Image: Rollei

Rollei has just announced its first-ever mirrorless lens. The Rollei AF 85 mm F/1.8 is available for Nikon Z and Sony E mounts. However, like the Rollei 35 AF release last year, it's likely only Rollei-related in name.

The Rollei name is associated with iconic film cameras like the Rolleiflex twin-lens reflex and the original Rollei 35, but the actual company that made those products is long gone. The brand is currently owned by Rollei GmbH & Co. KG, which is based in Germany. Like Kodak, Rollei is more in the business of licensing its name these days. In January 2024, Mint Camera was granted a license to use the Rollei name for the Rollei 35AF, a film camera with autofocus capabilities. Now, it seems as though a lens manufacturer may also have been granted a license to the Rollei name.

On the left is the lens design and MFT chart for the Rollei AF 85mm F1.8. On the right is the same information for the 7Artisans AF 85mm F1.8.

Images: Rollei and 7Artisans

The new lens uses the same design and shares specs with the 7Artisans AF 85mm F1.8. That includes an optical design with 10 elements in 7 groups, with two ED and two HR elements. It also features 11 aperture blades and the same F1.8 maximum aperture. Both can focus as close as 0.85m (2.8') and offer autofocus via a stepping motor that supports face and eye tracking.

The exterior of the 7Artisan lens and Rollei lenses also shares similarities. Both offer a 62mm filter thread, metal construction and a USB-C firmware port. They each offer a custom function button.

The E-mount Rollei 85mm (left) offers an aperture ring, while the Z-mount model (right) does not.

Images: Rollei

The lenses look fairly different from the outside, though. The Rollei version looks a bit more burly, with more aggressive knurling. Also, while both the Nikon and Sony versions of the 7Artisan lens feature an aperture ring, only the E-mount Rollei lens offers the same; the Nikon model lacks an aperture ring. Of course, the most obvious difference is the massive Rollei label.

The Rollei lens is available for pre-order now for €299 (RRP €349), with full availability coming on July 9. Rollei says pre-ordered lenses will be delivered by July 7. Those in the US are out of luck, though, as it doesn't appear the lens will be available here.

Press release (machine translated from German):

The first Rollei lens: AF 85 mm F/1.8 for Sony FE and Nikon Z

Norderstedt, June 11, 2025. Rollei is writing a new chapter in its rich history and presenting its first proprietary lens: the Rollei AF 85 mm F/1.8 , available for Sony FE and Nikon Z mounts . With the introduction of the VAF (Full-Frame Autofocus) series, the company is expanding its product portfolio with its first proprietary lenses specifically developed for modern mirrorless full-frame cameras . The 85-millimeter portrait lens combines proven Rollei quality with state-of-the-art technology and sets new standards in image quality and user-friendliness.

The 85-millimeter focal length is ideal for portrait photography , delivering natural proportions without distortion. The Rollei AF 85 mm F/1.8 makes optimal use of this classic focal length and, thanks to its F/1.8 aperture, delivers razor-sharp results even at wide open aperture . The 11 aperture blades create a creamy, perfectly round bokeh that elegantly separates the main subject from the background and enables professional portraits with impressive depth of field.

The innovative HFT-X (High Fidelity Transfer) coating significantly reduces ghosting and flare while preserving natural contrast. Combined with the high-quality glass selection of 10 elements in 7 groups, including two ED and two HR lenses , the lens ensures high edge sharpness and minimizes chromatic aberrations for brilliant image quality right to the corners .

The precise STM (stepping motor) autofocus operates quickly and virtually silently , which is particularly beneficial for video recording. Face and eye tracking are fully supported , making the lens an ideal choice for both photography and videography. The minimum focusing distance of 0.85 meters at a maximum magnification of 0.12× also enables detailed close-up shots.

Despite its weight, the Rollei AF 85 mm F/1.8 weighs just 477 grams and sits perfectly balanced in the hand. Intuitive operation is ensured by a high-quality metal aperture ring (Sony FE version only), an AF/MF switch , and a freely assignable FN button . The linear aperture ring on the Sony version enables smooth, silent aperture adjustments for professional video recordings.

Both lenses feature a precise metal mount (E-mount and Z-mount, respectively) with full EXIF ​​data transfer and a USB-C firmware port for fast updates in just 30 seconds. The 62mm filter thread is compatible with all common filters from the company.

The Rollei AF 85 mm F/1.8 for Sony FE and Nikon Z is now available for pre-order for €299 (RRP €349) at www.rollei.de/rollei-objektiv . The official sales launch is July 9, 2025. Delivery of pre-ordered lenses will begin no later than July 7, 2025, ensuring pre-orderers receive the new lens before its market launch.

Last week, Fujifilm released a short teaser video hinting at a new rangefinder-style camera. That video focused on a camera obscured in shadows, as expected for a teaser. Now, though, the brand is back with another video that doesn't make much of an attempt to hide things ahead of the June 12 announcement.

The new video is just as short, but it shows off more specifics than the last. It starts with what looks like a newly designed film simulation dial. That's followed by a brief view of additional controls on the top of the camera, including a shutter speed dial and exposure compensation dial. The only shadowy part of the video where things aren't as clear is a cut to a low-profile lens. Even that shows an F2.8 aperture marking, though.

The launch is set for tomorrow, June 12th, at 6 AM ET, so we don't have long to wait for full details. The announcement will take place at Fujifilm's Shanghai event, the company's second X Summit of the year.

Nikon has announced a massive firmware update for its Z8 camera. Firmware 3.0 introduces an extensive list of new features and performance enhancements. It offers upgrades for both video users and photographers of multiple types, including a new ultra-high resolution tool, improved autofocus, improved VIew Assist for N-Log and more.

The most significant update is the ability to create files up to 180MP by combining Pixel Shift (Nikon's high-resolution feature) with focus shift or AE bracketing, which Nikon says is the world's first camera to do so. This tool allows for greater depth of field, resolution and dynamic range, which is ideal for commercial, fine art and architectural photography.

The Pixel Shift plus focus shift or AE bracketing feature unlocks the ability to combine high-resolution images with focus shifting or exposure bracketing.

Image: Nikon

To use the new focus stacking features, users will need to merge the Pixel Shift structures in NX Studio, and then they can use their preferred software for focus stacking. With AE bracketing, Nikon says the Z8 creates a Pixel Shift cluster at every exposure bracket, which you can then merge for a higher resolution with enhanced dynamic range.

Autofocus has also been improved in many ways. Nikon added an in-camera focus limiter, allowing users to define near and far focus ranges for faster and more precise autofocus. The custom Wide-Area AF feature now enables users to set the focus area at the edge of the frame with smaller increments for more precise control over the size of the custom area. Nikon added a 400% magnification option, making it possible to dial in focus to a highly precise degree. Subject Detection was also added to manual focus and Hi-Res Zoom.

Users can now set near and far focus limits for faster autofocus.

Image: Nikon

On a creative front, users now have the ability to create custom Flexible Picture Controls using NX Studio. These can be saved to the camera via a memory card, allowing users to apply custom looks in real-time. N-log View Assist was also updated, offering enhanced highlights, contrast and details for a more accurate waveform exposure. Nikon says it provides a look very similar to its Rec. 709 LUT.

Image: Nikon

Photojournalists and professional sports photographers also get some specific updates. The Z8 now allows users to record voice memos using an external mic, providing better quality for voice notes on the go. The camera is now fully compatible with NX Field, allowing users to control and monitor up to 10 cameras with an iPhone or iPad and transfer files automatically to an FTP server.

Nikon also added a Maximum Aperture Live View feature, which switches the lens to its widest aperture no matter what is selected. This switch gathers more light for Live View purposes and enables faster autofocus. It then switches back to the selected aperture when taking the shot.

Nikon hasn't announced a release date for the Z8 Ver. 3.0 firmware update, only stating it will be available soon. You can see all of the coming upgrades and monitor availability at Nikon's website and firmware download page.

