Image: Viltrox

Viltrox has teased that more L-mount lenses are on the way ahead of the National Association of Broadcasters (NAB) trade show in Las Vegas. The announcement was decidedly short on details but suggests the company is ramping up to expand its L-mount lineup after joining the L-Mount Alliance last year.

The press release simply says that the Viltrox NAB booth will "spotlight its growing L-mount portfolio," including "several new and unreleased L-mount lenses." Whether these lenses are existing Viltrox offerings that will soon be available for L-mount or completely novel additions to its lineup is unclear, though it is exciting to hear that there will be more than one.

When Viltrox announced it was joining the alliance, it said it would be bringing its AF 16mm F1.8 and 28mm F4.5 lenses to the mount. The company released the 16mm F1.8 back in February, but we are still waiting on news of the promised 28mm lens. No matter what lenses are coming, it looks like Viltrox is finally hitting its stride with L-mount lenses after a bit of a slow start.

Beyond L-mount lenses, Viltrox also teased that it will be announcing new Evo-series lenses at NAB. The Evo series is a newer line of compact full-frame autofocus primes that sit between its premium Pro lenses and budget Air lenses, aiming to balance solid build quality, modern features, and relatively affordable pricing. These new ones will feature apochromatic elements to better control chromatic aberration.

The NAB show runs from April 18-22, so stay tuned for more news as the show approaches.

Viltrox to Showcase Expanding Imaging System at NAB Show 2026

Discover new Lenses Empowering Modern Image Makers Through Photography to Cinema

Las Vegas, NV, April 7th, 2026 - Viltrox today announced its participation in NAB Show 2026, taking place April 18–22, 2026, in Las Vegas. At this year’s show, Viltrox will present the latest expansion of its imaging ecosystem under the theme "Expanding the Viltrox Imaging System — From Photo to Cinema."

Across all product categories, Viltrox’s NAB 2026 presence underscores a unified vision: supporting creators at every stage of visual storytelling, from photography to cinema. The showcase will highlight Viltrox’s ongoing evolution into a comprehensive imaging system provider, with developments spanning autofocus lenses, L-mount expansion, flagship optics, cinema tools, and creator-focused production accessories.

New EVO Series APO Lenses

A key highlight of Viltrox’s NAB 2026 presence is the continued expansion of its EVO series, which includes previews of upcoming models, and the official launch of new lenses during the show. The EVO series with APO lenses emphasize professional performance, usability, and versatility for everyday shooting scenarios, ready for modern creators working across both photography and video.

Expanding the L-Mount Ecosystem

Viltrox will also spotlight its growing L-mount portfolio, marking one of its first major international trade show appearances since joining the L-Mount Alliance. In addition to the AF 16mm F1.8 L, the company will present several new and unreleased L-mount lenses, reinforcing its commitment to supporting photographers and filmmakers using Leica, Panasonic, and Sigma systems.

Flagship Optics: LAB and Pro Series

The company’s LAB and Pro series lenses will be on display, representing Viltrox’s most advanced optical engineering. Attendees can experience hands-on demonstrations and attend on-site sessions led by industry professionals, focusing on real-world applications and creative workflows.

Cinema Production-ready Solutions

Further extending its support of cinema-grade videography, Viltrox will showcase an expanded lineup of filmmaking tools and cinema-ready products. Highlights include the EPIC series cinema lenses with expanded focal-length options, Raze cinema lenses (DL mount) designed for the DJI Ronin 4D system, and the NexusFocus adapter, which enables autofocus functionality in professional cinema workflows. The booth will also feature simulated production environments, including portrait, automotive, and wedding setups, demonstrating real-world scenarios.

The Creative Ecosystem Beyond Lenses

Beyond lenses, Viltrox will present additional tools such as lighting and monitoring products, further strengthening its ecosystem for modern visual creators. These additions reflect the company’s direction toward building a more connected workflow from capture to production.

Executive Quote

"NAB Show 2026 marks an important step forward for Viltrox as we continue expanding our imaging system across both photography and cinema," said Frank Fang, US Marketing Director, Viltrox. "This year, we’re excited to share a broader view of where we’re heading with new EVO developments, a stronger L-mount commitment, expanded EPIC focal lengths, and more tools for today’s image makers."

Visit Viltrox at NAB Show 2026

Attendees are invited to experience the latest Viltrox innovations at Booth 5735 during NAB Show 2026.

Learn more: viltrox.com

10 enchanting photo spots you'll want to keep secret

Gooseneck, Colorado River

DJI FC300X 20.7mm | F2.8 | 1/170 sec | ISO 100
Photo: Ken Seals

For Question of the week, we asked DPReview readers what secret photo spots they knew about that favored their photography. From abandoned buildings to pristine landscapes tucked away in remote mountains, many unique places were revealed.

I liked how gpwitteveen summed up not-so-secret locales that still provided visitors with a worthwhile personal perspective of the area:

"Hiding in plain sight, as they call it, is something often very satisfying to explore. You may have visited a spot a few times before in different lighting, season or weather conditions, but then you see it in a new light (pun intended), and it comes alive as never before. That never ceases to amaze with something bordering on magic: how could this familiar spot now take on a very different aspect?"

And PhilippeC95 had great insight for visiting the busier locales:

"There are well-known tourist places which are quite different when you get there outside the normal hours."

Click to the next page above to begin the slideshow of our selection of reader photos.

Beach near Castellon, Spain Nikon Z6 | 1/13 sec | ISO 100
Photo: tresemes

tresemes: I used to travel a lot, but when I became a father, I knew photographing landscapes halfway around the world would be on hold for the foreseeable future, so I had to find places close to home. We have a few famous-ish photo spots, but that wasn’t gonna cut it.

So, I spent hours scouring Google Maps, doing odd searches like “some-random-town-an-hour-away + landscape,” and trying to pinpoint locations. It was almost a hobby in its own right. I discovered everything from waterfalls to places that look like discount Dolomites, some of them requiring an hour-long hike on top of an hour-long drive, but it was worth it. I got to photograph beautiful places that, as far as I know, no one’s photographed before.

I also revisited childhood places with different eyes, like this beach near Castellon, Spain.

Share your secret photography places with the community

Trollheimen mountain region Photo: Oeyvind

Oeyvind: My favorite place is Trollheimen, a mountain region in the middle of Norway, which I visit several times a year.

Share your secret photography places with the community

Sukhothai historical city in Thailand Nikon D300 w/ Nikkor 17-35mm f/2.8 | F6.3 | 1/500 sec | ISO 200
Photo: PhilippeC95

PhilippeC95: There are well-known tourist places that are quite different when you get there outside the normal hours. In this example, I took photos in Thailand, in the historical city of Sukhothai. We arrived around 7:00 a.m. to get good lighting and a limited number of tourists. You travel through this old city by bicycle, which makes the experience even more incredible (cars are not allowed inside).

Share your secret photography places with the community

Martin's Landing in Roswell, GA Sony a7R III w/Tamron 70-180mm f/2.8 | F10 | 1/25 sec | ISO 100
Photo: Paul Peterson

Paul Peterson: Martin's Landing is a large (2,000 homes) community in Roswell, GA, with a public walkway around its 53-acre lake.

Share your secret photography places with the community

Tosco Emilian Apennines in Italy Photo: NiVoak

NiVoak: The Tosco-Emilian Apennines, above Reggio Emilia, Modena and Parma, in Italy. I can often walk all day without meeting a soul.

Share your secret photography places with the community

Ponte Vecchio ("Old Bridge") in Florence, Italy Canon PowerShot Pro1 @ 38mm equiv | F3.2 | 1/125 sec | ISO 200
Photo: RDCollins

RDCollins: This photo of the Ponte Vecchio ("Old Bridge") in Florence, Italy, was taken more than 20 years ago from our hotel balcony during a break in a horrendous storm that was battering Europe, and has remained one of my favorites. The bridge was built in the 14th century and is still in use today.

Share your secret photography places with the community

A secret, unnamed building corridor Nikon D700 w/ Nikkor 24-70mm f/2.8G ED | F8 | 1/500 sec | ISO 200
Photo: Kaj E

Kaj E: The past is known, although diffused by memory,
the present is well illuminated.
What lies ahead is shrouded in mystery.

Share your secret photography places with the community

Lake District National Park in England Canon EOS 80D w/ 17-70mm | F10 | 1/250 sec | ISO 100
Photo: thedispossessed

thedispossessed: I live a couple of hours from the Lake District National Park in NW England. While it is a popular place with approximately 18 million visitors a year, I don't usually head to the usual photo locations, such as Ashness Bridge, but instead plan a long walk that ends late in the day.

I bring a camera with a couple of lenses and plenty of provisions, and see what kind of photo opportunities I come across. The above photo was taken at the top of Clough Head, looking towards St. John's in the Vale, late in the evening in June. I often get home in the early hours after walks like this, but it is worth it for the photo opportunities – plus the usually crowded hills are much quieter in the evening.

