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This week, we released our review of the Fujifilm GFX100RF, and we're deep into the review process for the Canon PowerShot V1. Editors Richard Butler and Mitchell Clark sat down with director of video and social Mykim Dang to discuss the cameras and the community's reaction.

The video touches on several topics: the PowerShot V1's capabilities as a vlogging camera versus how it performs as an enthusiast compact, the GFX100RF's placement as a luxury product and weirdness around flashes and leaf shutters.

A recent video shared by All Arts TV profiles the late Beuford Smith, a self-taught street photographer who captured iconic images in New York City in the 1960s and beyond. The video was the inaugural episode of the publication's new "The Darkroom MCs" series and is one of the last interviews Smith gave before his passing on June 7, 2025. In it, Smith talks about his career, what distinguishes someone's style and his darkroom process.

Smith was a prominent figure in capturing Black life and culture. He documented pivotal moments in the Civil Rights Movement and photographed the likes of Malcolm X, drummer Elvin Jones and jazz pianist Barry Harris. His accomplishments include serving as president emeritus of the Kamoinge Workshop, creating "The Black Photographers Annual," having photographs in the MoMA permanent collection and more.

In the video, Smith talks with hosts Russell Frederick and Anderson Zaca about how good photographs are everywhere. "You don't have to travel to Timbuktu or Peru or anyplace to take photographs," Smith says. "They're right in front of you, you just have to be able to see them and take them." As someone who sometimes grumbles about picking up a camera when I'm in a place that I deem boring, I really appreciated this reminder.

Smith also delves into the technical aspects of his darkroom work, a topic he noted was, frustratingly, rarely discussed in interviews. He walks Frederick and Zaca through a selection of his prints, demonstrating the importance of light and shadow, and explaining his exacting standards for print quality and style. He even reveals that he turned down the opportunity to purchase an Ansel Adams print for $125 because he didn't like its print quality.

Finally, Smith also shows a photo he created of Malcom X, which he said was simply a "self-assignment." Even though he didn't take the image for a paid job, it has been one of his best-selling prints, and the Whitney Museum bought a print of the photo for $6500. It's yet another push to just get out there and create photographs, even if you don't know what could happen with them down the line.

When you use DPReview links to buy products, the site may earn a commission. GFX100RF | F5.6 | 1/30sec | ISO 80
Photo: Richard Butler

This week, we released our review of the Fujifilm GFX100RF, a rangefinder-style large-sensor compact made for street photography. We've added the best photos we took during the review process to a sample gallery, which you can look through to get a feel for how the camera performs in a variety of real-world conditions.

See the sample gallery

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

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A Longspined Bullhead. Click here to experience the full-size image.

Image: Søren Skarby

Combining work with hobbies can be a risky endeavor. Søren Skarby, a photojournalist and passionate fly fisherman, endeavored for years to keep photography – his profession – and fishing – his hobby – separate. But inevitably, the two worlds collided. The result was a long-term, ongoing project named Scaled Up, which aims to document fish with a level of detail we don't usually see. Skarby took the time to chat with me about his series, providing insight into what led to the project and the complicated process behind it.

"We think of fish in this part of the world as something dull. But fish are very colorful"

Skarby often has the experience of catching a fish and thinking how beautiful it is. Other people didn't quite get it when he would tell them, though. "We think of fish in this part of the world as something dull. But fish are very colorful as you can see, even in Scandinavia," he explained. Plus, most people only come across fish after it's processed and in the supermarket, which is always colorless. Seeing the fish alive is a totally different experience, and he wanted to figure out a way to show others the beauty he saw while fishing.

A Common Dragonet. Click here to experience the full-size image.

Photo: Søren Skarby

When he saw the Microsculpture series of insect photographs by Levon Biss, it was a turning point. Skarby decided he wanted to do something similar with fish by combining hundreds of images taken with a high-resolution camera to create uber-high-resolution photos. From the start, he knew he would need funding. "If I'm going to do this right, I've got to get paid while I'm thinking because I'll only be focusing on that," he said. So he reached out to a museum to collaborate, and they were eager to participate. Obtaining funding took time, but it did eventually come.

While the idea of photographing fish is simple at face value, it's actually quite complicated. "I came up with one idea after the other and ditched it because it didn't work," Skarby explained. While most fish are colorful while alive, they lose that color very quickly when they die. So you have a very short window to work. Skarby says that cod is the worst, as it will turn very dark in less than 10 minutes. He started working with a taxidermist, and together they figured out that baby oil would prolong the time they had to photograph the specimen before the color drained.

A female trout. Click here to experience the full-size image.

Photo: Søren Skarby

Next, Skarby said he had to figure out how to manage the camera setup. His process involves a combination of focus stacking and panoramic stitching to maximize the level of detail. But that presented its own set of problems. "It's really, really hard to set up a camera vertically and then move it and keep the same distance to the subject all the way. There's no gear made for it," he said. He was venting his frustrations to a friend, who said, "Can't you move the fish?" It was a lightbulb moment, and they drew the idea on the drywall of his mid-renovation kitchen, eventually having a movable table made for the project.

Lighting was the next hurdle. Skarby tried using constant light but said the exposure time gets way too long. He explained that the image he created of the male Three-Spined Stickleback took 40 minutes total, with each exposure lasting 15 seconds. Every time a loud motorcycle or large truck drove past their studio, they got nervous, because they were sure it would shake the camera or table with the fish and ruin the image. Flash, then, is a must, but it has to be precise flash that fires consistently each time.

A male Three-spined Stickleback. Click here to experience the full-size image.

Photo: Søren Skarby

His lighting setup is relatively simple, with a light under the glass on which the fish rests and a light above at a 45-degree angle. However, the highly reflective surface of the baby oil-covered fish introduces challenges with lighting. So, Skarby adds polarizing filters to everything, including both lights and the camera lens.

Finding an ideal polarizer for the lights was yet another moment of creative problem-solving. Eventually, Skarby realized that TFT displays used in TVs have polarizing filters inside, and that he could buy packs of the filters meant for large TVs directly from China for cheap. Those filters then go in front of the softbox, and when one needs to be replaced, it isn't a big cost to replace it.

A Garfish. Click here to experience the full-size image.

Photo: Søren Skarby

The studio setup isn't the end of challenges, either. Skarby ends up with between 120 and 440 individual images for each fish. He goes through each Raw file before starting the stitching process, and then spends an extensive amount of time retouching at 200% or even 300% once the files are stitched together. For example, the image he created of the Gar, which is 52,500 pixels long, took 80 hours to Photoshop. Each image has loads of dust to remove, along with the edges of the glass pieces used to spread out fins and keep the fish in position.

This unretouched image shows just how much work is involved in the retouching process. The final image can be seen here.

Photo: Søren Skarby

While the Scaled Up project has been running since 2019, Skarby is far from done. He's currently working on his largest round of grant funding and plans on building out a caravan to be a mobile studio. That includes a camera stand that is built into the vehicle instead of using a tripod.

The caravan studio will enable him to go where the fish are, and connect with more people to curate stories with each individual fish. He's also going to be switching from the Fujifilm GFX 50S to a Phase One camera system, and using Helicon software for stacking the images instead of Photoshop. He says those changes should make the process somewhat easier and faster.

A Snake Pipefish. Click here to experience the full-size image.

Photo: Søren Skarby

Beyond the technical side of things, Skarby says there are also concerns related to conservation and ethics. After all, the fish aren't alive when he photographs them. He was recently offered the opportunity to photograph the European sprat, which is endemic to Denmark. While he was honored, that fish is incredibly rare, so he turned it down. "It would be crazy to say that 'we want you to be aware of the wild tiger and that’s why we’ve shot one to show to you,'" he said.

"What I'm trying to do with the pictures is showing people this is what you risk losing."

Skarby says that one of the reasons this project is so important is for conservation reasons. "I don't know what I am any more, if I'm a fly fisher, photographer or both or I'm actually an environmentalist," he says. No matter what he is, he's using the images to raise awareness and help bring attention to the unexpected beauty of certain fish. "What I'm trying to do with the pictures is showing people this is what you risk losing."

We aren't able to show off Skarby's images at full resolution, so if you want to see these fish in all their glory, be sure to head to his website. There, you'll be able to zoom in to remarkable levels, highlighting spectacular details on each fish.

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When you use DPReview links to buy products, the site may earn a commission. Image: Laowa

Venus Optics has announced the Laowa 12mm F2.8 Lite Zero-D FF, an updated, mirrorless version of one of its popular ultra-wide-angle lenses. The new model is slimmed down (hence, the Lite in the name), introduces autofocus capabilities for Sony E and Nikon Z mounts and brings additional upgrades over the original 12mm F2.8 Zero-D.

The 12mm F2.8 Zero-D lens's claim to fame was that it was one of the widest non-fisheye lenses for full-frame cameras. Like the original model, the Laowa 12mm F2.8 Lite Zero-D offers an ultra-wide 122° view with a rectilinear optical design, which Laowa says results in "virtually zero distortion." The optical design includes 16 elements in 9 groups, with 4 extra-low dispersion elements and 2 aspherical elements. It can focus as close as 14cm (5.5"), making it possible to capture close details.

Image: Christopher Frost / Laowa

Laowa says that the new model offers improved image quality, with better sharpness all the way to the edges and "excellent control of chromatic aberration." It is also more compact and lightweight than its predecessor, coming in at just 377g (13.3oz) for the E mount version. For comparison, the original model weighed 609g (1.3lbs). The lens sees the addition of a filter thread, using 72mm filters, whereas the old model required a filter holder system.

The autofocus version (left) and manual focus version (right) feature slightly different body designs.
Image: Laowa

The 12mm F2.8 Lite Zero-D is available for Sony E, Nikon Z, Canon RF and L mounts. The Sony E and Nikon Z versions offer autofocus, while the RF and L mount models are manual focus only. The autofocus versions offer an MF/AF switch but no aperture ring, while the manual focus models feature an aperture ring.

Making things more complicated are the two aperture blade configurations. You can choose between a 5-blade or 14-blade aperture. Laowa says the 5-blade creates a 10-point sunstar effect when you stop down the aperture. If you want the 14-blade aperture, though, you'll need to opt for the manual focus lens no matter what mount you have. The autofocus versions are only available with the 5-blade aperture.

The new Laowa 12mm F2.8 Lite Zero-D FF is available for purchase for $699.

Image: Bastian Kratzke / Laowa

Buy now:

Buy at B&H Photo

Press release:

The Legend Returns for Mirrorless Systems: The Legend Returns for Mirrorless Systems: Laowa 12mm f/2.8 Lite Zero-D FF

Anhui, China – June 26, 2025 – Laowa announces the launch of the new Laowa 12mm f/2.8 Lite Zero-D FF for mirrorless systems. The original 12mm f/2.8 Zero-D was one of Laowa’s bestsellers, known as the widest non-fisheye lens available on the market at the time. Now, in the mirrorless era, the new Lite version is optimized specifically for mirrorless systems, featuring 122° ultra wide angle of view with a more compact and lightweight design. It also supports autofocus on Sony E and Nikon Z cameras.

