Digital Photography Review news

The Camp Snap 2 wants to be your favorite screen-free camera – but there's a catch

Photo: Dale Baskin

The original Camp Snap camera was a surprise hit, a minimalist camera that succeeded largely because of what it lacked. Originally marketed as a low-cost, screen-free camera for kids to take to summer camp, where devices with screens are sometimes banned, it found a second audience among adults drawn to its no-frills, toy camera simplicity.

The Camp Snap 2 is built around the same basic hardware, but has a slimmer design that takes cues from classic rangefinder aesthetics, and includes several small but meaningful improvements. It's a likable little camera, though with a sensor much smaller than a typical point-and-shoot, image quality isn't the reason to buy one.

Key features
  • 8MP, Type 1/3.2 image sensor (15.7mm²)
  • 26mm (equivalent) F2 lens
  • Dual-tone LED flash (6500K cool / 3000K warm)
  • 6 present 'Filters' for different photo looks, changeable in-camera
  • Screw-lockable door to access memory card and date/time settings
  • 30.5mm filter thread
  • Tripod socket
  • 4GB microSD card included
  • USB-C port

The Camp Snap 2 is available in nine colors, including translucent options, and costs $70. It can be ordered directly from Camp Snap.

Buy now:

Buy at Camp Snap The case for a dedicated summer camp camera

Before diving into the camera, it's worth some context, particularly for those outside North America. Summer camp is a big tradition in the US and Canada, with kids spending anywhere from a few days to a few weeks at outdoor camps. For many kids, it's the highlight of the summer.

I have some personal perspective here: not only did I attend summer camp as a child, but I ran one for several years. Back then, if kids brought cameras, they used film and waited until they got home to see the results.

The Camp Snap 2 camera is designed for kids to take to summer camps with a screen-free policy, but it has found a second audience as a fun toy camera.

Camp Snap 2 camera | F2 | 1/1700 sec | ISO 100
Photo: Dale Baskin

Today, many camps prohibit devices with screens, including smartphones and most digital cameras. They want to keep kids engaged with each other and the outdoors rather than staring at screens or messaging friends at home. That's the scenario the Camp Snap was designed for.

What's new

If you're familiar with the original Camp Snap, here's what's changed.

The most important addition is a dedicated on/off switch. On the original, the shutter button doubled as the power switch, which was awkward and potentially confusing. The Camp Snap 2 also gains an automatic sleep mode, so a forgotten power-off won't drain the battery.

The back of the Camp Snap 2 camera is as simple as it gets. An on/off/flash switch (upper left), a tunnel-style viewfinder, a tiny LCD frame counter, and a button to change the filter style of the images (center right). There's also a speaker that emits shutter sounds when the shutter button is pressed.

Photo: Dale Baskin

Filter presets (color modes) can now be changed in-camera. The original required a computer connection to change modes, and if you wanted to change it, you had to reconnect to the computer. The Camp Snap 2 offers six: Standard, Vintage 1, Vintage 2, Vintage 3, Analog, and Black & White, cycled through using a button to the right of the frame counter. Holding it for 10 seconds locks it, useful if you'd rather your kids not fiddle with the settings.

Like the original, the Camp Snap 2 has a small screw securing the card slot door, and the new model adds a conventional slide-lock so you can remove the screw if you prefer.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. A comparison of the Camp Snap 2's six color modes.

Also new: a 30.5mm filter thread and a tripod socket. I don't anticipate many people will use this camera with screw-on filters, but Camp Snap has strongly hinted that it plans to release some. The tripod socket is of limited utility without a self-timer or a way to remotely trigger the shutter.

In use

The Camp Snap 2 is exceptionally easy to use because there's so little to control. It's the closest thing to a 'plastic fantastic' disposable camera you'll find in the digital world. The only controls are the shutter button, the power switch (which also activates the flash), and the filter button. A tiny LCD on the back displays the shot count and the active filter.

