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.

Photo: Abby Ferguson

Travel photography can spark new inspiration and bring fun back to the medium, and, of course, allow you to document memories during your trips. But choosing a camera for your travels can be daunting. There are seemingly endless options available, with a long list of technical terms to sort through. If you're looking to pick up a new camera for travel photography, one of the first questions you'll have to answer is whether you want a DSLR or a mirrorless camera.

What's the difference between DSLR and mirrorless cameras?

DSLRs have fairly bulky components that mirrorless cameras skip out on.

Photo: Abby Ferguson

The primary difference between DSLRs and mirrorless cameras is suggested in the latter's name. DSLRs use a movable mirror to direct light into an optical viewfinder, while mirrorless cameras display the image electronically without those components. As a result, mirrorless cameras can be more compact and lightweight than DSLRs (though not all are).

Are DSLR or mirrorless cameras better for travel?

Mirrorless cameras are often (though not always) smaller than DSLRs.

Photo: Richard Butler

Mirrorless cameras have quite a few advantages over DSLRs when it comes to travel, mainly because they use newer technology. Most companies haven't developed a new DSLR in many years, so mirrorless cameras often benefit from the most up-to-date features.

Size and weight are typically among the most important considerations for travel cameras. It's no fun to lug around a heavy backpack while traveling. Because mirrorless cameras and lenses are generally smaller, they are better suited for travel. That's especially true if you like to travel light or if you will spend a lot of time carrying your camera around.

Because mirrorless cameras and lenses are generally smaller, they are better suited for travel.

Beyond size, the new technology available in mirrorless cameras offers many benefits. Although a smaller feature at face value, mirrorless cameras often charge over USB-C. That means you don't need a separate charger. You likely already have a USB-C cable or two when traveling to keep your other devices charged, so it's not an extra bit you need to pack.

Mirrorless cameras offer more precise and more versatile autofocus. Some modern cameras often have AI-derived subject recognition and tracking systems, helping you get more images in focus even in challenging situations. Image stabilization is also more common in mirrorless cameras than DSLRs, which is helpful in dimly lit situations like museums or thick forests. Additionally, mirrorless cameras are much easier to use for shooting video, making them ideal for those looking to vlog or record their travels.

Many mirrorless cameras can charge via USB-C, eliminating the need for a separate battery charger.

Photo: Richard Butler

DSLRs' main edge over mirrorless for travel purposes is better battery life. Unlike the electronic viewfinders in mirrorless cameras, the optical viewfinders in DSLRs don’t require power other than a small amount to display exposure information. If you know you won't have frequent access to power and can't bring spare batteries, a DSLR could be a better option.

Finally, DSLRs have been around long enough that the second-hand market is robust, with lots of very affordable options. If you're worried about your camera getting damaged or stolen while traveling, a DSLR could give you more peace of mind. It risks being a bit of a dead-end long term, though.

You can find some highly versatile yet compact zoom lenses for mirrorless cameras that are ideal for travel. This Sony FE 20-70mm F4 G is a great example.

Photo: Sony

Final thoughts on the best camera system for travel

At the end of the day, the best camera for travel is one that you'll actually want to have with you. The challenge isn't necessarily whether you can fit it in your luggage, but whether you want to drag the camera around when you are out and about on your trips. As a result, because of their generally smaller size and more modern features, mirrorless cameras are typically the better choice for travel.

Image: Sigma

Sigma has announced an ambitious series of super-bright cinema lenses, due later this year, raising at least the possibility of some of the designs making their way across to the photo space.

The Aizu Prime series of cinema lenses all cover a 46.3mm diagonal, making them suitable for use on "large-format" cinema cameras such as the Arri Alexa LF, slightly larger than what photographers would think of as 'full-frame.'

The series will include twelve lenses covering the 18mm to 125mm focal lengths, starting with eight lenses in the 25-75mm range. All the lenses will have T1.3 maximum apertures.

However, while it's plausible that some of these designs could be adapted to sit alongside the company's 35mm F1.2 and 50mm F1.2 Art photographic lenses, sadly, Sigma says all the lenses "feature an optical system developed exclusively for cinema applications." They are also priced at $8300 each.

The eight initial lenses will each be available in either PL or Sony E mounts, with choice of distance scales marked using metric measurements or feet. All eight lenses feature gears focus and iris control, have similar dimensions and share the same 95mm front diameter.