Equipped with a fast f/2.8 aperture and maintaining Laowa’s signature “Zero-D” (zero distortion) optical design, this lens delivers natural-looking results. A built-in ⌀72mm front filter thread further enhances its portability. This lens is a versatile choice for landscape, architecture, astrophotography, aerial shots, vlogging, and more.

Key Features:

• Ultra-wide 122° Angle of View
• “Zero-Distortion”
• Fast & Accurate Autofocus
• Compact & Lightweight
• Bright f/2.8 Aperture
• 14cm Close Focusing Distance
• Excellent Image Quality
• ⌀72mm Filter thread
• 10-Point Sunstar

Ultra-wide 12mm with f/2.8 Large Aperture

The Laowa 12mm f/2.8 Lite Zero-D FF offers an ultra-wide 122° angle of view paired with a fast f/2.8 aperture, making it an excellent choice for landscape photography—especially in low-light conditions such as sunrise, sunset, or starry nights. The wide perspective helps capture vast, expansive scenes with dramatic scale and depth, while the f/2.8 aperture allows more light to enter, enabling faster shutter speeds and better performance in dim environments. This also offers creative flexibility for foreground emphasis and environmental storytelling. Whether you’re exploring rugged mountains, shooting seascapes, or capturing the night sky, this lens is built to handle it all with ease and clarity.

“Zero-Distortion”

While most 12mm full-frame lenses on the market are fisheye, Laowa continues to break boundaries with a rectilinear design. Building on the legacy of the original 12mm f/2.8 Zero-D, this new Lite version inherits its acclaimed optical performance. Thanks to Laowa’s advanced optical engineering, distortion is kept to a minimum, ensuring straight lines stay true, even at the edges of the frame. This makes it a powerful tool for architecture, cityscapes, interiors, and any scene where accuracy and perspective matter.

Compact & Lightweight

Designed with portability in mind, this lens is both lightweight and compact, weighing just around 377g ( 0.83 lb). It’s an ideal companion for creators on the move, whether you're shooting handheld, flying with a drone, or mounting it on a gimbal. Its minimal weight makes it perfect for street photography or travel scenarios where mobility matters and heavy gear is a hassle.

Close Focusing Distance of 14cm

With a close focusing distance of just 14cm (5.5 inches), this 12mm f/2.8 Lite Zero-D FF lens lets you capture stunning details up close, opening up exciting possibilities for wide-angle macro photography.

Excellent Image Quality

The Laowa 12mm f/2.8 Lite Zero-D FF is engineered with exceptional optics, resulting in outstanding image sharpness and excellent control of chromatic aberration (CA). Compared to the original 12mm f/2.8 version, it shows significant improvement in sharpness, even at the corners.

Fast and Accurate Autofocus

As the second autofocus lens in Law's lineup, the 12mm f/2.8 Lite Zero-D delivers fast, precise focus tracking for both Sony E and Nikon Z mounts. It combines the convenience of reliable autofocus with the exceptional optical quality Laowa is known for, ensuring you never miss a moment.

*RF and L mount are fully manual.

Built-in Filter Thread

The Laowa 12mm f/2.8 Lite Zero-D FF comes equipped with a built-in ⌀72mm filter thread, providing photographers with the flexibility to easily attach a wide range of filters and adding greater convenience to your shooting setup.

Stunning 10-point Sunstar

This lens is available in both 5- and 16-blade versions. The 5-blade version creates a distinctive 10-point sunstar effect when you stop down the aperture, adding a striking visual element to your photos.

Pricing & Availability

The new Laowa 12mm f/2.8 Lite Zero-D FF is currently available via Venus Optics official website (http://www.venuslens.net/) and authorized resellers.

The US price for Laowa 10mm f/2.8 Zero-D FF is USD699 for all mounts for both AF and MF versions. Pricing varies in different countries.

Principal specificationsLens typePrime lensMax Format size35mm FFFocal length12 mmLens mountCanon RF, Canon RF-S, L-Mount, Nikon Z, Sony E, Sony FEApertureMaximum apertureF2.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades5OpticsElements16Groups9Special elements / coatingsXLD, aspherical elementsFocusMinimum focus0.14 m (5.51″)Maximum magnification0.21×AutofocusNoDistance scaleYesPhysicalWeight377 g (0.83 lb)Diameter77 mm (3.03″)Length77 mm (3.01″)ColourBlackFilter thread72 mmTripod collarNo

Sony has announced a new feature for its Camera Authenticity Solution, expanding options for newsrooms looking to address the challenge of authenticating digital images. The beta release of Camera Verify allows for the creation of dedicated URLs for authenticity information so that third parties can view the information directly.

The new Camera Verify Beta feature allows news organizations to issue external URLs for images with embedded digital signatures. That means that third parties, such as readers, partners and other media, can view verification directly through reliable URLs issued by Sony's verification site. Organizations also have the option to select which authenticity items they want to share during content publication and distribution.

The Camera Verify feature is based on Sony's digital signature system, which it has been developing for the past few years. When created with compatible cameras, images can be embedded with C2PA (Coalition for Content Provenance and Authenticity) digital signatures and Sony’s proprietary 3D depth information at the time of capture. That feature was previously only available to select organizations, though.

Now, the Digital Signature Upgrade License is available for purchase through the Camera Authenticity Solution website, meaning more professionals will be able to use it. It's only compatible with the Sony a1 II (Ver. 2.00 or later), a1 (Ver. 3.00 or later), a9 III (Ver. 3.00 or later), a7S III (Ver. 4.00 or later) and a7 IV (Ver. 5.00 or later), though. Sony says that the Image Validation Site, where authenticity information can be viewed, will initially only be available for select news organizations, and availability varies by region.

Sony also added that it plans to add support for video content "after fall 2025." Given that generative AI videos are becoming better and easier to produce, this is an important additional step for content authenticity.

Press release:

Sony Electronics Launches "Camera Verify" Feature for Its Camera Authenticity Solution for News Organizations

The beta feature enables external sharing of image authenticity information via a dedicated URL

June 26, 2025

SAN DIEGO, June 26, 2025 – Today, Sony Electronics announced the beta release of Camera Verify, a new feature of its Camera Authenticity Solution*1 that enables external sharing of image authenticity information via a dedicated URL. This has been developed to help news organizations address the growing challenge of verifying the authenticity of digital images in the age of generative artificial intelligence (AI).

As AI-generated and manipulated content becomes increasingly sophisticated, the need for trusted, verifiable imagery has never been greater, especially for media professionals. Sony’s Camera Authenticity Solution is designed to meet this need by embedding C2PA (Coalition for Content Provenance and Authenticity)*2 digital signatures and Sony’s proprietary 3D depth information directly into the image at the moment of capture.

This solution records C2PA digital signatures and Sony's proprietary 3D depth information in the camera at the moment of capture, allowing the image's authenticity information to be verified on the Image Validation Site*3. With the newly added "Camera Verify" Beta, news organizations can issue external sharing URLs for images with embedded digital signatures, allowing third parties to view verification results through reliable URLs directly issued by the verification site*4. With this feature, the organizations can select specific authenticity items to share during the content publication and distribution process, enabling faster dissemination of credible, verifiable content.

In addition, the Digital Signature Upgrade License—which allows for embedding digital signatures directly into images captured with supported Sony cameras—is now available for purchase via the Camera Authenticity Solution website*3, expanding accessibility to more professionals*5.

Sony plans to expand support for video content after fall 2025 as part of its ongoing commitment to promoting trusted digital media. Together with activities on the C2PA steering committee, Sony aims to further contribute to improving content reliability in the media field.

Notes:

*1 https://www.sony.net/cas/

*2 A standards organization that develops open standards and technical specifications for the origin and authenticity of digital content.

*3 The Image Validation Site (paid service) provided by Sony will initially be offered to select news organizations. Service availability varies by region/countries. For more information on Sony’s Camera Authenticity Solution, visit: https://www.sony.net/cas/

*4 Verification cannot be performed by third parties.

*5 Compatible camera models for this digital signature license are Alpha 1 II (Ver.2.00 or later), Alpha 1 (Ver.3.00 or later), Alpha 9 III (Ver.3.00 or later), Alpha 7S III (Ver.4.00 or later), and Alpha 7 IV (Ver.5.00 or later) (as of June 26, 2025).

Image: Leica

One hundred years ago today, Leica unveiled the Leica I – the first mass-produced 35mm camera. Leica has been hosting celebrations and releasing special editions all year, but today has announced a range of special edition cameras to mark the official 100th anniversary. Those include the M11-D, M11, D-Lux 8 and Sofort 2, along with a photobook commemorating 100 years of Leica.

Leica says that the M11-D included in the Centenary Set pays "homage to the original 1925 model in terms of both design and materials." The rangefinder uses the same internal components as the standard M11, including a 60-megapixel sensor, though the exterior is quite different. Most notably, it lacks a rear display. Leica also omitted the eyelets for a strap and the red Leica logo, in keeping with the original Leica I.

The anniversary edition of the M11-D does away with the rear display.

Image: Leica

The special edition of the M11-D features a solid brass top and base plate with a high-gloss black finish, mirroring the original model. The body uses a genuine leather covering. There are nickel-colored anodized controls made from aluminum with the same cross knurling as the Leica I. The conical collar around the shutter release and semi-circular shutter button also make reference to early Leica cameras. Finally, the camera features the "100" logo on the hot shoe cover and a white "Ernst Leitz Wetzlar" engraving on the conical collar.

The M11-D special edition also adds another milestone for Leica: one of the editions is Leica's millionth Leica M-camera. That camera will be engraved with the serial number #6000000, and will be displayed alongside the Leica I #126 from 1925 at Leitz Park’s Leica Welt.

The Leitz Anastigmat-M 50 F3.5 references back to the original fixed lens on the Leica I.

Image: Leica

The M11-D Centenary Set also includes two special lenses: the Leica Summilux-M 50 F1.4 ASPH. and the Leitz Anastigmat-M 50 F3.5. The Leitz Anastigmat 50 F3.5 was the original fixed lens found on the Leica I in 1925. Now, Leica has reimagined it, equipping it with an M mount. It keeps key characteristics of the original, though, including a retractable design. The modern lens is made from aluminum, though it features a nickel-colored finish.

The anniversary set also comes with the Leica Summilux-M 50 F1.4 ASPH. lens.

Image: Leica

Leica says the Summilux-M 50 F1.4 ASPH. lens balances "timeless design with cutting-edge optical performance." It offers a vintage-inspired design, including cross knurling on the aperture ring and a nickel-colored surface.

The M11-D Centenary Set comes with a glossy black case and other accessories.

Image: Leica

The M11-D Centenary Set also comes with special accessories. These include a glossy wooden box for storage and an SD card case. It also comes with a leather case and a leather carrying strap.

While the M11-D is the most dramatic of the special editions, Leica also announced three other anniversary editions. The D-Lux 8 also pays homage to the Leica I with nickel-colored accents and black leatherette covering with a texture similar to Leica M cameras. It features the conical collar around the shutter release button and cross knurling on the top controls. The Sofort 2 instant camera anniversary edition includes a nickel-colored lens cap and a glossy black finish with the "100" logo on the camera's top plate.

