If you’re anything like me, sometimes you like to put on a calming video for casually watching in the background while you work on something. The video below from Leica is the perfect option for just that.

The video is 2.5 hours long, and it documents the full restoration of a 100-year-old Leica I from the Leitz family. The video description explains that the camera was dealing with porous shutter curtains, resulting in light leaks and compromised shutter operation.

It showcases every step of the process, from start to finish. What I like best is that there are no dramatic cuts and no flashy music. There’s not even any commentary. It’s just pure camera repair ASMR, making it perfect to keep on in the background. Of course, it’s also neat seeing all of the inner workings of such a camera and all of the tools required for such work.

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It seems like the camera industry wasn’t content with just one busy week. We’ve seen another rush of announcements in the past few days, and we wouldn’t blame you if you missed a few things among all the articles we’ve put out. So let’s recap everything that happened this week.

The Instax Pal gets an unexpected follow-up

Fujifilm

The Instax Pal was always a bit of an odd duck: a gumdrop-shaped camera that only shot digital, despite bearing the name of Fujifilm’s instant film brand. This week, though, the company released a successor with a completely different design, recalling the tiny 110 film cameras of old. (Strangely, not the only one of its kind released this week: Camp Snap announced something similar.) Alongside it, Fujifilm launched an updated version of its Instax Link Wide printer.

Fujifilm

Fujifilm Instax Pal 2

• $170 at B&H

The Canon EOS R8 II

Mitchell Clark

Canon has updated its entry-level full-frame camera, fixing two of our major complaints about the original in the process with the inclusion of IBIS and an autofocus joystick. While we still have our complaints – the tiny LP-E17 battery has been untouched, and the RF mount remains strictly under Canon’s control – we were left with a very positive first impression. Check out our full initial review for all the details.

Canon

Canon EOS R8 Mark II

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Sony’s twin telephoto lenses that won’t break the bank (or your back)

Dale Baskin

The super telephoto game has never been cheap to get into and, make no mistake, it still isn’t. But Sony’s new 400mm F4.5 and 600mm F6.3 GM are steps towards making it a bit more accessible, coming in at $2700 and $3700, respectively (both just under $10,000 less than their faster counterparts). The lenses are shockingly similar, coming within a gram of each other, and their optical formulas have a lot of shared glass.

Sony

Sony FE 400mm F4.5 GM OSS

• $2,698 at B&H

Sony

Sony FE 600mm F6.3 GM OSS

• $3,698 at B&H

Panasonic’s full-frame 20mm F2.5 cupcake lens

Mitchell Clark

Not one to miss out on the action, Panasonic also announced a new lens: a 20mm F2.5 option for L-mount that’s not quite as small as a pancake lens, but is around the same size as the 40mm F2 option it released earlier this year. Panasonic once described this style of lens as a “muffin” (read: a baked good thicker than a pancake), but reader nologo suggested that calling it a cupcake would be a more fun descriptor (and, potentially, a less internationally confusing one), which I wholeheartedly agree with.

Keep an eye out for a sample gallery from this lens, coming soon.

Panasonic

Panasonic Lumix S 20mm F2.5

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Software news

Capture One, Adobe Photoshop Elements and Affinity Photo all received updates this week, with the former improving tethering and AI-assisted culling and the latter promising its biggest update for photography ever. Canon also launched a piece of software that lets you use pictures from some of its cameras to create 3D models of the real-life object you photographed.

Those were all the major launches this week, but I’ll leave you with a pro tip: if you want to make absolutely sure you won’t miss our best stories, and want to see exclusive content from us, be sure to subscribe to our Today in Photography newsletter.

Earlier this year, GoPro announced a bit of a departure from its usual products with the Mission 1 Pro ILS. The camera kept the company’s rugged, compact body design, but featured a Micro Four Thirds lens mount. Now, that relationship is formalized, with OM Digital Solutions and Panasonic announcing that GoPro is a member of the Micro Four Thirds standards group.

The announcement could be seen as a vote of confidence in Micro Four Thirds. GoPro brings a new kind of small, rugged video body into the mount’s ecosystem, and its support could help encourage more specialty lenses and accessories built around it.

Still, the Mission 1 Pro ILS isn’t a gateway to the full breadth of Micro Four Thirds glass. Its mount lacks electronic contacts, so it works only with compatible manual-focus lenses and manual or fixed-aperture designs, not the autofocus lenses that make up much of the existing OM System and Panasonic lineup. But it marks an interesting move in the industry, and we’ll be eager to see what, if anything, comes of it.