When you use DPReview links to buy products, the site may earn a commission.Nikon Z5II vs Zf: same hearts, different bodies

The Nikon Z5II and Zf are Nikon's two most affordable full-frame cameras. They use the same processor and stabilized 24MP BSI sensor, so they have the same autofocusing systems and support for features like high-resolution multi-shot, JPEG-only pre-capture and 4K 60p video with a crop.

However, even at a glance, it's clear that the Z5II and Zf are aimed at very different audiences despite their essentially identical sets of features. We'll break down the sometimes subtle things that set the cameras apart from each other, and help you figure out which one is right for you.

Design

The Z5II is styled as modern mirrorless camera with a design that could be described as utilitarian. It has a rubberized grip, is adorned with buttons, dials and ports and has a mode dial on the top.

The Zf, meanwhile, has a retro aesthetic that throws back to Nikon's early 1980s film cameras. The front is covered in a leatherette – which comes in seven colors – and has only the slightest of built-in grips, though the back and sides look a bit more modern with an array of buttons and ports. It's also covered in chrome accents and has a wide variety of dials, which we'll discuss in just a moment.

Handling - Z5II

The Z5II has two programmable command dials, whose functions can change depending on what mode you're shooting in. It also has a joystick on the back for choosing your autofocus point and a prominent front grip that makes it easy to hold onto it even when you've got a large lens attached.

It also has a few extra buttons absent from the Zf: there's a second custom button on the front plate, and the top plate has buttons for controlling ISO, white balance and your "Picture Control" color mode. However, it makes sense that the Zf doesn't have some of those buttons because...

Handling – Zf

... the Zf has dedicated locking dials for ISO and shutter speed and an exposure compensation control on its top plate in addition to its two contemporary programmable command dials. Also found there: a small LCD panel that displays your aperture setting.

When we reviewed the Zf we found some odd quirks where the dedicated dials didn't always fit with the rest of the camera's more modern control logic but Nikon has attempted to address some of these concerns in firmware 2.0, making the camera's handling of functions like Auto ISO a little more coherent.

The camera also doesn't have a focus point joystick, so you'll have to use the four-way controller or touchscreen to pick your focus point.

The Zf's squared-off design also isn't the easiest to hold when paired with larger, heavier lenses, but it helps with the retro aesthetic.

Viewfinders

The Nikon Z5II and Zf's viewfinders have the same resolution and magnification, but the one on the Z5II can get noticeably brighter. At its highest setting, it can put out up to 3000 nits, though it's hard to directly compare that to the Zfs, as Nikon doesn't provide a peak brightness rating for its viewfinder.

Card slots and connectivity

The Z5II has two full-size UHS-II SD card slots, which makes it easy to set it up for redundant recording if what you're shooting is absolutely critical. The Zf, meanwhile has one full-size UHS-II SD slot, and one UHS-I microSD slot. While you can still use it to back up your shots, it's less convenient to do so give the slower speeds of the microSD slot, and the fact that you'll need to buy two types of cards.

For videographers, the Z5II also has a headphone socket for monitoring audio, which the Zf lacks. Both cameras have a 3.5mm microphone input.

Kit lenses

Nikon sells the Zf in a kit with the Nikkor Z 24-70mm F4 S lens or the Nikkor Z 40mm F2 SE lens. The latter is one of two lenses designed to match the retro aesthetic of the camera body (the other is a 28mm F2.8). However, it, like the rest of Nikon's Z-mount offerings, doesn't have the dedicated aperture ring that would really complete the look and control logic of a film camera. Some of Nikon's other lenses have a programmable control ring, and while that does help with the shooting experience, it doesn't do much to complete the look.

The Z5II is available with either the Nikkor Z 24-200mm F4-6.3 or Nikkor Z 24-50mm F4-6.3. The latter is a collapsible lens that won't take up a ton of room, while the former offers much more reach on the long end. Neither are quite as nice as the 24-70mm F4 S, which is arguably a better fit for the Z5II than the Zf.

Price

The Z5II is Nikon's budget full-frame offering, and comes in at $1699 body-only. At MSRP, the Zf is more expensive at $2000. However, at the time of writing the Z5II is a relatively new camera while the Zf has been around for a while, so the Z5II is still selling for around its list price, whereas the Zf's price has softened. Over time we'd expect a gap to widen back up again.

Conclusion

Unless you have very specific needs, the choice between the Z5II and Zf is largely going to come down to how you want your camera to look and feel.

The Z5II's handling and control logic benefits from decades of refinement since those of the cameras the Zf is modeled on. But the Zf's looks have definite appeal.

If you prefer a more modern design, or aren't all that particular about how your camera looks, the Z5II's larger grip, AF joystick, brighter viewfinder and full-fat dual card slots are all compelling reasons to pick it; the lower price is just the cherry on top.

Nikon Z5II

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo

However, if you're really into the retro aesthetic, or like the thought of the thought of shooting with dedicated shutter speed and ISO dials, the Zf may be the way to go. Either way, you'll be getting the same image quality and a very similar set of features.

Nikon Zf

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at MPB

Image: Profoto

Lighting equipment company Profoto has announced its latest portable flash units, the B20 and B30. The new battery-powered monolights build on the company's B10-series, promising improved performance, greater durability and more features.

The B20 offers 250Ws of power, while the B30 offers 500Ws, which is consistent with the B10X and B10X Plus, the predecessors of the new lights. However, the latest models provide more power from the bi-colored LED for continuous light, delivering 50% more output. The B20 and B30 promise up to 5000 lumens with a 2800 to 7000K color temperature range. They offer a CRI greater than 94 for accurate color reproduction as well. Overall, the B20 and B30 are more ideal for hybrid creators than the previous models were.

The B20 and B30 also offer faster performance. The company says they recycle 13% faster than the B10X, resulting in a recycling time as quick as 0.01 seconds for both lights. The lights also offer an eleven f-stop power range, one stop greater than their predecessor.

Image: Profoto

Profoto built the B20 and B30 for demanding use in a range of locations and situations. They feature a rubberized exterior for better handling and durability. There's also an optional handle, which makes it easier to adjust lights even when working with large modifiers. Both are compatible with more than 120 light shaping tools, giving creatives more control.

The flash tubes in Profoto's newest lights are now user-replaceable, allowing users to quickly swap out the tubes on set to keep working. Both lights offer a new Eco mode, which Profoto says "protects internal components, reduces thermal stress and extends your gear's lifespan." There is also a Boost mode, for added power, and Freeze mode for the shortest flash duration needed for freezing motion. The company also says there's no risk of overheating or misfires.

The B20 and B30 feature a dedicated 3.5mm sync port for when wired triggering is necessary. They can also be controlled wirelessly through Profoto's AirX technology.

Image: Profoto

Both models are relatively compact and lightweight, making them ideal for on-location shoots. The B30 is a bit larger, though, as it offers more power. The B20 weighs 1.9 kg (4.3 lbs), while the B30 weighs 2.1 kg (4.7 lbs). Likewise, battery life differs between the two. The B20 promises 400 full-power flashes, while the B30 only promises 220 flashes at full power.

The Profoto B20 and B30 are available for purchase now. The B20 costs $1995, while the B30 costs $2395.

Buy now: Profoto B20 at B&H Profoto B30 at B&H

When you use DPReview links to buy products, the site may earn a commission. Photo: Richard Butler

As part of our upcoming review of the Fujifilm GFX100RF, we put the medium format 'compact' in front of our test scene to help evaluate its image quality.

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Unsurprisingly, the GFX100RF's Raws capture noticeably more detail than the 61MP full-frame sensor used in the Q3, Leica's high-end large sensor compact, and substantially more than the Fujifilm X100VI's 40MP APS-C sensor. The camera's JPEG engine does a good job of preserving those details.

The lens can't match the $2700 dedicated Macro lens we used for the GFX100 but the JPEG processing does its best to make up for the difference.

Those trends continue in low-light, and looking at high-ISO Raws noise performance follows sensor size. The JPEG engine does a decent job of not blurring away details when applying noise reduction.

Dynamic Range

The GFX100RF has excellent dynamic range performance at its base ISO of 80; it adds very little read noise to the image, meaning there's little difference in images shot at the same exposure but different ISOs, and then brightened to match each other in post. Its files also provide plenty of room to raise shadows, which will help if you want to shoot at a lower exposure to protect highlights.