Leica also released special editions of the D-Lux 8 and Sofort 2 cameras.

Images: Leica

Leica has been releasing special edition M11 cameras throughout the year, each engraved with the name of the city where the celebration takes place, for a total of six cities. Today marks the release of the "Wetzlar Germany" edition, with "Wetzlar" engraved on the top plate. Only 100 are available, and they can only be purchased in Leica stores in Germany for €9500.

Finally, alongside the cameras, Leica has unveiled the 100 Leica Stories Book. It features 100 stories of personal moments, iconic photographs, technical achievements and behind-the-scenes looks.

The Leica M11-D 100 Years of Leica set won't be available until spring 2026 in select Leica stores. The other anniversary editions are available as of today. The Leica D-Lux 8 edition is priced at €1850 ($2166), while the Sofort 2 edition costs €495 ($580). The book is available in Germany as of today, and internationally on July 14 for €70 ($82).

Press release:

Leica is celebrating 100 years of the Leica I with exclusive special editions and marking another significant milestone in the company’s history by producing the millionth M-Camera.

Wetzlar, 26 June 2025. Exactly a century ago, Leica unveiled the Leica I at the Leipzig Spring Fair, thereby changing the world of photography forever. By introducing the first mass-produced 35 mm camera in 1925, the company established new benchmarks and profoundly influenced the way people documented their surroundings through photography. To commemorate the centenary of this technological milestone, Leica Camera AG is introducing a collection of exclusive special editions under the title “100 YEARS OF LEICA”.

These include the D-Lux 8, the SOFORT 2, 10x40 binoculars from the Trinovid series and a truly unique M11-D 100 YEARS OF LEICA set featuring two lenses. A very special distinction is being conferred upon the M11-D 100 YEARS OF LEICA set: one of the 100 M11-D Anniversary Edition models is more than a homage to the Leica I – as the millionth Leica M-Camera ever manufactured, it marks another significant milestone in the company’s history. This camera, designated with the serial number 6000000, stands as a testament to a hundred years of precision, innovation and craftsmanship. To properly honour this historic achievement, the M11-D #6000000 will be displayed alongside the first series-produced Leica camera, the Leica I #126 from 1925, at the Leitz Park’s Leica Welt.

The M11-D 100 YEARS OF LEICA Showcased in a Special Set

The Leica M11-D 100 YEARS OF LEICA impressively bridges past and present with dramatic impact, accompanied in a special set by two lenses that are both extraordinarily unique and historically significant: the Leica Summilux-M 50 f/1.4 ASPH. and the Leitz Anastigmat-M 50 f/3.5 – a modern interpretation of Leica’s first camera lens from 1925, the Leitz Anastigmat 50 mm f/3.5. This M11-D anniversary edition honours the Leica I, paying homage to the original 1925 model in terms of both design and materials. Its top and base plates are crafted from solid brass and feature a high-gloss black finish. The eyelets for a carrying strap have been omitted, along with the red Leica logo, in keeping with the design of the Leica I. The nickel-coloured anodised controls – including the shutter release, on/off switch and exposure time setting wheel – are made from aluminium and incorporate the Leica I’s classic cross knurling. The conical collar encircling the shutter release, the semi-circular shutter release button and the genuine leather covering with its notably textured finish – reminiscent of early Leica cameras – all incorporate authentic design elements from the original model. Additional refined details, including the “100” logo on the hot shoe cover and the white “Ernst Leitz Wetzlar” engraving on the conical collar, complete the design of the M11-D 100 YEARS OF LEICA limited edition. The true proof of the camera’s limited edition status lies in the engraving on the accessory shoe. This follows the same style as the original Leica I serial numbers: no. 001 to no. 100, whereby the camera
bearing no. 000 holds the distinct honour of being designated serial number 6000000. The lenses accompanying the set bear the same edition number.

M11-D Centenary Set: the Leitz Anastigmat-M 50 f/3.5

When Leica unveiled the Leica I in 1925, it was equipped with the Leitz Anastigmat 50 mm f/3.5 lens, which was permanently affixed and lacked the interchangeability of the later M39 screw-mount lenses. This initial pairing of the Leica I and the Leitz Anastigmat was manufactured approximately 150 times before the Elmax lens succeeded the original lens. A hundred years after its brief yet significant appearance, the Leitz Anastigmat 50 mm f/3.5 is making a return, reimagined for modern times while preserving its historical essence. The contemporary iteration of this lens, now equipped with an M mount, preserves key characteristics of the original, including its retractable construction, ensuring optimal compactness just as it did a century ago. A distinctive aspect of this lens is its exterior, crafted from aluminium for the first time, allowing for an anodised nickel-coloured finish that echoes its origins from a century ago.

M11-D Centenary Set: the Leica Summilux-M 50 f/1.4 ASPH.

With the Summilux-M 50 f/1.4 ASPH., the second lens in the set, Leica has seamlessly united heritage and innovation, balancing timeless design with cutting-edge optical performance. Delivering remarkable lens speed, outstanding image quality even with a wide aperture and an exceptionally soft bokeh, this M-Lens fully harnesses the capabilities of modern camera sensors, with a minimum focus distance of just 45 cm. Design elements like the classic cross knurling on the aperture adjustment ring, a nickel-coloured lens surface on aluminium base material and a grip milled from aluminium set the anniversary edition apart from the current series model.

M11-D Centenary Set: the Accessories

The anniversary set is further enhanced with carefully curated accessories, including a specially designed protector featuring a securely attached carrying strap, reminiscent of Leitz’s earliest leather accessories. Accompanying this is an SD card case. All these accessories are crafted from exquisite cognac-coloured leather. A strikingly elegant, glossy black wooden box, produced in Germany,completes the ensemble, underscoring this centenary set’s exclusivity and special sophistication.

The D-Lux 8 100 YEARS OF LEICA

Alongside the Leica M11-D 100 YEARS OF LEICA, three additional anniversary editions will be unveiled on 26 June 2025. One of these, the Leica D-Lux 8 100 YEARS OF LEICA, pays homage to the Leica I with its distinctive design language and nickel-coloured accents. It also features black leatherette covering, textured similarly to Leica M-Cameras, and incorporates a conical collar around the shutter release button as well as cross knurling on the camera’s top control elements. The compact camera’s minimalist aesthetic has also been refined by omitting the thumb rest, the model name engraving on the top plate and the signature red Leica logo. The “100” logo embellishes the hot shoe cover, serving as an additional stylish design accent.

The SOFORT 2 100 YEARS OF LEICA

The SOFORT 2 hybrid instant camera also features a distinctive anniversary design, incorporating exclusively elegant details. Available solely in black, the Leica SOFORT 2 100 YEARS OF LEICA showcases sophisticated details to celebrate the centenary, including a nickel-coloured lens cap, a sleek glossy black frame for the photo output and the distinguished “100” logo adorning the camera’s top plate.

The Trinovid 10x40 100 YEARS OF LEICA

The legendary Trinovid 10x40 binoculars are being reissued as a special edition to commemorate the 100th anniversary of the Leica I, with only 100 units available for purchase. With hand-polished black-anodised housing, premium and resilient leatherette covering, and nickel-coloured accents with cross knurling, it integrates harmoniously into the “100 YEARS OF LEICA” design concept. In place of the traditional red Leica logo, the “100” logo takes pride of place on the front of the lens barrel. A matching binocular bag and carrying strap round off this special set.

100 Leica Stories Book

The centenary of the Leica I is also being celebrated in literary form with the book 100 Leica Stories. Through 100 compelling stories, this book chronicles personal moments, iconic photographs, groundbreaking technical achievements and behind-the-scenes perspectives that weave together acentury of Leica’s history. This commemorative book showcases the Leica I’s enduring legacy and cult status – not only as a technical masterpiece, but also as witness to a whole century of history.

The Leica M11-D 100 YEARS OF LEICA set, including the Anastigmat-M 50 f/3.5 and Summilux-M 50 f/1.4 ASPH. lenses, will be available exclusively in select Leica Stores from spring 2026. The other anniversary editions can be purchased worldwide from Leica Stores, the Leica Online Store and authorised dealers starting on 26 June 2025:

• Leica D-Lux 8 100 YEARS OF LEICA
  RRP: €1,850.00 incl. VAT.
• Leica SOFORT 2 100 YEARS OF LEICA
  RRP: €495.00 incl. VAT
• Leica Trinovid 10x40 100 YEARS OF LEICA
  RRP: €2,750.00 incl. VAT.

Available in German and English from Leica Stores worldwide, the Leica Online Store, the LFI Online Store and authorised dealers. Sales will begin in Germany on 26 June 2025 and internationally on 14 July 2025:

• 100 Leica Stories Book
  RRP: €70.00 incl. VAT.

Summary: The anniversary event taking place in Wetzlar on 26 June 2025 will be a landmark celebration featuring four prominent product launches that pay homage to the Leica I. These significant special editions – the M11-D, D-Lux 8, SOFORT 2 and Trinovid 10x40 – will be unveiled as a tribute to this ground-breaking camera. Another highlight marking a major milestone in the company’s history will be the presentation of the millionth M-Camera, the M11-D 100 YEARS OF LEICA, alongside the historic Leica I #126, an iconic model whose introduction in 1925 shaped both photography and Leica’s enduring legacy. The anniversary book 100 Leica Stories tells the story of this trailblazing camera.

100 Years of Leica: Leica – Witness to a Century

Leica Camera AG is celebrating 100 years of the Leica I in 2025. It was presented to the public for the first time at the Leipzig Spring Fair in 1925 and, as the first series-produced 35 mm camera, exceeded all expectations. Because with its compact and handy format, it opened up a whole new range of new photographic applications. All around the globe, under the motto “100 Years of Leica: Witness to a Century”, Leica Camera AG will be celebrating this camera, which revolutionised the world of photography. At international events held by the Leica national organisations in metropolises such as Dubai, Milan, New York, Shanghai and Tokyo, cultural attractions and outstanding special edition products will be presented throughout the year. The anniversary week, taking place in Wetzlar, the company's headquarters, in June, marks the high point of the celebrations. On top of that, visitors can look forward to top-class exhibitions in the worldwide network of Leica Galleries with works by outstanding photographers.

Image: Insta360

Insta360 has announced its latest smartphone gimbal, the Flow 2. It shares many features with the Flow 2 Pro, which was released in January this year, yet comes at a more budget-friendly price. The company says the Flow 2 is a "more affordable, creator-friendly evolution" of the Flow smartphone gimbal.

Like Insta360's other smartphone gimbals, the Flow 2 functions as a tripod, selfie stick and gimbal with multi-person subject tracking. The subject tracking features are powered by Insta360's Deep Track 4.0, which "brings sweeping updates to subject identification (even when obstructed by obstacles)."

The Standard Bundle of the Flow 2 only supports tracking in the Insta360 app, and its Active Zoom Tracking only works with compatible iPhones. If you want tracking in any third-party app and full compatibility, even if you don't have an iPhone, you'll need to opt for the slightly more expensive Tracker Bundle. The accessory included in the Tracker Bundle enables tracking in apps like TikTok, Instagram, Zoom and more. It also adds a built-in spotlight, which the Standard bundle lacks.