Alongside the Aizu Prime line, Sigma has also announced a 28-45mm T2 cine zoom, based on the optical formula of its 28-45mm F1.8 DG Art lens and a 24-105mm T3 zoom, derived from the 24-105mm F2.8 DG Art. Both lenses retain their autofocus functions, in contrast to the Aizu primes, which are manual focus lenses.

Sigma Corporation Announces Aizu Prime Line, the World’s First Cinema Lens Line to Feature T1.3 Across All Focal Lengths Brilliant at T1.3: Forging new expressions. Here begins a new benchmark for filmmaking.

Ronkonkoma, New York - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is introducing the Aizu Prime Line―the world's first lineup 1 of large-format cinema lenses to achieve an aperture value of T1.3 across all focal lengths.

The lineup combines modern sharpness with an organic and naturally soft look, bringing rich texture and depth to visuals.

Boasting unparalleled brightness, refined expression, and reliable performance, the Aizu Prime Line embodies the proven technology and quality of “Made in Aizu, Japan” establishing the new standard.

The lineup of 12 lenses features a consistent T1.3 aperture across the full range from 18mm to 125mm. The initial release includes 8 lenses with focal lengths from 25mm to 75mm, covering core cinematic production needs.

1. As of June 2025, by Sigma.

KEY FEATURES Expressive power for profound beauty A consistent T1.3 across all focal lengths

The T1.3 aperture enables exceptionally shallow depth of field and graceful bokeh, seamlessly separating the subject while preserving a natural sense of depth and dimensionality. This refined visual language draws the viewer into the frame with a subtle yet powerful presence.

Optical design for the demands of cinema

All lenses in the Aizu Prime lineup feature an optical system developed exclusively for cinema applications. While maintaining modern sharpness, they avoid rigid or harsh depictions—delivering a natural, organic look. They provide quiet elegance and depth to the image, with distortion and focus breathing carefully minimized to ensure visual consistency, even in dynamic scenes.

Huge perspective range coverage

The Aizu Prime Line is designed as a system to cover a wide range of focal lengths from 18mm to 125mm. Initially, 8 core lenses ranging from 25mm to 75mm are being released, followed by 18mm and 21mm wide-angle lenses, and 100mm and 125mm telephoto lenses. This comprehensive system, covering from ultra-wide-angle to telephoto, is adaptable to diverse scenes and compositions.

Completely consistent look

Consistency of color balance, contrast, and flare characteristics ensures seamless integration between scenes, bringing a high level of harmony to the entire visual narrative across the lineup from 18mm to 125mm.

∅46.3mm image circle

The large ∅46.3mm image circle ensures full coverage not only for full-frame and Super 35 formats, but also for the latest large-format cameras such as the ARRI ALEXA LF Open Gate and VistaVision. This capability enables uncompromised filmmaking across a diverse range of projects.

High-impact close-up expression

The short minimum focusing distance enables striking close-up shots. By getting closer to the subject, the Aizu Prime lenses create visual tension and dramatic effects, adding impactful depth to the imagery.

Compact. Precise. Reliable. A compact design that unleashes creativity

Despite being built for large-format coverage and featuring an ultra-fast T1.3 aperture, the Aizu Prime lenses remain remarkably lightweight. This rare balance of exceptional speed and mobility offers the flexibility and creative freedom demanded by modern productions—from dolly and Steadicam to gimbal and handheld operation.

Precise operation and durability

The Aizu Prime lenses offer precise control, exceptional durability, and ease of maintenance. Despite its compact housing, it delivers unwavering reliability in demanding shooting environments. Every mechanical detail—from the wide focus rotation angle to the equal-pitch aperture ring—embodies the engineering expertise cultivated through the Sigma High Speed Prime series.

Supports ZEISS eXtended Data

The Aizu Prime lenses support ZEISS eXtended Data, offering real-time lens metadata during shooting. It also enables the export of distortion and shading correction data, streamlining workflows for VFX productions.

KEY SPECIFICATIONS

[Common specifications]