The PDAF banding we saw in our original DR tests for the GFX 100 doesn't appear in our tests for the GFX100RF: there are reports it was also fixed on the GFX 100 via software update.

Lens Performance

Our studio test scene isn't designed to test lenses, but it can still tell us something about some aspects of performance. The 28mm equiv lens on the GFX100RF has be be shot quite close-up, but it's still around 30x the focal length away from the chart, so should be reasonable representative of real-world performance. Our tests are shot at F5.6 to maintain a reasonable depth-of-field and across-frame-consistency, but the F4/F5.6 comparisons we've shot show little difference in corner performance (it's vignetting, rather than sharpness differences that has more of an impact).

With all of that said, the lens performs well under these conditions. It's quite sharp in the center. It performs reasonably well out to the corners, where there's some light falloff visible in the Raws (which the JPEG engine does a good job of correcting). While the original GFX100, paired with Fujifilm's 120mm F4 macro, renders our scene more uniformly and sharply, that lens alone weighs more than an entire GFX100RF.

At F5.6, chromatic aberration also seems well-controlled compared to the X100VI's lens.

Image: Apple

Apple kicked off its Worldwide Developers Conference (WWDC) today. During the keynote to mark the event's start, the company revealed that it is completely redesigning the iPhone’s camera app in the next version of its mobile operating system, iOS 26*. The company says the design will be “more intuitive” and “elevate the two capture modes you use most: photo and video.”

The iPhone’s camera app has looked largely the same since the last big iOS redesign, 2013’s iOS 7. However, the company has added dozens of new features and modes since then, making the app feel cluttered to some users. For example, if you want to take a panorama, you have to swipe through the portrait and spatial photo modes first.

Different modes will be broken into subcategories for both photo and video, making it easier to find what you want.

Image: Apple

By default, the new interface will present you with the modes for shooting standard photos and videos. You can access other modes, like “cinematic” video or portrait photos, through a series of swipes. The different modes are now sub-categories for photos and videos, which should make it much easier to switch between stills and motion pictures.

The app also follows Apple's “Liquid Glass” design language, which will be applied to the rest of iOS 26. This means that settings and controls will be displayed as semi-transparent windows over the photo preview; the current version of the app has a few settings panes, which appear on black bars beside the preview.

Apple is bringing tabs to its Photos app.

Image: Apple

The Photos app, which was subject to a relatively controversial redesign last year, is also getting a fresh coat of “Liquid Glass” paint. Beyond the purely aesthetic changes, your photo library and collections of albums and photo types will now live in different tabs, which should make them easier to differentiate; in the iOS 18 version, they were presented together on one scrolling screen.

Finally, Apple is also updating its AirPod wireless earbuds by adding camera remote functionality. Users will be able to press and hold the AirPods stem to take a photo or start recording a video. A press-and-hold will end the recording. Apple says this function will work with its native camera app, as well as "compatible third-party camera apps on iPhone or iPad."

Apple says iOS 26 will be available "this fall," and it'll run on iPhone 11 and later; Apple is dropping support for the iPhone XS and XR, which can run iOS 18.

Developing. Please check back later for updates.

* The current release is known as iOS 18, but Apple has changed its naming scheme; it will now follow a model year format similar to cars. Eg., iOS 26 will presumably release in late 2025.

When you use DPReview links to buy products, the site may earn a commission. Composite image: Richard Butler

Canon's PowerShot V1 is a vlogging-focused compact camera with an ambitious 18-50mm equivalent lens. As part of our upcoming review, we've shot our studio test scene, to see how it performs.

The shots in the comparison tool were all shot at 50mm equiv and F5.6, as this is the closest the camera can get to our standard 85mm equivalent focal length and consequent working distance that we try to use as broadly as possible.

We shot some images at the camera's wide-open F4.5 setting and found the corners were significantly less sharp than they are by F5.6, so used our standard exposure values throughout.

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.

This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.

Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it is.

Wide-angle performance:

Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.

Canon PowerShot V1 @ 18mm equiv | F5.6 | 1/40 | ISO 100

Click here to download the accompanying Raw file.

As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.

However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.

It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes of the corners get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.

And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.

Visitors soar through the air on a ride at the Washington State Fair. I captured this photo while shooting a sample gallery for the Ricoh GR IIIx, which – unsurprisingly – proved to be an excellent camera for candid photography. To me, this photo embodies both the essence of summer and the magic of a cherished American summer tradition: state fairs.

Photo: Dale Baskin

Our June Editors' photo challenge is now open for submissions. Our theme this month is "Chasing Summer."

With summer just around the corner, we want to see photos that evoke the spirit of summer fun and adventure. Whether it's jumping into cold water on a hot day, melting ice cream, or epic road trips, we want to see what "Chasing Summer" looks like through your lens. Our favorites will be featured on the DPReview homepage later this month.

This challenge is open to photos taken at any time.

Photos can be submitted between Sunday, June 8, and Saturday, June 14 (GMT).

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We want to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see all the rules

Winners of the Photo Competition for United Nations World Oceans Day

June 8th is United Nations World Oceans Day, and to celebrate, the winners of the 12th annual photo competition associated with the day were announced. This year's theme for UN World Oceans Day was "Wonder: Sustaining What Sustains Us," which also served as a newly added category for the contest. It joined the recurring Big and Small Underwater Faces, Underwater Seascapes and Above-Water Seascapes categories.

A panel consisting of renowned photographers Ipah Uid Lynn, William Tan, Vanessa Mignon, Marcello Di Francesco and Ellen Cuylaerts selected the winners from thousands of global entries from amateur and professional photographers. The judges selected first, second, and third place winners for all categories, along with an honorable mention for three of the categories.

The 2025 photo competition was coordinated between the United Nations Division for Ocean Affairs and the Law of the Sea, DivePhotoGuide (DPG), Oceanic Global and the Intergovernmental Oceanographic Commission of UNESCO. The competition is free and open to the public, calling on photographers to show the beauty of the ocean and the importance of UN World Oceans Day. Each participant signed a charter of 14 commitments regarding ethics in photography.

You can see the past winners and learn more about the competition at the UN World Oceans Day website.

First Place, Wonder: Sustaining What Sustains Us

Photographer: Rachel Moore, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @moore_rachel

Caption: This photo, taken in Mo'orea, French Polynesia in 2024, captures the eye of a humpback whale named Sweet Girl, just days before her tragic death. Four days after I captured this intimate moment, she was struck and killed by a fast-moving ship. Her death serves as a heartbreaking reminder of the 20,000 whales lost to ship strikes every year. We are using her story to advocate for stronger protections, petitioning for stricter speed laws around Tahiti and Mo'orea during whale season. I hope Sweet Girl’s legacy will spark real change to protect these incredible animals and prevent further senseless loss.

Second Place, Wonder: Sustaining What Sustains Us

Photographer: Luis Arpa Toribio, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @luis.arpa.photo

Caption: A juvenile pinnate batfish (Platax pinnatus) captured with a slow shutter speed, a snooted light, and deliberate camera panning to create a sense of motion and drama. Juvenile pinnate batfish are known for their striking black bodies outlined in vibrant orange—a coloration they lose within just a few months as they mature. I encountered this restless subject in the tropical waters of Indonesia’s Lembeh Strait. Capturing this image took patience and persistence over two dives, as these active young fish constantly dart for cover in crevices, making the shot particularly challenging.

Third Place, Wonder: Sustaining What Sustains Us

Photographer: Steven Lopez, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @explorersphotography

Caption: Shot in Cuba’s Jardines de la Reina—a protected shark sanctuary—this image captures a Caribbean reef shark weaving through a group of silky sharks near the surface. Using a slow shutter and strobes as the shark pivoted sharply, the motion blurred into a wave-like arc across its head, lit by the golden hues of sunset. The abundance and behavior of sharks here is a living symbol of what protected oceans can look like.