"It's the closest thing to a 'plastic fantastic' disposable camera you'll find in the digital world."

Since there's no LCD screen for composing shots, you frame photos through a simple tunnel-style viewfinder. It's not fancy, but it works, which is all it needs to do.

The camera includes a 4GB microSD card, which Camp Snap says should hold around 2,000 photos. That's plenty for a week at camp, and you can always use a larger card if needed.

The bottom of the Camp Snap 2 houses the USB-C port, tripod socket, and a screw-locked door covering the memory card slot and date/time controls. The screw discourages kids from opening it, but can be removed if you'd prefer

Photo: Dale Baskin

The card lives behind a panel that screws shut, and that's very much by design. From personal experience running a summer camp, I can tell you that kids are remarkably good at losing things. Placing a screw on that door is a meaningful deterrent between a curious kid and the only copy of their photos.

Of course, there's no guarantee they won't lose the entire camera (because: kids), but if they do, it was only $70 to start with.

Camp Snap 2 camera | F2 | 1/2500sec | ISO 100
Photo: Dale Baskin

The flash is an LED type, similar to a smartphone flash, which can produce that same washed-out look. Auto flash mode is gone this time around, which is a minor loss. That said, given the limitations of the LED unit, leaving it off unless it's absolutely needed is probably the right approach anyway.

The camera runs on an internal battery charged via USB-C, which is one less thing for kids to lose. Camp Snap rates it at around 500 shots, which seems reasonable in my experience.

Image quality

It's important to set appropriate expectations for image quality. It's an inexpensive camera that's designed mostly for kids to capture memories, with the idea that it's potentially disposable should disaster happen.

Don't expect the same level of image quality that you would get from a modern smartphone or even a retro point-and-shoot camera, though. The camera's imaging sensor is tiny. In fact, it's smaller than the ones used in most smartphone cameras, and it doesn't benefit from any of the computational photography techniques those devices use to improve image quality.

It's worth illustrating this with some real-world examples. In the table below, you can compare the Camp Snap 2's sensor and lens to other cameras that have lenses with similar focal length, including the Kodak C1, the Olympus Tough TG-5, a rugged camera introduced in 2017, and the iPhone 13, a several-year-old smartphone.

Camp Snap 2 Kodak C1 Olympus Tough TG-5 iPhone 13
(main camera) Price $70 $120 $450 $799 Sensor type 8MP 13MP (BSI) 12MP (BSI) 12MP (BSI) Sensor area 15.7mm² 15.9mm² 28.1mm² 35.2mm² Lens* 26mm F2 26mm F2 25-100mm F2-4.9 26mm F1.6 Light captured** 1x ~1x 1.8x 3.5x

*Focal lengths are 35mm equivalent.
**Relative to Camp Snap 2, based on sensor area, aperture, and sensor type (BSI sensors capture more light than conventional sensors of the same size).

In general, the more light a camera gets, the better the image quality, and the numbers on the last line tell a clear story: the Camp Snap 2's sensor captures roughly half the light of the TG-5 and less than a third of what the iPhone 13 captures – and that's before the iPhone's computational wizardry kicks in. The Kodak C1's BSI sensor gives it a slight edge over the Camp Snap 2 despite their similar size, along with a flip-up LCD screen, for just $50 more.

Of course, what none of those cameras can provide is the simplicity and screen-free experience of the Camp Snap 2, and if a screen-free camera is what you need, or simply the experience you're after, it stands out.

The Camp Snap 2 is prone to clipping bright highlights, like clouds.

Camp Snap 2 camera | F2 | 1/1150sec | ISO 100
Photo: Dale Baskin

In most cases, the Camp Snap 2 does a good job of getting exposure correct, but it struggles with strongly back-lit scenes, and while the white balance is generally on target, photos can occasionally exhibit a slight color cast.

The most visible artifacts you're likely to encounter are clipped highlights on bright objects or JPEG compression artifacts, which are obvious if you pixel peep images at magnification.