The Flow 2 is a three-in-one device, with the ability to serve as a selfie stick, tripod and gimbal.

Image: Insta360

The gimbal supports NFC pairing, allowing users to skip the Bluetooth pairing process. Android users get an additional Quick Launch setting in the Insta360 app that automatically opens the phone's native camera app when they unfold the gimbal. It promises 10 hours of battery life, which is down slightly from the original Flow's 12 hours. As with the Flow 2 Pro, you can control the device with an Apple Watch or a second smartphone, unlocking remote use.

The Flow 2 is relatively lightweight and compact, weighing approximately 348g (12.3oz). The magnetic phone clamp adds another 25g (0.9oz). When folded, it's only 97.9x178.4x36.7mm (3.6x7x1.4"), making it easy to pack when traveling.

Image: Insta360

Within the Insta360 app is the company's "golden ratio composition tech" that can suggest shots for you. It will automatically perform barrel rolls, dolly zooms or 360°panoramas with a tap, making it easier for beginners to get more advanced-looking videos.

The Insta360 Flow 2 is available now for $110 for the Standard Bundle, while the AI Tracker Bundle costs $130.

The Mic Air is a tiny wireless mic that works with Insta360's lineup without any accessories, or with other devices with the option transmitter and receiver.

Image: Insta360

Insta360 also recently launched its first-ever mic, rounding out its options for content creators. The Insta360 Mic Air is a tiny device that works wirelessly without additional adapters when paired with Insta360's X5 and Ace Pro 2 (more models coming soon) and Flow series gimbals. It can work with non-Insta360 devices, but you'll need a transmitter and receiver for those.

The Insta36 Mic Air is available for only $49, making it a very affordable audio solution for those sticking to Insta360 products. The bundle with the transmitter and receiver costs $69, which is still significantly more affordable than the DJI Mic Mini, and slightly less expensive than the similar-looking SmallRig S 60 mic.

Buy now: Buy at Amazon Buy at Insta360

Press release:

Insta360 Unveils Flow 2: Affordable, All-in-One Smartphone Gimbal for Effortless Content Creation

We’re excited to officially launch Insta360 Flow 2!

A more affordable, creator-friendly evolution of the gimbal we’ve spent years refining. It’s built for anyone with a story to tell, be that playing with kids, group vlogs, video calls, or just a quiet solo trip.

With built-in 3-axis stabilization, NFC One-Tap Shooting, a sturdy selfie stick and tripod, Deep Track 4.0, Multi Person Tracking and Active Zoom Tracking, all with a 10-hour battery, Flow 2 keeps the best of what creators love, now at a price that makes it more accessible than ever.

“With Flow 2, we're taking everything we’ve learned from developing the Flow series, and making it easier for more people to create,” shares JK Liu, founder of Insta360. “It's designed to make smartphone shooting that much better, packed full of features, while remaining portable and accessible.”

A True All-in-One Companion

Folding up to fit snugly in your bag or pocket, Flow 2 comes complete with a built-in selfie stick, a sturdy metal tripod, and a 10-hour battery that can even charge your phone while you shoot.

Flow 2 features NFC One-Tap Shooting* for supported phones, letting you skip the Bluetooth pairing process and jump straight into the Insta360 app’s shooting page. Just tap your phone and you’re in!

For Android users, there's also an optional Quick Launch setting in the Insta360 app that automatically opens your native phone camera when you unfold the gimbal, too.

Smarter Tracking, Smoother Shots

At the heart of Flow 2 is our smartest tracking tech yet: Deep Track 4.0.

The latest rendition of our AI tracking brings sweeping updates to subject identification (even when obstructed by obstacles), and better support for tracking full groups. This works incredibly well if you're vlogging with friends, or filming a group dance or performance, ensuring nobody is left out of shot!

There's also the handy Pro Framing Grid, using Insta360's golden ratio tech to allow for 9 unique angles (simply tap the screen, Flow 2 will accomodate your subject), to ensure you get perfect framing for your environment.

Even better, you can control your Flow 2 remotely via Apple Watch or a second smartphone. It’s perfect for those moments when the whole family wants to be in the shot. No more awkwardly asking strangers for help!

As Max Richter, Co-founder and VP of Marketing, puts it: “Flow 2 is an exciting addition to our gimbal lineup. Its accessible pricing combined with plenty of exciting features really positions it as an everyday gimbal far ahead of the competition."

Vlog-Ready with the New Insta360 Mic Air

We’ve made vlogging easier with tools like the new Insta360 Mic Air for hands-free audio, letting you capture clearer voiceovers or commentary whether you're walking, cooking, or unboxing.

Combined with the new Teleprompter feature via the Insta360 app, you'll have perfect live cooking demos, product showcases, and more! Simply load your script and it’ll scroll while you record with your phone’s camera.

Flow 2 also includes the AI Tracker, which enables subject tracking in third-party apps that don’t natively support it, especially helpful for Android users, offering powerful tracking capabilities across more platforms. Better yet, it includes a built-in spotlight for natural shots even at night!

Once you're done filming, the AI Editing Suite can auto-trim and polish your footage for you as well!

Flow 2 vs. Flow 2 Pro: What’s the Difference?

Flow 2 and Flow 2 Pro share most of the same smart shooting features, but Flow 2 Pro adds some hardware and design upgrades for creators who want even more:

Feature Flow 2 Flow 2 Pro Deep Track 4.0 Yes Yes Pro Framing Grid Yes Yes NFC One-Tap Pairing Yes Yes AI Tracker (for 3rd-party apps) Yes Yes Built-in Spotlight Yes Yes Insta360 Mic Air Support Yes Yes Teleprompter Mode Yes Yes Selfie Mirror No Yes Tracking Ring Light No Yes Transparent Motor Design No Yes Apple DockKit Native Tracking No Yes 360 Infinite Pan Tracking No (limited tracking) Yes Free Tilt Mode No Yes

If you want the most advanced mobile gimbal out there, Flow 2 Pro is for you. If you want the best value in the game, Flow 2 hits that sweet spot.

Built for Real Life

We designed Flow 2 with a clear goal: pack in the powerful tools creators love, drop the friction, and make the price more accessible. From the first tap to the final edit, it’s designed to be smooth, powerful, and accessible.

For those looking for the most flexibility in how they approach smartphone filming, or require advanced shots like 360 Infinite Pan Tracking or tilt shots, Flow 2 Pro is not going anywhere, and may be your ideal pick for smarter shots on mobile.

Flow 2 is available now, starting from $109.99 for the Standard Bundle, or $129.99 for the AI Tracker Bundle. Both bundles are available via the Insta360 Official Store, Amazon, and global retailers.

*NFC pairing is supported on select phone models. Further compatibility details available at insta360.com.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 90%Overall scoreJump to conclusion

Product Photos: Richard Butler

The Fujifilm GFX100RF is a 100-megapixel medium format digital camera with a fixed 28mm equivalent F4 lens.

Key features

• 102MP Medium format (44 x 33 mm) BSI CMOS sensor
• 35mm (28mm equiv) F4 lens w/ leaf shutter
• 5.76M dot OLED EVF
• Weather sealed when using included filter ring and filter
• Subject recognition autofocus
• Aspect ratio dial
• 3.2" tilting rear touchscreen
• 4K video up to 30fps
• Built-in 4EV ND filter
• 14 film simulations

The GFX100RF has a recommended price of $4899. It comes in either black or black and silver, and includes a braided strap, filter ring, filter and a color-matched square lens hood.

Buy now:

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

• What's new
• How it compares
• Body and handling
• Image Quality
• Autofocus
• In Use
• Conclusion
• Sample gallery
• Specifications
• Press Release

What's New Fixed lens medium format body

The GFX100RF occupies a new space in Fujifilm's lineup and comes with a new design. It's essentially the long-rumored 'medium format X100,' in that it takes the formula of classic styling, direct controls and a wideangle prime lens permanently mounted on the front.

Don't take the rangefinder implications of the letters 'RF' too seriously though: this is essentially the world's most ambitious compact camera, lacking not just a rangefinder but also the X100/X-Pro hybrid viewfinder that gives the appearance of a classic rangefinder camera. Instead, the RF's EVF is a relatively standard 5.76M dot affair located in the top left corner of the back of the camera.

While the body is nowhere near as large as the interchangeable lens GFX cameras, it still has a lot of presence. You'll never forget that you have it on you and would be hard-pressed to fit it into a pocket. That's especially true when it's fitted with the included square lens hood, which adds style points but has to be mounted on the adapter ring, adding a substantial amount of depth, substituting flair for flare.

Like the X100VI, the GFX100RF can be weather-sealed with an adapter ring and filter, though this too makes it bulkier. The hood can still be fitted to the adapter ring when the filter is installed.

The fixed lens

Fujifilm says it went with a 28mm equivalent lens to make the camera as compact as possible while also letting users shoot with (to a point) lower shutter speeds without the aid of IBIS or optical stabilization. That ability, which largely depends on how still your hands and subject are, will come in handy given the lens's relatively slow F4 (F3.2 equiv) aperture.

The lens has a minimum focus distance of 20cm (7.9") and can accept 49mm filters when fitted with its adapter ring. Its being fixed also allows for the provision of a leaf shutter, letting the GF to sync with flashes up to 1/2000 (technically, it can sync all the way up to 1/4000, but you risk cutting off some of the flashes' burst using such a brief exposure).

Aspect ratio dial

Looking at the back of the camera, the first thing that sticks out is the large dial above the screen. Its sole purpose is to let you apply various crops to your image, changing your JPEG's aspect ratio – and reducing how much of the sensor's area and resolution you're using.

There are nine options to choose from, and the camera gives you a few ways to preview your chosen aspect ratio. It can use black borders, a bounding box or raise the opacity of the portions of the image that will be cut off.

Amusingly, the label for the XPan-emulating 65:24 aspect ratio is a bit too wide for the window; you can see the labels for neighboring aspect ratios peeking through.

There's also a "C" setting that lets you control the aspect ratio via one of the camera's command dials or the menus. If you decide you're unhappy with the crop after the fact, you can use the in-camera Raw reprocessing feature to change the aspect ratio, assuming you've been shooting in Raw + JPEG, as the camera maintains the full sensor Raw file and saves the intended crop as metadata.

Crop zoom 28mm equiv. 35mm equiv. 50mm equiv. 63mm equiv. GFX100RF | F9 | ISO 80 | 1/125

Photos: Mitchell Clark

In addition to its choice of aspect ratio crops, the GFX100RF has a crop mode that punches in to give the impression of using a longer lens. You physically control the crop using a toggle switch situated under the power switch and front control dial.

As always, cropping reduces the area of the sensor being used, meaning a reduction in resolution and of total light capture. This has a consequent reduction in tonal quality if viewed at the same scale as full-sensor images. The table below indicates the equivalent focal length that each of the crops gives, both with reference to the camera's 44 x 33mm sensor, which is how the camera reports the 'focal lengths' of the crops, and in terms of their full-frame equivalents for reference.