Honorable Mention, Wonder: Sustaining What Sustains Us

Photographer: Ollie Clarke, www.unworldoceansday.org

Category: Wonder: Sustaining What Sustains Us

Instagram: @ollieclarkephoto

Caption: Humpback whales in their thousands migrate along the Ningaloo Reef in Western Australia every year on the way to and from their calving grounds. In four seasons of swimming with them on the reef here, this is the only encounter I’ve had like this one. This pair of huge adult whales repeatedly spy hopped alongside us, seeking to interact with and investigate us, leaving me completely breathless. The female in the foreground was much more confident than the male behind and would constantly make close approaches, whilst the male hung back a little, still interested but shy. After more than 10 years working with wildlife in the water, this was one of the best experiences of my life.

First Place, Big and Small Underwater Faces

Photographer: Andrey Nosik, www.unworldoceansday.org

Category: Big and Small Underwater Faces

Instagram: @andreynosik

Caption: This photo of a Japanese warbonnet (Chirolophis japonicus) was captured in the Sea of Japan, about 50 miles (80 kilometers) southwest of Vladivostok, Russia. I found the ornate fish at a depth of about 30 meters (100 feet), under the stern of a shipwreck. This species does not appear to be afraid of divers—on the contrary, it seems to enjoy the attention—and it even tried to sit on the dome port of my camera.

Second Place, Big and Small Underwater Faces

Photographer: Giacomo Marchione, www.unworldoceansday.org

Category: Big and Small Underwater Faces

Instagram: @marchione.giacomo

Caption: On one of my many blackwater dives in Anilao, in the Philippines, my guide and I spotted something moving erratically at a depth of around 20 meters (65 feet), about 10 to 15 centimeters in size. We quickly realized that it was a rare blanket octopus (Tremoctopus sp.). As we approached, it opened up its beautiful blanket, revealing its multicolored mantle. I managed to take a few shots before it went on its way. I felt truly privileged to have captured this fascinating deep-sea cephalopod. Among its many unique characteristics, this species exhibits some of the most extreme sexual size-dimorphism in nature, with females weighing up to 40,000 times more than males.

Third Place, Big and Small Underwater Faces

Photographer: Lars von Ritter Zahony, www.unworldoceansday.org

Category: Big and Small Underwater Faces

Instagram: @larsvonritterzahony

Caption: Trips to the Antarctic Peninsula always yield amazing encounters with leopard seals (Hydrurga leptonyx). Boldly approaching me and baring his teeth, this individual was keen to point out that this part of Antarctica was his territory. This picture was shot at dusk, resulting in the rather moody atmosphere.

First Place, Underwater Seascapes

Photographer: Dani Escayola, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @daniescayola

Caption: This year, I had the incredible opportunity to visit a jellyfish lake during a liveaboard trip around southern Raja Ampat, Indonesia. Being surrounded by millions of jellyfish, which have evolved to lose their stinging ability due to the absence of predators, was one of the most breathtaking experiences I’ve ever had.

Second Place, Underwater Seascapes

Photographer: Gerald Rambert, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @gerald_rambert

Caption: This shot captures a school of rays resting at a cleaning station in Mauritius, where strong currents once attracted them regularly. Some rays grew accustomed to divers, allowing close encounters like this. Sadly, after the severe bleaching that the reefs here suffered last year, such gatherings have become rare, and I fear I may not witness this again at the same spot.

Third Place, Underwater Seascapes

Photographer: Pedro Carrillo, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @pedrocarrillophoto

Caption: “La Rapadura” is a natural hidden treasure on the northern coast of Tenerife, in the Spanish territory of the Canary Islands. Only discovered in 1996, it is one of the most astonishing underwater landscapes in the world, consistently ranking among the planet’s best dive sites. These towering columns of basalt are the result of volcanic processes that occurred between 500,000 and a million years ago. The formation was created when a basaltic lava flow reached the ocean, where, upon cooling and solidifying, it contracted, creating natural structures often compared to the pipes of church organs. Located in a region where marine life has been impacted by once common illegal fishing practices, this stunning natural monument has both geological and ecological value, and scientists and underwater photographers are advocating for its protection. (Model: Yolanda Garcia)

Honorable Mention, Underwater Seascapes

Photographer: Lars von Ritter Zahony, www.unworldoceansday.org

Category: Underwater Seascapes

Instagram: @larsvonritterzahony

Caption: With only orcas as their natural predators, leopard seals are Antarctica’s most versatile hunters, preying on everything from fish and cephalopods to penguins and other seals. Gentoo penguins are a favored menu item, and leopard seals can be observed patrolling the waters around their colonies. For this shot, I used a split image to capture both worlds: the gentoo penguin colony in the background with the leopard seal on the hunt in the foreground.

First Place, Above Water Seascapes

Photographer: Leander Nardin, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @akela.world

Caption: A serene lake cradled by arid dunes, where a gentle stream breathes life into the heart of Mother Earth’s creation: Captured from an airplane, this image reveals the powerful contrasts and hidden beauty where land and ocean meet, reminding us that the ocean is the source of all life and that everything in nature is deeply connected. The location is a remote stretch of coastline near Shark Bay, Western Australia.

Second Place, Above Water Seascapes

Photographer: Nur Tucker, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @nurtuckerphotography

Caption: Northern gannets (Morus bassanus) soar above the dramatic cliffs of Scotland’s Hermaness National Nature Reserve, their sleek white bodies and black-tipped wings slicing through the Shetland winds. These seabirds, the largest in the North Atlantic, are renowned for their striking plunge-dives, reaching speeds up to 100 kph (60 mph) as they hunt for fish beneath the waves. The cliffs of Hermaness provide ideal nesting sites, with updrafts aiding their take-offs and landings. Each spring, thousands return to this rugged coastline, forming one of the UK’s most significant gannet colonies. It was a major challenge to take photos at the edge of these cliffs at almost 200 meters (650 feet) with the winds up to 30 kph (20 mph).

Third Place, Above Water Seascapes

Photographer: Andrey Nosik, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @andreynosik

Caption: Paradise Harbour is one of the most beautiful places on the Antarctic Peninsula. When I visited, the sea was extremely calm, and I was lucky enough to witness a wonderfully clear reflection of the Suárez Glacier (aka Petzval Glacier) in the water. The only problem was the waves created by our speedboat, and the only way to capture the perfect reflection was to lie on the bottom of the boat while it moved towards the glacier.

Honorable Mention, Above Water Seascapes

Photographer: Ken Findlay, www.unworldoceansday.org

Category: Above Water Seascapes

Instagram: @kenfinphoto

Caption: A South Atlantic swell breaks on the Dungeons Reef off the Cape Peninsula, South Africa, shot while photographing a big-wave surf session in October 2017. It’s the crescendoing sounds of these breaking swells that always amazes me.

Diagram showing the structure of Eyeo's color-splitting waveguide technology. The image is focused at the front of the structure, with the waveguides channeling the light down to a conventional CMOS sensor underneath. The geometry and position of the upper, tapered waveguides defines the wavelength at which light is split into parallel beams in the lower, rectangular guide.

Image: Eyeo

A Belgo-Dutch startup is developing an alternative to color filters that would let sensors capture all the light shone on them. This has the potential to push past on of the limitations of existing Bayer sensors, giving up to a stop of improvement in tonal quality and noise, and potentially allowing higher resolution capture.

Its technology uses nano-scale waveguides to split the incoming light depending on its color, meaning the sensor receives all the light projected on it, rather than having to use filters that absorb some of the incoming light.

Eyeo, a spin-off from Imec (a Belgian research organization) has just received €15M in seed funding to develop the technology.

Its system doesn't block or absorb any light, instead redirecting it into neighboring pixels, based on its color.

The technology uses a waveguide that channels the incoming light to a very fine point – the geometry of which is on the scale of the wavelength of light – splitting the light by wavelength. From here it's channelled separately down through a second, rectangular waveguide into a pair of photodiodes below.

The company has shown it can adjust how the colors are split by adjusting the precise geometry and positioning of the waveguides. It has developed pairs of waveguides that split light at the same wavelengths that the human eye does, with one separating red light from cyan (green and blue), and the other separating blue light from yellow (green and red).