Verdict

The Camp Snap 2 is a good camera to send to camp with your kids, particularly if there's a no-screens rule. It's incredibly easy to use and lets kids capture memories that last a lifetime. Older kids, or those with some photography experience under their belt, might find it too simplistic and would be better served by something with a bit more control.

However, it has a fun factor, and if you're buying it for your child to take to summer camp – or even for yourself to have some fun – it's up to the task. When I look back at photos I took at summer camp as a kid with a film camera, the image quality leaves a lot to be desired. But adult me doesn't care one bit about that. The purpose of those photos was never to be fine art. It was to capture memories of something that mattered, and they do exactly that. The Camp Snap 2 can do the same.

From vicious storms to sunlit vistas: Readers share their weather photos

What are your favorite weather conditions for photography?

Photo: Collage of entries for this week's Question of the week article

Last week, we asked you what your favorite weather events are for taking photographs. From stormy seas to picturesque forest hillsides, a wide range was depicted. Initially, when we said "weather events", all we thought we might get were tornadoes, floods and other disaster scenes. You surprised us with a truly wide palette to appreciate.

View the above slideshow to check out the 15 selected memorable photographs. Many more could not be included, so check them out in the forums. We'd love to see you contribute your own weather experiences, too.

Share your favorite weather events!

Shrouded city skyline

Photo: AshleyMC

"Any weather condition that is not life-threatening. :)"

Share your favorite weather events!

Shrouded Swiss mountains

Photo: 99tollap

"I live in the Swiss mountains, and for me, changeable cloud cover, revealing hidden mountain features, with occasional isolated bursts of sunlight, is the best."

Share your favorite weather events!

Frosted window

Photo: Maoby

"The days of extreme cold and seeing the frost on the windows from the warmth of inside, with a good coffee."

Share your favorite weather events!

Low clouded valley

Nikon Z f | Nikkor Z 26mm f/2.8 @ 26mm | F11 | 1/200 sec | ISO 100

Photo: AWG_Pics

"Any weather is workable, but skies with interesting clouds are fun!"

Share your favorite weather events!

Romantic forest mountain view

Sony ILCE-7M3 | Nikkor DX 24mm f/3.5 @ 24mm | F10 | 1/160 sec | ISO 100

Photo: Jefenator

"Call me a romantic drama addict; I'm all about that blend of sunlight and clouds."

Share your favorite weather events!

Firey town sunset

Photo: GinoSVK

"Sunset just after major rain, as surprising as it is bountiful."

Share your favorite weather events!

Ocean dock view sunrise

Canon EOS R8 | 600mm | F11 | 1/1600 sec | ISO 1600

Photo: kodakrome

"Depends on what I'm shooting. For birds, I like a clear day. For general scenery, partly cloudy is my friend."

Share your favorite weather events!

A snowy good time

Panasonic DMC-G3 | 45mm | F5 | 10/1600 sec | ISO 160

Photo: richj20

"Fog and snow. Unfortunately, where I live in So. California, those are rare conditions."

Share your favorite weather events!

Dramatic lightning event

Canon EOS 5D Mark II |24mm | F13 | 8/1 sec | ISO 100

Photo: Zeee

"Mostly fog and mist. Dark skies with frost. Sometimes lightning."

Share your favorite weather events!

Frosty mountain snow town

Pentax K-1 | 37mm | F8 | 25/1 sec | ISO 250

Photo: KPM2

"It doesn't happen often here where I live, but at that special night the moonlight was beautiful. And in long exposures, clouds sometimes blur very subtly."

Share your favorite weather events!

Huge tornado approaching

Apple iPhone 16 | 2.22...mm | F2.2 | 1/99 sec | ISO 160

Photo: Howard V

"This forming tornado missed us by about three miles while we were on vacation at a rodeo in South Dakota."

Share your favorite weather events!

