report a bug or usability issue: If you encounter a bug or usability issue, please use the Known issues and bug reports thread in our forum to share it with us. We keep the first post in that thread updated with all the reports we’re tracking, so please check there first to see if your issue has already been reported before reporting a new one.

New site discussion: If you have other questions or just want to discuss the new site, please create a post in the Website redesign feedback, questions and help section of the forums.

One more thing: If you haven’t already done so, we encourage you to read our article Gear Patrol founder Eric Yang: Why we rebuilt DPReview after 25 years, which provides additional context for why we’re making this change now.

We’ve already heard a lot of valuable feedback, and will continue to gather it to help shape our development and improvement roadmap. Thank you for your patience, feedback and support as we get things dialed in.

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Kodak licensee Reto has quietly added another beginner-friendly 35mm camera to its analog lineup. The Kodak EC35 is a fixed-focus point-and-shoot aimed squarely at casual shooters and film-curious newcomers thanks to its affordable price and ease of operation.

The EC35 is a simple 35mm film camera with a plastic body and 25mm, fixed-focus, 2-element acrylic lens. It’s a point-and-shoot camera, featuring a fixed F10 aperture and a constant 1/100 sec shutter speed. It does offer manual film advance and rewind, though, for a more traditional film experience. There’s also a built-in flash powered by a single AA battery.

It’s highly compact, weighing 102 g (3.6 oz) and measuring 119 x 65 x 41.5mm (4.7 × 2.6 × 1.6″). It features a slide-out cover to protect the lens, just like highly popular retro compact film cameras, such as the Olympus Stylus (Mju series) and Contax T3.

Reto

While the camera uses Kodak branding, it comes from Reto, the Kodak licensee behind the viral Kodak Charmera cameras. Reto has been steadily rebuilding a Kodak-branded analog ecosystem with playful, affordable cameras like the Ektar H35 half-frame, the H35N half-frame and the Snapic A1, a compact with a 25mm three-element glass lens and double-exposure mode. The EC35 slots in as a more basic model that produces full 35mm frames, sitting below the feature-rich Snapic A1 with its LCD, auto wind/rewind and multi-exposure features.

The Kodak EC35 comes in six colors: black, white, yellow, lavender, light blue, light pink and light green. It’s available for purchase now for $35, the same price as Lomography’s recently released half-frame camera.

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Lomography is jumping on the half-frame trend with its latest camera. The appropriately named Half-frame Simple Use Reloadable Film Camera is an affordable option that aims to make film easy for those looking to explore the medium.

As a half-frame camera, it uses half of each 35mm frame, resulting in 17 mm x 24 mm vertical images and letting you get twice as many photos from a roll as a traditional 35mm camera. The small point-and-shoot looks like a classic disposable camera and comes pre-loaded with a roll that gives you 40 shots before you need to reload. Despite its lightweight, disposable-style design, the camera is fully reloadable, and with a standard 36-exposure roll, you can capture up to 72 images.

Lomography

Lomography designed the camera to be easy to use. It features a fixed-focus 21mm lens, a single 1/120 sec shutter speed, a fixed F9 aperture and no ISO adjustment options. It offers a built-in flash to help in low-light situations and has integrated gels to slide in front of the flash for pops of color. There are also shooting instructions printed on the camera body to help you use it if you’re new to film.

You can choose between two preloaded versions of the half-frame camera: one with LomoChrome Classicolor ISO 200 film, and the other with Lady Gray ISO 400 black and white film. You can also opt for a kit that includes six additional rolls and a case to store your film. Sitting well below options like the Pentax 17, it’s meant to be an affordable, casual way to enjoy film.

The Lomography Half-frame Simple Use Reloadable Film Camera is available for preorder now and costs $30 with black-and-white film and $35 with color film.

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Hasselblad launched Phocus Mobile 2 in 2019, as an iOS-only app for editing Raw files from its medium format cameras on phones and tablets. Now, the company has announced Phocus Mobile v1.0.0 for Android, finally bringing the mobile workflow to Android users with the X2D II 100C, X2D 100C and 907X + CFV 100C.

Like the iOS version, Phocus Mobile for Android includes a robust set of editing tools, including exposure, curves, white balance, sharpening, cropping, lens correction and more. It also supports batch adjustments and basic asset management with the ability to add ratings and mark favorites. Images can be imported over Wi‑Fi or, for those using the X2D II 100C (with firmware version 1.3.16.1 or later), via USB‑C. Files can then be exported as Ultra HDR JPEG, HDR TIFF, as well as standard JPEG, TIFF, HEIF or 3FR Raw.

Hasselblad says that the Android app brings its end-to-end Natural Color Solution (HNCS) to mobile, allowing for a consistent look whether editing on desktop or mobile. The app supports HDR viewing and editing for X2D II 100C files on compatible HDR devices. It also features the company’s AI-powered Raw noise reduction, which it says is tuned for its 100MP sensors. The noise reduction tool offers two modes, allowing users to prioritize either cleaner files or better micro-contrast.

There are some hardware caveats, though. The app requires an Android device with at least 12 GB of RAM and Android 12 or later. That said, Hasselblad recommends Android 16 or later and devices powered by Snapdragon 8 Gen 3 or newer for the best experience. Given that the phone needs to handle 100MB files, that shouldn’t come as much of a surprise.

Hasselblad’s Phocus Mobile for Android is now available on the Google Play Store for free.

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After more than a month of drama, the 2026 FIFA World Cup is finally heading into its finale, with the last games set for this weekend. Over the course of the tournament, a small army of photographers has been crisscrossing stadiums to keep pace with the matches and the stories unfolding around them.

One of them is Maddie Meyer, a Getty Images staff photographer who has spent this World Cup on the touchline and in the stands, documenting everything from tunnel nerves to wild celebrations. Meyer took the time to speak with me between matches, sharing insights into what it’s like to cover such an event and how she stays on top of her game.

Finding her way

Getty Images

While Meyer was always interested in photography, she didn’t start out wanting to be a sports photographer. She grew up in Washington, D.C., playing soccer and thinking she would follow the path of Doug Mills, a prominent New York Times photographer she’d known since childhood. “I’ve known him since I was 8, and I looked up to him so much,” she said. “I remember his pictures from the Torino Olympics and thinking this might be the coolest thing I’ve ever seen.”

Meyer recognizes that having Mills to look up to early on was quite important for her path. “It was so cool to have somebody in my life so early to show me this is a job you can have,” she told me. “He was super encouraging; he said the only difference between me and you is I’ve worked hard at this for 40 more years.” Meyer kept shooting through middle and high school and went on to study photojournalism at Ohio University.

She still thought she wanted to be a White House photographer until she started working with her college athletics department and realized how much she loved traveling with teams and being outside. That led her to apply for a Getty Sport internship in New York City, which quickly felt like the right fit. “I loved the pace and the scale and the intensity of it. After I graduated from college, I got hired in Boston in 2015. I have been here ever since, and I still love it,” she said.

Managing the chaos

Maddie Meyer – FIFA/FIFA via Getty Images

At this point in her career, Meyer is no stranger to long days and constant travel, but this World Cup has been especially demanding, with matches held in 16 cities across 3 countries. Group play was the most intense stretch, with 50 Getty editorial photographers bouncing between host cities to cover 72 group‑stage matches. “We were traveling the day of sometimes, so it was like, wake up, take a flight, check into the hotel, head to the stadium,” said Meyer.

Once she’s at the venue, the workday around a single match stretches to roughly 10 hours. Meyer said that the Getty team at a game (generally two to three photographers during group play) typically arrives about five hours before kickoff. They start by setting up remote cameras behind the goals and photographing the dressing rooms. When the teams arrive, the atmosphere shifts quickly. “Some of the African teams come and actually sing down the tunnels and the hallways with drums, which is really cool,” she described. “So I love that right off the bat, sometimes you get a really interesting cultural taste right away.”