In 44x33 terms In 'full-frame' terms Effective focal length Crop Equivalent focal length
(vs full-frame) Crop factor Pixel count
(4:3) 35mm 1.00x 28mm equiv. 0.79x 102 MP 45mm 1.29x 35mm equiv. 1.00x 62 MP 63mm 1.81x 50mm equiv. 1.42x 31 MP 80mm 2.28x 63mm equiv. 1.79x 20 MP

As you can see, hitting the lever once essentially turns the camera into a "full-frame" camera with a 35mm F4 equiv lens, before dropping down to nearer APS-C and Four Thirds image quality.

As with the aspect ratio crops, the zoom is only applied to the JPEG, leaving your Raw untouched. You also have the same preview options, as well as the ability to have your chosen crop fill the screen, but doing so won't give you any context to what's outside of your frame.

You can remove the crop using the in-camera Raw reprocessing feature, though you can't select a different crop in-camera: it's the crop you shot the image with or the full sensor, only.

How it compares

The fixed-lens camera market is small but has several strong competitors, especially if you're willing to spend this much money on one. Leica's Q3, with its high-resolution full-frame sensor and 28mm focal length, is the most obvious point of comparison, but Fujifilm's X100VI is also a potential competitor for those who prefer the 35mm field of view or want a substantially smaller, less expensive option.

We've also included the Hasselblad X2D, which has a similar sensor but with an interchangeable lens mount. The Fujifilm GFX 100 S II is perhaps a more direct competitor in both specs and price, but the Hasselblad's size and use of leaf shutter lenses prompted us to include it instead.

Fujifilm GFX100RF Leica Q3 Fujifilm X100VI Hasselblad X2D MSRP $4899 $6295 $1599 $8,199 Sensor 102MP medium format (Bayer) 60MP full-frame (Bayer) 40MP APS-C
(X-Trans) 100MP medium format (Bayer) Lens (full-frame equiv.) 28mm F3.1 28mm F1.7 35mm F3.1 Interchangeable - Hasselblad X mount Stabilization? No Optical IBIS / Optical IBIS Built-in ND? 4EV No 4EV No Weather sealing With included filter Yes With optional filter No Viewfinder res / mag 5.76M dot
0.84x equiv
OLED
electronic 5.76M dot
0.79x equiv
OLED
electronic 3.69M dot
0.66x equiv
OLED
electronic / optical 5.76M dot
1.00x equiv
OLED
electronic Video capture 4K/30p 8K/30p
4K/60p 6.2K/30p
4K/60p None Rear screen 3.2" tilting

3" tilting

3" tilting 3.6" tilting Storage formats 2x UHS-II SD,
external SSD 1x UHS-II SD 1x UHS-1 SD 1TB internal, CFexpress Type B Flash sync speed 1/4000 s 1/2000 s 1/4000 s up to 1/4000 s* Battery life
(CIPA) 820 shots 350 shots 420 shots 420 shots Dimensions 134 x 90 x 77mm 130 x 80 x 93mm 128 x 75 x 55 mm 149 x 106 x 75mm Weight 735g (25.9oz) 743g (26.2oz) 521g (18.4oz) 895g (31.6oz) *Flash sync speed is lens-dependent

The GFX100RF's sensor may appear to be in a class above many of its fixed-lens peers, and in good light, we'd expect its larger sensor to give it a proportionate image quality advantage.

But it's worth considering raw light-gathering ability if low-light shooting is a big concern for you. Wide-open, the Q3's much faster lens gives it a 1.7EV potential advantage despite its smaller sensor, and there are lenses substantially faster than F4 available for the X2D (though they do come at significant expense). Even the APS-C-equipped X100VI* can gather a bit more light per-whole-image than the GFX can in its 35mm crop mode.

While the difference in focal length is a deal-breaker for some photographers, those who like 35mm equiv may find that Fujifilm's smaller offering provides a more engaging shooting experience thanks to its standout hybrid viewfinder – the GFX100RF, meanwhile, has a good but otherwise standard EVF. It's also the only camera in this lineup without any form of stabilization, which further reduces its capability as light level drops, even if you take into account the reduced risk of shake from its leaf shutter.

*It's impossible to mention the X100VI without acknowledging that, over a year after its announcement, it's still extremely hard to get. Persistent stock issues mean you'll have to be patient or willing to pay a reseller a substantial premium over MSRP if you want one.

Body and Handling

The GFX100RF is relatively wide and boxy, though a small grip helps make it easier to hold. While it's undoubtedly large for a fixed-lens camera, it's not particularly heavy, making it easy to tote around all day.

From the top, the family resemblance to the X100VI is obvious. Though that top plate sits on an appreciably larger camera.

The GFX100RF is brimming with controls. There are two programmable command dials: a knurled barrel on the front and a conventional dial in the back, with the rear one being clickable to cycle through functions. There's also a dedicated exposure compensation dial and autofocus mode control.

Shutter speed and ISO control share a dial, with the latter requiring you to pull up on the bezel before rotating. The lens has an aperture ring, which includes an automatic setting and two opposed nubs that make it easy to turn.

On the left of this shot, top-to-bottom are the camera's power switch, the barrel-style front command dial and the 'digital teleconverter' toggle at the bottom. To the right is the front plate lever (designed to look like the self-time control on a film camera). This can be flicked in either direction to access two functions or held (for just a bit too long) in either direction to access two more.

Also fixed in function are the zoom toggle on the front and the aspect ratio dial; neither can be reconfigured. The lever on the front plate, however, is entirely customizable, and you can assign up to four functions to it, as it can differentiate between a flick and a pull and hold. The latter action takes around three seconds to activate. It also has a customizable button in the center.

The Q button, which by default brings up a customizable, on-screen control panel, is on the edge of the grip, which makes it difficult to press without adjusting your hand. This sort of placement makes a bit of sense on smaller cameras where there's nowhere else to put it, but it's baffling on a camera with so much room on the back. Also hard to hit while using the camera is the small, unlabeled button on the top plate right above the exposure compensation dial, which can be customized. As with many of Fujifilm's cameras, you can also have up to four settings that are controllable by swiping up, down, left or right on the touchscreen.

You can also use the touchscreen to position the autofocus point, though the camera has a dedicated joystick for that purpose.

The dual UHS-II SD card slots live on the right-hand side of the camera, while a door on the left opens up to reveal headphone and microphone sockets, the USB-C port, and a micro-HDMI port.

Display and EVF

The GFX100RF has a two-way tilting screen, which can help when you're trying to compose shots at waist level or above your head. The lack of side-to-side tilting does limit your options somewhat, though this was likely another concession to making the camera as compact as possible.

It's easy to wish that Fujifilm had gone with the hybrid optical/electronic viewfinder found on the X-100 and X-Pro series; it would enhance the rangefinder aesthetic and could make using the camera more engaging. One of the senior planners for GFX told us Fujifilm went with a 5.76M dot, 0.84x equiv. EVF instead because the more complicated hybrid viewfinder couldn't provide as much magnification and didn't really work when using the digital teleconverter feature – depending on how far you punch in, you'd be composing through some very small guidelines.

The EVF we did get is large, bright and easy to compose through. It's hard to complain about the experience it provides.

Battery

The GFX100RF uses the 16Wh NP-W235 battery, the same that powers cameras like the GFX 100 II or X-T5. It's rated to get 820 shots in its normal mode, which is a frankly stunning performance. We consider ratings – which rarely reflect the number of shots most people get but rather act as a standard benchmark to measure cameras against each other – of around 400 shots or more to be sufficient for a heavy weekend of shooting, and the GFX100RF almost doubles that figure.

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.

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We'll get into the nerdy details in a second, but a top-level summary is that the GFX100RF has superb image quality that's downright incredible once you consider its size and weight. We've long been impressed with what this sensor can do, and Fujifilm's work on getting great JPEGs out of it is paying dividends now that it's in a camera aimed at more casual and spontaneous styles of photography.

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 to be shot quite close-up, but it's still around 30x the focal length away from the chart, so it should be a reasonable representation 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.

In our out-of-studio testing, we didn't find the lens to be a limiting factor to our image quality. While we certainly shot images that we felt could have been sharper given the conditions, it's the lack of stabilization that kept the sensor from living up to its full potential, not the lens.

Autofocus GFX100RF | 1/125 sec | F4 | ISO 3200

The GFX100RF uses the same autofocus system found in the rest of Fujifilm's X-Processor 5 cameras, complete with AI-derived detection for a variety of subjects: humans/eyes, animals, birds, cars, planes, bikes/motorcycles and trains.

You can use the touchscreen or the joystick to select a focus point, which can be anywhere from a pinpoint to a wide area. It also lets you store up to three zones with customizable widths and heights. When you're in AF-C mode, you get a medium-sized point that attempts to track your selected target as it or the camera moves. It also supports tap-to-track via the touchscreen.

The camera is usually good at respecting your chosen focus point, even when there's a subject it recognizes in the frame. However, we found that, on some occasions, it was more liable than other Fujifilm cameras to jump to a subject that was relatively far away from the selected focus point, which could force you to disengage subject detection for certain compositions.

Like the rest of Fujifilm's cameras in this generation, the GFX100RF's human subject detection mode is separate from the rest of its subject detection modes, where most other camera systems have humans listed as a subject. That means if you want to set a custom button to activate subject detection, you have to decide whether you want it to be for faces or one of the other modes, or devote two buttons to it.

Autofocus Performance

We found the autofocusing system to be generally reliable for the type of shooting the GFX100RF is suited for: street scenes, landscapes (both natural and urban), portraits and the like. While the lens isn't sluggish to focus, we also wouldn't try to use it to shoot a subject moving quickly through the focal plane.

As with Fujifilm's other cameras with its fifth-gen processor, the GFX100RF's tracking isn't as sticky as that of other brands; it can occasionally lose subjects or fail to lock on to them, especially if they're moving quickly. In most situations, though, it worked well enough for track-and-recompose shooting.

In Use

Despite its large-for-a-compact size, the GFX100RF isn't much of a burden to carry along. It's not like a Ricoh GR or Fujifilm X100 – a nearly pocketable camera that you'd take with you every day just in case you ran into something photogenic – but it's not so bulky that you'd hesitate to grab it if you're headed off to do something interesting.

While the front control dial is aesthetically pleasing, we did find it could be a bit hard to use, despite its aggressive knurling. Unlike traditional control dials, it's flush with the grip, which can make it a little difficult to find and to use smoothly. And if you miss it, there's a good chance you'll accidentally flick the fixed-purpose "digital teleconverter" toggle instead.

Whether you'll find that toggle useful mostly depends on how much you value image quality versus convenience. It's unavoidable that every time you punch in, you're throwing away more and more of the light-gathering ability and resolution that justify the camera's size and price – that's especially true if you use it in conjunction with the aspect ratio dial.