Summer tropical getaway

Panasonic DMC-GX8 | 20mm | F4 | 10/10000 sec | ISO 200

Photo: tranceliner

"Several have mentioned a dislike for cloudless, blue skies. I agree - for the most part. However, a cloudless sky can help emphasize the scene being photographed."

Share your favorite weather events!

Deep blue morning

Panasonic DC-G9 | 8mm | F2.8 | 2/5 sec | ISO 200

Photo: GrayCard

"I really like very early mornings, regardless of the season, sometimes right after a storm, when the light is at its most gentle. Blue Hour at Meadowlark Gardens."

Share your favorite weather events!

Stormy seaside

Photo: tranceliner

"Very often depends on the mood. I love strong gale winds, especially if I am heading towards the Grand Harbor, Malta."

Share your favorite weather events!

Dramatic cloud-covered sunset

Canon EOS R6 | RF 70-200mm F4 L IS USM @200mm | F4 | 1/500 sec | ISO 100

Photo: tommo_k

"Generally speaking, I like dramatic skies, either the colors or cloud shapes, to have some interest in the skies. As many in this thread, I love dramatic mountain landscapes enriched by clouds. Mountains and sunsets are a great combo, too."

Share your favorite weather events!

Hungry for good pictures? These photographers have cooked up a treat

Winners of the 2026 World Food Photography Awards sponsored by Bimi

The winners of this year's World Food Photography Awards sponsored by Bimi have been announced, celebrating food storytelling across the world. The winners of the 27 categories were unveiled by chef and food writer Gennaro Contaldo at the Mall Galleries in London this evening.

"These Awards highlight the power of photography to tell food stories from around the world," says Dave Samuels, Brand Director of Tenderstem Bimi Broccolini and headline sponsor of the Awards. "The remarkable images remind us of the essential role food plays in communities across the globe - through growing, harvesting, cooking, eating, celebrating and surviving. Whatever changes the world goes through, food remains central to our lives."

This year's edition of the contest saw nearly 9000 entries from over 50 countries. The judging panel was chaired by David Loftus, a legendary food photographer, and included Claire Reichenbach, CEO, James Beard Foundation; Tom Athron, CEO, Fortnum & Mason; Rein Skullerud, Senior Photographer & Photo Editor, World Food Program; Jamie Oliver, Chef, Restaurateur; and Olia Hercules, Food Campaigner, Activist, Author and Chef.

An exhibition of all 203 finalists will be on view at the Mall Galleries, London, from June 3 to June 7. We've included a selection of the category winners below, but you can see all of the 2026 finalists and category winners on the contest website.

Overall Winner and Fortnum & Mason Food at the Table

Title: A Woman Eats in the Canteen of the Soviet-era Sanatorium

Photo credit: Jo Kearney / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: The Khoja Obi Garm sanatorium (health hotel), Tajikistan, is a brutalist concrete monstrosity built on hot radon gas-infused springs in the mountains. During Soviet times, communist workers were given two weeks annual holiday here. Today, its low price - $28 per day including full board and treatments - attracts ordinary Tajiks plus tourists from the neighboring 'Stans' and the odd backpacker. Treatments include hot pools and steam rooms, wax wraps and tanning barrels, plus hearty, healthy meals.

Instagram: @jokearneyphotography

Cream of the Crop

Title: Ine Fishing Village, Kyoto, Japan

Photo credit: Albert González / World Food Photography Awards sponsored by Bimi

Nationality: Spanish

Description: Squids drying in the sun using the traditional Japanese technique of Himono in the fishing village of Ine, Kyoto Prefecture, Japan.

Technical details: Canon EOS 6D | EF 70-200mm F4L IS USM | 89mm | F6.3 | 1/3200 sec | ISO 125

Instagram: @leckerstudio

Cake Award

Title: A Mid-Century Man and His Cake

Photo credit: Claudia Anton / World Food Photography Awards sponsored by Bimi

Nationality: Australian

Description: This image creates a cinematic mid-century mood with high contrast, warm tones and textures. The cake is the centerpiece with symmetrical lines and buttercream swirls glowing in the firelight. The scene is filled with hidden vintage surprises, family heirlooms and trinkets. A nod to the era and a moment in time.