Diagram showing the sensitivity of the cones of the human eye to different wavelengths (top) and the output spectra of the two waveguide designs, showing one tuned to give a 480nm crossover (left) and a second with crossover at 580nm (right).

Image: Eyeo

This means you still need four photodiodes to capture full color, but you can measure the light intensity, irrespective of color, with only two; giving a significant resolution boost and with minimal light loss.

Its work suggests these pairs of waveguide stacks, combined with conventional CMOS sensors, should be able to deliver color accuracy comparable with modern cameras, with scope to further improve the performance to at least match the very best examples.

In addition to avoiding light loss to color filters, the design should be able to work with smaller pixels than previous attempts to split colors by diffraction, allowing the used of smaller pixels to give higher resolutions.

The company's focus is, understandably, on the large and potentially lucrative smartphone market. Because its technology doesn't waste as much light and can work with smaller pixels, it allows the creation of smaller sensors that deliver quality comparable with existing Bayer ones, or higher resolution sensors that outperform Bayer sensors of the same size.

However, even in the comparatively huge sensors used in most standalone cameras, avoiding light loss to a color filter array would allow a ∼1EV improvement in tonal quality and noise performance. Current sensors have very high quantum efficiency (generating a signal from a very high percentage of the light that hits them) and very low levels of read noise, meaning there's a limit to how much further you can improve the performance of the CMOS itself. However, the silicon part of the sensor is held back by the need to filter-out around one stop of the 'wrong' colored light before it hits each photodiode.

The 'Vora' values, measuring color filtering accuracy for a large set of cameras, calculated both for the CIE standard observer and a range of other ages and races. Eyeo's technology using off-the-shelf CMOS sensors and a custom-made thin-film perovskite detector are shown on the right.

Image: Eyeo

Although the technology is still at the relatively early development stage, the company tells us its technology is compatible with existing CMOS sensor manufacturing and that the fabrication tech for its waveguides that's already in use at scale.

It says it has worked to ensure the pixels at the edge of the frame maintain high acceptance angles for incoming light, without the use of microlenses, and has patented a methodology for optimizing the design to match typical numerical apertures used in the latest cameras and smartphones.

The original idea dates to 2018, with patents and prototypes following over the next few years. The Eindhoven-headquartered company was established in 2024 and it says it hopes to engage with potential customers in the next year or so, with evaluation kits available next year.

However, when asked, the company didn't give a timescale of when it thought the technology could be ready to appear in a consumer product.

Image: Laowa

Laowa is well known for its unique lenses, offering photographers tools that allow them to stretch their creativity. Now, the company has added another lens to its lineup, announcing the 8-15mm F2.8 full-frame fisheye zoom lens. The lens is manual focus only, but it offers a fast and constant F2.8 aperture for a wide range of full-frame cameras.

The Laowa 8-15mm F2.8 FF Zoom Fisheye has what the company calls a "dual fisheye effect." At the wide end, the lens delivers a 180° angle of view, resulting in a circular image with black edges. However, when zoomed in to 15mm, the lens provides a diagonal fisheye image, which fills the entire rectangular frame without black corners.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Photos: Laowa

Laowa built the lens with 13 elements in 9 groups and a nine-blade aperture diaphragm. The company promises edge-to-edge clarity. The fast aperture is ideal for low-light conditions, and Laowa also promises beautiful bokeh for greater creative control. It can focus as close as 16cm (6.3"), enabling dramatically exaggerated subjects when up close. It is manual focus only, though.

Image: Laowa

It's a relatively compact lens, with the RF mount version measuring 94.5mm (3.7") long. It weighs approximately 650g (1.43lbs). It's available in E, Z, L and RF mount versions.

The Laowa 8-15mm F2.8 FF Zoom Fisheye is available for purchase as of today for $699. Pricing may vary in other countries.

Buy now: Buy from B&H Buy from Laowa

Press release:

Fish Out Your Creativity - Laowa announces the 8-15mm f/2.8 FF Zoom Fisheye Lens

Anhui China, June 6, 2025 – Introducing the Laowa 8-15mm f/2.8 FF Zoom Fisheye, a one-of-a-kind addition to Laowa’s innovative lens lineup. Designed for photographers and content creators seeking bold, creative perspectives, this lens delivers a dual fisheye effect with a versatile zoom range and an ultra-fast constant f/2.8 aperture. Compatible with full-frame cameras, this lens offers unparalleled flexibility for capturing expansive landscapes, compact cities, action sports, and 360° panoramas.

Dual Fisheye Effect

The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens delivers a versatile dual fisheye effect,
seamlessly transitioning between two distinct visual styles on full-frame cameras. At the
8mm end, the lens produces a circular fisheye effect, capturing a 180° field of view. At
the 15mm end, it transitions to a full-frame rectangular fisheye effect, filling the entire
sensor with the characteristic fisheye distortion. The zoom capability allows creators to
switch between these effects without changing lenses, enhancing flexibility for
photography and videography applications.

Max. 180° circular fisheye

The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens offers an extra-wide view, delivering a
sweeping 180° angle of view at its 8mm focal length on full-frame cameras. This
expansive perspective captures vast scenes in a single frame, producing a dramatic
circular fisheye effect with pronounced curvature, ideal for creative effects,
astrophotography, and 360° panoramas.

Diagonal fisheye

As the lens zooms to 15mm, the angle of view narrows slightly, filling the full-frame
sensor with a diagonal fisheye image that retains a wide, distorted perspective. Ideal for
immersive landscapes, astrophotography,

Constant Fast Aperture

The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens boasts a constant T2.9 aperture
throughout its zoom range, ensuring consistent exposure and depth of field control. This
fast aperture excels in low-light situations, delivering outstanding performance for
nighttime shoots or dimly lit environments, while also providing beautiful bokeh for
creative flexibility in crafting immersive fisheye visuals.

Close Focusing Distance

The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens features a minimum focusing distance
of 16cm (6.3”), enabling photographers and videographers to capture subjects at close
range with striking visual impact. This close focusing capability enhances the lens’s
fisheye distortion, delivering an exaggerated point of view (POV). Additionally, the close
focus mimics a bugeye effect, creating a playful, almost cartoonish distortion where
subjects appear disproportionately large, adding a unique and bold aesthetic to images
and videos.

Full Frame Coverage

The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens offers full-frame coverage, unlocking
the full potential of high-resolution cameras. It delivers a true 180° circular fisheye effect
at 8mm and a rectangular fisheye at 15mm, ensuring edge-to-edge clarity and
maximum angle of view without cropping.

Ultra Compact

Dimensions

94.5MM X Ø76.4MM (CANON RF

MOUNT)

Weights ~650G (1.43 LBS, EXCLUDING CAPS)

The Laowa 8-15mm f/2.8 FF Zoom Fisheye Lens is remarkably compact. This portable
design makes it one of the smallest and lightest full-frame fisheye zoom lenses with a
constant f/2.8 aperture, ideal for travel, adventure, and handheld shooting. Perfect for
landscape photographers, vloggers, and drone-based creators, this lens delivers bold
fisheye visuals without the bulk, enhancing mobility and convenience for on-the-go
content creation.

Pricing & Availability

LAOWA 8-15mm f/2.8 FF Zoom Fisheye is available to purchase via Venus Optics
official website (Home - LAOWA Camera Lenses) and authorized resellers from the 6th
June, 2025.

The US price for LAOWA 8-15mm f/2.8 FF Zoom Fisheye is $699. Pricing varies in different countries.