• Available mounts: PL Mount, Sony E-mount
• Image circle: 46.3mm

Product Name Close focus Front diameter Length* Weight* 18mm T1.3 LF TBD 21mm T1.3 LF TBD 25mm T1.3 LF 0.31 m / 1'0 95 mm / 3.7" 125 mm / 5" 1.7 kg / 3.6 lb 27mm T1.3 LF 0.33 m / 1'1 95 mm / 3.7" 125.4 mm / 5" 1.7 kg / 3.6 lb 32mm T1.3 LF 0.34 m / 1'2 95 mm / 3.7" 128.5 mm / 5.1" 1.7 kg / 3.6 lb 35mm T1.3 LF 0.35 m / 1'2 95 mm / 3.7" 128.6 mm / 5.1" 1.6 kg / 3.6 lb 40mm T1.3 LF 0.38 m / 1'3 95 mm / 3.7" 128.8 mm / 5.1" 1.6 kg / 3.6 lb 50mm T1.3 LF 0.48 m / 1'7 95 mm / 3.7" 126.3 mm / 5" 1.7 kg / 3.6 lb 65mm T1.3 LF 0.61 m / 2'0 95 mm / 3.7" 125 mm / 5" 1.6 kg / 3.6 lb 75mm T1.3 LF 0.73 m / 2'5 95 mm / 3.7" 128.1 mm / 5.1" 1.7 kg / 3.6 lb 100mm T1.3 LF TBD 125mm T1.3 LF TBD

*The figures are for PL Mount

Photo: Pascal Le Segretain / Staff / Getty Images News via Getty Images

George E. Smith, one of the co-inventors of the CCD sensor, passed away on May 28th at his home in Waretown, New Jersey. The Washington Post reports that his death was confirmed by his son, Carson Smith, but that no cause was provided.

Dr. Smith was a Bell Labs researcher in 1969 when he and his colleague, Willard S. Boyle, sketched an idea on a blackboard that would eventually become the first digital image sensor. The Charge-Coupled Device, or CCD, was the first digital sensor that provided usefully good results, yet was affordable enough to put in consumer products. The first vision for CCD application was a video phone, dubbed the PicturePhone, but the project was killed as it wasn't seen as commercially viable, and Bell Labs wanted profit in the short term.

After its patent registration in 1974, the CCD sensor formed the basis of early digital cameras and sparked the digital imaging revolution. Smith and Boyle's work was so influential that they won a Nobel Prize in Physics in 2009. "Digital photography has become an irreplaceable tool in many fields of research," says the 2009 Nobel Prize press release. "The CCD has provided new possibilities to visualize the previously unseen. It has given us crystal clear images of distant places in our universe as well as the depths of the oceans."

While we appreciate the technology for what it did for photography, it impacted virtually every aspect of life

While we appreciate the technology for what it did for photography, it impacted virtually every aspect of life, as the Nobel Committee explained in its physics prize announcement. Smith and Boyle shared the prize with Charles K. Kao, who was recognized for his work with fiber-optic cables. "Taken together, these inventions may have had a greater impact on humanity than any others in the last half-century," said H. Frederick Dylla, director of the American Institute of Physics, to The Washington Post in 2009. It's been a critical tool for astronomy, undersea exploration and image-guided surgeries.

On the camera front, Eastman Kodak used the sensor in a prototype digital camera in 1975, which was as big as a shoebox and used cassette tapes to store about 30 images. Following that prototype, the CCD sensor was widely used in consumer cameras from the mid-90s to the early 2010s.

The 1.5MP Kodak DCS315 CCD Sensor.

Photo: Binarysequence (CC ShareAlike 3.0)

The CCD sensor works by reading from the edge of the sensor, one pixel at a time, with the charge cascading from one pixel to the next. CCDs require a lot of power for fast readout, though. Unfortunately, consumer batteries at the time lacked that power, so live view in compacts was slow and laggy. Naturally, the development of digital imaging sensors continued, and the CMOS (Complementary Metal Oxide Semiconductor) sensor, which enabled faster readout, became the dominant choice in digital cameras.

CCDs are no longer used in mainstream digital cameras, but they are still used in scientific and other specialized applications, such as deep space photography. The Legacy Survey of Space and Time (LSST) camera, the world's largest camera, uses 189 individual 41 x 40mm 16.4MP CCD sensors. Smith's legacy lives on, continuing to drive innovation and leading to discoveries.

Front runners of the 2025 Nikon Comedy Wildlife Awards

The Nikon Comedy Wildlife Awards are revealing some of the best entries so far in the 2025 contest. Over a thousand entries have already been received from around the world. The contest was founded in 2015 by professional photographers Paul Joynson-Hicks MBE and Tom Sullam to focus on "the lighter side of wildlife photography" and to help promote conservation with humor.

In line with its mission, the Comedy Wildlife Awards support a conservation organization each year. This year's partner is the Whitley Fund for Nature (WFN), a UK charity that supports conservation leaders working in their home countries throughout the Global South. The charity has been funding conservation for over 30 years, helping more than 220 conservationists in 80 countries.