Instagram: @thesugarologist

Bring Home the Harvest

Title: Early Morning Catch, Hooghly River

Photo credit: Marco Rutten / World Food Photography Awards sponsored by Bimi

Nationality: Dutch

Description: At sunrise beneath Howrah Bridge, a small crew hauls in their nets on the Hooghly River. River fish remain everyday food and income here: catches from boats like this are sold in nearby markets and prepared that very morning in Bengali kitchens. A quiet, collective harvest beneath the city’s busiest crossing.

Technical details: Canon EOS 6D Mark II | EF 24-105mm F4L IS II USM | 35mm | F7.1 | 1/80 sec |ISO 100

Instagram: @marcophotoworld

Champagne Taittinger Wedding Food Photographer

Title: Twin Bridesmaids Enjoy Canapés, Devon, UK

Photo credit: Emma Stoner / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: May 2025. Twin bridesmaids enjoy canapés of 'Proper Crisps' at Jess & Tom's wedding. They are pictured in the gardens at The Grain Store in Devon, UK.

Technical details: Canon EOS 5D Mark IV | EF 24-70mm F2.8L II USM | 35mm | F3.5 | 1/1000 sec | ISO 500

Instagram: @emmastonerphotos

Food Influencer

Title: Noodles

Photo credit: Maja Lewicz / World Food Photography Awards sponsored by Bimi

Nationality: Polish

Description: Dark, moody noodles with texture that you can almost feel. Mysterious, bold and irresistible.

Technical details: Canon EOS 6D Mark II | EF 50mm F1.8 STM | F10 | 0.3 sec | ISO 100

Instagram: @veggie_intervention

Louis Jadot Wine Photographer of the Year - Overall Winner (and People)

Title: In the Depths of the Deposit

Photo credit: Juan Miguel Ortuño Martinez / World Food Photography Awards sponsored by Bimi

Nationality: Spanish

Description: During the cleaning of the underground tanks, Pedro goes down and cleans the walls and floor of the remains of the previous wine with pressurized water. Once clean, his partner lowers a small bucket with a sponge inside to collect the remains that are left in the lower corner.

Technical details: Canon EOS R5 | EF 24mm F1.4L II USM | F1.6 | 1/125 sec | ISO 6400

Instagram: @ortunojuanmiguel

Louis Jadot Wine Photographer of the Year - Places

Title: The Hidden Vineyard, Pokolbin NSW, Australia

Photo credit: Chris Elfes / World Food Photography Awards sponsored by Bimi

Description: This vineyard is just beside a main road, but you can't see it unless you stop. It is sort of hidden. This image was taken while Mount Pleasant Wines picked their Semillon grapes. I stopped to shoot the ground action, but the drone gave me a great perspective, and nature did its best to help me.

Technical details: DJI Air 2S | 22mm equiv. | F2.8 | 1/800 sec | ISO 200

Louis Jadot Wine Photographer of the Year - Produce

Title: In the Eye of the Kvevri

Photo credit: Luke Carver / World Food Photography Awards sponsored by Bimi

Nationality: British

Description: Point-of-view shot from inside a traditional kvevri during the 2025 grape harvest in Georgia.

Technical details: Canon EOS 6D | EF 16-35mm F2.8L II USM | 16mm | F2.8 | 1/800 sec | ISO 12,800

Instagram: @lukecarverphoto

The James Beard Foundation Photography Award

Title: At the Register

Photo credit: Daniel D Kwak / World Food Photography Awards sponsored by Bimi

Nationality: American

Description: A moment of respite from the line at Hadja Marley, an authentic Senegalese eatery in Brooklyn. This portrait captures the daily rhythm of life on Fulton Street, focusing on the steady presence of the staff and the traditional West African flavors that bring the local community together. A study of neighborhood service.