Product Page

LAOWA 8-15mm f/2.8 FF Zoom Fisheye:

https://www.venuslens.net/product/laowa-8-15mm-f-2-8-ff-zoom-fisheye-2

Sample images

https://drive.google.com/drive/folders/1BLfVOj-wyHWfE4-94ay7py9RkzcwHHx8?usp=sh
aring

Product Video

https://www.youtube.com/watch?v=RBjXQJ4aYtA&feature=youtu.be

Specification

Product name LAOWA 8-15mm F2.8 FF Zoom Fisheye Format Compatability Full Frame Focal Length 8-15mm Aperture F2.8-22 Angle of view 175°-180° Lens Structure 13 elements in 9 groups Aperture Blades 9 Focus Throw 70° Zoom Throw 76° Aperture Throw 42° Focus Scale Dual Scale Min. Focusing Distance 16cm Max. Magnification 0.23x Focus Mode Manual Focus Dimensions 94.5mm*Ø76.4mm (measured in RF mount) Weight ~650g Mounts E / Z / L / RF Price USD699

Photo: Nikon

It's Friday, so that means it's time to share some firmware updates. The past few weeks saw a few releases, bringing fixes and new features to Nikon, Fujifilm and Sony cameras, along with four Sigma L-mount lenses. Nikon's updates offer the most significant changes, with newly added support for power zoom features on the Z6II and Z7II. Without further ado, let's dive in.

Nikon Image: Nikon

Nikon Z6II Ver. 1.70

• Added support for the power zoom feature on power zoom lenses.
• [русский (RU)] has been added to the languages available via the [Language] item in the [SETUP MENU] for Z 6II cameras sold in the Middle East.
• Fixed the following issues:
  • Shutter release would sometimes be disabled or the frame advance rate would drop after the focus point was moved using [Touch AF].
  • The playback display would unintentionally switch to the shooting display when [Prioritize viewfinder (2)] monitor mode was selected.
  • The focus point would sometimes not be displayed after reactivating the standby timer when [Prioritize viewfinder (2)] monitor mode was selected.
  • The shutter releases on the remote cameras would be unavailable in synchronized release using wireless remote controllers.

Nikon Z7II Ver. 1.70

• Added support for the power zoom feature on power zoom lenses.
• [русский (RU)] has been added to the languages available via the [Language] item in the [SETUP MENU] for Z 6II cameras sold in the Middle East.
• Fixed the following issues:
  • Shutter release would sometimes be disabled or the frame advance rate would drop after the focus point was moved using [Touch AF].
  • The playback display would unintentionally switch to the shooting display when [Prioritize viewfinder (2)] monitor mode was selected.
  • The focus point would sometimes not be displayed after reactivating the standby timer when [Prioritize viewfinder (2)] monitor mode was selected.
  • The shutter releases on the remote cameras would be unavailable in synchronized release using wireless remote controllers.

Fujifilm Photo: Fujifilm

Fujifilm X-S20 Ver. 3.20

• Exposure tracking during aperture movement gets smoothed when used with the XF16-55mmF2.8 R LM WR II.
  • The above exposure tracking function is enabled under the following setting conditions.
  • [Setting conditions]
  • StillMovie mode ➔ Movie
  • Shooting Mode ➔ Manual (M) Mode
  • ISO ➔ Fixed Sensitivity
• The “LINEAR” setting in “Focus ring operation” menu can now be set by the focus ring rotating angle.
  • The above function is enabled when used with the following applicable lenses.
  • [Applicable lenses]
  • XF/XC series Prime lenses and zoom lenses
  • Note:Interchangeable lenses with distance indicators (XF14mmF2.8 R, XF23mmF1.4 R and XF16mmF1.4 R WR) are not applicable.
• A firmware bug is fixed that the image display becomes abnormal in rare cases for the images processed by RAW development from the RAW files shot with the following bracketing function.
  • [Bracketing function]
  • ISO BKT
  • FILM SIMULATION BKT
  • WHITE BALANCE BKT
• A firmware bug is fixed that the camera does not turn on even if the power lever is on when a specific SD memory card is inserted.
• A firmware bug is fixed that the “WRITE ERROR” occurs in rare cases after shooting when using specific SD memory cards.

Sony Photo: Sony

Sony ZV-1 Mark II Ver. 2.01

• Adds Brazilian Portuguese to the list of available languages
• WPA and WEP functionalities are no longer supported. You will no longer be able to select WPA or WEP when connecting to Wi-Fi. Please use the more secure WPA2 moving forward
• Improves the operational stability of the camera

Sony ZV-1F Ver. 2.01

• Adds Brazilian Portuguese to the list of available languages
• WPA and WEP functionalities are no longer supported. You will no longer be able to select WPA or WEP when connecting to Wi-Fi. Please use the more secure WPA2 moving forward

Sigma Photo: Sigma

Sigma Art 28-105mm F2.8 DG DN (L-Mount) Ver. 1.1

• The operational stability has been improved.
• Improved focus tracking performance during zooming.

Sigma Contemporary 100-400mm F5-6.3 DG DN OS (L-Mount) Ver. 1.4

• The operational stability has been improved.

Sigma Sports 150-600mm F5-6.3 DG DN OS (L-Mount) Ver. 1.3

• The operational stability has been improved.

Sigma Contemporary 16-28mm F2.8 DG DN (L-Mount) Ver. 1.1

• The operational stability has been improved.

When you use DPReview links to buy products, the site may earn a commission. The X-M5 seems to have turned into a hot-ticket item.

Despite being released in late 2024, the Fujifilm X-M5 isn't the easiest camera to get your hands on, especially in the US – a situation not helped by tariffs. That raises the question: is it worth putting in an order to try and get one, or are there more readily available cameras that will scratch the same itch?

As with the X100VI, the answer will depend on why you're considering an X-M5 in the first place (though, thankfully, it's not essentially unique like Fujifilm's fixed-lens offering). If you want one primarily for shooting video, the best alternative will be different than if you're looking for a small, sub-$1000 mirrorless to mainly shoot stills with.

I want an X-M5 just for stills

While the X-M5 is shaped like a lot of vlogging cameras – it has a boxy body with no EVF, and a rather insubstantial grip – it's generally nicer to shoot with than most vlogging-focused cameras thanks to its two top-plate dials. It also has a mechanical shutter, essential if you want to shoot flash.

The Nikon Z30 shares the same list of benefits and has a very similar form factor, and while its autofocus system will probably be about as reliable as the X-M5's, it's not Nikon's latest and greatest: it has fewer subject recognition modes, which can make it easier to set your focus point, depending on what you're shooting. While the Z mount has a more limited selection of lenses than X mount, Nikon has started allowing third-party companies to make some autofocusing primes for its system. If you want a zoom lens, though, you're still stuck with Nikon's lackluster offerings.

The Z50II has different styling, but is aimed at a similar audience.

If you're not married to the easier-to-pocket boxy shape, you'll have even more options, such as the Nikon Z50II and Canon EOS R10. Both cameras include viewfinders, which makes them easier to use in direct sunlight at the cost of some bulk. The Z50II has a newer autofocus system than the Z30, as well as a color profile system that can at least get you closer to the aesthetic choices you can make with Fujifilm's famous film simulations. The EOS R10, meanwhile, has a healthy selection of zoom lenses, including some quite fast options from Sigma and Tamron.

I want an X-M5 for video

The X-M5 is aimed at content creators and has a fairly robust suite of vlogging features, dedicated microphone and headphone jacks, and the ability to shoot 6.2K open-gate and 4K60p video, though the latter comes with a 1.29x crop.

If you're mostly interested in video, the Sony ZV-E10 II is a worthy alternative. It can't shoot open-gate, so you won't have as much flexibility in post, but it makes up for it with much more reliable autofocus and tracking and a faster sensor with less rolling shutter distortion and less of a crop in 4K 60p. It's also capable of producing nice photos, though the experience of taking them won't be as engaging, thanks to its lack of a second top-plate command dial.

While the Z30 is also pitched as being good for video, it falls short of the X-M5 in a number of ways: it doesn't have a headphone jack, can't shoot 4K 60p and can't shoot 10-bit video, which provides you more room to color-grade in post.

The Canon PowerShot V1 is another option, though it's quite different from the other cameras on this list. It's explicitly aimed at video creators but has a built-in 16-50mm equiv. F2.8-4.5 lens rather than a mount and uses a smaller Type 1.4 (226mm²) sensor instead of an APS-C (~367mm²) one. That means you lose out a lot on flexibility and a bit on image quality, but given how many people only ever use their camera's kit lens, that may not be a huge con for you. It has a fan for extended recording time, a built-in ND filter and quite reliable autofocus, making it a useful video tool if you're willing to put up with its limitations.

