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The Canon EOS R6 V, with its kit lens, the newly-introduced RF 20-50mm F4 L IS USM PZ.

Images: Canon

The Canon EOS R6 V is a video camera designed for "advanced creatives," built around the same 32MP full-frame sensor and processor as the company's hybrid mirrorless EOS R6 III. It has a boxier design, having lopped off the EVF (and mechanical shutter), and added a fan to help prevent overheating when using its more ambitious recording modes.

Key specifications:

• 32MP full-frame CMOS sensor
• Built-in fan
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Full-width oversampled 4K ≤60p, subsampled 4K 120p
• 3:2 Open Gate recording up to 30p
• Built-in image stabilization rated to 8.5EV
• 3.0", 1.62M dot fully-articulating screen
• Dual tripod mounts for horizontal/landscape shooting

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While the EOS R6 V's capabilities are very similar to the EOS R6 III's, its design and controls are centered around video. Its flat top plate will play well with gimbals, and it has top-plate and front-plate record buttons, with the former also having a zoom lever around it. There are several customizable buttons, with one set up by default to bring you to the Color menu, where you can change from shooting in the standard color mode into C-Log 2 or 3 recording, the recently-added HLG HDR mode (which joins the existing PQ HDR mode), and more.

Like the EOS R50 V, the EOS R6 V features a side-mounted tripod socket for vertical shooting.

The EOS R6 V has the customary 1/4-20" tripod mount on its bottom plate, but it also has an additional one on the side of the grip, next to the card door that hides the CFexpress type B and UHS-II SD slots. This lets you easily mount the camera vertically when shooting for social media, though the cards would then be hard to access. On the other side of the camera are most of the ports you'd expect for an enthusiast video option: full-size HDMI, headphone and microphone ports, 10Gbps USB-C and a remote terminal (If you want timecode, you'll have to step up to the cinema line.)

Keeping cool The EOS R6 V largely shares the EOS R6 III's selection of ports, but this side also shows the large exhaust for the fan.

Perhaps the biggest performance differentiator between the EOS R6 V and R6 III is that the new camera has a fan, which Canon says will allow it to record heavy formats for much longer, even under warm conditions. When the EOS R6 III launched, Canon said it could only record 20 to 30 minutes of oversampled 4K/60 or open gate 7K before overheating. With the Canon EOS R6 V, though, the company is promising two hours or more in those modes, even in ambient temperatures of 30°C (86°F), as long as you have the fan and overheat limits set to high, and the camera on a tripod.

Canon says the fan in the EOS R6 V is smaller than the one found in the EOS C50; while the more consumer-oriented version should perform well under most circumstances, the pro-grade camera is designed to essentially never overheat, no matter how long you're shooting for, and how hot it is.

More menu options

The camera also gains several video-focused features. It has a product-focused "Close-up demos" mode that temporarily overrides facial recognition when you're holding up something to the camera. Unlike on previous Canon cameras, including the EOS R6 III, where it was a scene mode that severely limited your control over exposure and audio settings, it's now just an AF option that you can enable across video modes.

The EOS R6 V also offers granular control over white balance, letting you customize how quickly its auto system will adjust when, say, moving from an indoor to outdoor setting. You can also assign a custom button to lock white balance, and to switch between up to four pre-selected kelvin settings.

The EOS R6 V uses the same menu system from Canon's other consumer-focused EOS cameras

It uses the same menu system from Canon's other consumer-focused EOS cameras, rather than borrowing the production-focused UI of Canon's cinema line, as you'll find on the EOS C50, a highed-end camera that uses the same sensor. While this undoubtedly makes the camera simpler for a beginner to pick up, it also means more advanced users won't have the ability to set shutter angle, rather than speed, or to get a desqueezed preview when using anamorphic lenses.

Video-first The EOS R6 V's sensor is quite quick for video, but won't be so fun to use for stills.

In terms of stills, the EOS R6 V has similar capabilities to the EOS R6 III, in that it can shoot 32MP images in burst rates of up to 40fps. However, if you're shooting fast-moving subjects, you'll have to be aware of rolling shutter, since the camera doesn't have a mechanical shutter. This also limits its capabilities for flash shooting; in fact, the ability to even use a flash at all won't be added until after the camera launches, via a firmware update. Even after it arrives, though, we wouldn't expect it to sync above 1/60th of a second, given the EOS R6 III's 13.5ms e-shutter readout rate.

Even more competition

Up until now, Canon's V-series cameras have mainly been lower-end options aimed towards more casual creators. With the EOS R6 V, though, the company is competing with the likes of Sony's ZV-E1 and Nikon's ZR, providing an option between the entry-level vlogging cameras and its pro-grade ones designed to be operated by a team.

Canon is providing an option between the entry-level vlogging cameras and its pro-grade ones

It's an especially interesting competitor to the recent ZR, as they're similar in several ways: both use the full-frame sensors found in the companies' enthusiast-tier hybrid cameras, and both focus on letting you up your production value by shooting in Raw. There are pros and cons to each; the ZR has internal 32-bit float audio and a 4" display, compared to the EOS R6 V's 3" monitor, but Canon allows for full sensor height "open gate" recording, and has full-size HDMI and SD card slots, versus the ZR's micro-variants. But both clearly target the same market.

The EOS R6 V will be available starting at the end of June, and will retail for $2499, $300 less than the EOS R6 III. There's also a version with special firmware features for recording stop motion, available for $100 more. The camera is launching alongside the RF 20-50mm F4 L IS USM PZ, a video-focused power zoom lens that will act as its kit option, and which you can read more about here. The kit will cost $3699, $200 less than if you bought the camera body and lens separately.

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Press release:

Canon Unveils New EOS R6 V Full-Frame EOS Camera and RF20-50mm F4 L IS USM PZ Built In Power Zoom Lens Empowering Creators to Achieve Maximum Creative Expression in Motion

MELVILLE, N.Y., May 13, 2026 – Canon U.S.A., Inc. a leader in digital imaging solutions, today announced the launch of the new full-frame EOS R6 V camera, the RF20-50mm F4 L IS USM PZ lens and accessories designed to empower the content creators and advanced videographers of today who seek flexibility, portability and high-end video performance in one powerful package. The EOS V-series lineup from Canon answers this call and delivers advanced video tools in a streamlined, creator-friendly system designed to let creativity soar.

Make Movie Magic with the EOS R6 V Camera

A new addition to the EOS V-series lineup specifically built for video capture, the EOS R6 V camera is designed for creatives who capture video on a daily basis who want control, operability, and reliability, with limited creative constraints. Designed for handheld and gimbal shots, the camera features robust in-body IS as well as a 7K / 32.5MP full-frame CMOS sensor, 7K 60p RAW, 7K 30p Open Gate, and support of Slow and Fast Mode. From short-form social video to long-form video productions and podcasts, the EOS R6 V camera is a powerful tool for exploring the expansive possibilities of self-produced storytelling.

Key features include:

• 32.5MP full-frame CMOS sensor, 4K up to 60p oversampled recording, and uncropped 4K 120p to deliver high-quality slow motion
• Advanced AF tracking optimized for video shooting, smooth autofocus performance for video, and in-body image stabilization for handheld shooting.
• Enhanced operability and reliability, including a compact, flat body design with reduced profile, vertical shooting support with dedicated vertical tripod mount, and integrated zoom lever and tally lamp.
• Internal cooling fan helping to enable extended shooting times.