It’s also worth noting that action camera rival, Insta360, has said it’s working on its own mirrorless cameras, rumored to be built around a Micro Four Thirds mount as well.

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Camp Snap, the company known for its simple, screen-free digital cameras, has announced a new offering in its lineup with a substantially different look. The 110D is a narrow, rectangular camera reminiscent of the classic 110 analog cameras popular in the 1970s.

As the name hints, the Camp Snap got its start as a camera meant for kids to take to camp, without the risk of sending more expensive cameras with your child or the distractions found on other digital cameras. The 110D keeps that legacy alive, and like the company’s other cameras, it lacks a display for viewing photos, prompting users to stay in the moment and look at their photos later.

The only display on it is a monochrome reflective segmented LCD for checking settings. There’s a small optical viewfinder on the side for composing images.

Camp Snap

The camera keeps other kid-focused design features, too. That includes a screw-secured door where the memory card slot and a small selection of buttons to adjust settings live. However, those screws can be removed for those who don’t necessarily need to lock things down.

Also consistent with previous models are the built-in digital filter looks. The 110D offers five filters – Standard, Vintage 1, Vintage 2, Analog and Black & White – that can be changed on the camera itself with a slider. It also features a 30.5mm filter thread for those who want to use physical screw-on photo filters.

Camp Snap says the camera offers a near-instant shutter response, minimizing the delay between pressing the shutter button and capturing the image. It is also designed to maximize battery life by automatically entering sleep mode when it’s inactive. When you’re ready to take a photo, the company says you simply have to press the shutter button and don’t need to wait for the camera to fully boot up. Camp Snap says it can manage around 500 photos per charge.

Camp Snap

One thing even many adults will appreciate is that the camera can be used without an app. In fact, it doesn’t offer any sort of connectivity beyond a USB-C port. That means no fussing with connecting the camera to a phone or dealing with all the other things that come with it when a child is using it. Images can simply be transferred to a phone, tablet or computer using that USB-C port.

In terms of the nitty-gritty details, the 110D features an 8MP Type 1/3.2 (15.7mm²) CMOS sensor. It uses a 4.2mm F2.0 (26mm F11.5 full-frame equivalent) lens and offers a dual-tone LED flash, with options for 6500K and 3000K. Unsurprisingly, it only captures JPEG files, and it has fully automatic exposure and white balance. It features a pre-installed 4GB microSD card that stores roughly 2000 photos, though it can be upgraded as well.

Camp Snap

The Camp Snap 110D is available for pre-order now for $75. It comes in two colors: black and gray (called Back in Black), and white and orange (dubbed Dreamsicle).

Camp Snap

Camp Snap 110D

• $75 at Camp Snap

Over the last seven months, Samsung, Google and Apple have all released their latest flagship smartphones. Samsung’s Galaxy S26 Ultra arrived first, followed by Google’s Pixel 11 Pro and Apple’s iPhone 18 Pro. With its 6.9-inch display, the Galaxy S26 Ultra is more akin in size to the XL and Max variants of the Pixel and iPhone, but, unlike Google and Apple, Samsung doesn’t make a smaller version with otherwise identical specs.

Here’s how their cameras, displays, battery life and other core specifications compare.

Cameras

There’s a lot of overlap when comparing the camera systems of these three flagships. Each has an advantage over the others in some way; some are rather substantial, while most are only small differences.

The three phones use main-camera sensors that are effectively the same size, all coming in at Type 1/1.3 (72mm²). The notable difference is resolution: the Galaxy S26 Ultra uses a 200MP main camera, compared with 50MP on the Pixel 11 Pro and 48MP on the iPhone 18 Pro. Despite the variety in resolutions, all three models will, by default output at lower resolutions; the iPhone and Galaxy at 24MP, the Pixel at 12.5. They all, however, offer modes that let you use the sensor’s full resolution, but due to the nature of Quad Bayer sensors, they’re typically best used in good lighting where you don’t need maximum dynamic range.

Apple

Apple’s main camera has its own edge, though, as it’s the only one here with a variable-aperture lens (though Samsung briefly experimented with something similar around a decade ago). It can be set to F1.48, F1.8, F2.8 or F4, promising a bit more creative control and exposure flexibility, especially when shooting video.