From there, Meyer follows the team as they walk the pitch and go through their warmups, then moves into one of her favorite moments: the tunnel. “What I really like is getting access into the tunnel, where there aren’t other photographers, so to me, those are some of the more genuine moments that we see of these athletes before they step out and see these tens of thousands of people,” she said.

After the final whistle, one member of the crew typically goes out on the pitch with a steadicam. “I really love getting closer to those players, whether it’s the celebration, the dejection, it feels a little bit more intimate than using those really long lenses to photograph the action,” she said. They wrap up the day by capturing the press conferences and packing up before heading to the next city.

The long hours and frequent travel can wear anyone down, so Meyer leans on small rituals to keep herself steady. including bringing small things from home and making time for movement. She likes to bring a few comforts from home and find regularity where she can. “I love having my good-smelling soaps in the shower, little things that make me feel like I’m not just sitting in the rain in my raincoat all the time,” she explained. “I also always try to get some sort of exercise in, either walking or in the gym, just kind of moving my body, because most of the time, we’re kind of curled up in these weird positions.”

She also explained that sleep is non-negotiable. “I really believe I can do anything in the world if I have 8 hours of sleep,” she said. “I tell my colleagues, too, listen, if we’re not sleeping and we’re running between places, let’s be really gentle with each other the best we can, because we’re running on fumes sometimes.”

What goes on behind-the-scenes

Maddie Meyer – FIFA/FIFA via Getty Images

Meyer and her teammates certainly have their hands full during an event. She told me that she typically has four cameras in action during World Cup matches: one remote camera behind the goal, and three on her. She usually fits those handheld cameras with a 400mm lens, a 70-200mm, and, depending on her placement, something wide-angle to catch close action. Across the team, there are multiple remotes behind each net, all positioned to cover key moments around the goals.

Before kickoff, Meyer sets up the remote camera’s exposure and focus, making sure it’s ready for action near the net. She explained that the remote cameras behind the goals are hardwired, as there’s far too much interference to rely on wireless connections during matches. It is still manually triggered, either by remote editors or by someone nearby using a foot pedal.

From the opening match on June 11 to the final on July 19, the Getty Images team will have shot more than 2.6 million images. Thankfully, the photographers aren’t working alone. The Getty Images FIFA World Cup team consists of 115 people, including 20 editors in New York who help oversee operations and are ready to receive images as they come in.

“They have a diagram of where everybody is. So after a goal is scored, they’ll say, ‘Oh, that’s in Maddie’s corner, take a look at what she’s sending us.’ So they’re able to prioritize whose work they want to look at to get those pictures out quickest,” Meyer explained. She works under a “tag and send workflow,” meaning she looks through and sends pictures that she wants the editors to see, often within seconds of something happening.

The remote cameras are handled differently. Those are set to send all of the images to New York as soon as the cameras fire. Once the editors have the photos, they crop, tone, caption and send the pictures out for use. A Getty Images representative told me that they can have photos ready within 30 seconds of capture, often before television replays are available.

Meyer explained that the current process is vastly improved from when she first started. “In 2015, I photographed the Women’s World Cup, and it was self-edit, so I had my laptop out on the sideline, and it was super challenging,” she explained. “Versus now, it’s just such a win for everybody. The editing team does a way better job than me out in the sun, squinting into my laptop. And also, I’m able to shoot more and really focus on the game.”

Staying prepared

Maddie Meyer – FIFA/FIFA via Getty Images

With so much happening around each match, Meyer tries to go in as prepared as possible. “I think it’s always great to understand the key players and some of the storylines,” she said, noting that her European colleagues have been especially helpful since they see many of these players regularly and can flag people to keep an eye on.

More than scouting, though, Meyer focuses on her particular location for the match. “We’re assigned where we’re shooting, and so I really think about the backgrounds, how the game is gonna kinda flow,” she said. She went on to explain that she’s also very intentional about which moments are hers to photograph, versus ones that are better for her colleagues to capture. “I really think this is my little piece of the pie, this portion of the field,” Meyer said. “I’m gonna really think about what lenses show off what’s going on here.”

Meyer said she also thinks about her mom a lot when photographing. “She’s a big Maddie fan, but not a big sports fan,” she said. “And I always think, what would I tell her about today? What makes this different? What makes this interesting? What makes this special?” She uses that mindset to make sure she’s telling the bigger story, making it interesting for more than just die-hard soccer fans.

Another challenge Meyer faces is making her pictures feel distinctive. “Sometimes the photos do end up looking the same as the person sitting next to you,” she explained. “I try to think about lens choices – can I shoot really wide to show atmosphere? Tight to show details or faces? A very shallow depth of field to highlight the action? That can be where the difference comes into play when our position can’t be unique.”

A favorite moment on the world stage

Maddie Meyer – FIFA/FIFA via Getty Images

As the 2026 World Cup nears its end, Meyer doesn’t hesitate when asked about a favorite moment from the tournament: the Egypt–Argentina match. She was roaming rather than in an assigned spot on the touchline, which she said presents a fun challenge, since she can go anywhere and doesn’t have set compositions and backgrounds in mind as she does otherwise.

There had been lots of back and forth, but Egypt was up towards the end. She got a message saying they would have access to the Egypt locker room, asking whether she would go in with them if they won. “I was like, okay, do I leave before the match is over to wait outside their locker room, or do I stay up a little bit longer?” she recalled. Then, Argentina scored, and she decided to go with the Argentina fans and figure out how to get to the locker room later if she had to.

“The Argentina fans are incredible,” she said. “These people are so passionate. They travel so well. They have the instruments. They’re just out of their minds in the best way that you want to see.” She also told me that she loves how much they want everyone involved, and they are not shy about having a photographer in their midst.

“They ended up winning, crying, shirts off, screaming, and I have all these pictures with a 15mm, and all these people, it’s like, babies, old men, young people, and that was super memorable to me, of just kind of being in that chaos,” she said. “Being on the pitch, it feels pretty high pressure as a photographer, but up there, I was like, I’m in this. And they’re like, ‘Get in here, sister!’ I’m like, okay, I’m not celebrating. I’m gonna photograph you celebrating. One of the guys took my phone and was like, ‘I’m taking pictures of you!’ It was just, like, the rails have come off up here.”

For Meyer, that moment captures a lot of what makes the World Cup special. “What I think is so fun about the World Cup is just how passionate these people are, and getting to be maybe a little bit too close to them even was great,” she told me.

Beyond the World Cup: why the small games matter

Maddie Meyer – FIFA/FIFA via Getty Images

While Meyer is photographing on the big stage these days, she is quick to stress that professional events aren’t the end-all, be-all. “Even though I love being at the World Cup, it’s not all about the World Cup,” she said. “There’s so much joy, and sometimes, frankly, better pictures in the smaller events, in the high school, in the college, in the MLS, NWSL, all those types of things.”

It’s a good reminder that although big events like this get most of the spotlight, smaller events are important, too. “As much as I love it, and I love talking about it, I never want people to leave talking with me, thinking it’s this or nothing, because there’s a picture to be made at every single level,” Meyer said.

You can see more of Meyer’s work on her Instagram or through Getty Images.

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This is the story of Max Lowe, a filmmaker, photographer and storyteller based in Bozeman, Montana. Recipient of a National Geographic Young Explorer’s grant early in his career, Max’s work ranges from wildlife filmmaking to deeply personal, human-centered stories. In our conversation, he spoke about learning photography through trial and error, discovering magical places around the world and finding serendipity and inspiration in his own backyard.

Our ‘What’s in your bag?’ community spotlight series features readers sharing their favorite gear and photography, including from past DPReview collaborators such as Max.

Meet Max Lowe

Max Lowe

Photography became a way for Max to engage more deeply at home in Bozeman, Montana, eventually leading to a career spanning National Geographic Expeditions, documentary filmmaking and editorial photography. While he has photographed hundreds of places around the world, he says one of his biggest creative challenges remains capturing the essence of his hometown.