Zooming In on Creativity

Every filmmaker toolkit needs a standout zoom lens, and the new RF20-50mm F4 L IS USM PZ zoom lens is an outstanding option. This full-frame compatible L-Series, RF mount lens is Canon’s first L-series lens to feature built-in power zoom without the need for additional accessories. With a versatile 20mm to 50mm focal range, it provides ultra-wide angle views, and zooms through to a standard field of view – bringing subject details within reach. The lens enables high-quality video imagery, balancing lightweight agility with professional-level performance.

Key features include:

• Built in power zoom, with the ability to switch between manual and power zoom functionality, all controlled from a single zoom ring.
• Constant f/4 aperture across the zoom range, maintains consistent image brightness while zooming from the expansive view of the 20mm wide, to the detailed 50mm telephoto setting, providing versatility for video and photo shooting.
• Internal optical zoom design, for a balanced center of gravity essential for gimbal use.
• Compact, lightweight design supporting comfortable and long-duration handheld and gimbal video shooting.
• Ability to remotely power zoom the lens using the Canon Camera Connect app1 or through the use of Canon wireless Bluetooth® enabled remotes such as BR-E2 and BR-E1.

Accessories Designed for Flexibility

To complement the EOS R6 V camera and RF20-50mm F4 L IS USM PZ lens, Canon is debuting a range of optional accessories tailored to modern content production, including:

• BR-E2 Wireless Remote Control: The BR-E2 Wireless Remote Control is a next-generation Bluetooth® Low Energy remote supporting the new EOS R6 V camera as well as all other EOS cameras (excluding the EOS R100) or PowerShot cameras released from August 2022 onwards. Features include lever-operated zoom operations and exposure compensation, making it an ideal accessory for vlogging, livestreaming and solo shooting.
• HG-200TBR Multi-Function Tripod Grip: Features a versatile combination tripod and hand grip that is designed for both horizontal and vertical formats and supports both video and still shooting. A movie record button and zoom and exposure compensation levers provides smooth and intuitive movie shooting. Included with the HG-200TBR Multi-Function Tripod Grip, is the BR-E2 Wireless Remote Control.
• AD-M1 Macro Lite Adapter Set: A specialized accessory set designed for use with macro lenses and select standard lenses. The kit includes a mount ring, micro lite adapter and flash head mount, enabling enhanced close-up photography and creative lighting control.

New Content Creator Kits

To empower creators of all varieties, Canon is also launching new content creator kits including:

• Creator Accessory Kit II: Stereo Microphone DM-E100, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2
• PowerShot V1 Video Creator Kit: PowerShot V1 camera, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2
• EOS R50 V Video Creator Kit: EOS R50 V camera and RF-S14-30mm F4-6.3 IS STM PZ Lens Kit, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2

Availability

The Canon EOS R6 V camera body only, kit with the RF20-50mm F4 L IS USM PZ lens, or the Stop Motion Animation Firmware2 are expected to be available in late June and July for an estimated retail price of $2,499.00, $3,699.00 and $2,599.00 respectively3. The Canon RF20-50mm F4 L IS USM PZ lens is expected to be available in late June for an estimated retail price of $1,399.003.

The BR-E2 Wireless Remote Control, HG-200TBR Multi-Function Tripod Grip and AD-M1 Macro Lite Adapter Set are expected to be available in late June for an estimated retail price of $69.99, $159.99, $179.99 respectively3.

The Creator Accessory Kit II, PowerShot V1 Video Creator Kit and the EOS R50 V Video Creator Kit are expected to be available in early July for an estimated retail price of $249.99, $1,279.00 and $1,199.00 and respectively3.

1 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone iOS 12.0 or later, iPadOS 13.7 or later, iPod Touch 12.0 or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.7.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

2Certain camera features are disabled when the Stop Motion Animation Firmware is installed. For more details, visit https://www.usa.canon.com/explore/stop-motion-animation-firmware

3 Specifications, availability and prices are subject to change without notice.

Canon EOS R6 V specifications: PriceMSRP$2499Body typeBody typeRangefinder-style mirrorlessSensorMax resolution6960 x 4640Image ratio w:h1:1, 4:3, 3:2Effective pixels32 megapixelsSensor photo detectors34 megapixelsSensor sizeFull frame (35.9 x 23.9 mm)Sensor typeCMOSProcessorDigic XColor spacesRGB, Adobe RGBColor filter arrayPrimary color filterImageISO100-64000Boosted ISO (minimum)50Boosted ISO (maximum)102400White balance presets8Custom white balanceYesImage stabilizationSensor-shiftCIPA image stabilization rating8.5 stop(s)Uncompressed formatRAWJPEG quality levelsFine, NormalFile format

• JPEG (Exif v2.31)
• Raw (Canon CR3)
• HEIF (10-bit)

Optics & FocusAutofocus

• Phase Detect
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

Autofocus assist lampYesManual focusYesNumber of focus points4897Number of cross-type focus points1053Lens mountCanon RFScreen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots1,620,000Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/8000 secMaximum shutter speed (electronic)1/8000 secExposure modes

• Program
• Aperture priority
• Shutter priority
• Manual
• Flexible-priority program

Built-in flashNoDrive modes

• Single Shooting
• High-speed continuous
• Low-speed continuous

Continuous drive40.0 fpsSelf-timerYesMetering modes

• Multi
• Center-weighted
• Spot
• Partial

Exposure compensation±3 (at 1/3 EV, 1/2 EV steps)AE Bracketing±3 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV steps)WB BracketingYesVideography featuresFormatH.264, H.265, Canon Cinema Raw, Canon Cinema Raw LightModes

• 6960 x 4640 @ 30p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 25p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 24p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 23.98p, 12-bit, Raw (other), 1x Crop
• 6912 x 4608 @ 30p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 25p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 24p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 23.98p, 10-bit, H.265, 1x Crop
• 6912 x 3672 @ 60p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 50p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 30p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 25p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 24p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 23.98p, 12-bit, Raw (other), 1x Crop
• 4096 x 2160 @ 120p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 100p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 60p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 50p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 25p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 24p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 120p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 100p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 60p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 60p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 50p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 30p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 25p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 24p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 23.98p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 60p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 25p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1.6x Crop

MicrophoneStereoSpeakerStereoStorageStorage types1x CFexpress Type B, 1x UHS-II SDConnectivityUSB USB 3.2 Gen 2 (10 GBit/sec)USB chargingYesHDMIYes (Full-sized)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notesWi-Fi 5Remote controlYesPhysicalBatteryBattery PackBattery descriptionLP-E6P lithium-ion battery & chargerBattery Life (CIPA)510Weight (inc. batteries)688 g (1.52 lb / 24.27 oz)Dimensions142 x 83 x 80 mm (5.59 x 3.27 x 3.15″)Other featuresOrientation sensorYesGPSNone

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

Canon has announced a new full-frame power zoom lens: the RF 20-50mm F4 L IS USM PZ. As it's launching alongside the company's new video-focused camera, it's no surprise that the primary audience for this lens is videographers, though it has a clever trick that makes it an interesting choice for photography as well.

The RF 20-50mm F4 L IS USM PZ has 13 elements in 11 groups, with 2 glass molded aspheric lenses and ultra-low dispersion elements. It has a minimum focusing distance of 0.24m (9.4"), providing up to 0.14x magnification at its widest setting and 0.33x at its long end.

The lens's trick is how you change your focal length. Canon says this is its first switchable power zoom. That means that you can control it by jogging the zoom ring, like with its other RF power zoom lens, or by rotating the zoom ring between set points, as with most stills zooms. The first bit of the lens's zoom ring is its power zoom setting, letting you rotate it left or right to have the motors zoom it in or out, but flip a switch, and you can get to the more traditional, mechanically limited zoom ring.