Share your secret photography places with the community

Rocky beach in Portugal Photo: Calretas

Calretas: Rocky beaches at low tide can reveal incredible details. We have many good examples in Portugal, although my favorites are in Ericeira.

Share your secret photography places with the community

Deep in England's Lake District National Park Photo: Gloomy1

Gloomy1: This is my “secret place”. It is deep in the English Lake District but a 40-minute hike from the road, and I get the place to myself. Every visit is different, as the water level can change rapidly. Despite multiple visits, I can still envisage the “perfect” conditions, so I keep coming back. I have added an overview of the upper valley, with multiple waterfalls tumbling down its sides.

Samsung EX1 @ 36mm equiv | F3.7 | 1/250 sec | ISO 80
Photo: thielges

Thanks for sharing your secret photo-taking places!

Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums.

Share your secret photography places with the community

Kazuto Yamaki, CEO of Sigma

Photo: Abby Ferguson

The camera market seems to be settling after the mirrorless boom, but Sigma's CEO, Kazuto Yamaki, remains pragmatic and focused on customer insights. As he put it, "customers are always way ahead of the manufacturers, so we can learn from them."

In our interview with Yamaki at this year's CP+ show in Yokohama, Japan, he shares his thoughts on the state of the camera industry and the role of APS-C in the current market. He also keeps us informed on the potential for multiple Sigma camera systems and where the Foveon sensor stands.

"Customers are always way ahead": reading a cooling market

In Yamaki's view, the market slowdown is partly due to a lack of innovative products. He sees the Sigma BF as an answer to that.

Photo: Richard Butler

While most manufacturers told us that the camera market is doing well and rebounding after a few quiet years, Yamaki is a bit of a dissenting voice and has a more cautious view. "I'm a little bit concerned about the market situation or economic situation in general in 2026, mainly due to some instability in politics," he says.

"Due to some lack of innovation from the manufacturer side, I think the market is getting slower."

Yamaki's concern extends beyond the current political environment as well, and he echoes his thoughts from last year's conversation. "To be honest, I feel that the market is slowing down," he explains. "After Covid, people were more interested in buying new camera lenses, because there were some exciting products at the time... But these days, they've already got that exciting, good performing camera and lenses, and due to some lack of innovation from the manufacturer side, I think the market is getting slower."

That doesn't mean that Yamaki is pessimistic about photography itself, though. He points to the younger generation finding enjoyment in older digital compacts and film cameras, and highlights the importance of a new approach to cameras. "For example, last year Sigma released the Sigma BF, which provides quite a different approach to the customers," he explains. "We proposed a different way of enjoying photography."

"There is a demand if we offer something interesting, something unique."

Sigma wasn't alone in releasing a camera with a fresh approach, and Yamaki highlights that as well. "Fujifilm also released the X half, quite a unique product. So I think some companies are trying to offer a new way of enjoying photography." He puts the onus on manufacturers to continue driving interest with potentially niche products: "The good news is that customers are still interested in photography, and there is a demand if we offer something interesting, something unique."

Rising prices and tight margins

Coming up with fresh ideas is part of the challenge, but pricing is also a concern these days. Yamaki tells us that camera and lens prices are rising, potentially leaving some customers behind. The problem, he says, is that manufacturing costs are rising as well. "The production cost is getting higher and higher. The material cost and the energy cost, everything is getting higher and higher," he tells us.

Yamaki insists Sigma is still very focused on quality despite the challenges of rising costs. "We like to deliver the products at as low a price as possible. So, we do not sacrifice quality to deliver the product at a lower price." He is also insistent on keeping production local rather than outsourcing to reduce costs.

"For us, we are doing really well in terms of sales. But because of the increased cost, the profit level is not so great."

To a certain extent, that strategy is working, but it doesn't mean there hasn't been an impact on the company. "For us, we are doing really well in terms of sales," he says. "But because of the increased cost, the profit level is not so great." The company's dedication to maintaining quality and staying local has benefits, but it's at the expense of profit margins.

Benefits of APS-C

Sigma released the 17-40mm F1.8 DC Art last summer, and Yamaki says it's selling very well.

Image: Sigma

For Yamaki, that's where format choice starts to matter. He says full‑frame still has the highest demand, which means it has to be Sigma's priority for now. But he still sees the value in APS‑C, and that opinion goes beyond the fact that Nikon and Canon have primarily allowed APS-C lenses from third-parties. "I personally believe that the APS‑C‑sensor camera is quite a good system in terms of the balance between the quality, the size and the price," he says. "Especially that we can make the lenses quite compact and lightweight. So I think the APS‑C camera system is really good for many potential customers."

Early sales suggest that bet is paying off. Last year, Sigma released the 17-40mm F1.8, and he tells us that orders have significantly outstripped expectations, forcing the company to ramp up production several times and still leaving it struggling to catch up with demand. For Yamaki, that response is proof "there is still great potential for APS‑C system cameras."

The case for cameras meant for different types of photographers

The Sigma BF also marked a bold bet by Sigma, as it was a camera drastically different from what we've seen before. While Yamaki says it's too early to glean many insights from BF orders, it does seem that the goal of attracting a different type of customer has been successful. "I told you last time that one of our hypothetical potential customers for BF is some kind of artist, musician, architects, designers," he says. "And actually, after we released the product, we found that those people are interested in the camera."

"I'm quite amazed that we are getting a new type of customer"

"I'm quite amazed that we are getting a new type of customer," he adds. "They don't check new products from manufacturers regularly. They may not have visited DPReview. They may not go to a camera store every month, but they are interested in photography."

Adding to the story that the BF has attracted new customers is the popularity of the different colors. Yamaki tells us that initially, orders were split evenly between the black and silver versions. His theory is that existing photographers already had black lenses and wanted a camera body to match. "But these days, we sell way more silver bodies, because we have more newer customers," he explains.

There's room for multiple systems within one brand

Yamaki sees room for both the FP and BF approaches in the Sigma lineup.

Photo: Dan Bracaglia

Yamaki says they have also had feedback on the novel menu system of the BF. "In the beginning, they felt strange with quite a different menu system. But once they start using it, they really love it," he tells us. "So I still believe that the menu system of the BF is quite successful. It was successful because it's in line with the concept of BF, and the user interface system of the BF is very minimal and small, with a limited number of buttons and dials."

The minimal design of the BF, both in physical design and the menu system, is distinct from the FP, in Yamaki's view. "FP and BF are very compact and lightweight full‑frame mirrorless cameras. They look similar, but the actual concepts are quite different. And looking at our customers, some customers still like FP and others really like BF. Each camera gained a different customer base."

"We should apply a different type of menu system to other cameras"

With the distinction between the two cameras, Yamaki sees potential for multiple camera systems in the Sigma lineup. "I think we can have a slightly different menu system concept for FP camera," he says when we ask about lessons from the BF's menu system. "We should apply a different type of menu system to other cameras," he adds. "But if people really like that menu system, in the future we may apply that system to other cameras."

While he's only talking about menu systems, the fact that he sees a place for both approaches suggests he sees a future with multiple camera types. Even more interesting is that he envisions multiple systems within Sigma. After all, every other company essentially has one menu system. It may be toned down for certain camera levels, but at the core, they are the same. Sigma clearly envisions something different, focusing on creating cameras that suit the needs of specific users rather than a one-size-fits-all option.

Foveon progress

Speaking of new cameras, there's also an update on the long-awaited Foveon sensor. Last year, Yamaki told us Sigma had collaborated with researchers at a Japanese university to develop the full-frame Foveon sensor. Now, he tells us that the collaboration is almost complete. "We actually have already moved to the next stage. So we are now making another prototype," he tells us.

"We are now making another prototype"

That doesn't mean people should get too excited yet, though, as there's still a long road ahead. "Although our engineers are working very hard, the progress is a little bit slower than we had expected. They are making some progress, but it is still early – too early to go to mass production... But now we are moving to a more product-like development stage."

Earthset

art002e009288 (April 6, 2026) – Earthset captured through the Orion spacecraft window at 6:41 p.m. EDT, April 6, 2026, during the Artemis II crew’s flyby of the Moon. A muted blue Earth with bright white clouds sets behind the cratered lunar surface. The dark portion of Earth is experiencing nighttime. On Earth’s day side, swirling clouds are visible over the Australia and Oceania region. In the foreground, Ohm crater has terraced edges and a flat floor interrupted by central peaks. Central peaks form in complex craters when the lunar surface, liquefied on impact, splashes upwards during the crater’s formation.

Nikon D5 | Nikon AF-S Nikkor 80-400mm f/4.5-5.6 G ED VR | 400mm | F8.0 | 1/1000 sec | ISO 400

Photo: NASA

Yesterday, the Artemis II crew successfully flew around the far side of the moon, a historic milestone in their journey. Thankfully, the team aboard Orion was hard at work taking loads of photographs throughout it all, and now NASA has shared some of those spectacular images.

