Alongside the new EOS R8 II, Canon has announced Dual Pixel 3D, a new Windows-based software tool, free at launch, that turns a single compatible camera image into an immersive 3D photo, a 3D model or a short 3D video clip. It does so using sensor data rather than requiring a dual-lens or dedicated 3D camera setup, meaning photographers can create 3D content without purchasing separate, specialized equipment.

How it works

The Dual Pixel 3D Converter uses depth and phase-detection data from a single compatible image, either a Dual Pixel Raw file shot with a supported camera, or a JPEG containing distance information captured by the EOS R8 Mark II. Users will need to ensure that the setting to record distance data to JPEGs is turned on, however.

The tool can export the resulting 3D content as OBJ or GLB model files, or as an MP4 video that creates a shifting, three-dimensional perspective. Canon says the tool is best suited to close-up, stationary subjects with clear depth and defined edges, such as products, plants and food.

Canon’s documentation of the feature highlights the need for a sharp source image. As a result, it recommends using an aperture between F5.6 and F8, specifying that anything beyond F8 will result in “a 3D conversion error.” The company also suggests an ISO of 1600 or lower to minimize noise. Finally, it cautions that subjects with fine details, transparency, reflections, repeating patterns or heavy blur may not produce ideal results.

The app then provides some controls for customization over the degree of depth. Users can increase depth for a stronger 3D effect or reduce it for a more subtle look. It also allows users to remove or replace the background before exporting the final file.

Compatible cameras

Canon says the new tool is compatible with eight EOS R-series cameras, listed above. While users don’t need a dual-lens setup, the feature only works with select Canon lenses, also listed above. The company notes that feature availability and viable output will depend on the camera, source file type, lens and shooting conditions.

Dual Pixel 3D could be particularly useful for photographers and small businesses that want to create rotating product visuals or shareable 3D-looking clips without investing in dedicated scanning hardware. It is not a firmware update that adds a new shooting mode to every Canon body. Instead, Canon’s new software converts depth information in compatible images captured with supported camera-and-lens combinations into 3D content.

Panasonic has announced a slate of firmware updates for several of its cameras, meant to bring improvements to the company’s small, full-frame, creator-focused camera, the S9, as well as the more pro- and enthusiast-oriented S1II-series. It’s also updating its Lumix Lab and Lumix Flow apps.

Updates for the S1II, S1RII and S1IIE

The changelog for the S1II-series of cameras is short, sweet and significant. It reads:

• Improved shutter release time lag and burst shooting performance when using an external flash.
• Improved operational stability.

The last note means what it usually does. The company has fixed bugs and made things work that bit better.

However, we’ve been told, and have experienced ourselves, that the S1II-series of cameras could be laggy when paired with a flash being controlled via TTL. The performance was, frankly, not really acceptable for professional-level cameras, and Panasonic says it heard complaints from wedding photographers in particular. This update should help avoid that, making sure the camera takes a flash photo right when you press the shutter, instead of having to take a bit to think about it.

This update will be coming to all of the S1II-series cameras, including the S1IIN, a variant of the S1II for Chinese and Korean broadcasters with special networking capabilities.

Updates for the S9

Which update for the S9 is more important will depend on who you ask, and whether they’re a videographer. If they are, they’ll likely be quite excited about Panasonic adding new formats of its MP4 (Lite) codec, which is designed to use a lower bitrate, making it faster to wirelessly transfer to a phone and post to the internet.

When the S9 launched, it marked the debut of MP4 (Lite), which was only available in a single resolution – 3.8K open gate – and two framerates, 25 and 30p. While you can crop the 3:2 footage to get an output aspect ratio, that requires an extra step. Now, the camera is gaining some additional modes that won’t require it: UHD 4K/60p, 1080/60p and 1080/120p. These modes were introduced with the Panasonic L10, and it’s nice to see them showing up here for people who want even less work to get their footage ready to post, though I do still wish there was a UHD 4K/30p option, too.

Panasonic

The camera is also gaining full support for the Lumix Flow app, a video-focused program that, among many other things, lets you use your smartphone as a monitor, either via Wi-Fi or USB-C. While that’s handy no matter what camera you have, it’s especially useful for the S9, which is otherwise limited to using Micro-HDMI to output video. Panasonic says many users were “begging” for the camera to work with Flow, which also lets you create storyboards and shotlists, and add metadata to your recorded clips that make it easier to sort through the good and bad takes in post.