The lens' zoom ring has two ranges: one for power zoom, the other for a more traditional zoom experience.
Photo: Canon

In power zoom mode, its zoom can also be controlled by the camera body, and you can configure its speed. Canon also says you can control the zoom using its Camera Connect app, or with a Bluetooth remote connected to your camera.

The power zoom is driven by two of Canon's "Nano UltraSonic Motors" – one for each of its zoom groups – while another Nano USM handles focusing. The company says that focus breathing, where the field of view changes with the focus, is minimized. It's also an internally zooming design, so its center of gravity shouldn't change substantially as you change your focal length, making it suitable for gimbal use.

As you might hope for a lens that you may hold at arm's length to film yourself, it's not particularly heavy at 420g (14.8oz). It's 98mm (3.9") long and is threaded to accept 67mm filters.

Canon says the lens' optical stabilization is good for 6EV at the center

Since it is a video-focused lens, it's also not a surprise that it features optical stabilization, which Canon says is rated for 6EV at the center on its own, and up to 8EV at both the center and corners when coordinating with a camera's IBIS system.

The lens' controls, as well as the switch to toggle between power zoom and manual zoom mode.
Image: Canon

Beyond the fancy zoom ring, it has the controls we've come to expect from an L-series RF mount lens: there's a programmable function button, switches to control stabilization, power zoom mode and focus mode, and a customizable control ring. The company also says the lens is sealed against dust and moisture, and that it has a fluorine coating on the front element to repel oil and water. It includes a lens hood and a fabric carrying case.

This lens is an interesting addition to Canon's lineup, and will likely be an especially welcome one for content creators. It's Canon's first full frame lens for RF that has power zoom via internal motors, rather than via an external attachment, making it much friendlier to use. The zoom range is also a reasonable choice for vloggers, as, on a full frame camera, it'll be wide enough to comfortably film yourself without totally excluding your surroundings.

In that way, it's a very close analog to the APS-C 14-30mm F4-6.3 IS STM PZ that Canon launched alongside the EOS R50 V, though the constant aperture is a welcome addition, especially given the RF 20-50mm F4 L IS USM PZ's price. It will retail for $1399 standalone, and is also available as a kit with the EOS R6 V for $3699 (a $1200 premium over the camera's body-only price). It's slated to start shipping at the end of June.

Image: Canon

Canon wasn't content to just launch a new camera and lens today. Arriving alongside them is a collection of accessories. Some of them are clearly tied to the EOS R6 V, while others seem to have just been ready at the same time.

Starting with the one that'll excite every user of Canon's RF mirrorless system: a new rear cap for lenses. While that might not sound game-changing at first blush, it could be a big quality-of-life improvement. With the first-gen cap, there was only one correct way to attach it, making lens changes difficult if you were trying to move fast, or were in low-light conditions. Worse still, it was easy to leave it only partially attached, since you could somewhat fit it on in a different position. The new model fixes this, letting you attach it at three different points, like the old EF cap.

You can buy new caps for $9 each, and Canon says that eventually its lenses will come with the updated ones out of the box, though it obviously has to sell through the existing stock first.

“Buy at Canon” Image: Canon

Canon has also updated its bluetooth remote. It now features two customizable buttons, a shutter release (which allows for half-pressing to focus) and video record button, and a jog lever which can be used to control a power zoom lens or exposure compensation. Canon also says the new model, called the BR-E2, will be able to switch between different cameras without having to go through the pairing process.

The new tripod grip, with the remote attached. It's included in the "creator kits" that Canon introduced today, which pair the PowerShot V1 and EOS R50 V with video-focused accessories.
Image: Canon

The remote can slot into the HG-200TBR, a tripod grip that gives you an ergonomic way to hold your camera, as well as a way to mount your microphone in the proper orientation if you're recording vertical video. At $160 it isn't cheap, though it comes with the remote.

Image: Canon

Finally, Canon is announcing the AD-M1 Macro Lite Adapter Set, which lets you attach the company's (sold separately) Macro Lit flashes to "macro lenses and select standard lenses." There's some irony in it launching alongside a camera that literally can't do flash photography at launch, but for macro enthusiasts using other Canon cameras, it could be useful. It will retail for $180.

The company says the products will launch in "late June."

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Logo: Apple

Apple has acquired Patchflyer, the one-person company behind Color.io, a web-based color grading tool used by photographers and filmmakers, according to acquisition disclosures reported by MacRumors. Color.io creator Jonathan Ochmann has also joined Apple, though Apple hasn't announced what it plans to do with the technology.

Color.io was known for its film-inspired color tools, custom color models and an in-browser workflow. It appealed to creators looking for more advanced color grading without opening a full desktop editing suite. That service shut down on December 31, 2025.

In November 2025, Ochmann shared news of the closure on the Color.io site, as found via the Internet Archive. "Color.io isn't shutting down because it's struggling. But after 10+ years of running everything alone, I've reached a point where I need to grow in ways that aren't possible as a solo builder," he wrote. "I have an opportunity to work alongside a company whose products have shaped and inspired me, to work on creative tooling at a scale I could never reach on my own." It's now apparent that Apple was that company.

Color.io's browser-based interface helped make film-inspired grading tools accessible without a full desktop editing suite.

Image: Color.io

The acquisition is especially interesting given Apple's recent interest in creative software. Apple completed its acquisition of Pixelmator in February 2025. Then, at the beginning of this year, Apple announced Apple Creator Studio, a subscription bundle of several of Apple's creative apps, serving as an alternative to Adobe Creative Cloud. The tech giant also acquired MotionVFX, a maker of Final Cut Pro plug-ins and templates, in March.

There's no word yet on whether, or how, Color.io's tools will appear in Final Cut Pro, Pixelmator Pro, Photos or the iPhone Camera app. But for photographers and video creators, the deal suggests that Apple is continuing to build out its color, imaging and creator-tool expertise, potentially with an eye toward making more advanced grading tools easier to access across its software ecosystem.

Panasonic's new Lumix L10 is the company's latest pitch for the enthusiast compact we've been waiting for. It's a modern, fixed-lens camera aimed at photographers who want more direct control in a carry-everywhere camera.

The L10 combines a 26.5MP Micro Four Thirds sensor with a 24-75mm equivalent F1.7-2.8 lens and the same processor found in the S1RII. It also offers phase detection autofocus and the latest subject recognition features you'd expect from a modern camera. Plus, Panasonic added an OLED viewfinder and an articulated rear screen.

Buy now:

$0 at Amazon.com

We have the camera in hand, and in our latest YouTube video, we unbox the L10 and the included accessories. We'll be sharing more details about the camera once we've had an opportunity to put it through its paces, so stay tuned for more. For now, you can read more about the latest compact in our full article about the announcement.

Image: Panasonic

Panasonic is celebrating the 25th anniversary with the launch of a large sensor enthusiast zoom compact.

The L10 is essentially a fully modernized version of its LX100 camera, using the company's latest 26.5MP sensor and the processor used in the S1RII. It features a version of the 24-75mm equivalent F1.8-2.8 lens from the LX100, updated in an unspecified way.

While the new model clearly shares much of the LX100 series' heritage, Panasonic says the L10 represents a new premium compact camera line.

The use of that sensor means it offers phase detection autofocus and the dynamic range boost function from the GH7 and G9II, along with all the company's latest subject recognition algorithms.

As with the other LX100 cameras, the lens doesn't cover the whole sensor, instead delivering up to 20MP images. It takes a multi-aspect approach, giving a consistent angle of view whether you shoot 4:3, 3:2 or 16:9 aspect ratios. A dedicated switch on the lens barrel lets you directly select these ratios or 1:1.