“I’ve never been able to truly capture the essence of the way I love Montana. It’s a place where people put their own interpretations. It’s a place I want to keep finding new ways to illustrate to the world, because it holds that depth and importance to me as my home.”

Max’s parents were a major influence in starting his photography career. “I grew up with a mountaineer for a father, and my mom was an artist. At some point, my mom gave me one of her old cameras. Both my mom and dad made it in the world in different artistic ways. Because of that, I felt I needed to find an artistic path for myself, and photography became that for me. Photography has this magical way of making you feel like you belong somewhere you otherwise might not.”

Career and projects

Max Lowe

One of the most significant turning points in Max’s career came in 2012, when he received a National Geographic’s Young Explorers Grant. That opportunity led to trips with National Geographic Expeditions that continue to this day, and the grant community introduced Max to many of the photographers, filmmakers and storytellers who helped shape the work you see in this article.

“In the earlier years of my work as a full-time photographer and filmmaker, I had more personal ambition to just go places for the sake of going, in the selfish sense. At this point, I’m more compelled to travel because I can get a unique lens on the world – pun intended. There are really cool photography-focused trips that many companies put on, but National Geographic Expeditions goes to some rather remarkable places. I’ve been lucky to make many friends within the National Geographic scene, fellow photographers I look up to and reach out to for collaboration. That camaraderie is what really makes it special.”

Max’s documentary work

Jack Fox

One of Max’s current projects is The Kind Ones, a documentary he’s producing with his wife, Lia. They spent eight weeks at a rural hospital on the North Carolina coast, where Lia worked as a travel nurse while Max documented patients, nurses and moments of care. He described the careful balance between telling meaningful stories and respecting the people involved.

“During the pandemic, everyone rallied around healthcare workers, but in the years since, these tremendous workers just fell back to where they’d been before. After the pandemic, Lia was at a low point in her career. She wanted to talk about the fact that the humans within the healthcare system are often disregarded as a major component of how we function as a healthy society.”

Max Lowe

“We were filming with her every day, capturing beautiful and often difficult moments with patients. Her portrayal of the value nurses bring, not only in the medical care they render, but in the human care and appreciation for life in its most complicated moments. The project is a challenge: working together in a nuanced way to think about what to photograph, and especially what not to.”

Kind Ones is scheduled for release in late 2026. If you’re interested in Max’s other film works, including the acclaimed feature doc detailing his own family story, “Torn” (2021), the Oscar Shortlisted “Camp Courage” (2023) and more.

What’s in Max’s bag

Max Lowe

Max’s approach to equipment depends heavily on the project, though when it’s a personal endeavor, he has some go-to favorites.

Max’s go-to gear:

• Nikon Z8
• Nikon Z6II
• Nikon ZR
• Nikon FG
• Rolleiflex

Lenses:

• Nikkor Z 26mm F2.8
• Nikkor Z 24-70mm F2.8 S
• Nikkor Z 70-200mm F2.8 S
• Nikkor Z 14-24mm F2.8 S
• Nikkor Z 180-600mm F5.6-6.3
• Nikkor 50mm F1.8 Series E
• 2X teleconverter

Favorite camera: When traveling on his own, Max prefers simplicity. One of his favorites is a Rolleiflex 4×4 medium-format film camera, which he uses regularly for personal projects. “I still shoot quite a bit of film, mostly for my own interests. The Rolleiflex is a bit complicated to use. I’ve failed to properly expose images plenty of times. Unlike modern digital cameras, it offers little immediate feedback. Sometimes you shoot a frame you think will be great, only to blow the exposure or end up with a blurry image.”

Max Lowe

Max has found hidden benefits in the challenges of shooting film. “There’s something cool about photography being this format in which we can learn to fail and do better in small, incremental ways. You’re really forced to learn about ISO, shutter speed, aperture and all the other functions of a camera.”

Still, the camera Max uses most often is the one already in his pocket, an iPhone 16 Pro Max. “Probably the camera I use most is my phone, honestly.” Rather than focusing on gear for its own sake, he emphasized carrying equipment that lets him remain present with people and stories while staying ready when meaningful moments arise.

Photography ethics

Max Lowe

Throughout our conversation, Max returned to the idea that storytelling requires trust, context and respect. He believes photographers should continually ask themselves why they’re taking an image and who ultimately benefits from it.

“Trust is paramount in our work, especially when we’re working with other people. If it’s someone sitting alone on a subway platform crying, I probably wouldn’t shoot a photo of that, because it would feel exploitative. But if you go up to the person, ask them what’s wrong, hear their story and get a little more insight into what they’re experiencing, and then ask if you can shoot a photo of them in that moment. You’re going to get a more compelling image that way.”

Max Lowe

Max also stressed the importance of building relationships and understanding stories before documenting them. “If I’m going to, say, Egypt as a storyteller, I want to find an in – someone who knows the place in a unique way, and within that, a unique story that defines the place and my experience there. When you’re invited by someone who calls a place home, the experience is much richer. Finding someone like that is a tremendous gift that deepens a photographer’s interpretation and understanding of the world.”

Some of Max’s film projects have required him to revisit a scene, and he found that the assumptions he made on a first pass often missed its real context, whether because he was distracted or because his own priorities got in the way.

“Understanding the context of the scene is a major necessity for an artist. Ask yourself: why are you taking that photo? Is it for the benefit of those people? If you’re a photojournalist capturing the story of refugees fleeing the war in Ukraine so that the world can understand that pain, does your work have the power to change things for the better?”

Curiosity and flexibility

Max Lowe

Max’s work is also heavily tied together by curiosity and a willingness to adapt to whatever story unfolds before him. Opportunities will come up to take that perfect shot, and one mustn’t hesitate for long to take it. One such image that surprised him in its success came from an ordinary moment in Italy. “It was just a photo of a cat sleeping on the tire of a Land Cruiser. I snapped it in passing – it was something I saw and was like, ‘Oh, that’s cute.'”

The image was made with a simple point-and-shoot 35mm film camera, and the reaction wildly exceeded his expectations. “It got this massive response on social media and ended up winning an honorable mention in a photo contest called ‘Flow.'”

Max Lowe

Max’s wildlife filmmaking has presented very different challenges. While working on a Frozen Planet II segment about snowy owls near Utqiagvik, Alaska, he ran into an unexpected obstacle. “It gets surprisingly hot because the sun is up around the clock in summer, and that heat rising off the tundra creates these distortions,” Max told us. “Atmospheric distortion made long-lens footage unusable. We ended up having to switch our whole approach on the spot, because the conditions meant the gear we’d brought just didn’t work. Camera traps certainly would have helped, but we didn’t think we’d need them when we planned the trip.”

The experience reinforced one of his recurring lessons: adaptation and flexible expectations matter more than rigid planning.

Max’s advice for photographers

Max Lowe

As I was listening to Max’s stories and adventures, there were countless gems of advice sprinkled throughout. To close out this story about Max, I wanted to list a couple of final pieces of advice that didn’t fit in the stories he told above. I hope they help you improve your photography as much as they got me thinking about mine.

The moment dictates the shot

“Many visual artists approach their work by thinking about a specific shot they want, such as a bear emerging from its den, or whatever it might be. But I approach all my work in a more freeform, creative way, whether that’s photography or filmmaking. You want to allow leeway for the experience to give you the story, instead of putting pressure on yourself to seek something out and setting yourself up for failure.”

“It can be scary to step out of your comfort zone and into someone else’s world, but it leads to much richer experiences for both you and your audience. It’s not that you should never go anywhere without a plan, just make sure you stay open to that depth when it presents itself.”