Flow will be getting an update to support the S9, which also comes with a few tweaks to how it displays camera information while monitoring and expanded support for using it with your phone horizontally.

Finally, in a move that will please both videographers and photographers, the camera will now let you assign substantially more functions to a lens’s programable button (a feature likely brought on by the company’s release of a second small prime with one that seems like a perfect match for the camera).

Lumix Lab updates

If the firmware updates weren’t enough, the company is also updating its Lumix Lab app, which lets you download images from your camera, as well as manage its libraries of LUT (Look Up Table) color profiles. On top of some UI tweaks and improving the app’s compatibility with Android phones that have “non-standard” processors (read: chips from companies other than Qualcomm, such as Samsung’s own-brand Exynos models), Panasonic is trying to make the app friendlier to those trying to find and download new LUTs from its repository of creator-submitted options.

Lumix Lab will now let you download packs of LUTs as well, so you don’t have to individually pick and choose several separate ones to build a set of aesthetics. It also now lets you filter which LUTs show up based on a series of options, such as what kind of scene or subject you’re shooting, and what kind of colors you want. The company has also added an option to share a link to a LUT’s page in the Lumix Lab app.

Availability

The new firmware for the S1II, S1IIE, S1RII and S9 will be made available for free starting October 13, with the updated versions of Lumix Lab and Lumix Flow launching at the same time.

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Panasonic has announced the Lumix S 20mm F2.5, a small, wide-angle prime designed to complement the 40mm F2 it released earlier this year, while offering a much wider angle that’s ideal for things like landscapes, close-up shots that still give a sense of the environment and, of course, video.

The lens has very similar dimensions to those of the 40mm F2, and the S9’s 18-40mm F4.5-6.3 kit zoom when it’s retracted. It’s the lightest of the bunch by a fraction, coming in at 142g (5oz), and has the same 62mm thread for filters. Panasonic also says it’s splash, dust and freeze resistant; that won’t be a huge deal for S9 owners, since that body isn’t, but for S5 or S1-series users it’s a nice addition.

Optically, the lens is made up of 11 elements in 9 groups, with three aspherical lenses and three ED elements. Its minimum focus distance is 0.18m (7.1″), which lets you get quite close to your subject for a dramatic look that seems to be quite popular these days.

Panasonic says the lens should be relatively sharp edge-to-edge with clean bokeh. We’re working on shooting a sample gallery with it so you can judge for yourself.

In terms of controls, it has what we’ve come to expect from Panasonic: a customizable ring that you can assign different functions based on whether you’re in auto or manual focus mode (a setting controllable with a switch on the lens’s barrel). This lets you use it for things like aperture, shutter speed, exposure compensation, Panasonic’s Crop Zoom feature and more when you don’t need it for focusing. There’s also a small, customizable function button.

It’s nice to see Panasonic continue to fill out its line of relatively affordable, small lenses for L-mount. While there are plenty of options available, it doesn’t hurt to have more options, especially ones this light and compact.

The Lumix S 20mm F2.5 will retail for $499, $100 more than the 40mm, and will start shipping in October.

Panasonic

Panasonic Lumix S 20mm F2.5

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Panasonic Lumix S 20mm F2.5 specifications

Adobe has announced Photoshop Elements 2027 and Premiere Elements 2027, new versions of its consumer-focused photo and video editing apps. Both updates add AI-powered tools and features intended to make editing more approachable for beginners. Adobe has also updated Elements Organizer, its companion app for managing photo and video libraries.

Photoshop Elements 2027

Adobe

Photoshop Elements 2027 adds Generative Expand, which lets users extend an image beyond its original frame by using AI-generated content to fill the new areas. The new version also includes Generative Upscale, an AI-powered tool designed to improve the apparent clarity of low-resolution images as they are enlarged.

A new Creative Filters feature applies styles including Embroidery, Oil Painting, and Duotone. Users can adjust the intensity, texture and color of each effect for a more customized result.

Adobe is also bringing its AI Assistant to Photoshop Elements as a beta feature. The tool allows users to describe the edit they want to make, and it then carries out the tasks (at least simple ones). It debuted earlier this year on Photoshop for web and mobile before expanding to the Photoshop desktop beta.