The camera has a full-metal body and a fully articulated 1.84M dot rear display. It also gains a more modern 2.36M dot OLED viewfinder, rather than the field-sequential display used by the LX100 models.

This makes it a significantly different camera than the LX100-related Leica D-Lux 8, which persisted with the sensor and processor from the LX100 II and kept the fixed rear screen design of the older models. The L10 also switches to using the much larger BLK-22 battery from the GH series, which should significantly improve performance.

The Lumix L10 Titanium Gold edition will be available directly from Panasonic in most markets.

Image: Panasonic

The move to a modern AF system, the addition of an articulated rear screen, the switch to an OLED viewfinder and the adoption of a larger battery appear to directly address our biggest concerns about the LX100 II, making the L10 highly sought-after within the DPReview team.

Color changes

In addition to the major hardware changes, the camera gets several new image presets: L.Classic and L.Classic Gold, which give the look of historic film stocks. It also has the Leica Monochome look we've seen in recent Panasonics. On top of this, it has the LUT button on the back of the camera, first seen in the Lumix DC-S9. This accesses the camera's ability to upload, overlay and combine custom image styles using the movie industry standard Cube LUT format.

Custom look-up tables (LUTs) can be downloaded via the Lumix Lab app, which also lets you create your own custom LUTs or use the app's ability to generate 'Magic LUTs' that attempt to mimic the look of images you've uploaded to it. This system gives you a wide degree of control over your out-of-camera images. In addition, Lumix Lab will gain the ability to process Raw files both from the L10 and other recent Lumix cameras.

Panasonic says the L10 is primarily intended for stills, and it has neither a headphone nor HDMI socket. Despite this, it's capable of 10-bit log capture and 5.1K open-gate video recording, as well as 4K/120 capture.

The L10 will launch with a recommended price of $1499.99. The standard model will be available in black or black with silver-anodized aluminum top and baseplates.

There will also be a Titanium Gold special edition, with themed-color menus, a threaded shutter button, a leather strap and a matching auto lens cap. The Titanium Gold edition will retail for $1599.99 and will only be available via the Panasonic website and in limited numbers.

A king surveys his snowy realm. The dark, monotonously colored forest background makes the colorful monkey stand out beautifully.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1250 sec | F4
Photo: Erez Marom

In the first two articles in this series, I shared stories about photographing black and white snub-nosed monkeys in Yunnan province and mammal species in Tangjiahe Reserve and Wawu Mountain. In this third and final installment, I want to tell you about a very unexpected visit to shoot another species of snub-nosed monkey: the golden snub-nosed monkey.

The golden snub-nosed monkey is one of the most visually striking primates in the world, native to the high-altitude forests of central and southwestern China. It is instantly recognizable by its vivid golden-orange fur, pale blue face, and small upturned nose – an adaptation that may help reduce frostbite in cold mountain climates. These monkeys live in some of the harshest environments inhabited by non-human primates, enduring snowy winters at elevations of up to 3,000 meters, with thick fur and complex social behavior helping them survive.

I don't usually do many close portraits, as I feel anyone can do them, and I can't take a shot that shows both the animal and its surroundings in a compelling way. This was an exception, and the nice thing is that you can see the interesting details in the monkey's face, especially the nose. How cool is the pale blue skin?

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 1600 | 1/320 sec | F4
Photo: Erez Marom

Golden snub-nosed monkeys are highly social, forming large, multi-level groups that can include hundreds of individuals divided into smaller family units. They spend much of their time in trees, feeding on leaves, bark, fruits, and especially lichens during winter when other food is scarce. Despite their resilience, they are classified as endangered due to habitat loss and fragmentation, though conservation efforts in protected areas, particularly in regions like the Qinling Mountains, have helped stabilize some populations. Their survival is closely tied to the preservation of China’s temperate mountain forests, making them a flagship species for conservation in these ecosystems.

Golden snub-nosed monkeys eat tree bark to aid their digestion. A positive outcome of this is that the orange colors in the tree are fully exposed, which complements the golden monkey's fur. With the contrasting green leaves, I like the color palette in this image, as well as the interesting behavior and overall composition.

Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1L IS USM | ISO 3200 | 1/200 sec | F6.3
Photo: Erez Marom

This shoot was highly unexpected because the area leading to the golden monkeys' habitat had been destroyed last year by a huge flood (the aftermath of which was clearly visible on the road there), and so we had absolutely no assurance we could get there or that the monkeys would be there. It was thus not at all in the plans to even attempt to photograph this species.

After massive floods, not much was left of a bridge that used to be part of the road leading to the valley where the golden snub-nosed monkeys are visible. We were only able to get there by driving on makeshift dirt roads.

Photo: Erez Marom

The monkeys are usually fed by rangers as part of their conservation program, and since the feeding stopped, the monkeys were not supposed to be reachable. But as we were photographing the Yunnan monkey, we got word that, due to snow on the mountains, the golden monkeys were coming down to the valley for the first time in weeks, which meant we might just be able to capture them. And capture them I did.

A wider shot of a golden snub-nosed monkey traversing the canopy. The warm-colored monkey against the forest's cooler green/blue hues in the background, along with the vastness of the mountainous forest, make this shot interesting and fun to look at.

Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1L IS USM | ISO 6400 | 1/400 sec | F5.6

These young brothers were inseparable. The white fur color will gradually change to the golden-orange of the adults.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/6320 sec | F4

Photos: Erez Marom

The fact that the monkeys are habituated and used to being fed played to our advantage. I could go super close and shoot them with my 24-105mm and even my 10-20mm(!), which led to really unique perspectives and shots with a level of interest I didn't expect. It's quite different being inside the action and seeing these beautiful animals interact and go about their business without much regard for my presence.

The extreme proximity I was able to achieve to the monkeys resulted in extreme perspectives and really cool images. Getting up close and personal with these beautiful creatures was a very special treat, only possible because they are habituated to human presence. The backlight adds a lot to the image. Not only does it highlight the animals, but it also separates them from the background, creating compositional depth.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 100 | 1/640 sec | F4

It doesn't get much cuter than this!

Canon EOS R5 II | Canon RF 10-20mm F4L IS STM | ISO 1600 | 1/200 sec | F5

The monkeys often quarrel, but those quarrels are short-lived.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 400 | 1/1000 sec | F6.3

Photos: Erez Marom

The best golden monkey shoot was when we followed them to a slightly higher elevation, where snow was still on the ground, and the background was astounding. I even got a few jump shots when the monkeys were hopping between the snowy rocks.

The secret to shooting jump-shots such as this one is being able to expect the direction the monkey will jump. Then, all that is left is to frame the composition, spray and pray. After a few attempts, I successfully nailed the shot. The snow flying around really adds character and an Asian wintery feel.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1000 sec | F4

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1000 sec | F4

Some more fighting, this time in the snow. This scene looked a bit like an 80s video game, for the Gen-Xers among you.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 1600 | 1/800 sec | F4

Photos: Erez Marom

Imagine how grateful I was to go from expecting not to be able to even see this species to being able to shoot it at such close range, in the snow. Sometimes, the universe smiles upon you, and the rest is up to your shooting ability.

I highly recommend China as a destination for wildlife photography. My trip was nothing short of fantastic, and I plan to go back next year to lead a photography workshop and do some more shooting.

Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, China, Colombia, Vietnam, Madagascar and more.

Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.

Selected Articles by Erez Marom:

• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Behind the Shot: Tambora Sandwich
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Demon of the Deep: Shooting Kawah Ijen Volcano
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

If you've ever switched your camera from stills to video mode with Log enabled, you may have noticed that it seems you can no longer use the base ISO setting. But shooting video in Log doesn't arbitrarily force you to shoot at higher ISO, despite what the camera's settings might suggest.