Aspect ratio 28mm equiv. 35mm equiv. 50mm equiv. 63mm equiv. 4:3 102MP
44x33mm 62MP
34x26mm 31MP
24x18mm 20MP
19x14mm

3:2

90MP
44x29mm 55MP
34x23mm 28MP
24x16mm 17MP
19x13mm 16:9 76MP
44x25mm 46MP
34x19mm 23MP
24x14mm 15MP
19x11mm

65:24

50MP
44x16mm 30MP
34x13mm 15MP
24x9mm 10MP
19x7mm 17:6 48MP
44x16mm 29MP
34x12mm 15MP
24x9mm 9MP
19x7mm 3:4 57MP
25x33mm 35MP
19x26mm 18MP
14x18mm 11MP
11x14mm 1:1 76MP
33x33mm 46MP
26x26mm 23MP
18x18mm 15MP
14x14mm 7:6 89MP
38x33mm 54MP
30x26mm 27MP
21x18mm 17MP
17x14mm 5:4 95MP
41x33mm 58MP
32x26mm 29MP
23x18mm 18MP
18x24mm

However, it's also unarguably convenient, and if you're in good light, even the cropped images will be spectacular. I took the camera on vacation with me as my main tool for documenting the trip and used the in-camera crop with abandon (with the knowledge that the camera was still saving the full image as a Raw). I found it was a very natural way to shoot, and I was happy with the image quality of the crops, though I rarely went past the second 50mm equiv. step, which uses an approximately APS-C-sized region of the sensor.

If you pixel-peep there's a fair amount of noise in this image, but I still find it perfectly acceptable at reasonable sizes and viewing distances.

GFX100RF | 1/80 sec | F5 | ISO 6400 | 50mm equiv. crop

There is an argument to be made that using the camera in this manner is wasting its potential. However, you could also say that you're using it for something other than pure image quality; the full capabilities of the sensor are there for when you want them or need them, but you can also use the massive resolution and light-gathering ability to add a bit of flexibility to a fixed-lens camera, in a way that doesn't work as well with a smaller sensor. Which side of that debate you land on will likely be a good indicator of whether you should even consider a GFX100RF.

The aspect ratio dial is also a similar story, in that you'll probably already have a good idea whether it's something you'd be interested in using or not. Playing around with aspect ratios isn't a creative muscle that I've personally built up, and I found myself struggling to find compositions that I thought would look better in, say, 16:9 or 1:1... or, at least, so much better that it was worth using less of the sensor for.

That's not for a lack of effort on Fujifilm's part, though. The experience has clearly been thought through, with the Raws letting you see the chosen crop in post-processing software, while still giving you access to the whole sensor's output, and the different preview modes for both forms of cropping giving you flexibility with how much information you want about what's outside your chosen frame. For those who do appreciate different aspect ratios, it's hard to imagine the GFX100RF's experience leaving them wanting.

Conclusion What we like What we don't

• Superb image quality
• Plenty of tactile controls
• Exceptionally compact for a medium format camera
• Relatively easy to carry around
• Built-in ND and included weather-sealing filter make it more versatile
• Incredible battery life
• Autofocus works well for street and considered photos

• No stabilization limits the extremely capable sensor
• So does the lens
• Familiar EVF gives an unremarkable experience
• Dedicated zoom and aspect ratio controls won't be useful if you want max IQ
• Stylish square lens hood adds substantial bulk

You don't get a camera/lens combo this much smaller than the similarly-specced one to the right without breaking a few eggs.

It may be tempting to see the GFX100RF as a super-sized and super-powered X100VI: a take-everywhere camera that's engaging to use and signals to others that you're someone who's Into Photography. And while it handily achieves that last point (even before you see the massive film format-emulating aspect ratio dial), it doesn't quite live up to the versatility of Fujifilm's smaller cameras.

Every camera has trade-offs, even pricey, premium ones aimed at buyers who expect a lot. The GFX100RF is no different, but it's in the odd position of having two identities: an image quality monster with a massive sensor, and a walkaround, everyday camera that aims to be as compact as possible. Fujifilm has clearly put in a lot of work to balance those competing personas, but with each concession, it narrowed the envelope within which the camera can perform at its best.

To be clear, in good light, the camera produces high-resolution images with incredible detail and tonal quality, the likes of which you simply couldn't get without a much larger kit. But in lower-light scenes, the lack of optical or in-body stabilization and the 28mm equiv. F4 lens make it harder to get the most out of the camera. And when you need to shoot at an odd angle, you may find yourself cursing the screen that only tilts up and down. Ironically, the decisions that make it so compelling to carry with you everywhere you go also make it less well-suited for the situations you may find yourself in when you get there.

Would an X-T5-style three-way tilting screen really have made the camera noticeably larger?

But while image quality may be the GFX100RF's raison d'être, it's also not designed to be a purely practical tool, the way many professional and prosumer cameras are. It's built to be played with, for you to take it everywhere and mess around with how you see the world through its viewfinder via the digital teleconverter and aspect ratio dial. Why else would those features get top billing with large, non-customizable, non-customizable controls?

Ultimately, whether the camera is for you or not will depend on how obsessive you are about image quality and how much you appreciate the things that make the GFX100RF special. Those concerned with maximum image quality in any situation and corner-to-corner sharpness above all may want to look elsewhere, but if you're willing to budge a bit on that, there's a lot to recommend it... provided, of course, that you can afford the asking price and appreciate the field(s) of view its fixed lens provides.

The limitations make it hard to award it a gold, but its combination of image quality, compactness and user experience comfortably earns it a silver.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Compared to its peers

In terms of direct competiton, the GFX100RF pretty much stands alone; there aren't any other fixed-lens, medium format digital cameras out there. However, there are other large-sensor enthusiast compact cameras out there (albiet with sensors that aren't quite as large).

The Leica Q3 is the most directly comparable, with its high-resolution full-frame sensor and in-camera cropping feature (not to mention two choices of lens with the Q3 43). It has a substantially faster lens that more than makes up for the sensor's lower light-gathering ability, optical stabilization and a brand name that, for some, will make every time they use it feel special. The GFX100RF doesn't offer the back-to-fundamentals user interface that the Leica Q3 wowed us with; when it comes to menus and controls, the GFX100RF is like pretty much any other Fujifilm camera in that it offers a lot of options spread out through pages and pages of settings. The Leica is substantially pricier, coming in at around $1400 more.

If you're looking for maximum portability from a compact, Fujifilm's X100VI will be a much better fit. In return for dropping down to a much smaller sensor, you get in-body stabilization and a hybrid optical/electronic viewfinder that offers a very engaging shooting experience – assuming you can find one, or are willing to pay scalpers' markups.

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OM System's latest camera won't work with the FL-LM3, a flash loved by the company's users. There was some question about compatibility: charts on OM System's website said it wouldn't work with the recently-announced OM-5 II, but users wondered whether it was a mistake, since the flash was compatible with the OM-5, a camera that is physically very similar to its successor. (From the outside, the hotshoes look physically identical.) However, OM System has now confirmed the incompatability to DPReview, saying "the decision to not support it was the result of comprehensive considerations on the product's characteristics."

This will likely be a bit of a disapointment to long-time OM System and Olympus users. At DPReview we consider the FL-LM3 as one of the best pack-in flashes. It can tilt and swivel giving you lots of flexibility when bouncing it. That would already set it apart from most included flashes, but it also remains useful even when you buy a bigger flash, as it can be used to trigger other OM System flashes that support its RC system, such as the FL-700 and the FL-900 (both of which are compatbile with the OM-5 II on their own).

While the FL-LM3 hasn't come with OM System's cameras for a while now, it's sad to see that the company's latest cameras dropping support entirely for it, with little explaination as to why. But if you were considering whether to get the OM-5 II and are a big fan of the flash, at least the matter is settled now.

This spring, both Nikon and Canon made vague statements about price increases in the US because of tariffs. Nikon gave a date of June 23 for the increase, though it didn't provide any specifics. Canon simply said that it would be increasing prices, with no date or amount specified. The companies have now followed through on those statements, with increased pricing of some Nikon and Canon cameras and lenses as of June 23.

We looked at prices on Nikon and Canon websites, and compared those numbers to price tracking data on Amazon through CamelCamelCamel and Keepa, along with launch pricing information. Of course, pricing data from Amazon can be tricky. Despite that, the pricing history graphs generally show a clear price spike for some Canon and Nikon gear.

While the exact difference depends on each piece of gear, the average price increase for Nikon cameras and lenses is 10.05%. That aligns with the current 10% baseline tariff on all countries. Sigma also increased its prices by 10% on June 2. Not every piece of gear is impacted, at least at this point. That could change as stock currently in the US sells out, but it isn't clear if that will happen.

A screenshot of the Canon EOS R3 pricing history at Amazon via Keepa shows a steep price jump on June 23. The R3 is the most dramatic example of the pricing increases.

Canon's pricing changes range from $100 to $500. That equates to an average percentage increase of 9.7%. Again, that's closely in line with the base tariff rate. There are outliers, such as the R3, which jumped from $3999 to $5399 on Amazon and B&H. However, it was most often selling for $4999, a much less significant increase. Plus, the new price is still cheaper than the $5999 launch price.

Making matters more complicated is the fact that the 90-day pause on reciprocal tariffs is set to expire on July 9. Negotiations are ongoing, but the latest reports show that imports to the US could face tariffs of 24% from Japan, 37% from Thailand, 46% from Vietnam and 20% from Europe. The situation with China is slightly different, with the reciprocal tariffs delayed until August 12. After that deadline, tariffs could jump to 34%.

Companies haven't been willing to say whether prices could increase again if tariffs go up on July 9. Given that we are seeing price increases in the US consistent with the current 10% tariff rate, it seems feasible that we could see additional increases if new deals aren't made. Companies could absorb the 14 to 36% increase, but that seems unlikely given how high those percentages are. If you're looking to pick up a new camera, lens or accessory, now is probably a good time to do so.

Graphic: VSCO

Just last week, Adobe quietly launched a potentially powerful camera app for iPhone users. Now, another familiar name is entering the third-party iPhone camera app market. Visual Supply Co. (VSCO) has unveiled its Capture app, blending its film-like presets with greater camera control, as Bloomberg's Chris Welch reports.

VSCO initially launched as a camera app with film-like filters and basic editing tools. Since then, it has expanded to a community-based platform, while maintaining its expansive list of filters and editing tools. The app still offers a camera, but it isn't the primary focus. The Capture app will be a standalone offering, separate from the main VSCO app.

Exclusive: VSCO is releasing its own camera app — the company’s first new standalone release in a decade.

It’s called Capture, and it will let users pick from 50 of VSCO’s popular photo filter presets when taking a shot.

US release coming this summer. https://t.co/J47XaGIy79

— Chris Welch (@chriswelch) June 23, 2025

Capture stands out from other camera apps because it will allow users to apply presets before even taking the photo. That means you can see how the photo will look before you tap the shutter and, in theory, will not need to do any editing. "Photographers increasingly are moving away from using overly complicated editing software and are using apps that make it easier to get that right moment with a desired aesthetic right at the point of capture," says Eric Wittman, VSCO's CEO, in a statement to Bloomberg.