Max Lowe

Don’t ignore what’s in front of you

“It’s a mistake a lot of artists make – not seeing the value in what exists right in front of them. I’m constantly looking at the world around me, at how unique little moments occur without anyone conjuring them up. One day, I was in my office when a Western Tanager landed on a branch outside the window. Tanagers are these beautiful yellow-red birds that migrate through Montana every spring. It was such a cool moment, and I wanted to hold it forever. Find those moments and hold them forever through your photography.”

You can check out Max’s other work at maxlowemedia.com.

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 your photography to be featured? Tell us about it by filling out this form . If you’re selected for a feature, we’ll be in touch with next steps.

Buying a new camera is an exciting feeling, but so is seeing the great photos you take with it. For last week’s community question, we asked readers to share a favorite photo or story from their new gear. From majestic animals to intense bokeh scenes, and from antique cameras to modern mobile phones, the responses covered a wide range of interesting categories.

As always, there was also a mix of useful tips you’ll want to read about.

Here are some of the photos and stories they shared. Click their names to see more within the forum conversation.

“Two experiences. The first was the first dance concert I shot with the Olympus 40-150mm F2.8 PRO. I was more than happy to do this with ‘smaller’ (relatively speaking) gear than full-frame gear. Second was the first time I did portrait shots for posters, of dancers, in full costume, with two flash units, umbrella reflectors, etc. Those first-time experiences are always sweet, no matter how many times I do it afterward.” – Satyaa

“Last Christmas, I managed a photo which I had waited literally years to take. It’s usually impossible to take a photo of the center of the Octagon at Ely Cathedral from below because there’s normally a modern oak altar in the way. I had gone to the cathedral to try out my new Hasselblad X2D II with a 20-35mm lens. Lo and behold, a team of workmen was preparing the central area for some school carol concerts. The altar had been removed. One nod of approval later and I was in!” – ClaireJRedHat

PhillipKukelhan

“Since moving to Cleveland 5 years ago, I’ve spent a lot of time riding my bicycle along the old Ohio & Erie Canal, where I see a lot of wildlife, mostly deer, snakes, bird life, and turtles.” – PhillipKukelhan

“Two years ago, I decided to upgrade a Canon 40D 12mp with the used X-T4. After having the camera a couple of months, I had a vacation to Japan scheduled. My intention was to buy an array of lenses while I was there. I put one of them to use the very night I purchased it. Because of the low-light conditions and fast-moving moments, I realized from those photos what a great purchase my X-T4 and Sigma 10-18mm F2.8 were. Personally, there isn’t a better feeling than successfully capturing these moments.” – ronphoto

“As a second-generation photographer, I grew up using Canon, and most of my gear was handed down from my father. Around 2014/2015, I was tired of using cast-offs and older generation equipment, so I set out to purchase my own gear and explore other systems. I had already picked up an A6000 (or A6300) as a secondary camera to my 1D Mark II, but when Sony released the A7RII, I decided to rent it for a big annual job.” – reflux83

Minolta TC-1

“I decided to get the XF 56mm F1.2 WR because the image quality is so good that it compensates for the fact that it’s just really rather big on my X-E5. Well, when I started using it at the next concert, this is the kind of thing that really convinced me it was money well spent. It was even a bit emotional – taking me back 20+ years to when I finally bit the bullet, bought that Zuiko 90mm F2 and got my first photos back. Just one example says enough.” – Minolta TC-1

“Having introduced Eye Control AF (ECAF) with the second camera in the RF series, Canon made it an upgrade I couldn’t pass up. I always believed ECAF had the potential to significantly improve my photography, and I wasn’t wrong. The feature is particularly valuable with lenses such as the Canon RF 28–70mm F2 L USM, whose large and heavy glass elements require more time to focus. By allowing you to direct the AF system immediately to the intended subject, Eye Control AF reduces unnecessary focus hunting and helps the lens lock focus more efficiently, without wasted tries.” – PhotoKhan

“It wasn’t one image so much as hundreds that assured me my stabilized AF telephoto macro lens was a great investment for the online store.” – Jefenator

Invisible Man Potography

“I realized I made a great decision in upgrading from a Canon R6 Mark II to a Canon R5 Mark II when I reviewed my files from the June 26, 2026, 20th Anniversary of fashion designer Diego Cerón’s ‘Couture a Table’ in Mérida, México. Standing outside the room, I photographed Pablo Mercader Duch – performing as ElHada Frozen and embodying Marie Antoinette – through the crowd. In that moment, I made the artistic decision to allow the people to form a natural frame around Pablo.” – Invisible Man Photography

So many other stories we couldn’t fit in this article are shared in the forums. Thanks to everyone who took the time to submit a favorite photo from their first new camera purchase.

Feel free to participate in the series at any time. New questions are posted here on the homepage and in the forums every other week We can’t wait to read your stories and see your photography!

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Viltrox has expanded its mid-tier lineup with the AF 26mm F2.8 Evo, a new pancake prime. As the smallest Evo offering yet, it continues the series’ focus on durable build quality and external controls, positioning itself as an everyday carry option for street and travel photographers.

The AF 26mm F2.8 Evo is made for full-frame E and Z mount cameras. As a pancake lens, it’s highly compact and lightweight, measuring just 24mm (0.9″) thick and weighing only 130 g (4.6 oz). Despite its diminutive size, it still offers useful controls. That includes a clicking aperture ring, though there is no toggle to de-click it. There’s also a separate focus ring for manual focus.

Viltrox

The lens uses an optical design of eight elements in six groups, including two aspherical elements and one high-refractive index (HR) element. Viltrox promises good sharpness even with the aperture wide open, and says that in-camera corrections minimize distortion. It uses a seven-blade aperture diaphragm.

The new lens uses an STM autofocus motor. It can focus as close as 0.2m (7.8″), enabling close-up shots in addition to broad views. A machined metal barrel offers greater durability, and it is dust- and splash-resistant around the lens mount. The lens is compatible with 43mm filters, as long as you use the included lens hood, and it uses a magnetic front lens cap. A USB-C port enables firmware updates.

The Viltrox AF 26mm F2.8 Evo is available today for E and Z mounts for $299.

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Fujifilm has released updated firmware for its GFX Eterna 55 medium format cinema camera, and set out a roadmap of additional updates that will follow over the next year.

Firmware v1.1 promises improved stability and usability but future updates include support for desqueezed previews of additional anamorphic lens ratios, improved SDI and HMDI latency, with LANC control and variable electronic ND arriving later.

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Tamron is introducing a fast, ultra-wide zoom lens for full-frame cameras: the 12-20mm F2.8. It’s being released for Nikon Z-mount and Sony E-mount, and is also ushering in a new look for the company’s lenses.

The 12-20mm F2.8 uses an optical formula with 17 elements in 12 groups, with one expanded glass molded aspherical element, three glass molded aspherical lenses, one extra low dispersion element, and three low dispersion elements. The company says it’s designed to be sharp to the corners, and to minimize and correct for aberrations like color fringing and sagittal coma flare. The latter is especially important for astrophotographers, who may be interested in this lens thanks to its wide focal range.

At 12mm, it can focus on subjects as close as 0.18m (7″), and at 20mm, its minimum focusing distance is 0.28m (11″). It has a 12-blade aperture. Because of its bulbous front element, it can’t accept front filters, but it has a rear filter holder in addition to its integrated lens hood.

Focusing is handled by a linear motor and is internal. While zooming doesn’t make the lens any longer, the front element does physically move back into the body. The lens has both an MF/AF switch and a manual focus lock switch; the latter is again something that will be appreciated by astrophotographers.

Beyond those switches, the lens is covered in controls. There’s a customizable function button in both portrait and landscape orientations, a zoom lock switch that can be used to keep the lens at either 12mm or 20mm, a lock for the aperture ring (or control ring on Nikon), a switch to click or declick that ring and a custom setting switch, which you can use Tamron’s Link software to configure to switch between focus position, change your rings’ rotation direction, limit focus, etc. There’s also a USB-C port you can use to update the lens’s firmware, or to connect it to your phone via a cable or wireless adapter to use Tamron Link.