Technical details: Canon EOS 5D Mark IV | 24-70mm F2.8 | 51mm | F3.2 | 1/500 sec | ISO 3200

Instagram: @foodcre8ive, @dkcre8ive

Hotel Art Group Food Stylist Award

Title: Raw Pairing No.2

Photo credit: Styling: Sarah Ghijselinck | Photo: Sandra Declercq / World Food Photography Awards sponsored by Bimi

Nationality: Belgian

Description: Instead of presenting a finished dish, this image focuses on the ingredients behind the pairing. Salt, fat and vegetal bitterness are arranged in balance, illustrating how wine pairing originates in the interaction of fundamental flavors rather than the final recipe.

Technical details: Canon EOS R | EF 100mm F2.8 Macro USM | F20 | 1/125 sec | ISO 100

Instagram: @sarahghijselinck.foodstyling

Food in the Field

Title: Dusty Journey

Photo credit: Serkan Dogus / World Food Photography Awards sponsored by Bimi

Description: Every morning, hundreds of sheep arrive in the village from the high pastures of Mount Nemrut for milking. After the milking is completed, at sunset, the sheep set out once again toward Mount Nemrut, and their dusty journey begins.

Technical details: Sony a7R III | FE 70-200mm F2.8 GM OSS | 164mm | F8 | 1/400 sec | ISO 100

Claire Aho Award for Women Photographers

Title: Granny's Welcoming Gift of Love

Photo credit: Kellie Carter / World Food Photography Awards sponsored by Bimi

Nationality: American

Description: This home affirms the true meaning of family. Where home is sustained by generosity, where love is expressed through making, sharing and showing up again and again. Where Granny's smile, fresh-baked cookies and a cold glass of milk can make even the bleakest of days bright again.

World of Drinks

Title: Campari Barmen, Milan

Photo credit: Marie-Louise Moutafchieva / World Food Photography Awards sponsored by Bimi

Nationality: Canadian/Bulgarian

Description: I happened by chance to turn my attention to the local bar on the corner of Galleria Vittorio Emanuele II, Camparino. The expression of the barman and the waiter dressed in white tuxedos instantly created a story I had to capture. It was one of those moments where I found myself in the right place at the right time.

Technical details: Sony a7 III | FE 24-70mm F4 ZA OSS | 70mm | F6.3 |1/160 sec | ISO 320

Instagram: @marielouphotography

Food for the Family supported by The Felix Project

Title: The Final Touch

Photo credit: Michela Balboni and Federico Borella / World Food Photography Awards sponsored by Bimi

Nationality: Italian

Description: Little Asilbek touching the hot bread, straight out of the family tandoor. In Samarkand (Uzbekistan), the 'non' is unlike any other: round, dense, with a thick, chewy crust, and always marked in its center with black sesame seeds.

Technical details: Leica SL2-S | Vario-Elmarit-SL 24-70mm f/2.8 ASPH. | 35mm | F5 | 1/320 sec | ISO 800

Instagram: @_michelabalboni_

Jamie Oliver Youth Prize 13 - 17

Title: Chhath Puja Offerings

Photo credit: Indigo Larmour / World Food Photography Awards sponsored by Bimi

Nationality: Irish

Description: During Chhath Puja, food offerings are held by devotees, who stand in bodies of water as they pray to the sun god, Surya. This Puja is predominantly performed by women, and is always vibrant and colorful, particularly when observed in a rural setting, such as this in West Bengal, India.

Technical details: Nikon D600 | AF-S Nikkor 24-120mm F4G ED VR | 24mm | F4 | 1/640 sec | ISO 250

Instagram: @i_larmour

Politics of Food

Title: Irebero Miller

Photo credit: Glenn Vanderbeke / World Food Photography Awards sponsored by Bimi

Description: Portrait of a female miller after processing grains into cornmeal. At Vocational Training Center Irebero, single women are trained as millers.