Lastly, Photoshop Elements 2027 adds an AI Tools Hub that brings the app’s AI-powered editing features into one place, reducing the need to search through multiple menus and panels.

Premiere Elements 2027

Adobe

Premiere Elements 2027, Adobe’s consumer-focused video editor, is also gaining new AI tools (though, like Photoshop Elements, those may be subject to AI credit rules). Users can generate images from scratch to fill gaps in a timeline or create overlays, while Generative Title Art turns plain text into stylized graphics using text-based prompts.

Adobe is also adding sample photos and videos so users can experiment with tools and try editing techniques without importing their own footage. Contextual Toolbars help users locate relevant editing tools by describing the task they want to complete, serving a similar beginner-friendly purpose to Photoshop Elements’ AI Assistant.

Lastly, the video editor adds Editing Indicators, which help users quickly identify effects, transitions and text formatting while editing.

Elements Organizer

Adobe has also updated Elements Organizer to make growing photo and video libraries easier to manage. The update is designed to help users find specific files, reduce duplicate clutter and share finished work more quickly.

A new Semantic Search feature lets users use natural-language descriptions to find photos and videos, even when their search terms do not exactly match existing tags. Semantic Search is currently an English-only beta feature.

The update also improves duplicate-file detection and adds Share to Phone, which uses a QR code to transfer edited photos directly from a desktop computer to a mobile device.

Availability

Photoshop Elements and Premiere Elements 2027 are available now. The bundle of both programs costs $150, or each program is available separately for $100.

Interestingly, Photoshop Elements and Premiere Elements are limited to a three-year term license. Once that period ends, users will lose access to the editing apps, although Adobe says their media catalog will remain accessible in Elements Organizer. That means owners cannot simply continue using an older version indefinitely if they decide the newer features are not worth upgrading for.

It’s important to note that Adobe’s AI-powered features typically cost one credit per use. When purchased as standalone apps, Photoshop Elements and Premiere Elements each come with 25 credits per month, while the bundle includes 100 generative credits per month. The company also offers a way for you to purchase more through its dedicated AI subscription.

Capture One has announced the latest version of its desktop and mobile software. The updates bring 2nd Gen Wireless Tethering to two more Canon cameras. They also include immediate support for Canon’s newly released EOS R8 II and an enhanced version of Capture One’s AI-powered culling tool.

One of the more broadly helpful features is the updated version of Assisted Review, Capture One’s AI-powered culling tool that entered Beta in the May 2026 release. The tool promises to automatically flag images with issues like closed eyes, missed focus and exposure problems. Its initial release required users to manually trigger it, but now, the tool can run automatically while shooting tethered. That means photographers can have culled images by the time the shoot is done, potentially saving quite a bit of time. It’s only available on desktop for now, and is still in beta.

Capture One has also expanded compatibility for its 2nd Gen Wireless Tethering system, adding support for the Canon EOS R3 and Canon EOS R6 III. The feature launched in May 2026, with support limited to the Canon EOS R5 II and EOS R1. It

The second-generation system sends a smaller, fully editable Raw file almost immediately while the full-resolution file transfers in the background, allowing photographers to review and begin editing images without interrupting a shoot. With standard wireless tethering, the complete Raw must transfer before it appears in Capture One, a process that can take several seconds, or longer with high-resolution files or a weaker Wi‑Fi connection. Capture One says the feature works on both desktop and mobile.

Capture One

Lastly, Capture One is also providing immediate support for the new Canon EOS R8 II. Photographers working with Canon’s latest camera won’t have any delay in terms of editing files in Capture One, either on desktop or mobile. It’s important to note, though, that it uses the standard wireless tether feature, not the 2nd generation version.

Capture One version 16.8.6 for desktop and version 4.1 for mobile are available now.

Ricoh has released its 30th anniversary Ricoh GR IV kit, which includes the camera and a host of extras. The kit was originally announced earlier this summer, and will be shipping on October 21st (which is, from what I can tell, the actual anniversary of the original GR1’s release).