In its briefing, Tamron took a lot of pride in the lens’s size and weight, saying it was comparable to slower lenses, or ones with less range, and substantially lighter than other options. The E-mount version of the lens weighs 570g (20.1oz), with the one for Nikon weighing 15g more. The Sony version is 119mm (4.7″) long, with the Z-mount version adding 2mm.

This isn’t just a new lens for Tamron, though. The company is also introducing its new branding alongside it. Those familiar with the company’s naming conventions may have noticed what’s not there, first: there’s no “Di III” or “VXD” at the end of the name, denoting it as a mirrorless lens that uses a linear motor. Like Sigma , the company has decided that it doesn’t need to distinguish its DSLR lenses from its mirrorless ones directly in the name, and likewise, most of its lenses going forward are likely to use linear motors.

The updated industrial design language that Tamron is launching with the lens is called “Toned Profile Next,” which the company says is made to match how modern cameras are designed, while feeling better in the hand and more recognizably Tamron. Compared to its older lenses, the 12-20mm F2.8 has chunkier rings for zooming, aperture control and focusing, updated textures for its touchpoints, and new placement and print color for its branding. It also narrowed the champagne-colored “brand ring” that borders the lens mount.

I personally quite like the new look, especially since it comes with a clicking aperture ring on E-mount, something Tamron hasn’t been including on its recent lenses. I also appreciate that it’s now quite easy to grip the control rings and to distinguish which one your finger is on just by feel. The switches and buttons are all satisfying to use, and the lens feels solidly built, even if I don’t prefer the finish’s smooth texture.

The Tamron 12-20mm F2.8 will cost $1699 for the E-mount version and $1799 for the Z-mount version; the company says the difference comes down to volume, behind-the-scenes differences in manufacturing, and the competition on the different mounts. The Sony version will be available starting July 30th, while Nikon owners will have to wait until August 27.

Sample Gallery

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

Thanks to Nikon for the loan of a Z8 to shoot this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer’s distortion correction applied but no correction of vignetting. The profile corrects a minor amount of distortion – barrel at the wide end and pincushion at the long end – but we wouldn’t consider it an essential part of the lens design.

Tamron 12-20mm F2.8 specifications:

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Jimmy Chin is an Academy Award-winning filmmaker, National Geographic photographer, author and elite mountain athlete. Known for telling epic adventure stories from remote corners of the world, Chin is also a Canon Explorer of Light. He recently sat down for a Q&A session on Canon’s YouTube channel, sharing his insight on his gear considerations and general approach to photography.

One thing I found particularly interesting was that he’s reduced the amount of gear he brings on shoots. Instead of hauling a huge kit, he’ll only take a couple of lenses, or sometimes just a single lens. “I’ve found that when you are working within certain constraints, it actually pushes you creatively,” he says. “It makes you find creative solutions to the different problems and challenges that you face on a shoot.” Of course, for the type of photography and videography he does, having less gear is also helpful logistically and physically, but I appreciate his mindset of using less to grow creatively.

Adaptability is also a key trait according to Chin, both in terms of gear and overall mindset. “Adaptability is a huge part of being a great photographer and being able to roll with the punches on shoots,” he says. “Sometimes you get really focused on the single shot that you really want, and you’re missing all kinds of other shots. So you have to keep your eyes open and your mind open.”

Chin also recommends looking at a lot of photography and, specifically, paying attention to many genres, even beyond what you’re personally interested in. “Look at all the greats. Understand kind of the approach that all these different artists have come to their craft,” he says. “I think that understanding and the thought processes of creating images is a really good place to make photography fun for you, because all of a sudden you are looking at the world in these different ways and then you kind of find your own language and your own ideas for how you think about photograph, and that’s what makes your photography special.”

The video has plenty of other great advice, too. It’s well worth a watch, especially for newer photographers trying to figure out how to move forward.

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The U.S. Federal Communications Commission (FCC) is proposing $25,000 fines against eight companies after they allegedly failed to respond to questions about DJI‑related products sold in the United States. The agency is examining whether these firms played a role in bringing cameras, drones and other wireless devices based on DJI technology into the country under different brand names.

The companies named in the action are Cogito Tech, Fixaxo Technology, Lyno Dynamics, Skyhigh Tech, Spatial Hover, SZ Knowact, WaveGo Tech and Xtra Technology. According to the FCC, the proposed penalties stem from the companies’ refusal to answer formal letters of inquiry, rather than from a final determination that specific products violated U.S. equipment rules. Each firm has until July 20 to respond before the Commission decides whether to proceed with the fines or take further enforcement steps.

This latest action builds on a series of moves that have steadily tightened U.S. scrutiny of DJI. In late 2025, the FCC added DJI to its “Covered List,” a designation that prevents new DJI radio‑based products from receiving equipment authorization, effectively blocking future models from entering the U.S. market. Existing, previously approved drones can, however, continue to be sold and flown. As DPReview reported at the time, that shift marked a turning point in the long‑running debate over a possible “DJI ban” and pushed creators toward stockpiling current models or looking at alternative brands.

Xtra

Xtra’s inclusion in the new enforcement action is particularly notable for photographers and filmmakers. The brand has been selling cameras and gimbal systems in the U.S. that closely resemble DJI’s Osmo Pocket and Osmo Action lines, effectively providing a path for DJI‑style hardware to reach U.S. buyers despite the Covered List restricting new DJI‑branded products.

What this could mean for DJI’s U.S. prospects

In the short term, the FCC’s move does not mean that existing DJI or Xtra products are suddenly banned or pulled from shelves. Equipment that already holds valid FCC authorizations remains legal to own and operate. However, if enforcement pressure causes these lesser‑known brands to scale back or exit the U.S. market, the supply of DJI‑adjacent “clone” or rebadged devices could become more limited.

Longer term, the enforcement push could complicate DJI’s efforts to return to the U.S. under its own name rather than help it. By formally targeting companies suspected of funneling DJI‑linked technology into the country, the FCC is reinforcing the idea that this hardware poses enough concern to warrant ongoing scrutiny. That may strengthen the case for strict controls and keep political and regulatory pressure on DJI high, even as the company continues to challenge its inclusion on the Covered List and push for a path to get new products approved again.

We’ll have to wait and see what the outcome will be, but the direction from regulators is clear: companies tied to DJI‑linked technology are expected to fully cooperate with FCC investigations, and a lack of cooperation could result in additional enforcement action beyond the currently proposed fines.

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The Godox iT32 is a pocketable, $80 flash. And it essentially sweeps away all the hurdles that stood in the way of me using flash.

I suspect I’m not alone in having found the cost of flash systems off-putting, when I first started photography. I’d scrabbled together enough money for a camera body with a nice kit zoom and immediately turned my attention to additional lenses. Flash was always the next thing on my list. And, two decades later, it still is.

You learn early on that flashes are most effective, creatively when they’re positioned away from the camera, but this invokes all the costs of remote triggers and off-board flashes, or being limited by the length of cables, because I’d bought an entry-level DSLR that couldn’t act as a flash commander, and I didn’t feel confident enough to start with manual, rather than TTL-controlled flash.

Mitchell Clark

The iT32 solves that off-camera problem because it connects to your camera via a small, hotshoe-mounted radio-frequency controller. The cost of this controller? between $20 and $34, depending on which brand of camera you use.

The X5 controller slots into your camera’s hotshoe and the iT32 attaches magnetically to the controller. Or you can disconnect the flash and fire it remotely. The flash itself communicates using Godox’s own communication protocol and can pair with any X5 controller, providing TTL compatibility whatever brand camera you own. It also means that you can buy a single iT32 and make it work even if you have cameras from more than one brand.

Richard Butler

*Godox says Canon cameras with multi-interface hotshoes should use an adapter to mount the X5 C. It makes a “X5 Cm” version for these newer cameras but has limited its sales to China.