In a two-part video explainer totaling less than two minutes, DPReview’s Richard Butler succinctly breaks down why ISO isn't quite what it seems in Log. In part one, which you can watch at the top of the article, Richard briefly walks through some of the very basics of ISO. Part two (the video below) gets into the details of why Log is different, and how that impacts ISO.

The videos do a great job of simplifying a complex topic, so be sure to give them both a watch. Should you want something more in-depth, you can read Richard's articles about what ISO is and what makes it so complex.

Left: Two IMAX film projectors. Right: Two digital IMAX projectors. Do note, this isn't the caliber of equipment you're likely to find in your local theater, even at "IMAX"-branded showings.

It's a rare thing to be able to see a full-fat IMAX film projection, but former Mythbusters star Adam Savage is letting everyone take a peek behind the curtain to see what goes into exhibiting movies using such a large format. Over the past few weeks, he's posted two videos shot at IMAX's headquarters, taking a look at the projection process in one and the film scanning and printing processes in the second.

The video on projection, which you can watch below, illustrates the scale of the machinery needed to project an image from a 70mm negative onto a 27m-tall (90') screen. The reels and projectors used are larger than a person, and the film has to travel up through the floor between the two. Watching it, it makes it seem like a miracle that the whole thing works at all.

Even more incredible is the process of scanning and printing the film, depicted in the second video. Both steps are essential for movies shot on IMAX that need VFX work (which is to say almost any contemporary movie shot with the format). In it, Savage admires what was apparently IMAX's only scanner until surprisingly recently, and which is built like a piece of fine furniture. Despite the extremely clever design, the decades-old machine has one asterisk: it apparently takes around 12 seconds to scan each frame. (The company keeps it around as a backup for its replacement, which is apparently much, much faster.)

What's harder to replace and, somehow, slower, are the film printers IMAX uses, as they utilize cathode ray tubes to expose the image onto the film. As they age, their output dims, so nowadays they take around one to one and a half minutes per frame.

The videos are full of little details like that, as Savage explores the company's headquarters and interviews some key members of its team. Both videos are well worth a watch if you're a movie buff or want to hype yourself up for upcoming IMAX movies, like Christopher Nolan's The Odyssey, which is the first feature-length blockbuster shot entirely in the format. Not that actually seeing a real IMAX showing of it will be an easy feat; they sold out a year in advance.

Canon has posted a video to its social media, which appears to tease an upcoming announcement.

The company says something is coming on May 13th at 9AM ET (6AM PT, 1PM GMT), with the caption "One camera. Endless possibilities." The post shows a person staring at a camera that is, as is often the case in these videos, cloaked in shadow, though a red tally lamp shines brightly from it. That detail, and the fact that, on Instagram, the post is a collaboration between Canon's main and Pro Video accounts, implies that we'll likely see something video-related.

This is the second teaser we've seen from a major camera company regarding an announcement on May 13th, which is, at time of writing, next Wednesday; Sony also posted a teaser for "the next R." Whatever the two companies are cooking up, it seems like the camera drought of 2026 may be coming to an end.

Sony has announced an event for next week via its social accounts, teasing "the next R." The video and Instagram post share that the event will take place on May 13th at 9:30 EDT / 14:30 BST / 22:30 JST.

Sony isn't sharing anything beyond that there will be an event, and the date and time. Unlike many teasers, the posts don't feature a blurred-out or silhouetted camera or lens that we can try to glean details from. However, the mention of "the next R" certainly doesn't leave much up to the imagination, at least in terms of which lineup is likely to benefit from the upcoming event.

In an Instagram post a few days earlier, Sony unveiled a separate upcoming community event called Alpha in Residence, happening in New York City on May 14-15. Alpha in Residence is a two-day event that will feature photowalks, styled shooting sets in a historic mansion, gear rentals, panel discussions and more. It is free, though you do need to register for a ticket, which you can do on Sony's website.

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Elizabeth Line - near the London Underground

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F8 | 1/25 sec | ISO 125
Photo: Brian Ormerod

Brian Ormerod, who goes by the username ikon44, has a love of architecture of all types and periods across northern Europe. Over the decades, he has traveled extensively, meticulously planning trips to capture selected projects in Vienna, Barcelona, Prague, Paris, Istanbul and beyond. His work has evolved from casual holiday snapshots to carefully composed architectural studies at the School of Architecture in Nottingham, UK.

If you are interested in interior architecture that draws your attention to all the interesting angles, lighting conditions and other details, check out Brian's work below.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

Metro, Line 4 - Budapest

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F8 | 1/25 sec | ISO 1800
Photo: Brian Ormerod

Meet Brian Ormerod (ikon44)

Home base: Milnthorpe, Cumbria, UK

Favorite camera and lens: Brian primarily uses a Nikon Z5 with a Nikkor DX 16–50mm f/3.5–6.3 VR lens for his walk-around photography. For special architectural projects, he keeps a Nikkor Z24–70 f/4 lens on hand. He values the Z5 for its manageable size and the 24MP resolution, which suits the level of detail he requires without adding unnecessary weight. His setup emphasizes practicality and comfort, allowing him to focus on composing images rather than being encumbered by heavy gear.

"The Nikon Z5 is just the right size (a little lighter weight would be nice). 24MP is fine, it has the right level of controls and seems to suit my work. What's in Brian's bag

• Primary cameras: Nikon Z5
• Lenses:
  • Nikkor DX 16–50mm f/3.5–6.3 VR (main walk-around lens)
  • Nikkor Z24–70mm f/4 (reserved for special architectural projects)
  • Viltrox 85mm f/1.8 (primarily used for family portraits)
• Support gear: Brian uses a generic L-plate to improve handling of the Z5, along with a wrist strap to keep the camera ready. He no longer uses a tripod, preferring to keep weight to a minimum and maintain flexibility while shooting. Batteries, SD cards and cleaning cloths round out his essential kit for a day of photography.
• Camera bags: LowePro Photo Active TLZ45 AW, which holds everything he needs to hand. The bag fits inside a lightweight, non-photographic backpack along with water, snacks and clothing for a full day out.

"I find the Nikon Z5 just the right size (a little lighter weight would be nice). 24MP is fine for me, it has the right level of controls and seems to suit how I work."

Brian's camera bag

Photo: Brian Ormerod

My controversial camera choice

"This might raise a few eyebrows, but I’ve settled on a Nikon Z5 with a modest Nikkor DX 16–50mm lens for most of my photography. It’s a far cry from the heavier, higher-end gear I used when I was photographing architectural projects for clients in northern England and London. Over the years, I worked with everything from Nikon D600s and D750s to two Z5s with wide and standard zooms and even a Fujifilm XT2."

"Yes, my images are effectively 10MP from this DX lens setup, but that’s perfectly fine for me. It may seem like a compromise, but for me, the joy is in taking the shot itself. I still keep a Z24–70 f/4 for special projects, and I’ve dabbled in a Viltrox 85mm f/1.8 for family portraits – though it had a slight mounting fault that needed repair (which, of course, was just outside the warranty period)."

V&A Museum - London

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F9 | 1/100 sec | ISO 100
Photo: Brian Ormerod

Civilizations are built on unique local architecture. What have you been impressed by?