The company is only selling 6000 of the kits, so they’re relatively exclusive. Here’s what they’ll include, according to the company’s website:

• A GR IV with its shutter and rear buttons “finished in a special color inspired by the plated finish used on the first-generation GR1”
  • The camera also has “A special power-off graphic” to commemorate the anniversary
• “A ring cap ‘GN-3 (30th)’ with a diamond-cut design inspired by the design of the GR1 lens area”
• A leather finger strap engraved with “30th Anniversary”
• A steel-gray metal hot shoe cover with the 30th anniversary logo on the front, and “Ricoh GR” on the back
• 16 pins, 14 of which depict past GR models, one of which is the 30th anniversary logo, and the other a GR logo

The latter two pins are exclusive to those who purchase the kit. The rest will be sold individually as accessories, or as a bundle, along with the finger strap and hot shoe cover. (There’s even a version of the latter being made for the GR III series, too.)

The cost for all that? $1800, a $200 premium over the standard GR IV. The official Ricoh site currently has a “keep me informed” button rather than a “buy” one, but some retailers like B&H have opened up preorders.

Will you be lining up for the GR IV anniversary kit, or are you more excited about the GR IVx variant also due out later this year? Let us know in the comments.

Affinity has announced that the latest version of its free app is its “biggest photo editing update yet,” making the included Raw editor more powerful and easy to use.

In its press release, Canva, which owns Affinity, says it added “nine new color, sharpening, and detail adjustments” to the app’s Raw development process. It’s also added a Presets system, letting you easily save the changes you’ve made to one Raw file, then apply them across others that you’re editing. You can also use presets across various types of photos, including panoramas, focus stacks and more.

Mitchell Clark

The app can also attempt to deal with tricky corrections, such as getting the white balance right in scenes that have mixed lighting and attempting to reduce motion blur.

Canva has also added a variety of other tools to Affinity’s Raw editing panel. It gains spline-based hue and saturation curves and color-based adjustments, as well as new options for its object selection tool.

Finally, Affinity now has a “Studio” – basically a pre-configured arrangement of windows and tools – for editing astrophotography. It gives you easy access to tools to separate the stars from the background or to remove the background entirely, and to stretch the photo to “reveal faint detail while preserving important highlights.”

All of this is on top of all the things Affinity already does. Around a year ago, Canva folded Affinity Designer, Affinity Photo and Affinity Publisher all into one app, promising that it would be “completely free, forever.” This has, so far, remained true, though you will need a subscription to use some of the app’s AI features. And while the tool can’t replace library management tools like Capture One or Lightroom, for someone who just needs to edit the occasional Raw and doesn’t want to pay for Photoshop to do so, it’s now more capable than ever.

The changes come as part of the 3.3 update to Affinity, which is free to download from Canva. Existing users will be prompted to update the next time they open the app.

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Sony has announced the FE 400mm F4.5 GM OSS and FE 600mm F6.3 GM OSS. The company claims that both are the lightest super-telephoto lenses in their class, promising superb sharpness in a compact package.

The two lenses have a lot in common, including using a lightweight construction. The 400mm weighs 994 g (2.2 lbs), with the 600mm coming in at only a single gram more. For comparison, Nikon’s 400mm F4.5 and 600mm F6.3 are both over 1000g. They are also especially light compared to Sony’s faster 400mm and 600mm lenses.

Each lens uses two of Sony’s linear motors, with one for each focus group. Sony says both lenses provide fast and precise autofocus, with the ability to maintain focus tracking at up to 120 fps or during 4K 120p recording.

The 400mm F4.5 and 600mm F6.3 are each compatible with teleconverters, providing even more reach when needed. They both feature an 11-blade aperture diaphragm and are compatible with 95mm filters.

The on-lens controls are consistent between each lens, too. They feature 4 focus hold buttons around the barrel and a customizable function ring. There’s a focus range limiter (full range and infinity to 7m) and full-time manual focus override. A switch enables three different stabilization modes: one for normal camera shake, one for panning and one designed to keep the viewfinder image more stable while tracking fast, erratically moving subjects.

The lenses are dust and moisture-resistant, with sealed seams and silicone rubber gaskets around the switches and buttons, plus a sealed lens mount ring. The front elements feature a fluorine coating to repel oil and water. The lenses include a removable tripod foot.