Users will be able to choose from 50 of VSCO's most popular presets, providing plenty of options. Beyond presets, the app will offer an auto mode for quick snaps and casual users. Those wanting more control will appreciate the manual mode, allowing you to adjust shutter speed, exposure compensation and lighting effects like bloom and halation. It isn't clear how much integration there will be with the main VSCO app.

The Capture app won't require a paid subscription, but you will need a VSCO account. The app isn't available quite yet, but will begin to roll out to Ireland, Australia and New Zealand this week. A broader US release will come later this summer.

Image: Fujifilm

Adobe recently announced quite a few updates for Lightroom and Photoshop, including broader availability of its Remove Reflections feature, improved Enhance tools and more. Beyond editing tools, though, the company also added native tethered capture support for Fujifilm cameras in Lightroom Classic.

Previously, Lightroom Classic's tethered capture tool was limited to compatibility with Canon, Nikon and Sony cameras. Those using Fujifilm cameras had to rely on Fujifilm's plug-ins, though some have reported poor experiences with those, making them less than ideal. Luckily, with the Lightroom Classic 14.4 update, there is now native support, saving Fujifilm users from jumping through hoops to shoot tethered with Lightroom.

The updated tethered capture tool supports a wide range of Fujifilm bodies, including the X-T1 through X-T5, X-T30, X-H1, X-H2, X-H2S, X-S10, X-Pro2, X-Pro3 and the GFX cameras. Adobe also updated support for new Canon cameras, adding the EOS R1, EOS R5 Mark II and EOS R50 V to the list of compatible bodies.

To use the tethering tool, update your Lightroom Classic to 14.4 and disable any third-party tether plug-ins. You can find further information and support for Fujifilm cameras on Adobe's website.

This image combines 678 separate images taken by NSF-DOE Vera C. Rubin Observatory in just over seven hours of observing time. Combining many images in this way clearly reveals otherwise faint or invisible details, such as the clouds of gas and dust that comprise the Trifid nebula (top right) and the Lagoon nebula, which are several thousand light-years away from Earth.

Image: NSF-DOE Vera C. Rubin Observatory

The Vera C. Rubin Observatory was conceived nearly 30 years ago, and now we are finally seeing the first images captured by the world's largest camera. The Rubin Observatory teased a few photos ahead of the official reveal, which is available to watch now via live stream on YouTube.

The observatory is jointly funded by the U.S. National Science Foundation and the U.S. Department of Energy’s Office of Science. Located on a mountain in Chile, it is named after U.S. astronomer Vera C. Rubin, who is famous for her research on dark matter.

Inside the observatory, along with a specially designed telescope, is the Legacy Survey of Space and Time (LSST) Camera. It has a 3200-megapixel imaging surface and is made up of 189 individual sensors that are each larger than consumer-level medium-format sensors. This will afford new levels of detail for researchers and will be used for a decade-long survey starting later this year.

The survey will involve observations of about 40 billion stars, galaxies and other celestial objects. Each will be checked hundreds of times, resulting in 60 petabytes of raw data, which the Rubin Observatory says is "more data than everything that's ever been written in any language in human history."

We'll be sure to share more images once they are released, but for now, you can tune in to the YouTube live stream to hear more about the project and goals for the observatory.

Developing. Please check back later for updates.

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The addition of 8.1K open gate shooting will allow us to complete the video section of our S1RII review, shortly.

Image: Panasonic

Panasonic has released firmware v1.2 for its Lumix S1RII high-res hybrid mirrorless camera, bringing the promised video enhancements along with a range of additional features. S1II and S1IIE users get several of these features in firmware v1.1 for their cameras.

S1RII additional features

The S1IIR gains 8.1K open gate recording capability, along with the ability to output a Raw data stream that can be encoded by BlackMagic or Atomos external recorders. At launch the camera downsampled its open gate output to 6.2K resolution. The new firmware allows the full sensor area output Panasonic said it would add.

It also gains the 'Urban Sports' subject recognition autofocus mode introduced on the S1II models, along with the ability to output 10-bit HEIF images, including HDR images using the HLG response curve. The update also includes an HLG View Assist mode for previewing the effect.

A significant suite of other feature tweaks and enhancements includes additions such as file transfer from internal cards to an SSD, UVC/UAC compatibility and the option to use the focus ring on some lenses as a control ring.

Upgrades for S1RII, S1II and S1IIE

The update also includes a range of features that also come to the S1II and S1IIE, as part of their firmware v1.1.

These include an in-camera focus stacking mode, that combines images focused at different distances, to increase depth-of-field, and the ability to change the color of the AF focus frame.

Users of all three cameras will be able to install a paid upgrade to shoot ARRI LogC3

Users of all three cameras will also be able to install a paid upgrade enabling the shooting of footage using ARRI's LogC3 color and luminance response, allowing its use alongside ARRI cameras and using LUTs designed for those cameras.

The new firmware also adds seven extra aspect ratio guides and allows up to three to be shown at the same time, to help when composing for output in multiple aspect ratios. All three cameras also gain the ability to communicate via Wi-Fi or wired LAN (via a USB adapter) with Capture One software.

Firmware v1.2 for the Panasonic Lumix S1RII and firmware v1.1 for the Panasonic Lumix S1II and S1IIE will be available from June 24th on Panasonic's Global Customer Support website.

Press Release:

Panasonic Introduces Extensive New Firmware Updates for its LUMIX S Series Cameras: S1RII, S1II and S1IIE

Newark, N.J. (June 23, 2025) – Panasonic LUMIX has introduced a series of new firmware updates for its full-frame mirrorless LUMIX S1RII, S1II and S1IIE, aimed at improving the hybrid shooting experience and enhancing functionality.

Aligned with LUMIX’s ongoing commitment to supporting creators, the latest firmware updates will be available to download free of charge from the LUMIX Global Customer Support website on June 24, 2025.

LUMIX S1RII Firmware Version 1.2 Updates

• Advanced Recording Formats
  
  • 8.1K / 7.2K (3:2) Open Gate recording and RAW data video can be output via HDMI for external recording.
  • ARRI LogC3 will be available by using DMW-SFU3A Software Upgrade Key (sold separately), enabling the colors to match ARRI’s digital cinema cameras (*1).
  • Supports HEIF recording in 4:2:0 10-bit format.
• Improved Shooting Assistance Tools
  
  • Urban Sports recognition will be added to the existing human detection capabilities for eyes, faces, and bodies, accurately capturing dynamic movements like breakdancing, skateboarding, and parkour.
  • The frame aspect ratio options will be expanded from 10 to 17 and enable simultaneous display of up to three frames.
  • Focus stacking function introduces the ability to synthesize images taken at multiple focus positions to produce a single image with deep depth of field and sharpness throughout.
• Expanded Workflow Capabilities
  
  • Direct transfers from the CFexpress Type B or SD memory card to an external SSD can be made, giving more workflow options and greater flexibility.
  • Supports recording proxy files to the internal memory card during HDMI RAW video data output.
  • Supports data transfer via Wi-Fi and wired LAN (USB-LAN conversion) with Capture One.
  • Compatible with timecode synchronization via Bluetooth®.
  • Connectivity with UVC/UAC devices is supported.
  • Compatible with Bluetooth® connectivity with DJI's gimbals (*2).
  • HLG View Assist will be available for accurate gradation and exposure checks on the camera's monitor or viewfinder, as well as on external monitors that do not support HLG.
• Enhanced customization
  • he focus ring can be used as a control ring (*3), enabling for assigning key functions. Additionally, the focus rotation direction can be selected in MF mode.
  • The AF frame color can be chosen from 10 colors for better usability.

LUMIX S1II and LUMIX S1IIE Firmware Version 1.1 Updates

• ARRI LogC3 will be available by using DMW-SFU3A Software Upgrade Key (sold separately), enabling the colors to match ARRI’s digital cinema cameras (*1).
• The frame aspect ratio options will be expanded from 10 to 17 and enable simultaneous display of up to three frames.
• The AF frame color can be chosen from 10 colors for better usability.
• Focus stacking function introduces the ability to synthesize images taken at multiple focus positions to produce a single image with deep depth of field and sharpness throughout.
• Supports data transfer via Wi-Fi and wired LAN (USB-LAN conversion) with Capture One.

*1 ARRI LogC3 is a Log gamma developed by ARRI and used in ARRI digital cinema cameras. Please note: ALEXA 35 uses ARRI LogC4. DMW-SFU3A Software Upgrade Key (sold separately) is required. On the LUMIX S1II/S1IIE, ARRI LogC3 can be used for 10bit recording in video mode.
*2 Compatible models as of June 2025: RS 4 Mini
*3 Compatible lens models as of May 2025: S-E2460, S-X50, S-R24105, S-R2060

CapCut, the popular video editing app owned by TikTok parent company ByteDance, recently updated its terms and conditions, raising concerns among creators about what rights the company is claiming. Legal lingo is complicated and often confusing, though. To help break through the noise, we spoke to attorney Bert P. Krages, the author of The Photographer's Right, who confirms there are reasons to be wary.

First, though, let's establish what the concerns are. Some creators claim that the new terms give CapCut broad rights over your content. That includes the ability to use your content how and when they want, even altering it and profiting from it indefinitely. It also gives CapCut rights to use your voice, face and likeness, along with content you create for clients or brands using the platform. Creators usually have specific rights and usage agreements with those brands, so the waters get a bit muddy when the editing app has its own rights to use your work.

There's a lot to unpack in the terms, of course. The exact language says, in part, that you grant CapCut "an unconditional, irrevocable, non-exclusive, royalty-free, fully transferable (including sub-licensable), perpetual, worldwide license to use, modify, adapt, reproduce, make derivative works of, display, publish, transmit, distribute and/or store your User Content." It also clarifies that royalty-free means "that you are granting us the right to use your User Content without the obligation to pay royalties to you or any third party."

"The clause pertaining to the licensing of a user's content to ByteDance, is very broad but is ambiguous"

That may sound nefarious, but it isn't necessarily as bad as it sounds. "The clause pertaining to the licensing of a user's content to ByteDance is very broad but is ambiguous regarding its scope," explains Krages. He says that clause could be limited to CapCut processing content within the app and nothing more. However, he says it could also "be construed to give Bytedance the right to use the content for its own purposes and sublicense it to other parties."

Krages explains that the language that gives the company the right to display your content seems a bit ominous. "It could give Bytedance the right to display content wherever it wishes and thus preclude users from limiting where the content is displayed," he says. "This raises the question of why does the company want the right to display content when the app is intended to edit videos?"

CapCut itself is meant for creating videos that will be shared elsewhere, with no community-facing gallery within the app. However, given that CapCut is owned by the same company that owns TikTok, it's reasonable that it needs the right to display content so it can share your content on TikTok, much like how Meta works with Instagram and Threads.

That's especially risky if you are using the app to create a private video for a client

The terms also say that you "further grant us and our affiliates, agents, services providers, partners and other connected third parties a royalty-free fully transferable (including sub-licensable), worldwide license to use your username, image and likeness to identify you as the source of any of your User Content, including for use in sponsored content." Krages says that this only makes sense if CapCut wants to display user content wherever it wants, no matter a user's wishes. That's especially risky if you are using the app to create a private video for a client, as it could be posted on TikTok without your knowledge or consent, for example.