"I’m most interested in the architecture of towns and cities across northern Europe. Since retirement, I have been traveling through parts of northern Europe, planning my trips carefully in advance to visit selected projects in Vienna, Budapest, Barcelona, Prague, Paris, Istanbul, Amsterdam, Athens, Bologna, Florence, Riola, Lisbon, Cordoba, and more, plus London, Glasgow, Oxford, Cambridge, Wells, Tewkesbury, Gloucester, Durham, Worcester and many others. In fact, I just had a day in Durham and am due to go to Helsinki for 10 days at the end of May 2026 – if my airline can find aviation fuel."

I just had a day in Durham and am due to go to Helsinki for 10 days at the end of May 2026 – if my airline can find aviation fuel. How has your camera gear evolved alongside your photography?

"Starting from basic holiday 'snaps,' I quickly had to learn, after joining the School of Architecture in Nottingham, how to photograph streetscapes, individual buildings, sites, and architectural models, to produce photos that could stand up to serious scrutiny and criticism. I also taught myself to develop and print in makeshift darkrooms."

"My early cameras, bought second-hand on a student grant, included an English Corfield 'Periflex' Gold Star 35mm, followed by a Yashica SLR with clip-on exposure meter (which I later regretted parting with for an Olympus Pen-F). I then tried Minolta, Samsung, and Pentax film cameras before finally settling on Nikon, culminating in my current Z5."

IMO Microsurgery Hospital - Barcelona

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F9 | 1/125 sec | ISO 100
Photo: Brian Ormerod

Of all your trips, which place would you recommend most to others?

"In May 2025, I went with an architect friend to Barcelona, which I found to be an architectural wonderland. We visited and photographed works by Antoni Gaudi, of course, but by pre-planning we were also able to visit a number of other projects including the IMO Eye Hospital by Josep Llinas, The University of Pompeu Fabra Library which is a spectacular arcaded masonry structure, the Santa Caterina Market, a neo-classical building refurbished by Enrique Miralles and the Fira de Belacaire flea market with spectacular fragmented mirrored canopy."

What Nikon Z5 camera modes work best for architectural shots?

"Very occasionally, I set my camera on a firm base (if I can find a suitable area) to shoot nighttime / dark shots using modes U1 and U2, with the second delayed shutter release."

"I have the user modes set up as follows:

• U1 – Serious architectural work (now much less often used) set to ISO 100, single point AF, single frame release.
• U2 – General architectural work set to Auto ISO 100-6400, single point AF, single frame release.
• U3 – Family portraits set to Auto ISO 100-6400, continuous AF, single frame release."

"All with matrix metering. I shoot almost exclusively hand-held now, and often in quite dark or very dark interiors, so I need auto-ISO set to max 6400."

Greek Orthodox Church - Vienna

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F8 | 1/50 sec | ISO 900
Photo: Brian Ormerod

What can the community take away from your experiences?

"I'm still chasing that perfect shot! Keep pressing that shutter. Don't stop because you think it's becoming more difficult, just adapt yourself and your gear to what you can do."

Brian really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Brian, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Image: Nikon

Nikon has announced it is developing a 120-300mm F2.8 zoom lens with a built-in 1.4x teleconverter.

The Nikkor Z 120-300mm F2.8 TC VR S will not only offer a longer alternative to a traditional 70-200mm F2.8 but, at the flick of a switch, will turn into a 168-420mm F4, extending its reach and its flexibility.

No further details have been revealed, other than reference to the needs of professional photographers which, along with the S series designation, is likely to give an indication of a fairly substantial price tag. The announcement has been accompanied by a pretty final-looking product rendering, so we doubt we'll have to wait long to find out more.

Nikon already has an 'S-Line' 100-400mm F4.5-5.6 variable aperture zoom, which has a list price of $3000, but we suspect a more meaningful reference point is the Nikkor Z 400mm F2.8 TC VR S, which was launched for $14,700.

Anyone who's used one of Nikon's recent lenses with the built-in TC is likely to be trying not to think too much about the reassuringly damped 'thunk' as the large thumb switch on the side of the barrel slots the teleconverter into place.

Nikon is developing the NIKKOR Z 120-300mm f/2.8 TC VR S, a telephoto zoom lens with a built-in 1.4× teleconverter

MELVILLE, NY (May 7, 2026) -- Nikon is pleased to announce the development of the NIKKOR Z 120-300mm f/2.8 TC VR S, a telephoto zoom lens compatible with full-frame/FX-format mirrorless cameras.

As part of the S-Line* series of NIKKOR Z lenses, the NIKKOR Z 120-300mm f/2.8 TC VR S is a telephoto zoom lens offering a focal length range of 120mm to 420mm, enabled by a built-in teleconverter that extends its focal length by 1.4×. The superior optical performance and mobility of this lens will support professional photographers' imaging expression in genres such as sports photography and beyond.

Nikon will continue to pursue a new dimension in optical performance while meeting users' needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.

For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

*The S-Line is a grade of NIKKOR Z lenses that demonstrate outstanding optical performance, adhering to a high standard of design principles and quality control.

Camera images: Nikon and Canon

It's no secret that NASA is careful about the technology it uses on missions, including anything camera-related. After all, space is the epitome of an extreme environment, and it's important to perform thorough testing to ensure devices can function despite those challenges. A recently surfaced NASA presentation, highlighted by Digital Camera World, provides a glimpse at that process.

The 2022 presentation, titled "Handheld Camera (HHC) Initial Test Results," is available through NASA's Technical Reports Server and evaluates the performance of the Canon EOS R5, Nikon D6 and Nikon Z7II in a vacuum chamber that could also heat and cool the cameras. The presentation includes images of the testing procedures and details how the team performed the tests. It's worth noting that the team clarifies that the Nikon Z9 was not available during the thermal-vacuum testing period.

A slide from the presentation detailing parts of the testing procedure.

Slide: Jonathan E Pryor, Marshall Space Flight Center

The headline result is that the Canon R5 and Nikon D6 both survived vacuum testing and operated across a temperature range of -30°C to +40°C (-22°F to +104°F), with NASA noting that the two cameras showed "similar operational characteristics" across that range. It's important to note, too, that these were unmodified, off-the-shelf versions of those cameras. It turns out stock cameras are tougher than you may have assumed.

Before testing, the cameras and supporting hardware were heated to 50°C (122°F) for 72 hours in a process known as a bakeout, which helps drive off volatile materials before equipment is placed in a vacuum chamber. The cameras were then placed inside a temperature-controlled enclosure within the chamber, while Wi-Fi and Bluetooth were used to control image and video capture.

The slide detailing the results of some of the testing.

Slide: Jonathan E Pryor, Marshall Space Flight Center

The cameras were tested in both stills and video modes, though the D6 didn't undergo the same full set of video tests as the R5. In the hotter video tests, the R5 recorded until it overheated and shut itself down, then was given five-minute cool-down periods before testing continued. The researchers did not perform the second and third D6 video tests out of concern that it might lose connection in the same way as the Z7II (detailed below). Even so, NASA's results suggest both the R5 and D6 were usable in the chamber, with the caveat that the D6's video performance was not explored as extensively.

The Nikon Z7II, meanwhile, did not complete the same full temperature range. The presentation says it worked at ambient temperature, but under near-vacuum conditions, it lost connection after recording video and could not reconnect. The camera didn't outright fail, but a device used in space needs to be able to be reliably controlled, especially if there are plans for remote operation.

Details of the stills performances of the R5 and D6.

Slide: Jonathan E Pryor, Marshall Space Flight Center

Another practical problem that the test highlights: remembering to turn Raw files on. The D6 was set up to capture both Raw and JPEG images, and the R5 was supposed to be the same. Unfortunately, the presentation calls out that the "setting was missed during setup process," so it only recorded JPEGs. Next time you discover after a shoot that your camera was set to JPEG only, just remind yourself that even NASA researchers do that.