One of the photographs included in this batch was the highly-anticipated recreation of the iconic Earthrise photo taken in 1968. The new version, featured at the top of the article, is actually the setting of Earth, but it is a special moment to see recreated.

Aretmis II In Eclipse

(April 6, 2026) – Captured by the Artemis II crew during their lunar flyby on April 6, 2026, this image shows the Moon fully eclipsing the Sun. From the crew’s perspective, the Moon appears large enough to completely block the Sun, creating nearly 54 minutes of totality and extending the view far beyond what is possible from Earth.

We see a glowing halo around the dark lunar disk. The science community is investigating whether this effect is due to the corona, zodiacal light, or a combination of the two. Also visible are stars, typically too faint to see when imaging the Moon, but with the Moon in darkness stars are readily imaged. This unique vantage point provides both a striking visual and a valuable opportunity for astronauts to document their observations during humanity’s return to deep space. The faint glow of the nearside of the Moon is visible in this image, having been illuminated by light reflected off the Earth.

Nikon Z9 | 35mm F2 AF-D | F/2 | 2.0 sec | ISO 1600

Photo: NASA

Also among the fresh round of photographs coming back from space were some amazing eclipse photos. One of which is the first photo we've seen from the Nikon Z9 sent along on the mission. The photograph shows a glowing halo around the moon, which scientists are still trying to work out the exact cause of. Stars are also visible, something that's normally not possible when photographing the Moon, since they are too faint compared to the Moon's brightness.

There are loads of other incredible photos, including some the crew took of each other in action, which you can see in the gallery below.

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

Canon executives Tetsushi Hibi, Manabu Kato, Go Tokura, Kazumasa Yoshikawa, and Yoichi Sato.
Photo: Mitchell Clark

"The biggest trend for us in the market that we see is the entry of the new generation into the camera industry," says Manabu Kato, Executive Officer of Canon's Imaging Business Operations. "And, of course, that is why we are going to provide the services and products that will satisfy the needs of the younger generation."

Focusing on a new generation of photographers is a recurring through-line for Canon's leadership. At the recent CP+ Expo in Yokohama, Japan, we met with senior executives from Canon's camera division, including:

• Go Tokura: Executive Vice President and Head of Canon's Imaging Group
• Manabu Kato: Executive Officer, Imaging Business Operations
• Kazumasa Yoshikawa: Unit Executive, IMG Development Unit
• Tetsushi Hibi: Unit Executive, IMG Optical Business Unit
• Yoichi Sato: Senior General Manager, IMG Products Development Center

In a wide-ranging interview, we discussed a variety of topics, including the growing influence of compact cameras, the challenge of maintaining affordability in the current global economy, whether we can expect any changes to its licensing approach for the RF mount and more.

The state of the camera market

While an emerging generation of photographers is clearly a focal point of Canon's strategy, Go Tokura confirms the continued shift toward mirrorless cameras and expresses optimism about the market's stability.

"90% has now become mirrorless," he says. "And it's almost all occupied by Japanese makers. Last year, shipments from Japan totaled about 7 million units. In other words, the market grew slightly by about 6% or so. And we consider that this current market trend is going to continue, and there's not going to be a sudden plunge."

Canon says the biggest trend it sees in the camera market is the emergence of a new generation of photographers, many of whom are interested in compact cameras. However, mirrorless models remain the core of its camera business.
Photo: Richard Butler

However, Tokura points to the compact camera segment as a surprising area of momentum, noting that much of the growth is not being captured by traditional Japanese manufacturers.

"The compact camera market is gaining more and more momentum. Last year, the compact camera market was not really dominated by Japanese makers; about 50% of them came from other manufacturers outside of Japan. And we assess that the market size is going to be about 4 to 5 million units of the market because last year the shipment from Japan totaled about 2.4 million."

Why compact cameras continue to gain popularity

The drivers of this growth are complex, and Tokura admits there isn't a single defining factor he can point to. However, he suggests that supply constraints may be masking the market's true strength.

"From the result of the shipments, we see that the compact camera market has grown about 25% or so. And I have to say that supply is not fully satisfying the demand yet, and this situation is still continuing. We are enhancing our production capacity; what I mean is that the actual market strength can only be seen after we reach the actual production capacity that meets the demand."

The Canon PowerShot G7 X Mark III remains popular and hard to find, even seven years after its launch. Canon says it plans to increase its production capacity.
Photo: Dan Bracaglia

Canon's view of the smartphone's role in the market has also evolved. Rather than replacing cameras, they believe smartphones are acting as a gateway for that younger generation to discover photography and seek out dedicated tools, particularly compact models.

"In the past, we thought smartphones should be good enough because everyone's taking photos on smartphones, right? But apparently, it was not the right prediction because many people started to have different tools: smartphones in one hand and a camera in the other hand, and they decide which one to use depending upon the use case."

"So they started to find the joy of using cameras. When they choose a second device after the smartphone, are they going to use the mirrorless camera? Possibly not, because it's a bit large and also it's pricey as well. That's why the compact camera is there for their choice, so this is a totally new need we see."

"In the past, we thought smartphones should be good enough because everyone's taking photos on smartphones, right? But apparently, it was not the right prediction..."

For many of these photographers, the experience a camera provides can outweigh any technical superiority it might have.

"What we observe," Tokura says, "is that the determining choice, when they decide which camera they are going to buy, is not just because of the performance, but how fashionable it is to own it, or how much joy they can feel."

"Of course, we have to increase our production capacity. That's the first thing we're going to do," he continues. "But as I mentioned before, the current customers of compact cameras are not really our past customers or existing customers... So the role of the next compact camera that we will release will be to satisfy these customers by offering new technologies or new applications." He adds that the company would like to review and restructure its full compact lineup.

The challenge of affordability

As global costs rise, Canon says it relies on its manufacturing philosophy, monozukuri, to keep products accessible to enthusiasts.

"We consider affordability as one of the major aspects for us," Kato says. "The world is full of negative aspects in terms of cost, labor cost, and also tariffs as well. That is why we are pursuing high-productivity monozukuri, or manufacturing, and this is the area we are proud of."

Canon points to the recent RF 45mm F1.2 STM as a result of this effort. "As part of that, it was only last year we released the RF 45mm F1.2 STM, and that was enabled through our excellent product planning. This kind of planning will also be continued, and this is part of Canon's role."

A portrait captured using Canon's RF 45mm F1.2 STM lens. Canon says this fast prime lens is an example of its commitment to creating affordable products for enthusiast photographers.
Photo: Richard Butler

Affordability also explains Canon's continued production of DSLRs for cost-sensitive emerging markets. "We have been continuing mass production of DSLRs, and market trends indicate that sales are still strong," says Tokura. "I hope we can sell more."

Image quality and the role of AI

When asked where Canon is looking for future breakthroughs in image quality, Tokura emphasizes the balance between hardware and software while maintaining strict ethical boundaries regarding artificial intelligence.

"Utilizing artificial intelligence or deep learning technology in the field of image rendering is something we have to be careful of. We are fine to use AI or deep learning technology for correcting distortion that results from optical aberration… Having said that, we will never use such technology to create something that doesn't exist. This is where we draw the line."

Canon has utilized AI technologies in cameras like the EOS R1 to reduce noise or increase resolution, but says it's firmly against using AI to "create something that doesn't exist."
Photo: Dale Baskin

To push the limits of what can be done to improve image quality, however, Tokura suggests the only real constraint is investment. "Yes, there are so many things we can do to advance technology and achieve higher performance. That is why no huge vault can satisfy our needs of spending money in a casual manner. We need a bigger vault. That's what I mean."

Lens development and the elephant in the room

Finally, we addressed Canon's conservative approach to third-party licensing for the RF mount and whether current restrictions necessitated the development of niche first-party lenses, such as the RF 14mm F1.4 VCM.

"We listened to market feedback," says Tetsushi Hibi. "There was demand from the market for a large aperture and a wide lens. That is why we released this product."

Tokura adds, "Let me just use more precise words. We said that in order to respond to the customer feedback or in order to meet the customer's demand, but the word I actually want to use is to exceed the customer's demand. So this is what we, from the planning side, aim for."

Canon has allowed third-party lens makers to manufacture several lenses for its APS-C cameras, like the EOS R& (above), but has been much more restrictive when it comes to full-frame lenses. Based on our conversation with Canon executives, it doesn't sound like that will change soon.
Photo: Dan Bracaglia

Pressing further on the possibility of more broadly opening the RF mount to licensees, we noted that in 2025, Tokura told DPReview's Richard Butler, "I think one day we're going to be sitting here again and saying the environment has changed and the situation has changed."