"I personally would be wary about using the app"

Krages says that it's difficult to say if the agreement is a rights grab or merely there to protect ByteDance from claims associated with hosting content on its servers. That doesn't mean he thinks it's harmless, though. "Considering that merely hosting content for the purposes of using the app doesn't really require an express license, and further considering that the scope of the license gives Bytedance display rights, I personally would be wary about using the app," he warns.

The June Editors' photo challenge

The theme for our June Editors' photo challenge was 'Chasing Summer'. We asked you to share photos that evoke the spirit of summer fun and adventure.

DPReview photographers rose to the occasion as usual, and we were almost able to feel the heat coming off our screens. Here are our Editors' picks, presented in random order.

Thanks to everyone who participated in this photo challenge .If you want to participate in some other photo challenges, visit our Challenges page to see currently open or upcoming challenges or to vote in a recently closed challenge.

The secret oasis

Photographer: Giampier

Photographer's description: It was one of those July afternoons when the air is still and heavy, and the sun burns your skin. The city seemed to be slumbering under the oppressive heat. For three young friends, boredom was about to take over, until their parents brought them to a park that held a secret. At first, it was just a path like any other, lined by a wooden fence and topped by a pergola of climbing plants. But then, as if by magic, a thick, cool cloud began to descend from the pergola. It was a tunnel of mist. This photo captures the exact moment when shyness turned into pure joy. After a brief moment of hesitation, one of them darted off, and the others followed without a second thought. They are running not just to find relief from the heat, but to cross a portal into another world.

Equipment: Pentax KP + Sigma 17-70mm F2.8-4 DC Macro OS HSM | C

One more time?

Photographer: Martella Media

Photographer's description: My daughter was deathly afraid of the "swing swinger" at first. Then, after one ride, she kept asking, "One more time?" We bought an unlimited ride bracelet after that.

Equipment: Canon AE-1 Program + Canon FD 50mm F1.8

Sunset at city park

Photographer: Earl Goodson

Photographer's description: People enjoying an awesome sunset in Denver, Colorado, from benches and out on the water. City Park has multiple vantage points where you can see the downtown skyline, along with the Front Range of the Rocky Mountains just beyond.

Equipment: OM System OM-1 + Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4.0 ASPH Power OIS

Jumping for joy!

Photographer: Denaljo

Photographer's description: My granddaughter and her friend at a water park. The water was cold enough that they would take breaks to run around and warm up! Life imitating art?

Equipment: Nikon D850 + Nikon AF-P Nikkor 70-300mm F4.5-5.6E ED VR

All chasing summer

Photographer: toupia

Photographer's description: A couple that will get divorced shortly after having a baby, an abused wife who was finally left alone with three children, a man who has sailed alone for years and years, and many other lonely people, including the nostalgic photographer, all spending a sunny afternoon in a small summer resort village in central Greece, all chasing the summer.

Equipment: Canon EOS M6 Mark II + Canon EF-M 32mm F1.4 STM

Summer love?

Photographer: softmarmotte

Photographer's description: Taken during the alpine mountain summer at a swimming lake with views over the distant glaciers. A typical scene of young people flirting and maybe falling in love. Savoie, France.

Equipment: OM System OM-1 + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Morning stillness

Photographer: ElenaGreen

Photographer's description: Sometimes, timing is everything to capture the moment and essence. Waking up early is definitely rewarding. It was a low tide time of the day, and no wind at all, and the aluminum boat was shining like gold.

Equipment: iPhone 14 Pro Max

Chasing summer in...

Photographer: Jack Simpson

Photographer's description: Chasing summer in the summer of 1988 at the Oasis, a beach just outside of Winnipeg, Manitoba. A couple of young lads take turns riding in and pushing a huge inner tube into the manmade beach.

Equipment: Pentax MX + Pentax SMC 85mm F1.8

Beach sprint

Photographer: LuMa

Photographer's description: A great afternoon with the kids, family and some wonderful beach fun. I was just lying around in the shallow waters and snapping away at my kids fooling around with their games. It's always more fun when the camera is waterproof.

Equipment: Olympus Stylus Tough TG-860

Ipanema beach vollyball

Photographer: poppyjk

Photographer's description: Rio de Janeiro, Brazil. Brazilians know how to do summer. The Ipanema and adjacent Copacabana beaches may be the best examples. On the weekends, the city closes the frontage road to vehicles, so it is filled with skateboarders, rollerbladers, cyclists, runners, and walkers. In addition to the many volleyball courts, there are countless small groups on the packed beaches just passing a ball around, trying to keep it in the air. Several hours earlier, there were hundreds of swimmers in the water 75-80 meters offshore competing in a triathlon. The whole scene is a feast for the eyes and a light for the soul.

Equipment: Canon EOS 5D Mark III + Canon EF 24-105mm f/4L IS USM

Running down a dream

Photographer: Samantha Guillotte

Photographer's description: While studying abroad in Rome, my photography class walks around every day in hopes of capturing something. As we were walking, I captured this car driving down the lane, and it reminded me of my home, where driving with windows down to the beach and blasting 80s makes for the perfect summer.

Equipment: Nikon Z5

Summer innocence

Photographer: hanij

Photographer's description: Summer brings so many joys. Most beautiful of all is seeing my kids enjoying the long sunny days by the beach. Taken a few years ago at Tod's Point in Greenwich, Connecticut, this photo captures my two sons sharing their pure joy on a beautiful day.

Equipment: Apple iPhone XS

Photo: Mitchell Clark

This week kicked off with a few announcements, bringing new options for those searching for compact gear. Sigma released the 17-40mm F1.8 DC Art, a lightweight and fast standard zoom for APS-C. The lens raised some questions about the speed of the lens, and frustration for Nikon users left out of the party. On the same day, OM System unveiled the OM-5 II, a Micro Four Thirds camera with an IP53 dust and water resistance rating, resulting in division about how significant the updates are.

The entire DPReview team had a chance to sit down and chat about this week's releases and the community's discussion around both. Plus, we were able to talk about something fresh off the press: Adobe's potentially powerful camera app for iPhones. You can check out our thoughts on the new gear and Adobe's app in the video below.

Photo: Oleksii Karamanov / Tetra images via Getty Images

Smartphones have become quite capable, compact cameras that offer a lot of convenience. After all, most of us rarely go without our pocket-sized devices. While the cameras inside phones don't equal the quality possible from dedicated cameras in most circumstances, there are some easy tricks to help you maximize your phone camera's quality. Some of those tips are related to settings, but there are also more general things you can pay attention to to improve your results.

Keep your lenses clean

The first – and easiest – way to improve image quality from your phone is to keep the lenses clean. A smudge on a lens can have a surprisingly large impact on the final image. Having a soft, clean cloth (such as a microfiber lens cloth) on hand (or the hem of a cotton shirt) to wipe down your lens will help you get sharper, clearer results.

Don't forget about composition

Your phone's grid can help you with composition.

Image: Finn Hafemann / E+ via Getty Images

Paying attention to composition – the way individual elements are arranged in a frame – is critical no matter what camera you're using. It's easy to forget that when picking up your phone to take a photo, but remembering to do so will always help you produce stronger images.

There are plenty of rules and tricks related to composition, the most common of which is the rule of thirds. Most camera apps offer optional composition grids to help frame your images according to those principles, if you want a gentle reminder.

While compositional rules are helpful, they are not a surefire way to create an interesting image. The key is to consider where you want the viewer to look and how you can guide their eyes there with elements in the scene. Slowing down and looking around the entire frame, including the edges, is always a good idea to ensure you create a thoughtful composition.

Find good light

Good, bright light is helpful for making any photo better.

Image: Mitchell Clark

While smartphone companies keep adding new tricks to improve low-light capabilities, the small sensors inherent to smartphones are generally quite lacking in dark situations. Because of that, photos taken in brightly lit situations will always give you the best results from your phone.

If there isn't enough natural light, you can also add artificial light. Many phone-specific lighting tools, from companies like SmallRig, Neewer, Lume Cube and Godox, are available these days. These tools can make adding additional light easier and produce better results than your phone's built-in flash.

Use a tripod in dim conditions

There are lots of mini tripods available, such as this Peak Design option, which folds down flat.

Image: Abby Ferguson

A tripod can make all the difference if you're capturing photos in dim light. Alternatively, if you don't have a tripod on hand, look to your environment for stable surfaces to lean your phone against, such as a rock or light pole. The phone will compensate for the lower amounts of light by slowing the shutter speed, which makes it more likely you'll end up with blurry images. A sturdy surface stabilizes your phone during the exposure, so you are more likely to get sharp results even in low light.

Keep your subject's face towards the light

I got lucky with the light on this particular occasion, as it was shining perfectly on my dog's face.

Image: Abby Ferguson

Speaking of light, if you're taking portraits, one easy way to get better images is to ensure the sun isn't behind your subject. Backlighting is hard to work with, especially with phones. It also doesn't provide any flattering light on the person. Instead, when possible, turn your subject so they are facing the light, thus illuminating your subject so they are the star of the photo.

Add a lens Image: Sandmarc

Your phone's main camera offers the best quality, but you likely won't want that field of view for every photo. If you're looking to switch things up but need the higher quality of your main camera, opt for add-on lenses. These can unlock new capabilities like macro, ultra-wide, cinematic or telephoto views.

The key here is to get quality lenses, not bargain ones. Putting cheap glass (or plastic) in front of your camera will only reduce quality, which is the opposite of what you're after. Sandmarc, Moment, Beastgrip, PolarPro and SmallRig all make worthy options that will help you .

Use a telephoto lens for portraits

While we're on the topic of lenses, there's one type in particular that will help when creating portraits: a telephoto lens. Many phones have one built-in, or you can add one as mentioned above.

Telephoto lenses are often called portrait lenses for good reason. They typically result in distortion that is more pleasing to a person's face. They can also help you blur the background more naturally than using Portrait Mode, keeping the focus on your subject without an over-the-top processed look.

Final thoughts Photo: Abby Ferguson

Your phone is a camera you likely have with you all the time, so it makes sense to try to level up your smartphone photos. The most important thing to remember is that no amount of gear, accessories or settings can replace basic photography principles. Considering composition, lighting, color, etc., will help you get stronger images even with a basic phone. As with anything, practice and experimentation are crucial to improving.

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This week, OM System announced the OM-5 II, a small, lightweight Four Thirds camera aimed at people looking to take pictures of their adventures. It features a familiar 20MP sensor, but now includes USB C for charging and a "CP" button that gives you quick access to its various computational photography features.

Those multi-shot modes are one of OM System's biggest selling points, as its cameras can combine several exposures in-camera to achieve a variety of effects, such as focus stacking, a virtual ND filter or higher resolution. The gallery includes a few examples, with notes about which mode was used.

See the sample gallery

If you want to learn more about the OM-5 II, check out our first look video, which explains what it is, how it's different from the original OM-5 and discusses the general state of the Micro Four Thirds system.

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