In addition to camera testing, the deck also includes radiation testing of four CFexpress card brands: Lexar, SanDisk, ProGrade and Sony. SanDisk showed the best result in NASA's calculations, but the presentation strongly warns that the outcome depends on the exact test setup and amount of radiation used, and should not be treated as a buying recommendation. None of the cards completely failed; NASA says temporary radiation-related errors were resolved by power cycling the cards.

A slide from the 2024 presentation detailing camera modifications.

Slide: Parker Weide

The 2022 presentation is especially interesting in light of NASA's later work on a dedicated lunar camera. In 2024, NASA published a paper on testing a modified commercial camera for lunar environments. It concludes that the camera and its thermal protection system continued to function under most simulated conditions, but highlights issues such as LCD screen ghosting and overheating in extreme environmental conditions. NASA has since said its Handheld Universal Lunar Camera, or HULC, is based on a modified Nikon Z9 with Nikkor lenses, a protective thermal blanket, modified electronics and a custom grip designed for astronauts wearing spacesuit gloves.

"The Photographer's Eye" (2007) photography book

Image: John Szarkowski

For the latest Question of the week, we were curious to know what your favorite photography-related books and articles were. You took the idea a step further, not just listing titles but explaining how the works you read elevated your photography.

Some of your reasons were purely artistic, with many art-focused books suggested, while others were quite technical. Reading through your responses, it became clear that photography isn’t just about mastering a camera. Many of you shared personal stories of inspiration or creative struggles, showing that the right book or article can spark a change in vision as much as technique.

Check out the top book and article suggestions below, and then let us know in the comments what your favorite photography-related books and articles are.

Your book and article suggestions

"Mountain Light" (1987) book cover

Image: Galen A. Rowell

Ruby Rod: When I was a kid, just getting started with photography, my mom brought home a book from a library or a garage sale, "The Fun of Photography" by Mario Scacheri. It's a bit corny and not as politically correct as it is today. The book gave practical advice on the basics of composition, darkroom work, and other aspects of the photo hobby at the time. I still use much of the advice today.

Don Sata: "The Photographer's Eye" by John Szarkowski. This is an old book that is as good as the day it was published. It clearly explains something that took me years to understand, that seems to be an ineffable mystery: what exactly is the language of photography, and how to use it?

Something I also love about this book is that it doesn't discuss any technical aspects of photography, which makes it timeless.

Gayle159626: Years ago, when I was in my 20s (I am now 66), I was gifted an interesting book called "A Day in the Life of Australia" by Rick Smolan. This book is the result of one of the most unusual projects in the history of photography. On March 6, 1981, a hundred of the world's greatest photojournalists were given the unique and challenging assignment of their careers – to capture an entire nation on film in a single day.

"Day in the Life of Australia" by Rick Smolan (1982) photograph collection

Image: Rick Smolan

On the pages of this unusual diary, you'll wake up with camel hunters in the Northern Territory, visit with prisoners inside an Adelaide jail, see Ayers Rock from outer space, travel through aboriginal missions in Arnhem Land and explore an entire community living underground at Coober Pedy.

The book features 367 stunning photographs chosen from the 96,000 shot on March 6, and includes six special photo-essays exploring a day in the life of unusual Australians. A Day in the Life of Australia is a slice of history – a moment frozen in time.

To communicate what you saw, you needed to translate the lost dimensions (depth, movement, and color) into your photograph.

Klaus dk: "Total Picture Control" by Andreas Feininger. His main message is that the photographer transforms a moving, three-dimensional world of color into a frozen, 2D (and, in the late 1950s, monochrome) picture. To communicate what you saw, you needed to translate the lost dimensions (depth, movement, and color) into your photograph.

With today's endless possibilities for manipulation, he looks like a purist, but he describes the techniques available for the creative photographer to get the message through.

paul13walnut5: As I progressed into video, the book "War Junkie" by Jon Steel really inspired me as well. Talk about calm under fire, until he wasn't... not to spoil the book. It was also a frank confessional at a time when it wasn't really all that cool to talk about mental health.

"The Photographer's Handbook" by John Hedgecoe (1982) handbook

Image: Leondard Ford and John Hedgecoe

Gato Amarillo: Like most people of a certain age in the US, I grew up on Life magazine with photo reporting, some of it very tough reporting, from all over the world. I think the book that made me aware of photographers as individuals was Edward Weston's Daybooks. That got me thinking about the people behind the cameras and looking at the names under the photos.

Lensmate: "The Photographer's Handbook" by John Hedgecoe was my go-to reference that helped me develop my understanding of photographic techniques back in the 80s.

In the 1990's, the images in the magazine "Outdoor Photographer" drew me into 4x5 photography and gave me a perspective that I eventually applied to my own compositions.

Digital shifting and stitching became the cornerstone of my landscape and architectural photography, replacing my 4x5 film camera. I began experimenting with it in 2011 and was applying it regularly by 2013. I discovered the method online, but I don't remember where. It was probably at Photo.net, but it could have been here. It would be nice to know.

"Jungles" by Frans Lanting (2000) image portfolio

Image: Frans Lanting

Ctesiphon: "Jungles" by Frans Lanting. Before reading it (do you say "read" for a book of photos?), I thought nature photography (be it macro, wildlife, or landscape) was about capturing nature in the sharpest, cleanest, most detailed, highest-definition images possible. This book completely changed that for me: it is a masterpiece of not-so-in-focus and grainy pictures that let transpire so much more emotion, mood and atmosphere because of it. You can feel the damp air and hear the birds and insects in these images.

It gave me a new appreciation of moody images (for lack of a better word), which I often try to recreate in areas beyond nature photography. And I don't care about noise in my pictures anymore.

Photographs are like gems: the real and the synthetic are often physically indistinguishable, but there is no question as to the ultimate value.

Astro Landscapes: Despite being decades old, I am still stunned by the current relevance and creative inspiration of Galen Rowell's "Mountain Light". As an adventure landscape and nightscape photographer, one quote of his has stayed with me for almost as long as I've been into photography:

"Photographs are like gems: the real and the synthetic are often physically indistinguishable, but there is no question as to the ultimate value. A photograph that depicts a moment of real life, whether that of a human activity or of the natural world, is of a higher order than the most perfect replication created by or for the camera with luck removed from the formula." - Galen Rowell, 1986

There were many other great book and article recommendations shared in the forums. You'll have no shortage of nostalgic photography-related content to watch.

Keep ready for the next Question of the week to participate in this series. New questions are posted here on the homepage and in the forums every other week. We can't wait to read and share your stories!

Share your favorite photography-related shows and movies!

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Nikon Z8 | Viltrox AF 55mm F1.8 Evo | F1.8 | 1/60 sec | ISO 900

Photo: Mitchell Clark

Last month, Viltrox announced the AF 55mm F1.8 Evo, one of its first lenses to use an apochromatic design that's meant to reduce chromatic aberration. We've had the opportunity to test it out in a variety of scenarios, to see how it performs and, of course, to get samples for our readers to enjoy.

Impressions

As we've come to expect from Viltrox's lenses, the 55mm F1.8 is quite well-built, feeling nice to use without being overly bulky or heavy. At 370g (13.1oz), it's roughly middle-of-the-pack when it comes to mid-range 50mm F1.8 lenses, and it's relatively easy to tote around town, or in a sling bag.

[TK lens photo]

I enjoyed the fact that it had a physical, clicking aperture ring, rather than a command dial, like the one found on the higher-end Lab lens that I recently tested. While it has an "A" setting that allows the aperture to be controlled by the camera, it can't be locked into or out of it. And while I didn't find myself knocking it out of A mode too often, or accidentally changing my aperture setting, it did happen every so often. My coworker Abby also recently had this issue with another Viltrox lens.