Technical details: Canon EOS 600D | Tokina atx-i 11-16mm F2.8 | 11mm | F3.2 | 1/40 sec | ISO 400

M&S Food Rising Star

Title: The Making of Granola Bars

Photo credit: Sarah-Vanessa Schneider / World Food Photography Awards sponsored by Bimi

Nationality: Swiss

Description: This image captures the process of making granola bars, highlighting the warm afternoon light spilling across a rustic setting dominated by browns and blues. The human element grounds the quiet mood of the scene. Sometimes a story isn't told in the finished dish, but in the act of making it.

Technical details: Canon EOS 5D Mark IV | EF 85mm F1.2L II USM | F3.5 | 1/10 sec | ISO 100

Instagram: @velvetandvinegar

unearthed Food for Sale

Title: Cabbage Market. Mohastangor, Bogura, Bangladesh

Photo credit: Kazi Mohammad Golam Quddus / World Food Photography Awards sponsored by Bimi

Nationality: Bangladeshi

Description: In Mahasthangarh, Bogra, a large vegetable market comes alive each morning. Farmers bring in their freshly harvested cabbages, usually transported by rickshaw vans, and gather for the daily cabbage market. Traders buy the produce here and supply it to Dhaka and other major cities.

Technical details: Hasselblad L2D-20c | 24mm F2.8 | F5.6 | 1/80 sec | ISO 400

Production Paradise Previously Published

Title: Poaching

Photo credit: Erik Lafontaine / World Food Photography Awards sponsored by Bimi

Nationality: Belgian

Description: A poached mackerel emerging from a deep, shadowed broth. Controlled lighting sculpts texture and surface tension. The image plays with darkness and stillness, turning humble preparation into a study of depth, contrast and restrained drama.

Technical details: Fujifilm GFX 100S II | GF 55mm F1.7 R WR | F4 | 1/125 sec | ISO 100

Instagram: @helloeriklafontaine

RPS Student Food Photographer of the Year

Title: Red Cocktail

Photo credit: Lara Zeh / World Food Photography Awards sponsored by Bimi

Nationality: German

Description: A sophisticated, monochromatic study of heat and elegance. This deep crimson composition uses a precise spotlight to highlight the glass’s silhouette and create depth. Featuring a hand-crafted chili-sugar rim, the image focuses on geometric symmetry and rich textures, translating the cocktail’s spicy character into a bold, artistic statement.

Technical details: Canon EOS R6 Mark III | RF 24-70mm F2.8 L IS USM | 70mm | F18 | 1/250 sec | ISO 640

Instagram: @_larazeh_

The Philip Harben Award for Food in Action

Title: Proven Recipe

Photo credit: Lehóczki Balázs / World Food Photography Awards sponsored by Bimi

Nationality: Hungarian

Description: I had planned this image for six to seven years, but kept postponing it, feeling unworthy of capturing them. Now, because of their age, I couldn’t wait. Grandma went to the hairdresser, Grandpa shaved, and I filled their kitchen with studio gear. When she saw the photograph, my grandmother called me an artist.

Technical details: Fujifilm GFX 100 | GF 45mm F2.8 R WR | F4.5 | 1/125 sec | ISO 640

Instagram: @lehoczkistudio

World Food Program Food for Life

Title: The Open Air Hotel

Photo credit: Mithail Afrige Chowdhury / World Food Photography Awards sponsored by Bimi

Nationality: Bangladeshi

Description: An open-air restaurant owner serves food to her customers. She sells at a low price so that daily laborers who work at the Gabtoli coal station can afford it. The photograph was taken in Dhaka, Bangladesh.