The X5 can only control flashes operating in a single group, so you can’t use it as the basis of a complex multi-group setup, but the iT32 itself can operate in different groups, so will still be usable, if you decide to expand your setup, later.

So far, I’ve just been using the X5 and iT32 combination and have found it to be a really low-risk place to start experimenting with flash. It’s a genuinely small unit, that makes it easy to keep with me. It has a guide number of 18m, so it’s not especially powerful, but it’s enough of a step up from any camera’s built-in flash that, especially combined with the ability to use off-camera, is enough to make it worth carrying around.

In-use

Mitchel Clark

For such a small unit, the iT32 has a surprising number of control points. There’s a power/flash test button, a Set button and a Menu button, along with a dial on the side, used for quick control. But the iT32’s small rear screen is also touch-sensitive, so it’s really quick to operate, rather than requiring odd combinations of button pressing and dial turns.

To turn the unit on you hold the power/test button for two seconds then scroll the control dial upwards to confirm that it’s not just pressed against something in your bag.

You can access the menu by pressing the Menu button or swiping down on the screen. In the menu you’ll find options for controlling the modelling lamp on the front of the flash, a control for switching between TTL, Manual and multi-flash (strobe) modes, as well as deciding whether the flash is in on-camera mode, sender or receiver.

Mitchel Clark

The iT32 automatically switches to receiver mode when you detach it from the on-camera X5, so you don’t need to give most of this much thought.

In use you can set exposure compensation by turning the dial on the side of the flash, by swiping left or right on the touchscreen or, when the iT32 is working remotely away from the base, by pressing the small + and – buttons on the back of the X5 controller.

If you have a pair of iT32s you can your their controls to set them to different manual flash values (or flash exposure comp values if in TTL mode). You can still use the X5 to increase and decrease these values remotely, but any increase or decrease will be applied to both flashes, so you can’t remotely adjust them independently, as you would in a proper system of grouped flashes.

Mitchel Clark

When working handheld, I found the touchscreen to be very sensitive and the control dial very easy to jog, so tended to make use of the ‘Lock’ function in the menu, to stop myself accidentally changing the flash settings. Once lock is engaged, you need to hold ‘Set’ for two seconds to re-activate the controls.

The iT32 has its own, built-in battery, so you don’t need to hunt around for a fresh set of AAs all the time. It recharges over its USB-C socket, which is also used for updating firmware for both the flash and the X5. The X5 unit has its own battery, which charges up when connected to the iT32. You can check the battery level on the menu of the flash, when it’s connected, or long-press the – button, where it will communicate its charge level with between zero and four flashes of its tiny red LED.

Richard Butler

Generally, getting started with the iT32 is simplicity itself. The two units pair with one another when physically connected, switching the flash to the correct camera brand’s protocol, and then auto switches between on- and off-camera operation. It’s only two swipes on the touchscreen to manually engage receiver mode, if you power the flash on again later and don’t want to have to physically re-connect them each time.

As you use the setup more, it’s worth scanning through the manual, as there are some differences between camera brands about how to access modes such as high-speed sync and rear curtain flash sync, but there’s nothing that a complete novice should find off-putting at all.

Overall, though, I found the X5 / iT32 pairing to be a remarkably cost-effective way to access the world of flash photography. And, significantly, the realm of off-board flash. This simple, sub-$100 set overcame pretty much all of my previous concerns about cost, about compatibility and around batteries, leaving me with no excuse.

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Capture One has built its reputation as the professional standard for commercial and beauty photographers thanks to its precise color management and tethering tools. But the company is also in the midst of an expansion, adding tools for new types of photographers, from photojournalists to those working with film.

We sat down with CEO Rafael Orta to talk about what that growth looks like, how the company approaches AI, and how it differentiates itself from other editing platforms.

Who it’s for

Capture One

While some editing platforms aim to serve everyone, Capture One is intentionally more narrow in its scope. Orta is clear about who the company builds for: photographers who have made photography their career choice, whether as a primary income source or a serious secondary one.

The professional lens shapes everything from feature priorities to how the company talks about its product. Capture One is often considered the commercial standard for beauty and product photography, but Orta says it has deliberately expanded into professional portrait, wedding and family photography in recent years as well. It’s also seen lots of growth in its enterprise segment, with the Associated Press coming on as its first photojournalism client last year.

The key is that all of these are genres where client relationships and deadlines can define the work. “We have a really good understanding of how photographers work with clients, work under deadlines and how clients are the ultimate judge of your work,” Orta says. “It’s a tool that has been built with professional standards in mind.”

AI on its terms

There’s no getting around the fact that AI is everywhere these days, and it’s reshaping many aspects of the photography software market. But Orta is careful about how Capture One positions itself within that shift, and it comes down to trust in the company’s identity. “We are not confused about who we are,” he says. “We are a photography company first, not a software company that happens to serve photographers.”

That identity, according to Orta, is what allows the company to incorporate AI responsibly. He tells me that Capture One owns more cameras than it has employees and that many of the photos on its website and in its marketing are taken by Capture One team members, who are photographers. “We are incredibly protective of usage rights; even in internal presentations, you need to credit the photographer,” he explains. The company also runs a monthly internal photography competition with winning images adorning the walls of their offices.

Orta explains all of this to make it clear that AI tools in Capture One are built by people who take photography seriously; they aren’t added simply to keep pace with competitors. “It’s why we’ve been able to bring AI into Capture One without the backlash others have faced,” he says. “We built it as a participant in the industry, not an operator standing outside it looking in,” he says.

A pulse on the community

Earlier this year, Capture One released a negative film conversion feature. While this could seem like an odd move for an editing platform dedicated to commercial work, Orta sees it as the perfect example of how in-tune with the industry the company is.

“It’s the perfect example of our connectivity in the industry,” Orta says. “We saw early on that there was a resurgence of film photography, and it quickly began to enter the commercial space.” He explains that they want to offer a better way for commercial photographers to integrate all their work into a single platform. Doing so enables photographers to maintain a more consistent workflow and create a more coherent look across both film and digital.

Orta is also clear about how intentional the company is with new features and the work involved in creating those. “We are soaking in the industry, and we listen and respond to the requests,” he says. “But because we’re precious about quality, some of these things may take a bit of time. We spent the best part of two years on negative conversion to make sure the results would be good.”

As an example of how dedicated the team is to its new features, Orta tells me that a few weeks ago, the company held its annual gathering and handed out disposable film cameras to everyone there. Now, the employees are using the negative conversion tool to scan in their own negatives. It’s another example of the team getting real-world experience with the features they develop.

Pricing adjustments

Capture One

Capture One has never been the cheapest option for photographers, and recent pricing increases have made that especially true. The editing platform has raised its prices twice in recent years, and another 6% increase took effect this month. The new price is more than double the cost of Adobe’s Lightroom, a gap that is certainly hard to ignore.

Orta doesn’t shy away from the pricing question, though. “What we have committed to is yearly pricing increases, and we will do them in a modest way,” he says. As for the why, Orta simply cites inflation and foreign exchange as factors in the decision.

Naturally, he points to what subscribers get in return. Orta says that Capture One has been pushing more than one update per month to at least one of its platforms, bringing a constant stream of improvements. He explains that these include server-side updates to things like its collaboration tools (Live, Live for Studio) and admin platform, not just desktop and mobile app updates. Some of these updates are visible to a user, while others aren’t. He adds that the company has simplified its product lineup in recent years to make pricing tiers clearer. Overall, Orta frames the increases less as a burden and more as a reflection of ongoing investment in the product.

A clear vision for the future

For Orta, all of Capture One’s recent changes, including the newly added Hasselblad support, point in the same direction: a company that’s clear on who it is and who it’s building for. “We try to serve specific genres and build products and services that are perfectly adapted to the needs of each one,” he says. For a company with its roots in commercial studios, that’s a wider net than it used to be, but it doesn’t mean that the focus is any less intentional.