I was hoping to shoot a little of both

Part of what makes the X-M5 so interesting is that it packs a lot of photo and video capabilities into a small, stylish body. It's that last part where most of its peers don't quite measure up; if you want something with this form factor that has classic styling and is equally capable for photos and videos, you may well need to wait for the X-M5.

Buy now:

$899 w/ 15-45 at Amazon.com$799 at Adorama$799 at B&H Photo

If you're willing to get something a bit bigger with less emphasis on aesthetics, though, the story is the same as the stills. The EOS R10 and Z50II are both quite capable hybrids and have more reliable autofocus, though their 4K60p modes come with a slightly higher crop than the X-M5's (1.56x and 1.5x, respectively).

Ultimately, there's no direct substitute that does everything the X-M5 does, especially if you're attracted to the wide range of lenses available for X-mount. But depending on your priorities, there are at least some reasonable alternatives, unlike with the X100VI.

Photo: Fujifilm

Fujifilm is moving the production of some of its most popular cameras to Japan, potentially due to the steep US tariffs on Chinese products. The Fujifilm X-T5, X-T50, X-M5 and X100VI all appear to be impacted. The latter two have had availability issues since their respective releases.

Fujifilm did not formally announce the move, but new listings with unique product names and SKU numbers have appeared on Fujifilm's online US store, as Digital Camera World and PetaPixel reported. Listings for the X-M5, X-T5, X100VI and X-T50 cameras now have "-JP" in the product name, suggesting that those are produced in Japan.

The X-M5 and X-T5 both show discontinued notices when you search for them at B&H.

Screenshots: Abby Ferguson

There are also new listings up for the X-M5, X-T5, X100VI and X-T50 at US retailer B&H, along with discontinued product notices. When you search for the X-M5, for example, a note will appear that it has been discontinued, asking, "May we suggest FUJIFILM X-M5 as a possible replacement?" Clicking on that second name takes you to a product page for an X-M5 with "Japan" at the end of the name, and a "J" at the end of the SKU. The SKUs for the other camera have "JP" at the end. Fujifilm's UK website doesn't have any models with JP in the name. It appears, then, that production could continue in China for cameras headed to other countries.

Fujifilm had previously paused pre-orders of the X-M5 and X100VI because of the tariff situation, though it restarted US shipments earlier this month. However, that doesn't mean they are actually available for purchase right now. Production issues still seem to plague the X-M5 and X100VI, as the JP models are also listed as out of stock on Fujifilm's US site at the time of writing. All four of the cameras are listed as back-ordered at B&H, but the X-T5-JP and X-T50-JP are both in stock at Fujifilm's site.

The "new" models appear to be identical to the previous product pages, with the exception of the names. That includes the same prices. That could mean Fujifilm opted to adjust production instead of raising prices to adapt to the US tariffs. The tariffs also impact Japan, but the 10% rate for Japanese products is much lower than China's current (though unstable) 30% rate. If the prices do, in fact, stay consistent, that could be welcome news, given that Nikon, Canon, Sigma and Leica have announced increased prices because of the tariffs.

We reached out to Fujifilm for comment but did not receive a response at the time of publication. We will update this story if we receive a response.

Fujifilm has released a short teaser video ahead of a June 12th announcement, hinting at a new rangefinder-style camera in its lineup. The announcement will come at the company's X Summit in Shanghai.

The video starts with an X100 and X-Pro placed on a black background, followed by a camera that is significantly obscured in darkness. The text mentions a rangefinder-style series that is "essential when telling the story of our X Series history." It potentially suggests that the X-Pro series is still part of the lineup, even though the last X-Pro – the X-Pro3 – was released in 2019.

The DPReview team had a chance to interview Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group at CP+ earlier this year, asking him specifically about the X-E and X-Pro series. His comments at the time confirm that the X-Pro series isn't gone: "Our plan hasn't changed, we still plan to launch a successor to X-Pro3, but we don’t have a date, yet. And X-E of course, too. We haven’t abandoned the line either."

When asked if the X-E series would return to its enthusiast-focused roots, Igarashi explained, "There’s nothing that’s perfect, which is totally unchangeable: it’s something we consider every time we come up with the next version." Jun Watanabe, Fujifilm's Product Planning Manager, commented on the types of users they are building the next X-E for, explaining that "They love the rangefinder style." He also said, "They love daily life photography [and using X-E] as a snap camera. They love the style and the design."

Based on the comments at CP+ and the limited amount of detail contained in the teaser video, it seems feasible that we could be seeing the next X-E or X-Pro. However, we'll have to wait until June 12th for the reveal.

Photo: Kevin Mahoney

Hiking with a camera can be incredibly rewarding. It can open up new opportunities for photographs and refresh creativity. However, it also presents some challenges. Finding a way to keep your gear safe while carrying it comfortably can be tricky, especially on more rugged hikes. Add in larger cameras or lenses, and things get even more difficult. While finding the ideal solution for each individual takes trial and error, below are some tips as you get started.

Quality camera bag

Shimoda is one company that makes rugged, adventure-specific camera backpacks.

Photo: Gannon Burgett

First and foremost, a quality camera bag is a must to keep your gear safe while allowing you to bring other essential hiking items. When looking for a backpack or bag for hiking with your camera, choose one made of durable, weather-resistant (or, even better, waterproof) materials. If your bag is only weather-resistant, make sure you have a rain cover or pack liner to keep your gear dry.

Plenty of padding and structure are also essential to protect your camera. The padding also keeps your camera safe while you have other gear packed, since you'll generally need more than just your camera during hikes.

Finally, a proper fit is critical. An ill-fitting bag could lead to chafing or back issues, making your hike uncomfortable or even dangerous. Whenever possible, try on a bag when loaded with some weight before setting out on a long hike to identify if there are any fit issues. Even better, look for a bag with adjustable torso lengths so you can dial in the fit.

Camera strap or clip

Though not specifically designed for hiking, this Magpul MS4 strap at least puts the camera in a more comfortable position than straps that are worn around the neck.

Photo: Mitchell Clark

While a camera bag is necessary, you'll likely want your camera out for most of your hike. After all, if it's tucked away, you're less likely to actually use it, or you may miss a chance to photograph something fleeting. Quick access is ideal, but your camera also needs to be secure and comfortable to carry.

There are a few options for keeping your camera accessible. First, you could opt for a camera strap, though we'd recommend a hiking-specific strap. A traditional strap can put a lot of strain on your neck and back. It could cause chafing as well, especially on long hikes. A hiking-specific strap, like those from Cotton Carrier or BlackRapid, could be more comfortable than a traditional strap, thanks to extra padding. However, if you're wearing a backpack, make sure the strap works with that.

Hiking-specific straps are designed to keep the camera from bouncing around on your body.

Even more beneficial than padding, though, is the added stability. Hiking-specific straps are designed to keep the camera from bouncing around on your body. Traditional camera straps worn around the neck or shoulder allow the camera to swing when you move, sometimes with an extremely uncomfortable amount of momentum. It could lead to a broken camera if it swings out at the wrong time and hits a rock or tree. Hiking camera straps secure the camera to your body so you can hike without holding onto it to keep it protected.

The Peak Design Capture Clip is one way to keep your camera quickly accessible, though it works best with smaller setups.

Photo: Seth Halleran

If a strap isn't your style, some companies make clips that attach your camera to your backpack. Peak Design's Capture Clip is a popular example. It connects to a backpack strap or belt and uses a quick-release-style plate to give you quick access to your camera while keeping it secure against your body. That said, depending on your body, your camera setup and your backpack, those clips can put the camera in quite an uncomfortable position. Be sure to test it before setting off on a long hike.

This camera backpack was not a good fit for my body, so it was rather a pain to hike with.

Photo: Kathryn Melheim

Final thoughts on hiking with a camera

Hiking with a camera doesn't have to be overly complicated or require loads of fancy, specialized gear. The key is finding a setup that is comfortable for you so that you want to bring your camera along while keeping you and your gear safe.

The Wacom Cintiq 16.