The popular competition is still open for submissions through June 30, so there's still time to submit if you have your own funny wildlife captures. There are nine different categories, including Alex Walker’s Serian Mammals Category, Spectrum Photo Birds Category, Fish and Other Aquatic Species, Nikon Young Photographer, Nikon Junior Category and more. It's free to enter, and winners will earn prizes like a safari in the Maasai Mara in Kenya for the top prize, a Nikon Z50II with 16-50mm VR kit for the Junior Category winner and a Nikon Z6II with 24-120mm kit for the Young Photographer Category winner. All category winners will receive a ThinkTank bag. You can learn more and submit your images at the contest website.

Go away

Photographer: Annette Kirby

Title: Go away

Animal: White Tailed Sea Eagle

Location of image: Hokkaido, Japan

Description: This was taken in Japan where I was observing a White-Tailed Sea Eagle putting their fish in a hole and protecting it. This one had a fish and saw another Eagle coming in to try and steal it.

Go give it a try!

Photographer: Bhargava Srivari

Title: Go give it a try!

Animal: Lion

Location of image: Masai Mara National Reserve, Kenya

Description: The image shows Lion siblings at play, where one of the siblings seems to pushing the other one to do stuff that annoys their mom. Lions aren't natural climbers, so it looks like one sibling is encouraging the other to do something naughty!

I hate Ikea

Photographer: Brian Hempstead

Title: I hate Ikea

Animal: Common Myna Nest Build

Location of image: Kruger NP South Africa

Description: Photo taken at Kruger NP South Africa outside Skukuza Camp on Lower Sabie Rd at Sunset Dam in October and November during a self driving birding trip around National Parks of South Africa

Laugh like no-one is watching

Photographer: Emma Parker

Title: Laugh like no-one is watching

Animal: Blue Spotted Mudskipper

Location of image: Western Australia

Description: Two joyful mudskippers look they are having the best time in the mud - I just wish I knew what the joke was! Mud is fun

Happy deer

Photographer: Jeremy Duvekot

Title: Happy deer

Animal: Roedeer

Location of image: The Netherlands

Description: This roedeer was yofull running around and suddenly coming my way. Had only 1 chance and nailed it.

Aaaaaww Mum!

Photographer: Mark Meth-Cohn

Title: Aaaaaww Mum!

Animal: Gorilla

Location of image: Rwanda

Description: Caring Gorilla mum giving her infant a big sloppy kiss!

Queueing for the polar plunge

Photographer: Martin Schmid

Title: Queueing for the polar plunge

Animal: Gentoo Penguins

Location of image: Neumayer Channel, Antarctica

Description: A really spontaneous shot from an expedition ship in Antarctica. Those gentoo penguins seemed to orderly wait in queue to finally jump into the sea. Taken in January 2025.

Commandeer

Photographer: Rachelle Mackintosh

Title: Commandeer

Animal: Galapagos marine iguana and lava lizard

Location of image: Fernandina Island, Galapagos Islands, Ecuador

Description: A lava lizard takes charge of a Galapagos marine iguana and sets off on a ride. Judging by the iguana's possessed eyes, lava lizard may have taken over its soul, too. These two silly billies were hanging out with a big bunch of marine iguanas on a rocky beach. Photographed handheld on Fernandina Island in the Galapagos Islands in Oct 2023.

Waving Dragon

Photographer: Trevor Rix

Title: Waving Dragon

Animal: Gippsland Waterdragon

Location of image: Murrumbidgee River near Canberra, ACT, Australia

Description: Wandering along the Murrumbidgee River we spotted a few lizards sc urrying under the rocks looking for lunch, next thing this junior Gippsland Waterdragon popped up and gave us a friendly wave.

The wig

Photographer: Yann Chauvette

Title: The wig

Animal: Greater One-Horned Rhino

Location of image: Chitwan National Park, Nepal

Description: A Greater One-Horned Rhino feasting on aquatic fine dining, diving underwater and getting back up with a new wig made out of his delicious meal.

Compact, cute and fun. Whatever you think of its price or capabilities, it's undeniably fun.

Photo: Richard Butler

It's been an interesting experience to write about the Sigma BF and the Fujifilm X half in such close succession. Both, in their own ways, are unusual cameras that don't readily fit into existing categories. They're both designed to appeal to people who wouldn't go out and buy one of the cameras currently on the market.

In reality, they have very little in common with one another. The Sigma tries to look and feel attractive to people who aren't necessarily currently photographers and aren't arriving with preconceived notions of how a camera should operate. Conversely, the X half is aimed at a younger crowd, who may (or may not) already have the film camera it approximately mimics, but who definitely want to use something more engaging than their phone.