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The Sony RX10 V arrived just before a trip I had planned to San Francisco, giving me some more interesting / less familiar shooting opportunities, the chance to play with an extremely long lens, and a lesson in how hard it is to re-create Todd Walker’s famous 1964 photo of California Street.

I made sure to grab some low-light photos as well as some trams, sunshine and marine-layer gloom.

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Insta360 is teaming up with 3D printer company Bambu Lab to encourage custom accessories for the new Luna Ultra gimbal camera. To that end, the pair has launched a co-branded Luna Ultra Design Challenge and made official design files available for creatives.

The challenge is hosted through Bambu Lab’s MakerWorld platform, a community where creators can share and 3D‑print custom designs. To make things easier for those interested in creating accessories, Insta360 has published official 3MF and STL design files for the Luna Ultra. Insta360 is the first camera brand with an official presence on MakerWorld, and it’s certainly not typical to see a company sanctioning third-party 3D-printed, precision-fit accessories for its cameras. That hasn’t stopped people from making their own accessories, but having an easier means to do so will likely be appreciated by many users.

The contest has two entry tracks: Track A is about designing and uploading actual 3D-printable parts for Luna Ultra, while Track B is about showcasing or pitching those ideas through content across major social platforms.

Track A is geared toward 3D designers and engineers and is meant for fully realized models. It consists of two categories: The Practical Add-ons category includes things like stability mounts, filming rigs and advanced creator tools, while the Creative Mods category focuses on aesthetic covers, playful themes and stylistic upgrades. Those submitting to Track A should use #PrintForLuna within MakerWorld.

Track B can include finished 3D-printed products, but it’s also open to hand-drawn design concepts and creative accessory ideas, so even those without a 3D printer can still take part. Those interested in submitting projects in Track B should tag their posts with #PrintForLuna, #BambuLab and #Insta360LunaUltra on Instagram, TikTok, YouTube, Facebook or Reddit (r/Insta360).

Insta360

The challenge has prizes up for grabs. Insta360 says there are a total of 40 joint awards, with selected winners receiving the Insta360 Luna Ultra camera and either the Bambu Lab X2D Combo or A2L Combo 3D printers. There will also be other hardware prizes, along with gift cards and coupons. Additionally, the company says the best ideas may be selected for further development and possibly turned into an official product. Creators of those designs will have access to “exclusive collaboration opportunities and additional rewards, with full details confirmed with the winners directly.”

The Luna Ultra Design Challenge runs from now through August 9, with winners announced on August 20. You can download the 3MF and STL design files from MakerWorld, and learn more about submission requirements on the challenge page.

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A new video from Kodak and movie studio A24 follows actress Olivia Wilde as she tours Kodak’s Film Lab in New York City. The tour is technically a promotional stop for “The Invite,” a recently released dark comedy Wilde both directed and stars in, though it doesn’t come across that way. Instead, the four-minute video offers a short glimpse into what goes on behind the scenes when movies are shot on film.

In the video, Wilde walks through various parts of the lab with technicians who briefly explain what they do, from loading the film in the darkroom to running it through the development steps and splicing it all together. What struck me is how very low-budget the space looks. Aside from the required specialized equipment (I especially love the fancy machine used to dry the negatives), it looks like any gritty big-city studio/lab space. Piles of miscellaneous items are piled everywhere, there are old radiators with paint rubbed off, and the people working there don’t seem fussed by any of the attention. It’s far from a glamorous space.

The video is a short watch, so it absolutely doesn’t get into the nitty-gritty details of the process. But it’s a nice overview of how the lab turns exposed negatives into usable images, and it’s always neat to see behind-the-scenes looks like this.

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The Sony RX10 V is an update to the company’s long-zoom large-sensor compact. It’s built around a 20MP stacked Type 1 (116mm²) sensor and a 24-600mm equiv, F2.4-4.0 stabilized zoom.

It’s a long-zoom ‘compact’ whose newfound processing power means it can shoot a range of subjects from landscapes to wildlife and maybe even a little sport. We’d be tempted to make the comparison to a Swiss Army knife, only the RX10 is far from pocketable.

Key specifications

• 20MP Type-1 (116mm²) stacked CMOS sensor
• 24-600mm equiv. F2.4-4.0 lens
• Up to 30fps shooting
• 4K up to 120p with crop (60p full width) in 10-bit
• 3.68M dot EVF
• 1.62M dot tilting rear LCD
• UHS-II SD card slot
• 630 shot/charge battery life rating

The RX10 V will be available in early August with a recommended price of $2,300. This is exactly in line with the US consumer price index inflation rate applied to the $1700 launch price of the RX10 IV, nine years ago. To use a different benchmark, it’s cheaper, relative to the a7 V and that camera’s peers, than the Mark IV was, relative to its contemporary a7 model.

Index

• What’s new
• Body and handling
• In use
• Video
• Initial impressions
• Sample gallery
• Specifications
• Press release

What’s new

It’s been eight years since the RX10 IV and Sony has made big steps forward in both technology and ergonomics in the meantime: the RX10 V benefits from both.

On the technology side, the RX10 V gains the Bionz XR processor and “AI processing unit” from the previous generation of Alpha cameras. This brings the full range of subject recognition modes, including birds, animals, cars, planes and the “human pose estimation” system that is designed to recognise people-shaped things in the scene, even when the face or eyes aren’t visible, to help the camera continue to track the same subject.

The added processing power allows the RX10 V to shoot at up to 30 frames per second with a blackout free viewfinder. You also gain the Speed boost function that lets you temporarily engage a faster (or slower) shooting mode, when you hold a customized button down, but you don’t gain the pre-capture function.

Autofocus has come a long way in the nine years since the previous RX10 was released, and the new model feels like a thoroughly modern camera. The other area of significant improvement over the same period is video, and the RX10 V is a bit step forward in that regard, too, with a host of Sony’s latest options including, significantly, the ability to capture 10-bit and H.265 footage, both of which make it more pleasant to work with.

Sony says it’s the same lens as on the RX10 IV but CIPA standards for reporting focal length have apparently changed in the meantime, meaning it’s quoted as a 9.1-210mm zoom, rather than the 8.8-220mm figures printed on the side of the previous two models. We suspect the figures now quoted are the literal focal lengths, rather than the effective focal lengths after corrections has been applied. The end result is the same, though: a 24-600mm equiv range with an F2.4-4.0 maximum aperture and in-lens stabilization.

It’s hard to get your head round just how much flexibility a 24-600mm lens gives you until you use it. There are cameras that offer even more range, but all of them are based on much smaller sensors, so you pay a price in terms of image quality, if any survives the heat haze.

The lens has a built-in shutter which can go as fast as 1/1000th of a second at wide apertures, and 1/2000 sec at F8 and slower. This is great for flash, as you can sync up to those maximum speeds but quickly becomes limiting in bright light. You can switch the camera to e-shutter mode which, with a rolling shutter rate of 15.7ms (1/64sec) is still pretty fast, but this requires you to switch to the lossy compressed Raw format. There’s no auto mode to let you use mechanical shutter up to its limit, then e-shutter beyond that.

Body and handling

Richard Butler

The RX10 V is a substantial camera but that’s to be expected for something trying to deliver a 24-600mm equivalent zoom range. It’s been a long time since we handled an RX10 IV but the grip shape seems improved, offering a sturdy grip on the dense, polycarbonate body.

There’s no front dial, the logic presumably being that you’ll use your index finger for operating the zoom rocker. This means the two command dials on the rear shoulder are both operated with your thumb. There’s also a rather fiddly dial on the rear plate of the camera but thankfully, with the provision of two customizable command dials and an aperture ring, there’s rarely need to use it (it’s not used in photo mode, by default).