"My answer is the same as last year," he says. "But you know, we have released so many lenses last year, and now we have like 60, almost 70 kinds of lenses. So this is part of the change of the environment you mentioned. So we will carefully watch and listen to the customers' feedback and make the strategic decision."

This article is based on an interview by Dale Baskin and Mitchell Clark at CP+ 2026. It has been edited for clarity and flow.

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

We're finishing up our review of the Nikon ZR, the company's video-focused camera with the same 26MP partially stacked full-frame sensor found in the Z6III, and, as part of our testing, have put it in front of our studio test scene. We've captured a load of video stills to test out the camera's many, many video modes.

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

As with the Z6III, the ZR's compressed footage is very detailed in both 4K and 5.4K. However, Nikon has clearly changed how it processes this footage, and it appears to be applying less, or more subtle, sharpening than the Z6III.

Compared to hybrid stills/video cameras , the ZR has similar levels of detail to the similar pixel-count Panasonic S1II, as well as to the Canon EOS R6 III's oversampled 4K mode. However, the Canon's 7K open gate footage provides much more detail than the ZR's 5.4K capture, though it will take up more storage and has to be edited before delivery. The highest-resolution footage you can get from the ZR offers more detail than the Sony a7 V's oversampled 4K footage. That also initially appears to be the case if you compare the cameras' 4K output, but the ZR's has more aliasing, so it's not necessarily a better representation of the scene. It's also worth noting that the ZR comes in at a substantially lower price point than those cameras (though with a corresponding decrease in stills capabilities).

While bumping up to 60p doesn't come with a cost to field of view or detail, if you want to shoot in 120p, the camera will have to crop down to an APS-C region of the sensor. This results in less detail being captured, though it's the same amount as captured by the APS-C 24p mode.

Three flavors of Raw

The Nikon ZR supports internal Raw recording to three different formats: N-Raw, ProRes Raw, and R3D NE, a format currently unique to it. They all have the common caveats associated with Raw recording – using it will require post-processing (often using specific editing software), and the difference between Raw and Log isn't anything like as great as the difference between Raw and JPEG for stills – but for those that need it, it's available.

As you'd expect, the ZR's three flavors of Raw capture comparable amounts of detail at their 6K settings, though their default LUTs offer fairly different foundations to build your own grade on. Despite the similar image quality each version of Raw offers, there are substantial differences between what it's like to shoot them; we'll be posting an article comparing the three formats very soon.

Noise reduction

Some ZR users, including cinematographer and YouTuber Philip Bloom, have noticed that the ZR appears to have more heavy-handed noise reduction than the Z6III, resulting in a softer image when shooting H.265 with the standard or N-Log response curves. While our single-frame test doesn't show that the ZR's H.265 mode captures noticeably less detail than the Z6III's (though there is decidedly less sharpening), we wouldn't be surprised if Nikon decided to increase noise reduction for the ZR, given the controversy that the Z6III gathered for having relatively noisy and sometimes flickering shadows when shooting Log. The sensor shared by these two cameras has relatively high noise in the deep shadows that Log-shooting exploits, so we suspect Nikon may be trying to compensate for that.

We plan on taking a closer look at the Z6III's footage versus the ZR's soon.

During our testing, we've shot various projects with the ZR and have been pleased with the footage we've got from it. Our test scene doesn't turn up any major surprises with regard to its image quality, but does reinforce the idea that shooting Raw with this camera will take some careful consideration when it comes to picking which format is the best for your particular usage.

Years ago, while wandering around a summer carnival at night, I spotted this sea of sunglasses-wearing rubber ducks at one of the game booths. I don't recall the specific game, but that solid block of yellow was impossible to ignore. I captured this photo using Ektachrome 100VS slide film.
Photo: Dale Baskin

Our April Editor's photo challenge theme is "Film Photography."

This month, we're returning to the analog roots of photography. The challenge is simple: show us your best photos shot on film. Any era, any format, any subject. Color or black and white. It's all fair game as long as it's an authentic film capture. If you can remember, please let us know which film stock you used! Our favorites will be featured on the DPReview homepage later this month!

This challenge is about the look of film, so please keep post-processing to a minimum. Technical corrections for scanning or color balancing aged film are welcome. We reserve the right to disqualify entries that appear over-processed.

Photos can be submitted between Sunday, April 12, and Saturday, April 18 (GMT). The challenge is open to photos captured at any time.

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

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

Visit the challenge page to see the full rules

2025's camera launches offered up a strange mixture of obvious updates and left-field oddities, leading into the quietest spring launch season we've ever experienced.

Now that Abby and Mitchell are back from CP+ and we've heard what the manufacturers are saying, we sat down to see if we can make sense of what the tea leaves tell us. Richard has been musing on the cameras that have and, notably, haven't been announced, and has some ideas about the trends and directions they may foretell.

Join us as we mull over the things we've seen and the things manufacturers have told us, as we try to make sense of the new camera landscape, and what it might mean for your next camera.

Opinion: Why the future of cameras looks nothing like the past.

art002e000192 (April 3, 2026) - A view of Earth taken by NASA astronaut and Artemis II Commander Reid Wiseman from one of the Orion spacecraft's window after completing the translunar injection burn on April 2, 2026. The image features two auroras (top right and bottom left) and zodiacal light (bottom right) is visible as the Earth eclipses the Sun.

Nikon D5 | Nikon AF-S Nikkor 14-24mm F2.8G ED | 22mm | F4.0 | 1/4 sec | ISO 51,200

Photo: Reid Wiseman / NASA

On April 1, NASA successfully launched Artemis II, sending four astronauts to orbit the moon and marking the first crewed mission of NASA’s Artemis program. There have already been plenty of incredible images of the launch shared, but now, NASA has shared the first images taken by the crew aboard Orion.

The two images were taken by Artemis II Commander Reid Wiseman from the spacecraft's window. The photograph of Earth seen above is a truly remarkable view of our planet. You can make out two auroras at the top and bottom, and glowing zodiacal light on the bottom right; it's a special scene that was very well captured.

The second image includes a sliver of Earth as well as a portion of the spacecraft's window. It offers a sense of what these astronauts saw in the moment, which is pretty special in my opinion. I know I will never find myself on a spacecraft, but having a photo that lets me see what they see, at least in a small way, is really fun.

art002e000191 (April 3, 2026) - A view of Earth taken by NASA astronaut and Artemis II commander Reid Wiseman from one of the Orion spacecraft's four main windows after completing the translunar injection burn on April 2, 2026.

Nikon D5 | Nikon AF Nikkor 35mm F2D | F20 | 1/250 sec | ISO 250

Photo: Reid Wiseman / NASA

Commander Wiseman took both images after the maneuver that propels Orion around low Earth orbit, towards the Moon and, eventually, back home. All of the EXIF data is stored with the images, which is also neat to see. He took both photographs with a Nikon D5. For lenses, he used Nikon's 14-24mm F2.8 lens for the image at the top of the article and a 35mm F2 for the window image above.

art002e000180 (April 1, 2026) - This black and white image of Earth was captured by the optical navigation sensor on the exterior of the Orion spacecraft on the first day of the Artemis II mission, as the four astronauts inside were traveling farther than any humans have ventured in more than 50 years.

Photo: NASA

In addition to the two images taken by Commander Wiseman, NASA also shared a photograph taken by the optical navigation sensor on the exterior of the Orion spacecraft. The black and white shot is certainly dramatic, and shows just how capable some of the exterior cameras are as well.

With this kicking things off, we can't wait to see more from the Artemis II crew as they continue on their mission.

If you're curious to learn a bit more about what goes into being a photographer while in space, check out our 2019 interview with Colonel Terry Virts (ret.), a U.S. Air Force pilot and NASA veteran of two spaceflights. Colonel Virts shared some really interesting insights, such as the unique challenges that space poses for gear (radiation is not good for chips) and how cameras are picked for missions.

Click here to read the interview

Photo: Mitchell Clark

It seems like there are some big changes going on at OM System. This week, the company announced "a change in its shareholder structure," resulting in its president and CEO becoming the "principal shareholder of the Company." At the same time, there appears to have been a leadership shakeup at Japan Industrial Partners (JIP), the private equity firm that (formerly?) owned OM Digital Solutions (OMDS).

Neither press release from either company directly states that OM System's ownership moved from JIP to Shigemi Sugimoto, OMDS' CEO – JIP's press release doesn't mention OM System at all. From the outside, one possible explanation is that JIP reduced its stake to the point where Sugimoto effectively has control of the company. However, neither company has disclosed the exact ownership structure.

A brief history of OM System's corporate ownership (I promise it won't be as boring as it sounds): OM Digital Solutions used to be Olympus' imaging division, but was sold to Japan Industrial Partners Inc. (JIP) in 2021. While OMDS licensed the Olympus name for some of its cameras, lenses and accessories, it has since removed it from most of its products, which now bear the "OM System" logo.