Samsung has the broadest rear-camera system, adding a dedicated 3x camera between its main and 5x cameras. Its long telephoto reaches 111mm equiv., narrowly exceeding the Pixel’s 106mm and iPhone’s 100mm equiv. lenses, and the 67mm equiv. provides a nice bit of flexibility that the others don’t. However, the Pixel’s telephoto sensor remains the largest in that class of the group.

All three phones support close-focus shooting with their ultrawide cameras, though, naturally, each brand handles it slightly differently and uses distinct names. Apple lists macro photography, Google specifies Macro Focus on the Pixel 11 Pro ultrawide, and Samsung’s Focus Enhancer can automatically switch to the Galaxy S26’s ultrawide camera for nearby subjects.

Video

Google

On the video side of things, Apple lists the most extensive video feature set. The iPhone 18 Pro records 4K Dolby Vision video at up to 120 fps and supports ProRes, ProRes Raw with external recording, Apple Log 2 and ACES color workflows. It is also compatible with Genlock, which lets the iPhone 18 Pro synchronize its frame timing with other cameras and video devices.

Lastly, the iPhone has finally caught up with the Pixel and Galaxy phones with the addition of manual camera controls for aperture, shutter speed, white balance and histogram monitoring (which also work in photo mode).

The Pixel 11 Pro records up to 4K/60p on the phone itself, while its 8K/30p option uses cloud-based processing. It also offers separate modes for low-light video, extra handheld stabilization and enhanced zoomed video, plus a post-capture tool for reducing distracting background sounds.

The Galaxy S26 Ultra records up to 8K/30p and 4K/120p. It also supports Samsung’s Advanced Professional Video codec, an open, professional-oriented format intended to preserve more image information while using storage more efficiently than conventional uncompressed video. Samsung also includes an enhanced stabilization mode designed to keep handheld footage level during movement (a feature Apple replicates with the iPhone’s “Action” mode).

Displays and battery

While all three sit in the flagship-phone class, Samsung takes a different physical approach with the Galaxy S26 Ultra’s substantially larger display. The iPhone 18 Pro and Pixel 11 Pro share the smaller 6.3-inch format, while the Samsung is closer in scale to Apple’s Pro Max-class phones and Google’s Pixel Pro XL models.

The three offer the same 120Hz maximum refresh rate, and their pixel densities are broadly similar despite their different screen sizes and resolutions. The Pixel has the highest stated brightness rating, while the iPhone’s specification is specifically an outdoor-brightness figure.

In terms of battery specs, Apple rates the iPhone 18 Pro for up to 36 hours of video playback and it says the phone can reach 50% charge in around 15 minutes with a compatible 60W-or-higher USB-C adapter. The Pixel 11 Pro has a stated 30-plus-hour mixed-use runtime and charges to 55% in around 30 minutes with a 30W USB-C PPS charger. Samsung’s Galaxy S26 Ultra supports up to 60W wired charging, and the company promises up to 31 hours of video playback.

Size and weight

The Galaxy S26 Ultra is much taller and wider than the iPhone 18 Pro and Pixel 11 Pro, reflecting its 6.9-inch display and four-camera system. At 214g, it is also the heaviest, though only by a small margin. It’s just 3g heavier than the iPhone and 10g heavier than the Pixel, but it is thinner than both.

Key differences

Outside the camera system, the three phones still share a premium baseline: all start with 256GB of storage, use USB-C, support Wi-Fi 7 and are rated IP68 for dust and water resistance. The main hardware differences are scale and camera configuration rather than basic connectivity or durability.

Apple supports MagSafe and Qi2 wireless charging, including up to 25W MagSafe charging, while Google’s Pixel 11 Pro supports the Qi2.2-based Pixelsnap accessory system. Samsung supports wired, wireless and reverse wireless charging, and its Ultra model adds S Pen support and a built-in Privacy Display feature.

Software remains a fundamental distinction. The iPhone 18 Pro runs iOS 27 and integrates with Apple’s hardware and services. The Pixel 11 Pro runs Android with Google’s Pixel interface and a stated seven years of operating system, security and feature updates. The Galaxy S26 Ultra runs Android with Samsung’s One UI, Galaxy AI tools and S Pen software features.

The three phones are also close in price. In the U.S., the Galaxy S26 Ultra starts at $1300, the Pixel 11 Pro at $1099 and the iPhone 18 Pro at $1199. The Samsung Galaxy S26 Ultra’s larger display, S Pen support and fourth rear camera position it differently from the two 6.3-inch Pro models, but it also places all three phones within a $200 launch-price range.

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.