Richard Butler

Unlike recent Sony cameras, the RX10 V has a 10Gbps USB-C socket for fast data transfer but then retains the USB Micro B ‘Multi’ socket for attaching external accessories. This can no longer be used for charging the camera, reducing its usefulness to being an accessory port.

The RX10 V still uses a single SD card but the interface now uses the slightly newer UHS-II standard, rather than the UHS-I slot on the previous model. This is quick enough to accommodate the 600Mbps (75MB/s) data rate required for 4K/60 video capture with All-I compression.

Viewfinder

Richard Butler

The viewfinde gets an upgrade to 3.68M dots (1280 x 960px), which is a decent step up from its predecessor. The resolution drops a little if you engage the high refresh rate mode, and battery life drops, too, but whichever mode you choose, the resolution is maintained, even when using C-AF, so you don’t get the potentially distracting drop in detail when you half-press the shutter.

Screen

The screen is also refreshed, with the Mark V using a 1.62M dot (900 x 600px) screen that matches the sensor’s aspect ratio, rather than the 4:3, 800 x 600px panel on the previous model. The screen is still mounted on a tilt up/down cradle, which gives a decent level of flexibility but isn’t well suited to portrait orientation shooting.

Battery

Richard Butler

Other than the improved autofocus, perhaps the biggest change on the Mark V is the move to the much larger NP-FZ100 battery. This is the 16.4Wh battery that has powered the various a7 models for the past nine years. It has a capacity more than twice that of the FW50 battery used in previous RX10 cameras, giving much better battery life in a way that seems appropriate for a camera so likely to be used for travel and long shoots outdoors.

In use

When you first start up the camera, you’re confronted with a very simple, compact-camera display, with five large touchscreen buttons arrayed down both sides of the screen. This ends up feeling somewhat nostalgic, having not encountered a mainstream point-and-shoot for some time, and rather at odds with the more Alpha-styled controls and main menu.

Anyone not wanting to use touchscreen buttons, or wanting a less cluttered display can remove them (the option to do so is under Touch Operation / Touch Panel Settings, rather than with the display options in Operation Customize).

With this done, the RX10 V feels a lot like an Alpha-series camera, with the new menus representing a big improvement over the ones in the previous models. It’s not without its foibles but for the most part it’s well grouped and organized, and with a little customization of the Fn menu and custom buttons, you can minimize your need to visit it.

The RX10 V has the same issue as other Sony cameras in terms of a couple of incompatible settings: you’ll need to disengage Raw and switch to HEIF format before you can engage the camera’s HLG Stills mode to shoot true HDR images, and you’ll have to switch your Raw format if you want to engage the electronic shutter mode. All of which leaves the risk that you forget to switch back.

Richard Butler

Also, somewhat disappointingly for such a travel-friendly camera, Sony remains the only major brand not to offer some kind of in-camera Raw conversion. So if you take a nice shot but want to tweak the white balance, color mode or DRO level before sharing it, tough luck, you’ll just have to messily hack the JPEG around on your phone.

There’s a lot to like, though. The dials and joystick give a good sense of direct control, letting you feel you have direct command over the camera’s really rather impressive capabilities. It has its limits, though: it will try to keep focusing if you zoom with the ring around the lens (you can’t use the zoom rocker), but it definitely struggles, which can limit some sports or action shooting. But the ability to quicky zoom with the rocker under your index finger and fine-tune the framing with the lens ring helps keep the power zoom feeling pretty engaging.

Video

The previous RX10 V’s video topped-out at 4K/30, despite the use of a fast, stacked CMOS sensor. The Mark V pushes way beyond this, with the option to shoot 4K/120 with a significant 1.38x crop or oversampled 4K/60 from the full width of the sensor. As you’d expect from a modern camera, this can all be done in 10-bit, making Log, and in particular, the more ambitious S-Log3 curve, much more usable.

Richard Butler

But video improvements over the past nearly decade go further than speed. The RX10 V lets you shoot in the attractive, S-Cinetone color mode and it lets you upload LUTs for previewing your preferred color grade, or to burn directly into the footage. It has Sony’s Auto Framing mode that identifies a subject, punches in and follows them around, upscaling the footage and giving a camera operator dynamism to what are actually locked-off shots. There’s also the Active Mode IS that corrects a wider range of movement, available at up to 4K/60.

Then, on the audio side of things, the RX10 V can capture up to four-channel audio, if you attach an accessory to its multi-interface connectors in the hotshoe. A 72mm filter thread allows you to attach ND filters as needed.

Above all of this, though, the RX10 V’s video also benefits from its improved autofocus system, which is much more tenacious and dependable in terms of subject tracking, especially if your subject is of a type the camera has been trained to recognize.

Initial impressions

Richard Butler

It’s been nine years since the last RX10 model was released and, although things have been pretty quiet on the compact front, the rest of camera technology and performance have continued to make advances. Much like watching a young relative you rarely get to see grow up through a series of infrequent visits, the prolonged gap really makes you notice how much has changed in the meantime.

The RX10 V is a dramatically more advanced camera than its predecessor: faster to focus and much more dependable at subject tracking. The menus and ergonomics have come a long way, too, and its video capabilities are leagues ahead of where the RX10 IV had brought us to.

I’m not generally a fan of long-zoom cameras, as I’d usually prioritize compactness over that additional reach that I rarely find myself wanting to use. But the enhanced AF performance and speed capture add a lot to what was already a camera with a strong following. They vastly expand what the RX10 V can do, and the changes to the controls and battery are significant benefits, too.

Unlike the recent L10, that doubling of battery capacity hasn’t led to much of a change in body size, and it wouldn’t have made much difference anyway, on a body so dominated by that vast lens.

There can be a few delays, here and there, waiting for the lens to initialize, and it was disappointing to have to swap shutter modes (and Raw filetype) or stop down when hitting the 1/1000 sec limit of the mechanical shutter. But overall I’ve found the RX10 V to be a pleasant travel companion whose lens constantly challenged me to think of photos that I couldn’t otherwise take.

Whether that makes it worth $2300 is for each individual to decide, but it’s striking to get to see what nearly a decade’s worth of improvements, delivered all in one go, look like.

Sample gallery

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Sony DSC-RX10 V specifications

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Fujifilm has announced the GF19-35mmT3.5 PZ OIS WR, a cinema power zoom lens. This marks the second power zoom lens for the GFX system, joining the GF32-90mmT3.5 PZ OIS WR.

The GF 19-35mm T3.5 offers a 35mm equivalent focal length of 15-28mm, providing an ultrawide perspective. It offers the widest angle of view for the GF format, though it just achieves that by only 1mm over the GF 20-35mm F4 R WR. Like Fujifilm’s first power zoom lens, the 19-35mm T3.5 covers the GFX Eterna 55’s full sensor, making it compatible with the camera’s open gate recording mode.

The lens’s built‑in focus motor enables the GFX Eterna 55’s full suite of autofocus modes, making it suitable for everything from handheld documentary work to more controlled studio productions. Its internal servo system lets users control focus, iris (aperture) and zoom directly from the GFX Eterna 55 body for more precise, integrated operation on set. It features built-in image stabilization, ideal for run-and-gun filming.

Fujifilm

The lens consists of 23 lens elements in 15 groups, including four extra-low dispersion (ED) elements and three aspherical elements, which Fujifilm says successfully suppress aberrations. Fujifilm says its optical design suppresses focus breathing, keeping the angle of view consistent as the focus is adjusted. It features a 13-blade aperture.

The GF 19-35mm T3.5 shares the exact exterior dimensions as the GF32-90mmT3.5 PZ OIS WR, measuring 222mm (8.7″) and weighing 2.1 kg (4.6 lbs), making it possible to use the same accessories and setups. It also shares the same controls, with geared rings for focus, iris and zoom, all of which use the same 0.8m gear pitch as existing Fujinon cinema lenses.

The GF19-35mmT3.5 PZ OIS WR will be available on July 23 at a suggested price of $5499.95.

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