Given that both OMDS and JIP are private, there isn't necessarily a paper trail of what transactions occurred. However, Olympus said the brand had 36 billion yen in capital when it sold it, around $358.5 million, given the exchange rates at the time.

In a recent interview, Kazuhiro Togashi, OM System's Senior Vice President of Global Brand & Marketing Strategy, told DPReview that the company has been operating profitably since its founding in 2021. "Our fundamental financial situation is very stable and stronger than it was before. We can invest in human resources or new technologies, not only for camera bodies but also for lenses," he said.

He also added that the company wasn't publicly listed, so it couldn't disclose specifics of its financial situation. But if it's as strong as he implied, it could be a clue as to why OM System leadership felt confident enough to take "full responsibility" for the company.

OM System's press release says "there will be no changes to the Company’s legal entity, corporate name, location, representative, business activities, or the fundamental terms of transactions with customers and business partners as a result of this change." It also says that it will "enable more agile and flexible decision-making, strengthen the Company’s management foundation, and further promote investments in technology development and business growth strategies from a medium- to long-term perspective."

Only time will tell how that works out, but it means that OM System's next launch, whatever it may be, will likely get a lot of attention.

As for JIP, current CEO Hidemi Moue is being replaced in that role by Shinichi Inagaki, the current Executive Vice President. Moue will stay on as CIO and as a managing partner, sharing the latter title with Inagaki. The company says the change "reflects JIP's continued business expansion" and is meant to "further strengthen the firm's investment capabilities."

Image: Panasonic

The camera companion app is one of the key ways your camera communicates with the world, and a good one can be an important part of the photo‑sharing experience. While they used to be quite basic, the latest versions go further, offering tools such as the ability to edit images and keep your camera's firmware up-to-date.

Functionality and features vary by brand, though. Some companion apps are genuinely useful, while others may not be worth the trouble, depending on your workflow. Here, we’re looking at Panasonic’s app options and the features its most current app brings to the table.

Apps available

When searching your phone's app store, you'll find three separate apps for Panasonic cameras: Lumix Sync, Lumix Lab and Panasonic Image App. Which you should use depends on your camera model.

The oldest of these is the Panasonic Image App. It's only compatible with older Panasonic camera models, and it hasn't been updated since May 2025. Lumix Sync is also slightly older, having last received an update in October 2025, but it is compatible with recent S- and G-series Lumix cameras.

Lastly, Lumix Lab is the latest Panasonic camera companion app. As a result, it is only compatible with recent Lumix S and G cameras, including the S1 II, S1R II, S9 and more. This is the only Panasonic Lumix app currently receiving updates, so it's what we will be covering below.

Sending images to your phone The app gives you a few options for file types and makes it easy to transfer images to your phone.

As one would expect from a camera app these days, the Lumix Lab app allows you to wirelessly transfer images from your camera to your phone. It supports high speed transfer using 5GHz Wi-Fi, though you can turn this off if you don't want to, or legally can't use it. There's also the option to toggle automatic transfers on or off, which can send files to your phone as soon as they are taken (provided the two devices connected via Wi-Fi are relatively close together).

Lumix Lab allows you to transfer both JPEG and Raw files, though you do need to change some settings first, as Raw files are not transferred by default. To change this, navigate to Settings by tapping the three lines in the top left corner. Alternatively, when in the 'Transfer Photo / Video' menu, you can tap the gear icon in the top right corner. You can then choose Raw + JPEG, Raw, or JPEG. You can also choose from the same options for when you're shooting HEIF instead of JPEG.

The app also gives you the option to add the Raw file to your gallery or not. If you toggle that feature off, the Raw file will be saved to your phone's gallery, but will not be in the Lumix Lab gallery. If on, Raw files will be in both places.

Camera trigger and settings control Lumix Lab gives you two ways to remotely control your camera.

The Lumix Lab app offers remote camera controls, letting you adjust settings and trigger the shutter. The 'Camera Control' option gives you near-complete control over basic camera settings. You can change exposure compensation, shutter speed, aperture, ISO and white balance. There's also an option to change the camera mode (with the same settings as the top dial), or you can lock it so the mode can only be changed on the camera itself. It also provides options to apply real-time LUTs and change file formats, aspect ratio, drive mode, metering mode, focus mode and timer settings.

The 'Camera Control' feature shows you what your camera sees, functioning as a viewfinder. It even lets you change your focus point by tapping the image, just like you can on the rear display. It works with both photo and video functions.

Alternatively, if you only want a remote trigger function with no controls or live view, there's the 'Shutter Remote Control' option. It offers a simple digital button to tap to take photos or start and end video recordings.

GPS sharing

Cameras typically lack built-in GPS, but the Lumix Lab app lets you share your phone's GPS data with the camera. This is ideal if you want location data stored with your images. The feature is off by default, but tapping the three dots in the top-right corner opens a menu that lets you toggle geotagging on. You can also use this menu to have your camera's clock automatically sync with your phone's.

Firmware updates

Panasonic at one time provided the ability to update your camera's firmware with the Lumix Lab app, but it disabled that on October 20th, 2025. Unfortunately, at the time of writing, this means firmware updates must be done via a computer; a shame, since the ability to update your camera with your phone is typically one of the nicest parts of having the two connected.

Capabilities beyond the basics

The Lumix Lab app also offers features and tools beyond the basics listed above, giving you creative controls right in the app.

Editing There are all of the basic editing tools in the app.

The app provides access to basic editing tools, allowing you to adjust brightness, contrast, white balance, curves, noise reduction, straightening and more. However, while Lumix Lab supports transferring and storing Raw files, it does not support Raw editing. All editing tools are for JPEG files only, so you'll need a different app if you want to edit your Raws.

LUTs You can create your own LUTs, download ones created by others and send LUTs to your camera.

One feature Panasonic is very proud of with the Lumix Lab app is its LUTs for both photos and videos. There are multiple ways to interact with these. You can apply them in real time when using the camera controls, or add them after the fact when editing. There's a free LUT library where you can download versions created by others, or you can use the app to design your own, before uploading them to your camera, where you can use the Real-Time LUT feature to apply them to your straight-out-of-camera JPEGs.

Lastly, the Magic LUT tool lets you upload a photo with a look you like, and it uses AI to automatically create a LUT based on that.

Live streaming

Finally, the Lumix Lab app supports setting up your camera for live streaming. It is compatible with YouTube directly and with other streaming services using the RTMP/RTMPS protocol.

Rainbow Lorikeet

Nikon D810 w/ Nikkor 400mm F2.8 + 2.0x TC | F8 | 1/400 sec | ISO 3600
Photo: Lance Blackburn

If there's any class of creatures that deserves to be captured on camera in all its glory, it's birds. There are at least 11,000 known bird species across the planet and just as wide a variety of colors, sizes and shapes. As seen in the image above of the Rainbow Lorkeet, many birds carry intense and vibrant beauty across their feathers. Birds are a group of maniraptoran theropod dinosaurs with origins dating back at least 66 million years. They've had at least this much time to continue to evolve into some of the amazing species we see today.

Community member Lance Blackburn (aka Lance B in the forums) has taken some impressive bird photography over the years and is ready to share it with you in today's article. From starting out with a Pentax ME Super SLR decades ago to embracing modern mirrorless systems, his 45-year journey spans film, digital and mirrorless photography.

This story is part of our What's in your bag? 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.

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

Meet Lance Blackburn (Lance B.)

Home base: Australia

Favorite camera and lens: Nikon Z8 paired with the Nikkor Z 600 TC and 135 F1.8 S Plena. Lance favors this setup for wildlife photography because it's lightweight for its class and includes a built-in teleconverter, giving him the flexibility to shoot at 600mm or extend to 840mm, perfect for capturing birds and other animals in their natural habitats.

Typical photo scenes: Lance primarily photographs birds, wildlife and landscapes within a few hours' drive from home, though he also travels overseas to capture unique bird habitats in places like Lord Howe Island, Australia. His work blends the exploration of raw nature with the diverse beauty of life in the air.

"I've been passionate about photography since I was 20, when I got my first Pentax ME Super SLR. My father's love for slides and film nights sparked my early interest, and I've carried that enthusiasm ever since. Life kept me from dedicating as much time as I wanted at first, but over the years, photography has become a vital part of my day."

While-bellied Sea Eagle catching a fish.