The lens also features an AF/MF switch and a programmable button, both of which are nice to have. The manual focus ring feels nice, but at least when paired with a Nikon Z8, it didn't quite give me the level of precision that I'd usually hope for. Likewise, the AF performance was just okay; the lens is quick and quiet, but, as we've experienced before with Viltrox lenses on Z-mount cameras, I just didn't quite get as many keepers as I'd expect to had I been using a Nikon lens.

One last odd quirk: the rear lens cap that came with the lens fits very loosely, as do the Nikon ones, and there were several cases where it came off in my bag. This didn't translate to the lens feeling loose on the camera at all, though; it never disconnected from the actual body when I was turning the aperture ring or otherwise manipulating it.

Nikon Z8 | Viltrox 55mm F1.8 Evo | F1.8 | 1/2500 sec | ISO 64

With that said, the majority of my photos were still in focus, and I was quite pleased with the results. They're sharp corner-to-corner, even wide open, and Viltrox has delivered on its promise to seriously reduce chromatic aberration. I also found the bokeh to be quite pleasing. While it does a nice job rendering out of focus specular highlights, I was actually more impressed by how it rendered the background in portraits I shot at F1.8.

Something about the background rendering in this picture really makes me happy, and the vignetting is a feature, not a bug, in this instance.

Nikon Z8 | Viltrox 55mm F1.8 Evo | F1.8 | 1/3200 sec | ISO 64

There are a few things to complain about with its performance. There's heavy vignetting at F1.8, which doesn't completely go away until around F4 (though it's much improved by F2.8). I also found myself wishing it could focus a bit closer than 0.43m (16.9"), though that distance isn't unusually far for 50mm F1.8 lenses.

Overall, I found myself really enjoying shooting with it, and loving the photos it produced. Sure, I could certainly find reasons to covet Viltrox's higher-end "Pro" 50mm F1.4 – it has a switch to declick the aperture, more robust weather sealing and linear focusing motors – but I don't think I'd actually need anything more. And that's a nice feeling to have about a lens that costs $370.

Viltrox AF 55mm F1.8 Evo 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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All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting.

Image: I'm Back

Crowd-funded startup I'm Back has developed a clever fix for one of the drawbacks that photographers have pointed out in their digital module for film cameras.

The I'm Back Roll, which is currently approaching $1M of backing on Kickstarter, is a self-contained APS-C sensor module designed to fit into the film bay of legacy 35mm film cameras.

One of the challenges this latest project hadn't overcome was the need to activate the sensor before the camera body's mechanical shutter could then define the exposure.

When the Kickstarter opened, the company showed renderings of a Bluetooth-connected trigger unit that you would have to attach to the camera body, initiating a digital exposure so that the sensor would be active when the mechanical shutter opened.

This (along with the sensor size smaller than the cameras were originally designed for), was one of the main areas of concern expressed by backers.

The company has designed a clever workaround: a shutter button that screws into the camera's shutter button.

In response, the company has designed a clever workaround: a shutter button that screws into the camera's shutter button.

The "Sync button" add-on is a small additional button that can screw into the cable release threads of cameras that have one. The company also suggests another version may be possible without the thread, presumably to be glued onto cameras without a threaded shutter button.

The renders of the button show a flat cable extending from the button but don't show what that cable would need to connect to. The company's development video suggests it will need to connect to the I'm Back Roll unit, to avoid the latency that a Bluetooth trigger is likely to have.

While we've repeatedly stressed the many challenges that stand in the way of creating a quasi-universal digital module for old film cameras - challenges that prevented the original Digital Film project, back when the aim was to perpetuate the use of film bodies as an alternative to switching to dedicated digital cameras - we've been impressed by I'm Back's persistence to make it possible to revive old film cameras for the fun of it. And, even if the implementation still looks like it may be a bit clunky, it's an undoubtedly clever idea.

The Sync button can be added as an option during checkout and existing backers can add one to their order for around $38 (it costs 20 Swiss Franks, with an additional 10 CHF for postage to the US).

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

When the Fujifilm X half, a compact camera designed to provide a whimsical, nostalgic shooting experience rather than technical prowess, launched, it cost an eye-watering $849 in the US. Many commenters balked at that price, saying that they might have considered it as a fun toy, were it closer to $500.

Well, that time has come. The X half is currently on sale at multiple US retailers and on Fujifilm's own site, selling for $550, a substantial markdown compared to its launch price. But is that a sign that Fujifilm is so desperate to sell the cameras that it's willing to mark them down by around 35%?

Buy now:

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

Not quite. For the past few months, US stores have been selling the X half for $649, which is much closer to its price in countries like the UK or Japan. While some marked that as a sale price, others, like B&H and Fujifilm's official store, show it as a permanent reduction. And indeed, the camera hasn't sold for above that on Amazon since December 2025, according to price tracking site CamelCamelCamel.

Again, though, this isn't necessarily a sign of the camera's failure. When the X half launched in the summer of 2025, the environment around the US market was murky, as the country's arbitrary import tariffs sparked trade wars with several countries, including China, where the X half is made. While few companies ever actually confirmed their strategy, we wouldn't be surprised if many products launched during that time had some extra padding in their prices to avoid the companies having to later raise prices on newly-introduced models.

If the X half's price kept you from picking one up, your time may have come

Fast forward to the present day, and things have somewhat settled down, with the US Supreme Court ruling that those tariffs were introduced illegally. While that may not mean that the battle over tariffs is over, it does at least seem like Fujifilm is comfortable selling the X half for $200 less than when it was introduced, and even letting it go on sale to bring the price down further.

Of course, there were things people disliked about the X half beyond just the price, and those aspects haven't changed. The company has released a few software updates since we reviewed the camera, but none of them have fundamentally changed what the camera is. But if the X half's price was the main thing keeping you from picking one up, your time may have come.

Click here to read our review of the X half

Image: Tech Transfer HQ

CMOS sensors are now so ordinary that it's easy to forget how transformative they were. They're used in an ever-growing list of devices, from dedicated cameras, smartphones and webcams, to security systems, glasses and cars. A new video from the California Institute of Technology (Caltech) looks at how the CMOS image sensor, once a space-imaging technology tied to NASA and the Jet Propulsion Laboratory (JPL), became one of the defining inventions of the digital age.

The short video traces the sensor's path from deep-space imaging work intended to photograph Saturn up close to everyday devices. It highlights the roles of engineers Eric Fossum, the inventor of the modern CMOS sensor and a longtime friend of DPReview, and Sabrina Kemeny. It walks through the idea of the "camera on a chip," with a useful visual for understanding how it works and how it differs from CCD technology.

Interestingly, even though the team had success right away, NASA wasn't interested at first. "We were trying to get them to adopt this technology that we thought was the greatest thing since sliced bread, and they just weren't that interested," said Kemeny in the video. That's because the scientists didn't know how it would handle the harsh conditions in space, and they needed a camera that they could be confident would perform when spending millions on a mission.

That led the team to seek out industry applications, which snowballed into what we now see today. "I had no idea how massively useful or ubiquitous it would be," said Fossum. Of course, the CMOS sensor did eventually make its way back to NASA, with the Perseverance rover on Mars using the technology to send back photos and videos from the distant planet.

The video is part of a series that highlights how research moves from the laboratory to daily life. It's a good example of how scientific research can find its way into everyday tools, including those used by photographers. After all, the same broad push to make cameras smaller, more efficient and more capable helped set the stage for the image-saturated world we live in now.