Sony

The main physical difference between the 400mm and 600mm, besides focal length and aperture range, is the optical design. The 400mm features 22 elements in 16 groups, while the 600mm comprises 24 elements in 17 groups. However, both utilize 3 Super ED elements and 1 ED element.

Both lenses also feature a design with only a single front lens element. Sony says this helps keep the overall weight down, and also shifts the weight towards the camera body for better balance when holding the setup and smoother panning. Naturally, Sony promises superb sharpness from both.

There’s also a $1000 price difference between the two. The FE 400mm F4.5 GM OSS is listed at $2700, while the FE 600mm F6.3 GM OSS is $3700. They are available for pre-order as of today, with initial orders expected to begin shipping in October.

Sample galleries

We expect one of the most common applications for both new lenses to be wildlife photography, so we’ve primarily built our sample galleries around this use case. Most of the photos you see in these galleries were shot at Ninepipe National Wildlife Refuge in Montana, the Confederated Salish and Kootenai Tribes Bison Range in Montana, and at the Oregon Zoo.

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. 

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Fujifilm is refreshing two of its Instax products with second-generation models. The Pal 2 is a complete redesign of the company’s tiny, playful, digital-only camera, while the Link Wide 2 is a subtly updated version of its portable, smartphone-connected photo printer that uses the larger Instax Wide film. Both are designed to work in conjunction, with the Pal 2 capturing images that users can then print with the Link Wide 2.

The original Pal, launched in 2023, was a palm-sized camera that looked like an even more miniature Instax Mini. It offered no controls beyond a shutter button and had no display. Notably, it arrived roughly two years before Kodak’s viral Charmera keychain camera helped propel tiny digital cameras into the spotlight, and Fujifilm has acknowledged that the camera was divisive. “When we introduced the original Pal in 2024, some consumers weren’t sure what to make of it,” said Bing Liem, division president, Imaging Division, Fujifilm North America Corporation, in the press release for the launch.

In light of that, and citing customer feedback, Fujifilm took the Pal 2 in a different direction. The new version is still palm-sized, but it looks like a classic analog camera, sporting a long, rectangular shape instead of the bubbly Instax Mini-esque design. It now also sports an optical viewfinder, helping users frame their shots instead of relying on blind luck, and keeps the flash from the original for illuminating subjects.

Fujifilm

The Pal 2 features a one-inch LCD screen on the top, which lets you review your photos or adjust various settings and controls. That includes the ability to switch between the Pal 2’s five filter themes, with each offering a further six adjustments. It also lets you switch between Instax Mini, Square or Wide instant film and frameless formats before printing, so you can better visualize how your print will look.

Fujifilm has also added a new shooting mode, called Animation. The new mode captures 10 frames and turns them into a flipbook-style animation. There’s a switch on top of the camera that lets you quickly switch between single-photo and Animation mode.

Fujifilm

The Pal 2 uses a 10.7MP Type 1/3.06 (13.4 mm²) CMOS sensor. While that’s a fair bit bigger than the 4.9MP Type 1/5 (6.4 mm²) found in the original, it’s still quite small, even compared to what you’d find in a compact or phone. It features a 28mm equivalent lens with an F2.2 aperture, and objects as close as 8cm in front of it will be in focus. It offers a self-timer and exposure compensation from -2.0 to +2.0 EV. The camera weighs just 41g (1.4 oz).

As a digital-only camera, the Pal 2 doesn’t take film like most other Instax cameras. You can, however, print with the Instax Link series, Instax Mini LiPlay or Instax Mini Evo devices either from the Instax Pal app or directly from the camera. The camera features integrated storage that can hold up to 100 photos at a time, and it’s also compatible with microSD cards.

Fujifilm

Along with the new camera, Fujifilm also announced the Instax Link Wide 2. This is more of an incremental update than a complete refresh, and most of the original’s features are retained. In fact, the changes all come from the app. It adds a Photo Mixer feature that lets users select images from their camera roll and, by tapping the “Mix it” button, generate multiple collage-style layouts to choose from. Users can remix these up to five times, and then make custom edits before printing or sharing images online.

The app supports numerous frames, filters, emojis, color modes and text, along with 1600 in-app stickers to customize prints. Lastly, users can add QR codes to the Instax Wide photos to share links, locations, hidden messages or sound clips. As the name suggests, it uses Instax Wide instant film, which produces photos that are roughly 7.62 cm x 12.7 cm (3” x 5”).