Nikon D500 w/ Nikkor 80-400mm F4.5-5.6 @ 155mm | F5.6 | 1/2500 sec | ISO 360
Photo: Lance Blackburn

What's in Lance's bag

• Primary cameras: Nikon Z8 and Nikon Z9
• Lenses:
  • Nikon Z 14-30 F4 S
  • Nikon Z 14-24 F2.8 S
  • Nikon Z 24-70 F2.8 S
  • Nikon Z 24-120 F4 S
  • Nikon Z 70-200 F2.8 VR S
  • Nikon Z 100-400 F4.5-5.6 VR S
  • Nikon Z 180-600 F5.6-6.3 VR
  • Nikon Z 35 F1.2 S
  • Nikon Z 50 F1.2 S
  • Nikon Z 85 F1.2 S
  • Nikon Z 135 F1.8 S Plena
  • Nikon Z 600 F6.3 PF
  • Nikon Z 600 F4 TC VR S
  • Nikon Z 105 F2.8 MC
  • Nikon Z 1.4x TC
  • Nikon Z 2x TC
• Support gear: Lance uses a sturdy monopod paired with a gimbal head to manage heavy telephoto lenses while keeping mobility in the field. He also carries essential tools such as hex wrenches and a Leatherman for quick adjustments.
• Camera bags: "My camera bags are the Think Tank Backlight 18L, 26L or 36L. I choose between them depending on where and what I am photographing. I also have a few Lowepro bags that I use from time to time."

Lance's camera bag

Photo: Lance Blackburn

What are your favorite pieces of gear?

"I have over 20 Nikon Z lenses that cover everything I love about photography, and they help me achieve the results I desire. The collection includes birding and animal lenses, landscape lenses, travel lenses and several others for more artistic endeavors."

"While my favorite lenses are the Z 600 TC and the 135 F1.8 Plena, all the lenses I own are superb, and I wouldn't want to do without any of them."

Any other interesting gear you take with you?

"It kind of depends on where I am going. If I know there are places to eat, I won't bring food. A water bottle always goes with me, and generally antiseptic wet wipes and a small towel. Depending on where I am going and the time of year, warm clothing and/or wet-weather gear are a smart thing to bring. I would also suggest bringing a few small tools, like an Allen key for tripod use."

Osprey with a catch.

Nikon Z9 w/ Nikkor 400mm f/2.8E FL ED VR + 1.4x TC | F5.6 | 1/3200 sec | ISO 2200
Photo: Lance Blackburn

What got you started in photography?

"My father was into photography, mainly Super 8 film as well as still photography with slides and prints. I always loved those film nights we had as children, and that sowed the seed of interest."

"When I was about 20, I purchased my first 'real' camera, a Pentax ME Super SLR, and that got me hooked. However, I didn't have that much money back then, and I was busy with many other things, so my photography took a back seat. It was only when DSLRs became affordable in the early 2000's that I jumped into the hobby boots and all."

What's unique about photographing overseas locations?

"Every one of my trips overseas has been memorable. From visiting developing world countries like Myanmar, Vietnam, Cambodia and Thailand when they were developing countries, to the history and cultures of Europe and Japan.

Going to Lord Howe Island, a World Heritage Site, however, was a special treat. I got to photograph one of the world's rarest birds, the Lord Howe Island Woodhen, with fewer than 300 individuals left in its population.

Nankeen Kestrel preening itself. An endemic Kestrel native to Australia.

Nikon D800 w/ Nikkor 500mm F4 + 1.4x TC | F8 | 1/3200 sec | ISO 1800
Photo: Lance Blackburn

What tips can you share for shooting rare birds?

"I like to shoot both alone and with others, depending on what and where I (or we) are going to see. Shooting birds alone is sometimes best, though, because extra people may scare them more easily. However, sometimes it is good to go with others for company and safety reasons. So, is the shot more important, or is the overall journey and experience with others more important to you?"

Sacred Kingfisher

Nikon D810 w/ Nikkor 400mm F2.8 + 2.0x TC | F8 | 1/1000 sec | ISO 6400
Photo: Lance Blackburn

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

If you’d like to share your photography setup, 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?'

Left to right: Yuji Igarashi, General Manager, Professional Imaging Group
Jun Watanabe, Head of Product Planning, Professional Imaging Group
Makoto Oishi, Senior Manager of GFX product planning.

Photo: Abby Ferguson

An everyday-carry medium format camera, a quirky camera that is unapologetically not for everyone and a lens program shaped by users: Fujifilm's latest moves have certainly raised some eyebrows. Behind all of those devices, though, is a common thread that Fujifilm shared with us: the experience of using a camera is equally as important as the output.

At CP+ this year in Yokohama, we met with Fujifilm to talk about where the company is headed. Our conversation ranged from the GFX100RF and X half to film simulations, lens design and how closely Fujifilm wants to listen to its community.

The X half and the importance of experience Photo: Richard Butler

The X half is a camera that seemed to leave many confused. "I know X half is not for everyone. Because there are limitations," Igarashi explains. "But it's something to demonstrate that photography can be fun. It doesn't have to be too serious."

In terms of who the X half is for, many are first time Fujifilm buyers, and "over 70% of the users are in their 30s or below," Igarashi tells us. "That's quite a big number. And over 40% are women." Those are demographics he told us last year the company saw as an area for expansion. "But for the photography business and the digital camera business to be able to sustain itself and grow, we need younger people to continue to be interested in photography," he says.

"I think it's whether you can provide an enjoyable experience while making the image."

In Igarashi's view, connecting with the younger generation comes down to, in large part, experience. "I think it's whether you can provide an enjoyable experience while making the image," he explains. "Because smartphones can take great images, right? They're already really good. But I think that the experience is not as enjoyable as using a camera."

That enjoyment has to be balanced with image quality, however. "Otherwise, even if you enjoy the experience, if you don't get a good result, then I think people would get bored," he explains. "Maybe buying an old compact camera secondhand is fashionable for a while, but then you don't want to continue that. But if you have that enjoyable experience as well as great results, which you can cherish for years to come, then I think it will not just be a one-off thing; you will continue to enjoy photography."

The GFX100RF is not a one-off Photo: Richard Butler

Opinions were also quite mixed when Fujifilm released the GFX100RF, a medium format camera with a fixed lens, last summer. Fujifilm says the camera is selling well, but there were also complaints. "Although it's much smaller than the other GFX interchangeable lens cameras, some people would still think it's quite big," acknowledges Igarashi. Complicating the desire for something even more compact, though, was frustration from some about the lack of IBIS.

While Igarashi says there are lots of things you can photograph without IBIS, he isn't dismissive of the desire for it, either. "Some people want to use GFX as an everyday carry, for example, and for every situation," he notes. However, he says leaving IBIS out was a decision the team made to keep the camera's size reasonable, and one that seems likely to remain in future versions. "If we were to put IBIS inside, we can't really make it smaller," he explains.

"We are quite confident that this design could not be a one one-off camera."

Speaking of future versions, the GFX100RF will likely not be a single-edition model. "We are quite confident that this design could not be a one one-off camera but could carry on into the future," explains Igarashi. Watanabe even sees the GFX100RF as an important addition to the Fujifilm lineup. "I think this is a turning point to expand our [medium] format system," he says.

Their comments strongly suggest that we may see additional medium format cameras from Fujifilm in the future. "The medium format sensor has a lot of potential, I think, which is probably still underutilized... I think we see a huge potential. So maybe there will be more unique products to come from this format," Igarashi tells us.

Fujifilm's film heritage and colors

Fujifilm added a dedicated film simulation dial to the X-E5, showing its dedication to the feature.

Photo: Mitchell Clark

Fujifilm has long offered film simulations on its cameras, a feature that once set them apart from other brands. Recently, though, other companies have been adding their own takes on the idea as well, but Fujifilm still sees that it has an edge over what they are doing.

"Fuji has a history in film, and of course, in film simulation," Oishi explains. "And knowledge of the stock and target colors that so many customers used to use. So that kind of story will never die for us. That's a big differentiation from others."

He adds that the company's historical knowledge is something it can use as it studies future technologies as well. Given that display technology has changed so much in recent years, and that a few cameras have introduced more true HDR photography, adjustments to the classic film simulations may be necessary. Oishi tells us that the company isn't yet making changes, but that it should. In terms of HDR-versions of its film simulations specifically: "I think so. It's a future possibility," Oishi says.

Where the X mount lineup is headed

Of course, cameras are only one part of the equation. The company recently hosted an event dubbed 'Focus on Glass,' during which Igarashi discussed Fujifilm's development philosophy, the features of its existing lens lineup, and lenses that the product planning team is considering.

Igarashi tells us that the team wanted to host such an event partly because Fujifilm hasn't done a great job of conveying to users what makes X mount lenses worthwhile. "A lot of people tend to just look at the spec sheet and say, 'Okay, this is a 1.2 lens, a 1.0 lens, so bright,' and without really knowing what the resolution is corner to corner. In terms of the spec sheet, maybe some of the third-party lenses look better than ours. We just want to reiterate that we put a lot of focus on making lenses, and that's our technology as well."

"We want to see whether our passion aligns with the user's passion."

The video also included an introduction to 14 concept lenses and allowed users to vote on which they would like to see made. "There are a few opinions within the product planning team, and they all have different lenses they want to make," Igarashi tells us. "We want to see whether our passion aligns with the user's passion." According to Igarashi, user opinions will hold weight, too: "I would never take that lightly."