Photo: Wacom

Wacom has announced its latest pen displays, offering three new models with the Cintiq 16, Cintiq 24 and Cintiq 24 Touch. Unlike the company's Intuos lineup, the Cintiq series features displays, allowing them to function as monitors and touch-sensitive devices. The latest Cintiqs offer slightly larger displays yet thinner designs, and subtle upgrades across the board.

The lineup now includes the Cintiq 24 Touch, which offers 10-finger touch capacity in addition to pen control. Previously, you had to opt for the Pro models of the Cintiq lineup if you wanted touch control. The Cintiq 16 and Cintiq 24 do not offer touch control.

The existing Cintiq lineup included a 16-inch and 22-inch offering, but the company has bumped the larger one up to 24 inches for greater screen real estate. Even the 16-inch received a slight bump in screen size as well. Despite the larger sizes, both are slimmer than the previous models. For example, at 22mm, the Cintiq 24 is almost half the thickness of the Cintiq 22.

The Cintiq 24 offers a large display.

Photo: Wacom

The resolution of both sizes is also greater than the previous models, jumping from full HD to 2560 x 1600 for the smaller device and 2560 x 1440 for the larger. Wacom improved color gamut on both, with each now covering 100% of sRGB. Cintiq also increased the maximum brightness substantially. All of these upgrades should offer a better experience for photographers looking to edit their images with the Cintiq tablets, even when working in bright locations.

Wacom released the Pro Pen 3 in 2022, but announced it again in February with its major refresh of the Intuos Pro lineup. Now, the Cintiq series benefits from the updated pen as well. All new Cintiq models are compatible with the Pro Pen 3, which offers lots of customization, responsiveness and accuracy.

The Cintiq 24 and Cintiq 24 Touch include an adjustable stand. All three models are VESA-compatible (75 x 75mm).

Image: Wacom

Additional upgrades include new anti-glare etched glass to reduce reflections, making it easier to see while editing or drawing. A USB-C port joins the existing HDMI and USB-A connections. The Cintiq 24 includes the Wacom Adjustable Stand, which allows for a range of angle adjustments, while the Cintiq 16 comes with fold-out legs. The Cintiq 16 is compatible with the stand, though it is a separate purchase.

The Wacom Cintiq 16, Cintiq 24 and Cintiq 24 Touch will be available sometime this summer, costing $700, $1300 and $1500, respectively.

Press release:

Made to Create, Built to Grow — Wacom Introduces the New Wacom Cintiq Line

Wacom unveils a new generation of Wacom Cintiq pen displays — the Cintiq 16, Cintiq 24, and Cintiq 24 touch — delivering professional-grade performance that puts professional creative tools within reach, combining Wacom’s Pro Pen 3 technology, compact design, and usability for creators ready to take the next step.

TOKYO – June 5, 2025 – Wacom today launched the new Cintiq 16, Cintiq 24, and Cintiq 24 touch pen displays, empowering creators to break boundaries with professional tools made attainable without compromise. Combining the flagship Wacom Pro Pen 3, a slimmer design, and sharp displays built for creative work, these models are built for artists and designers ready to level up their craft and dive headfirst into their boldest ideas.

“Creativity isn’t about limits—it’s about diving into the extraordinary,” said Koji Yano, Senior Vice President at Wacom. “The new Cintiq line is for creators who refuse to settle. It’s not just a tool—it’s the spark that turns ‘what if’ into ‘what’s next.’”

Natural Feel with the Wacom Pro Pen 3

Utilizing the Wacom Pro Pen 3, the new Cintiq models provide responsive, precise pen strokes thanks to enhanced sampling rate and pressure sensitivity. Artists experience fluid lines closely following movement—supporting expression with improved control.

Optional accessories let users customize grip thickness, weight balance, and button layout for comfort during long sessions. Another optional accessory is the Wacom Pro Pen 3 Wood Grip, sold separately, which stands out with its warm, textured finish—offering a more natural feel in the hand for those who prefer an organic touch during long drawing sessions.

Clear Display and Comfortable Viewing

Available in 16.0” (2560 x 1600 resolution) and 23.8” (2560 x 1440 resolution) sizes, the Cintiq line includes Pen-only and a Pen & Touch model (23.8” only). Direct bonding minimizes the gap between the pen tip and the cursor. Anti-glare etched glass reduces reflections and minimizes eye fatigue.

Streamlined Design and Quiet Performance

The flat design with a clean, modern profile supports versatile working angles. Both models are slimmer than their predecessors—the Cintiq 24, for example, is nearly half the thickness of the previous 22” model at just 21mm—making them easier to fit into a variety of workspaces. A fanless design ensures quiet operation and helps users stay focused during long creative sessions, without overheating.

Adjustable Stand and Flexible Setup

The Cintiq 24 includes the Wacom Adjustable Stand, which allows smooth, quiet angle adjustments. The Cintiq 16 comes with fold-out legs and is also compatible with the optional stand, sold separately. Both models are VESA-compatible (75 x 75 mm) for use with third-party monitor arms.

All ports are neatly arranged on the back for simplified cable management. All models support USB-C connection, and the 16” model also supports a convenient single-cable setup with power delivery. HDMI and USB-A ports are available on both models as alternative options.

All models come with time-limited licenses for creative software, including Clip Studio Paint EX and MASV.

Availability

The new Wacom Cintiq models will be available this summer. To learn more, visit: https://www.wacom.com/products/wacom-cintiq.

Image: Adobe

Back in February, Adobe announced that it was bringing Photoshop to smartphones. The new app offers much more robust tools than those found in the existing Photoshop Express, but it was initially only available for iPhones. Now, that app is also available for Android phones in beta, with limited-time free access to premium tools.

Adobe recognized that many people edit photographs or create art exclusively on their phones, and the existing Photoshop Express app was extremely limited in its capabilities. The new Photoshop app brings the existing platform's well-known editing and design tools to the mobile platform, allowing for greater control, even when working on a phone.

The app was designed from the ground up with an accessible interface for phones, resulting in a very different look from the desktop version. The editing tools are concentrated at the bottom of the screen with a simplified workflow. Instead of displaying all tools, it only shows the most commonly used ones, along with a layer stack on the right side.

The new app provides many of the familiar controls and tools found in the desktop version of Photoshop.

Images: Adobe

Critically, the app maintains one of Photoshop's main benefits: its non-destructive editing capabilities via layers. Users can create adjustment layers like in the desktop version and have the ability to create unlimited layers. There are masking and layer blending tools as well, allowing users to fine-tune each layer. Familiar tools like Spot Healing Brush, Generative Fill, Clone Stamp and more are also available.

To make selections on the small screen easier, Adobe added a Tap Select tool that automatically selects all obvious subjects and objects in an image. It then lists the different components that users can edit selectively.

The app is now available for download on Android in beta. It is free to download, and all of the app's features are free during the beta period. Adobe also says more capabilities are coming soon. Eventually, premium features will be locked behind a paywall and require an Adobe subscription.

Images: Fujifilm

Fujifilm's newly released X half camera takes quite a different approach to what we are used to from modern cameras. Fujifilm designed the camera, in part, to mimic the experience of shooting half-frame film. To get that full experience, though, you need the companion app, which is now available for download.

Of course, the app's standout function is the process that unlocks the unique features of the X half camera. When photos are taken with the camera set to Film Camera Mode, users will need the companion app to "develop" them so they are visible. The "rolls" of undeveloped "film" will show up in the app with icons of the film stock that was used. Once you process them, the app will automatically create a contact sheet while saving the individual images to your smartphone and app galleries.

The app will show your "rolls" of film, and once developed, will create a contact sheet.

Images: Fujifilm

At a basic level, like other camera apps, the X half app provides the ability to wirelessly browse and transfer images from the camera to a phone. When connected via Bluetooth, the camera will sync geotagging information with a mobile phone's geotagging information. It can function as an album for perusing photos and videos. Or, use it like a digital gallery by selecting two background colors and six frame styles to show off your work. It also allows for firmware updates.

While the app does not offer editing tools, it does allow users to combine two images into one to create diptychs, taking advantage of the sensor's vertical format.

The Fujifilm X half app is available for free for both iOS and Android.