The Instax Pal 2 will be available in late September in either white or black/silver for $170. That’s substantially more expensive than the Charmera, though that doesn’t offer Bluetooth connectivity and features a smaller 1.8MP Type 1/4 (9.7 mm²) sensor.

The Instax Link Wide 2 will also be available in late September for $180 and comes in two colors, Duo Beige or Duo Blue.

Fujifilm

Fujifilm Instax Pal 2

• $170 at B&H

Fujifilm

Fujifilm Instax Link Wide 2

• $180 at B&H

Almost every photographer has lost a lens cap at some point. They roll under car seats, disappear into the bottom of camera bags and, apparently, tumble into Yellowstone’s hydrothermal features.

A recent post by the Yellowstone Volcano Observatory on the U.S. Geological Survey website and Instagram account details the record-breaking amount of trash Yellowstone National Park staff have removed from hydrothermal areas this year. Most notable for photographers: as of early September, the park’s Geology Program had recovered 54 camera lens caps from thermal areas. They were the most common item found beyond the usual plastic and paper trash.

The photos shared with the post appear to show other photography-related items as well, including at least one lens hood, several eyecups, a handful of instant photographs and plenty of binocular caps. The collection also included 47 hair ties, 42 pencils, 36 pairs of sunglasses, 20 hotel key cards and 17 pacifiers. All were recovered from hydrothermal features, not simply from the boardwalks.

Margery Price / National Park Service

It may be easy to dismiss a dropped lens cap as a minor annoyance, but Yellowstone’s thermal features are highly sensitive to foreign objects. The park’s Geology Program warns that debris can clog a feature’s water supply, alter runoff channels and introduce chemicals or sediment. Morning Glory Pool, for example, famously changed color during the 20th century after visitors repeatedly tossed trash into it.

The post is a useful reminder for photographers: When you remove a lens cap, put it securely in a pocket or camera bag. Better yet, if you know you will be moving quickly between shots, leave it in your car, cabin or campsite. And, whatever you do, don’t balance it on a handrail where it’s liable to get knocked or blown off into a sensitive area

If you absolutely must keep the cap handy, consider a cap keeper, a small tether that connects the cap to the lens barrel. It is not the most elegant accessory, and some attachment methods may not hold up to the gusty winds possible in places such as Yellowstone. Still, it is better than letting another piece of plastic become part of a sensitive landscape.

This week, Apple announced its first foldable: the iPhone Duo. It’s launching into a mature market with lots of competition, though it adopts the still relatively rare passport form factor. This means it’s designed to be short and wide, rather than tall and thin, a decision with relatively fundamental implications on the aspect ratio of its interior screen.

While there are plenty of options to compare it with, we’re choosing some of the more established competitors: the Samsung Galaxy Z Fold 8 series (both the passport style phone and the boxier Ultra variant) and the Google Pixel 11 Pro Fold. However, we will bring up some of the other foldables on the market at points where they’re relevant.

Cameras

One of the areas folding phones differ the most is in their camera layouts. Some opt for a three camera array, while others opt for two (usually, it’s the telephoto option that gets the axe). But different phones will make different compromises, so it’s up to you to decide what parts of the camera experience you value.

Comparing the options across the foldables from Apple, Samsung and Google to a standard slab phone – in this case the iPhone 18 Pro – a few things become clear. Both Apple and Samsung decided that there just wasn’t room in a passport-style phone for a three camera array (though, notably, Xiaomi managed it).

However, while the larger foldables offer telephoto cameras, they’re usually very compromised compared to what you’d typically get on a standard phone. Samsung’s “Ultra” foldable, the most expensive in this roundup, is also the only one that has what we’d consider to be a flagship-class main camera, though Motorola’s new Razr Fold has a comprable camera layout, albeit with an slightly worse ultrawide and substantially nicer telephoto.

Samsung

As for how the iPhone Duo compares: it’s very similar to the Z Fold 8, and Apple has made a different trade-off than Google, opting for a better ultra-wide with no telephoto rather than relatively poor versions of both. But like the rest of the phones, it’s pretty much no contest between it and the Z Fold 8 Ultra, or the iPhone 18 Pro it launched alongside.