The results have been shared, and practicality seemed to reign supreme over novelty: the 16-80mm F2.8 received the most votes, followed by the 18-50mm F1.4 and the dual focal length 18 and 30mm. Only time will tell which of these come to fruition.

This article is based on an interview by Dale Baskin and Abby Ferguson at CP+ 2026. It has been edited for clarity and flow.

NASA’s Artemis II Space Launch System (SLS) rocket and Orion spacecraft are seen standing atop a mobile launcher at Launch Complex 39B, Tuesday, March 31, 2026, at NASA’s Kennedy Space Center in Florida. NASA’s Artemis II test flight will take Commander Reid Wiseman, Pilot Victor Glover, and Mission Specialist Christina Koch from NASA, and Mission Specialist Jeremy Hansen from the CSA (Canadian Space Agency), around the Moon and back to Earth no earlier than April 1, 2026.

Photo Credit: (NASA/John Kraus)

For space fans, today marks an exciting milestone: NASA is set to launch Artemis II at 6:24 p.m. ET, sending four astronauts on a journey around the Moon. Artemis II is the first crewed mission of NASA’s Artemis program and a crucial step toward eventually returning humans to the lunar surface for the first time in decades.

Ahead of the launch, we're seeing lots of content from NASA and beyond, sharing information about what we can look forward to seeing. One interesting video by YouTuber Erin Winick Anthony walks through some of the more than 28 cameras that will be mounted on Artemis II to document the journey.

The Orion capsule has numerous mounted cameras, including some on the ends of the four Orion solar arrays, which will provide really awesome views of the capsule. There are also lots of handheld cameras for the astronauts, too. That includes four handheld GoPros for the crew to record daily life, though that footage will be stored locally, and we'll have to wait to see it. The crew also has Nikon cameras that will provide live video during some of the mission as well, continuing a longstanding tradition of the agency using Nikons in space.

The sheer number of cameras underscores how important it is for NASA and its partners to document the mission well. To aid in that mission, National Geographic stepped in, sending photo and video experts to Houston last year to train the Artemis II crew. Reid Wiseman, Victor Glover, Christina Koch and Jeremy Hansen essentially attended a mini "astronaut film school," learning core visual storytelling techniques to better showcase the Artemis mission.

That's not all, either. The crew has also been using visualization tools to help plan photographic targets. Those targets include the Orientale basin and recreating the "Earthrise" moment from Apollo 8 that Christina Koch had as a poster on her wall as a child. The visualization tools have allowed the crew to practice with different lighting scenarios, and they've even been practicing by aiming cameras at the simulations.

The launch is scheduled for this evening, so hopefully conditions align, and everything goes smoothly for a planned – and safe – launch. If you happen to be in Florida or eastern Georgia, you may even be able to catch a glimpse. NASA shared a map of when to expect to see the launch based on your location, which you can check out here.

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

Image: Canon (via CanonCat.net)

Most DPReview readers will know Canon from its photographic equipment, such as cameras, lenses, printers, and inks. Some may even know that it's an important player in lithography, making the machines that help make computer chips. But you'd have to have a pretty good memory (or be a frequent watcher of my former employer The Verge's Version History podcast) to know that the company once made and sold computers, including one that was designed by a key member of the original team that built the Apple Macintosh.

That computer is called the Canon Cat, and its creation was led by Jef Raskin. It debuted in 1987, according to The A Register, and Canon sold it not as a word processor, electronic typewriter or even personal computer. Instead, the company called it a "Work Processor": a machine to "help you write and edit, communicate and calculate."

You don't buy something called the Cat to use a mouse.
Image: Canon (via CanonCat.net)

Despite the Macintosh lineage*, the Cat didn't adopt what was arguably one of that computer's defining features: a mouse for navigating the UI, an omission that was actually touted in the marketing materials (which have thankfully been preserved on CanonCat.net). Nor did it have arrow keys. Instead, you navigated using the keyboard, which had various secondary functions attached to its standard letter keys. The core navigation feature, though, was the Leap system.

The Leap system used two keys under the spacebar. If you pressed Leap, then started typing, your cursor would jump to whatever word matched what you had just entered. So, for example, if I pressed Leap and entered "Ver", it would jump back to the first paragraph to select "Verge," and from there I could make whatever changes I wanted. The buttons also had a secondary function that let you cycle forward and back through your text to jump between multiple instances of what you typed.

The Cat had some other cool ideas too, largely designed to make it simple to use without much training, in a time when a lot of people wouldn't have that much experience with a computer. For the most part, the main program you interacted with acted just like a stack of paper, letting you break the pages up into separate documents however you saw fit. But documents didn't just have to be text; you could also create spreadsheets alongside your text, which could automatically run calculations (which, again, you controlled using the Leap system).

The Cat could also sort text, run a spell check, print documents and even control your phone. It was, however, a much more basic machine than something like the Macintosh, with its programs like MacPaint, PageMaker and, just three years after the Cat was introduced, Photoshop. You would hope the Apple computer could do more, though, given that the Cat retailed for $1495 (around $4300 today), while its contemporary, the Macintosh II, started at $3769 (a whopping $10,842 after inflation).

The Cat was an appliance computer; a machine that ran a handful of included programs, rather than one that let you run arbitrary applications.
Image: Canon (via CanonCat.net)

Ultimately, though, it was the Macintosh's idea of computing that won out, rather than the Cat's**. While text-editing pros can jump around their documents just as fast as the Leap system allowed, that style of editing didn't end up becoming the norm for most office workers. But the Cat is a reminder of a time when the future of computing was up for debate, and when companies were taking big swings to come up with the way we would all interact with the machines that were fast becoming a part of daily life.

It's also a reminder of when Canon made computers for personal use and office workers, a business it's been out of for quite a while. That's probably okay, though; it's doing pretty well at selling cameras.

If you want to learn more about The Cat, CanonCat.net has an archive of much of its marketing material and documentation, including reference guides and contemporary articles. Archive.org has an emulator of the Cat's operating system, which lets you get a feel for how the Leap system works (the Option or Alt keys act as the Leap keys). There's also a 6-minute video on YouTube demoing a working Canon Cat.

* - While Jef Raskin helped pioneer the Macintosh and a lot of the ideas it introduced, other members of the Macintosh team say the concept changed quite substantially from his original vision after Steve Jobs took the project over. It's controversial whether he was a fan of what the mouse ended up being.

** I'm sure there's some particular text editor for Linux that works more like the Cat that people are leaping to the comments to tell me about, but most people use a mouse or, these days, a touchscreen.

Jeff Keller is not eligible for this campaign, since he's far from a bad photographer.

Photo: Jeff Keller

Companies typically look for high-quality photographs for marketing materials, but Icelandair is taking a different approach this time. The airline's most recent campaign is instead focused entirely on "bad photographers," offering up a free trip and an additional financial prize for the worst of the worst.

Icelandair recently launched a campaign seeking "the worst photographer" to prove that even bad photographers can capture beautiful images of Iceland. According to the website, winners will receive a 10-day trip to Iceland, with travel expenses paid and the chance for their images to be used in a global ad campaign. The free trip isn't all selected participants get, either. They could also win $50,000.

Naturally, there are some specific requirements. You have to be someone with no professional background in photography, and no "special" interest in learning photography. The company also specifies that you should be "frequently disappointed with your own photos." Despite all that, you also need to be prepared to have your photographs displayed internationally.

The application process is simple. You just have to convince Icelandair that you are a bad photographer and can speak English.

The application process includes a brief questionnaire that asks about your photography skills, whether you share on social media while traveling and whether you're comfortable being in front of a camera. There's also an option to upload a 60-second video to explain why you are the worst photographer, though it isn't required.

I'm sure no one here in our DPReview community would be eligible. But just in case you think you are, or you know someone who chronically takes bad photos, no matter how much guidance you try to provide, applications are open through April 30. Just a word of caution: if you're sharing this contest with someone specific, it may require a bit more tact than just sending a link and saying "saw this and thought of you!"

Image: SmartSens

Anyone who spends time digging into which sensors power the cameras on flagship mobile phones will know that the industry has largely been dominated by a few main companies; Sony, Samsung and Omnivision. But recently, a company called SmartSens has been working on breaking into the market, and its latest sensor may be destined for some of the highest-end phones on the market.

The SC5A6XS is a 50MP Type 1 – well, technically Type 1/0.98 (128mm²) – stacked sensor, which the company says is capable of capturing 4K video at up to 120p, or up to 60p with HDR (which, in this case, likely means blending frames to capture wider dynamic range before outputting to SDR). SmartSens also says that can provide up to 19EV of dynamic range without the need for multiple exposures. While that's certainly impressive, and more than most smartphone sensors are currently quoted as providing, that figure should be taken with the same sizeable grains of salt reserved for whenever manufacturers talk about DR figures.