Cameras are supposed to be fun

Illogical, impractical, but engagingly playful.

Photo: Richard Butler

The common lesson both these cameras have reminded me of is that cameras are allowed to be fun. More than that, perhaps: they're supposed to be fun.

Most modern cameras are hugely capable, and the most significant differences between cameras of the same class is often one of usability and enjoyabilty, rather than image quality or performance. But there's also a high degree of homogeneity in mainstream models. There are plenty of cameras that do everything well, but in a similar manner. There's no harm in ones that do things a little differently.

This isn't to say either the BF or X half is beyond criticism, but their failure to follow conventional ways of operating, or to take themselves particularly seriously aren't a sensible basis to do so. In many respects it's to be applauded.

Photography is meant to be fun

The vast majority of photographers aren't professionals. There's no particular thing we have to achieve with our cameras, no specific shot that we need to get, to pay the bills. The objective is whatever we want it to be.

We don't take photos because we have to, but because we want to. It's a hobby we choose to do for the satisfaction of it. It may be that you set yourself a particular goal: to get a particular shot, to get better and photographing a particular subject, but you're still doing it because you choose to.

Photography isn't necessarily what you think it is

The Sigma BF would be a terrible choice for most professionals and for many types of photography beyond, but that doesn't mean it can't be a great camera in the right hands and the right contexts.

Photo: Richard Butler

At its heart, photography is a fascinating mixture of the technical and the aesthetic, the practical and the creative. This is the thing I've always enjoyed about it, personally: understanding the technology comes relatively easily to me, but my love of photography comes from applying this to the lifelong struggle I face in improving the aesthetic aspect of my photos.

But I also know people who come from the absolute opposite direction: with a clear vision of what they want to create and a seemingly innate sense for composition and balance, and yet barely know what an aperture is. We come from completely different starting points, we often get something very different out of the experience and frequently something very different out of our cameras. We both find something to enjoy about the process, but it's not necessarily the same thing at all.

If cameras that work differently, or prioritize playfulness over technical perfection can extend that enjoyment to a wider group of people, that seems like something we should embrace.

Image: Lenovo

Although Lenovo is a well-known brand, it is not typically associated with cameras. While that likely won't be changing any time soon, the company has announced a compact camera, as Yanko Design reports. The Lenovo C55 promises vlogging-focused features at a very low price, though we've not been able to confirm all the specs.

The Lenovo C55 looks like a classic compact with a glossy, white plastic shell. It's small, measuring 112 x 71.5 x 34.5mm (4.4 x 2.8 x 1.3") and weighing only 190g (6.7oz), making it a pocketable device. There are suggestions it's built around a very small Type 1/3 (∼4.9 x 3.7mm) smartphone sensor, around half the size of those historically used in most point-and-shoots.

It features a 2.8" LCD screen on the back and, like many point-and-shoots, lacks a viewfinder. A mode dial on top allows for easy switching between various modes, including photo mode, continuous shooting, loop recording, time-lapse, slow-motion, video and more.

Image: Lenovo

The C55 can record 4K video and offers electronic image stabilization. One of the most helpful features is a built-in ring light, so you don't have to fuss with separate lights when recording vlogs.

Beyond that, though, the information is a little muddy. The press images from Lenovo mention 18x digital zoom, but the lens's focal length isn't specified, so it isn't clear what that 18x zoom will get you and whether it's including any cropping to get to that number. There's also supposedly a front and rear camera, though there aren't any specific details on those, and the images of the camera don't appear to have a camera on the back. There does appear to be a mirror on the front to aid with self-recorded videos and photos.

Image: Lenovo

Things get especially confusing regarding the sensor. Multiple websites report, including Notebook Check, that the camera is built around a 64MP Sony CMOS Type 1/3 image sensor. Sony's semiconductor division doesn't list a sensor with those specs on its site, but its site typically only lists a small number of the sensors offered to the industry. The Lenovo press images also don't mention a specific megapixel count or sensor size; they only include a Sony-branded sensor graphic with text that, when translated, says "professional sensor."

It's also unclear whether this is truly a Lenovo-made device or simply one that bears the Lenovo badge through licensing. The camera is only available in China. It comes in two variants: a 64GB version and a 128GB version, which cost CNY 499 ($69) and CNY 559 ($78), respectively. Many similarly priced cameras from unfamiliar brands are available on Amazon, but it is interesting to see Lenovo building out (or licensing) its name in the camera realm.