Screens

Apple

Of course, the main reason to get a folding phone is that they come close to the pocketability of a standard phone, will unfurling to give you a large display that lets you run multiple apps at once, or view videos and photos on a much larger canvas. (But while the iPhone Fold is IMAX-shaped, we suspect Christopher Nolan still wouldn’t approve of watching movies on one.)

Your choice of form factor will largely dictate what kind of screen you get, with the passport-style phones offering slightly smaller displays with aspect ratios more suited to viewing content, but not quite as ideal for running apps side-by-side (though both the iPhone Duo and Galaxy Z Fold 8 can). Meanwhile, the more traditional folding phones offer nearly square screens, which offer a multitasking experience that’s almost like having two standard phones next to each other.

Samsung

While you may need to compromise on cameras to get a folding phone, you’re not compromising on screen specs. All the phones in our roundup have incredibly bright displays – Apple and Samsung* offer 3000 nits peak brightness on bother inner and outer screens, while Google ratchets that up to 3600 – with variable refresh rates that go from 1 to 120Hz.

The one place Apple has thought different is in the finish of its inner display; it has a matte “nano-texture” coating, where its competitors have glossy displays. Apple says this does a better job of hiding the crease in the middle – though it’s barely noticeable on the Samsungs either, according to most reviewers – and makes it less prone to scratches. We’ll see what happens when JerryRigEverything does his durability tests on it, though.

Size and Weight

There’s no getting around it: the iPhone Duo is hefty, especially given its size. Despite Apple’s use of titanium in its construction – typically a material that offers incredible strength for its size – it winds up being substantially heavier than even the larger Galaxy Z Fold 8 Ultra and Google Pixel 11 Pro Fold.

To us, this comparison illustrates Samsung’s experience as the company that’s been making foldables the longest. Its models are substantially thinner and lighter than their Apple and Google counterparts, while having roughly similar battery capacities. Of course, Apple is known to let its devices be a bit heavier to give them a premium feel, but it’s up to you whether the feel in your hand is worth the heft in the pocket.

The rest of the experience

Each brand, will, of course, have its own take on what the foldable experience should be like. These range from macro-level decisions, like how the transition from folded to unfolded should work and how multitasking is handled, to smaller quality-of-life features like Google and Apple’s inclusion of camera features made to make kids smile as you’re taking their picture, and automatically capture group photos when you have your phone set up on a flat surface.

Google

While we won’t know the full scope of those usability differences until all the phones are available, there are a few things we can glean from what we know so far. While all the phones can be stood up on a table in the a-frame-like tent mode for watching video, the Galaxy Z Fold 8’s hinge design means it can’t be used half-unfolded (in a way that makes the phone sort of like a laptop). This is an ability the Ultra version, as well as the Pixel and iPhone, have.

While none of the selfie cameras on the inner screens will be great – they’re designed mostly for video calls – Apple goes the extra step of hiding its one under the display when it’s not in use, so you can get a truly full-screen experience when watching video, without the hole-punch you’ll get in the Galaxies and Pixel. Ironically, this was something Samsung used to do with its foldables, but has dropped in recent years.

The iPhone Duo and Google Pixel 11 Pro Fold both offer dust and water ingress protection that’s equivalent to a standard cell phone (which is important given their oh-so-complex hinges and display mechanisms), with an IP68 rating. The Samsung models fall a bit short on the dust protection, only boasting IP48.

If you want to see how the iPhone 18 Pro compares to its traditional smartphone competitors, check out our story below.

* – It’s also no secret that Samsung, innovator in the foldable space, provides the panel for Apple’s foldable; no wonder it has similar performance.

This year started out quite quiet for new cameras and almost as quiet for photography-related gear in general. We saw some lenses and a few cameras trickled out in the first half of the year, each of which told us something interesting about the market, but there have been fewer releases than in past years. Thankfully, this week marked a bit of a shift, and we suddenly had some actually new products to share. In case you missed some of it, here’s all we saw over the last seven days. 

OM System PEN

Richard Butler

Perhaps the standout launch this week was the OM System PEN, a compact, Micro Four Thirds camera built around a 20MP sensor that marks the first time in a decade that a Pen camera has been sold in North America. The camera is aimed at travel and everyday use, offering a compact build with retro styling at a very reasonable price.