According to SmartSens, the SC5A6XS also performs well in low-light, and is efficient with its power use; an important consideration for mobile phone photography.

The company seems to be keeping up with the state-of-the-art

While there are a few 50MP Type 1 sensors out there, including from SmartSens itself (last year's SC5A5XS made its way into the Huawei Pura 80 Ultra), the company seems to be keeping up with the state-of-the-art when it comes to sensor design. The SC5A6XS uses LOFIC (lateral overflow integrating capacitance), which works similarly to the dual conversion gain designs we've seen in camera sensors, but with the additional capacitance being added in a later part of the readout circuit.

The latest LOFIC approach has the added benefit that you can capture a low-gain signal (for midtones and highlights), high-gain signal (for shadows) and any excess signal (for highlight expansion), which is likely to explain SmartSens's rather ambitious DR claims.

While LOFIC isn't new, it seems to be getting more attention recently from major players. Omnivision now offers several sensors that use it, Sony recently debuted a new generation of its security-focused Starvis sensors that adopts it, and Apple and Samsung both reportedly looking into using it in future products.

Unless you live in a market open to Chinese-made phones, your next smartphone's main camera probably won't use a sensor from SmartSens. But it's exciting to see a new company start to compete in this space, and it'll be interesting to watch whether the SC5A6XS or the company's other products start to show up in more phones from more brands.

Daniel Balton (on the left) poses in front of his jib, the crane device behind him.

Photo courtesy of Daniel Balton

The Super Bowl halftime show may look effortless to viewers, but behind it is an enormous amount of planning and a crew of unsung heroes who make the live broadcast look polished. One such person is Daniel Balton, a jib operator and technician.

Balton has now worked on eight Super Bowl halftime shows, including this year's Bad Bunny performance and other productions, such as the SNL 50-year concert, VMAs and operas. I recently had the opportunity to chat with Balton via video to learn more about his background, what made this year's halftime show feel so different and what it's like being a jib operator at such a high level.

Inside the new era of halftime

Balton was responsible for capturing the electric pole moment during this year's halftime show.

Photo: Daniel Balton

One common refrain from this year's halftime show (which you can watch here) was that it felt more like a music video than a live performance. "That's a very intentional shift that's been happening in the industry," Balton explained. "It started probably before the pandemic... where on the artist side, they were coming in with their creative team and having a much more specific vision for what they wanted the show to look like."

"Every single shot that you're seeing in the halftime show now is a very, very tightly scripted shot."

In earlier eras, the live television director controlled the look and pacing, making creative calls as the performance unfolded. That's no longer the case, though. "Every single shot that you're seeing in the halftime show now is a very, very tightly scripted shot numbered throughout an entire sequence," he said. Last year, the NFL shared a short documentary detailing this process, which you can watch on YouTube.

"I can't overemphasize, every single moment of that show has been pored over by the artist camp, the production team, Roc Nation, the NFL," Balton added. "There are so many big camps involved that all have very, very specific notes about how they want this to come together." It’s a level of precision that leaves little room for improvisation.

Balton says that the Serena Williams cameo in last year's Super Bowl show was simple, but one of the most stressful shots he's had.

Photo: Daniel Balton

As an example of that specificity, Balton told us about Serena Williams' appearance at last year's Kendrick Lamar show, which he was responsible for capturing. It was two very quick shots, with a total of maybe five seconds on air, but the direction was very particular. "I was told specific framing of like, the first shot is her head to toe, then they cut away for a fraction of a second, and I have to quickly zoom in and get more of a waist shot of her," he explained. "It's hard to do in a live event because you don't know what's going to happen. There's always going to be factors that you cannot predict, and you cannot control."

The higher level of production also requires more camera operators, and this year, there were 14 of them dedicated to the halftime show, plus the cameras already in place for the game broadcast, such as two Skycams. Balton’s jib was responsible for six specific shots, including the trust fall and the climb up the electric pole.

Some operators are even more specific in their coverage, too. "The incredible thing is, because of the way that they're now shooting it, some of these cameras have literally one or two shots in the course of the entire show," he said. "Like they were there for a very specific reason, to capture just one particular moment."

Coordinated chaos Photo: Daniel Balton

While there's certainly pressure during the show, Balton says that the most stressful part of the process is the setup in the moments before the show starts. "When we roll out onto the field, nothing is plugged in, so it's this mad dash to get to your location," he told me. "You're plugging in your camera, your power, your line of communication to the truck. So it's three or four things that if one thing doesn't work, it's going to be a massive problem. It's always that tense moment of like, no matter how many times you do it, it's going to be that same suspense."

"It's three or four things that if one thing doesn't work, it's going to be a massive problem."

During the show, because of the tight shot schedule, camera operators have to be dialed in and ready at precisely the right moment. Again, Serena Williams' appearance highlights this. Balton had been involved in the circular stage sequence earlier in the performance. He and his team then had to roll the jib over to a different position to capture Williams, all while navigating around the crowded field.

Then, Serena was on the platform a mere two seconds before his shot. "It's hard when there's not someone standing there to gauge what a head-to-toe shot should be, especially when they are so hyper specific about that," Balton said. "It wasn't technically the most complex shot, but it was high pressure to get there and land it, and we had only rehearsed once with Serena," he told me.

Shifting gear requirements

Balton also captured the trust fall, the only moment from the show that worked in pre-recorded footage.

Photo: Daniel Balton

The more cinematic halftime has also changed the gear used to cover it. Production has moved away from traditional broadcast cameras toward cinema-style bodies and lenses, which are far less forgiving. Because of that, there is now a focus puller with almost every camera. "With the cinema style cameras, if you want your subject to stay sharp, that is someone's specific job because it is literally a game of inches," he explained.

"If you want your subject to stay sharp, that is someone's specific job because it is literally a game of inches."

Autofocus is still a rarity during productions at this point. Balton told me that at this year's show, one or two cameras were running on autofocus, but overwhelmingly, camera operators are using manual focus with a dedicated focus puller.

In terms of what gear he uses, Balton doesn’t get to pick his camera body. A vendor provides the full package for the event. This year, since Sony was the official optical partner, most of the cameras were Sony, such as the Sony Venice. Lens selection is more collaborative, though, and brands are much more varied.

Born into the broadcast

Balton and his family cover all sorts of events, including New Year's Rockin' Eve.

Photo courtesy of Daniel Balton

Television production is something that has been part of the Balton family story for decades. Daniel's father, Rob Balton, started his career in the 80s as a grip, building his career and eventually investing in advanced camera jib technology. Rob built a business, called Camera Moves, around that work, which expanded as television events grew in ambition, and it became a true family affair. His mother, Mary, managed the office, and his uncle worked the jibs, eventually joined by his cousin as well.

Despite all that, Balton never felt pressured to join. He loved watching his dad’s world, but it wasn’t something he originally planned to do himself. "My first job out of college was directing for a PBS affiliate... and I was thinking about pursuing directing more aggressively," he said. That shifted eventually, though. "I was also part-time working with the family business and going on jobs, and I started to realize it's an environment I love to work in," he reflected.

His dad, who was part of the iconic Prince halftime show in 2007, is winding down his career, but still works on big shows, including Late Night with Seth Meyers. Balton clearly appreciates the opportunity to work with his dad, too. "I've learned from one of the best, and I try to bring that level of quality to the productions that I get to work on," Balton says of his dad.

Advice to future generations Photo: Daniel Balton

Balton admits that it's a weird time in the industry, so he's cautious about giving advice to young people. However, there are some factors that remain critical. On the more technical side, Balton recommends paying attention to emerging technologies, including AI, and finding your niche. "It doesn't have to be a specialty piece of equipment necessarily, but if you can find something that can make you one of the go-to people for that thing, that's really great."

The human side of the industry can't be left out, either. "I always heavily emphasize the networking element of it. If you do not make yourself known to people, they are never going to think to hire you," he told me. "Then you just have to reach out to people and expand your network as aggressively as possible. You don't know where an opportunity is going to come from."

You can learn more about Balton and follow along with his work at the Camera Moves website, the Camera Moves Instagram account and on his personal Instagram.

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

The Sony a7 V is a surprisingly large step forward from the already capable a7 IV. The move to a "partially-stacked" version of the 33MP BSI CMOS sensor lets it shoot faster, boosting both burst shooting and video capabilities. It also adopts a design that can combine its sensor's low- and high-gain readout modes, offering excellent dynamic range.

Buy now:

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

A new processor allows it to deliver the latest AI-trained subject recognition modes, giving you autofocus performance to match that fast shooting and those video capabilities. However, it has some fierce competition in the do-everything full-frame sector, especially in the light of a price rise over its predecessor.

Watch the video to see what we thought after our usual extensive testing and use.

Click here to read our full, written review of the Sony a7 V

Sony a7 V review 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.

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