OM System M.Zuiko Digital 14-42mm F3.5-5.6 III

OM System

Released alongside the PEN was an updated model of OM System’s standard zoom, the M.Zuiko Digital 14-42mm F3.5-5.6 III (28-84mm equiv.). The new version is a small upgrade, but it finally offers weather sealing and lets you focus more closely. It is slightly larger than its predecessor, but it’s still quite small for what it is, fitting nicely on cameras like the new PEN. 

Laowa 180mm F4.5 1.5x Ultra Macro APO for X and F-mount

Laowa

While not a new lens, Laowa announced this week that the previously released 180mm F4.5 1.5x Ultra Macro APO is now available for Fujifilm X-mount and Nikon F-mount. It is the first autofocus Laowa lens available for X-mount, and offers a 270mm equiv. field of view on Fujifilm’s APS-C cameras. The price is also a pleasant feature: it costs just $499. 

Sony FE 8-14mm F3.5 Fisheye G

Dale Baskin

Sony released a lens this week that is a first in its lens lineup. The FE 8-14mm F3.5 Fisheye G is the company’s first standalone fisheye lens for E-mount, and it says it’s the most compact lens of this type. At 8mm, the lens provides a circular fisheye image, which will be very familiar to anyone who watched 90’s skateboarding or music videos, while zooming to 14mm results in an image that fills the frame. 

Sigma 20-60mm F2.8-4 DG Contemporary

Sigma / Jack Redgate

Sigma announced two lenses this week, one of which was the 20-60mm F2.8-4 DG Contemporary, a kit lens upgrade for E and L-mounts that is remarkably compact. It weighs 385g (13.6oz), and is 88mm (3.5″) long at its shortest (it extends as you zoom). It is limited in on-lens controls, but Sigma says it’s dust and splash-resistant, and at $849, it’s relatively affordable, too. 

Sigma 85mm F1.2 DG Art

Sigma

For those looking for a more portrait-focused lens, the new Sigma 85mm F1.2 DG Art may be of interest. Like the above lens, it is available for E and L-mounts and is the company’s third F1.2 prime lens, joining 35mm and 50mm options. A lens of this type will have some bulk, but Sigma says it is the “smallest and lightest in its class,” and it weighs just 905g (31.9oz). It’s also significantly more affordable than the Canon and Nikon 85mm F1.2 lenses, coming in at $1599. You can see sample images from the lens here. 

Nine Nikon cinema lenses

Nikon

Not to be left out of the slew of announcements this week, Nikon announced it will be releasing a series of nine T1.9 cinema lenses. Details are still sparse on most of them, including availability, pricing and focal lengths, but it did say one of the nine lenses will be a 50mm. We’ll have to wait for more details, but it does appear Nikon is busy at least.

Fujifilm XF 400mm F4.5 R LM OIS WR

Abby Ferguson

Fujifilm released the XF 400mm F4.5 R LM OIS WR at the end of last week, but for the sake of thoroughness, we’re including it here. The $3200 super-telephoto prime lens rounds out its trio of such lenses, joining the XF 500mm F5.6 R LM OIS WR and XF 200mm F2 R LM OIS WR. It provides a 609mm equivalent focal length on X-mount cameras, and is relatively compact and lightweight for what it is. 

Apple iPhone 18 Pro, iPhone 18 Pro Max and iPhone Duo

Apple

Shifting gears away from lenses, this week marked the release of Apple’s latest iPhone lineup, which includes the iPhone 18 Pro, 18 Pro Max and Duo. The most notable update from a camera perspective is the variable aperture found on the main camera of the 18 Pro and Pro Max, which ranges from F1.48 to F4. It also finally unlocks manual control over some settings within the native camera app.  

The Duo is Apple’s long-awaited entry into the folding phone market, and while it doesn’t feature very advanced cameras, it does offer some camera tricks. 

Insta360 Luna Pro

Mykim Dang

Lastly, Insta360 announced the global release of its Luna Pro, a single-lens gimbal camera aimed at creators who want a portable, stabilized camera for social-ready video. It keeps the specs of the main camera found on the Luna Ultra, and comes in at $600, $170 less than its dual-lens sibling. You can see our hands-on footage here.