Technical details: iPhone 12 Pro Max | 26mm equiv. | F1.6 | 1/120 sec | ISO 50

Instagram: @mithail_afrige

Street Food

Title: Kyoto Street Vendor

Photo credit: Kara Baird / World Food Photography Awards sponsored by Bimi

Nationality: Australian

Description: Shot in Kyoto, Japan in September 2025, this image was taken in a split second as I moved through the packed, sweaty crowd at Nishiki Market. With barely any space to stop, I raised the camera and captured a brief, unfiltered moment of the energy and intensity of the market at its busiest.

Instagram: @karabairdphotography

The Bimi Prize

Title: Candied Pear

Photo credit: Anne Mason-Hoerter / World Food Photography Awards sponsored by Bimi

Nationality: Canadian

Description: I wanted to create a unique image of candied fruit, and I have always been fascinated by the transparency of colors revealed through the process. I began by slicing a pear very thinly and boiling the slices in a mixture of sugar and water. Once the slices became transparent, I laid them out to dry on paper. The image was created using sugar water and a pear slice placed on a glass sheet, along with coloured plastic in front of a table lamp. I photographed the setup multiple times from different angles, and finally, I used Photoshop to combine the various images.

Instagram: @annehoerter

GoPro says there's "substantial doubt" about its future

Image: GoPro

GoPro is coming off of what may be one of its most exciting product announcements in years, but its most recent communication to investors and regulators could cast a shadow over the launch. In it, the company says that new market forces "raise substantial doubt about the Company’s ability to continue as a going concern," citing "unprecedented increases and volatility in memory costs" that have seen price increases of up to 115%.

There's a fair amount of nuance and complexity to the situation, most of which is pretty deep in the financial weeds. The upshot is that the company's management is taking several steps to try and avoid defaulting on loans, including exploring a sale or merger, investigating "opportunities within the defense and aerospace sector," selling "certain non-critical assets" and negotiating with lenders. It also says that it's "reducing operating expenses through disciplined cost management," citing its recently announced layoff of 23% of its workforce.

Despite this, GoPro says that some of its plans "are dependent upon factors outside" its control, and that there are no assurances it'll be able to continue as a going concern. If it can't, the company says it "may be required to significantly reduce, restructure,
cease operations, or seek protection under the Federal bankruptcy laws," though it points out that it hasn't started on any specific bankruptcy plans.

In the document, GoPro says it "expects to continue to incur operating losses and negative operating cash flows" due to lower-than-expected sale throughout the first few months of 2026. Hopefully, the company can find a way to turn things around soon, though if memory pricing is a major factor, it may be a while before things really improve.

How this company figured out how to make its new tripods 32% cheaper

Image: Really Right Stuff

Really Right Stuff (RRS), known for its premium camera support systems, has announced its most affordable carbon fiber tripod lineup yet. The Core Line includes two tripods to start, the Benchmark and the Benchmark Inverted, with RRS promising more in the future.

Both the Benchmark and Benchmark Inverted use the company's in-house carbon fiber technology. RRS says the entire carbon manufacturing process is now done in its facilities in Lehi, Utah, from raw fiber selection to finished tubes. It says that bringing production in-house allowed for significantly reduced costs while maintaining its high quality standards, resulting in what RRS says is a 32% lower price than the most comparable RRS substitutes.

The Benchmark Inverted features an inverted leg design that aims to make leg adjustments faster.
Image: Really Right Stuff

The Benchmark Inverted is a three-section carbon fiber tripod with an inverted leg design, which allows users to extend or collapse the legs from the top without needing to reposition or bend down. It uses the company's twist lock system (Tacti-Stop), which provides tactile feedback when they are loosened enough, preventing users from twisting the locks too far. Those locks are also weather-sealed.

The inverted model offers four leg angle selections (24, 44, 64 and 84 degrees), which is up from three on previous models, making it easier to level the tripod on uneven terrain. It features magnetic pull tabs that are easy to adjust, even when wearing gloves.

The tripod weighs 1.6 kg (3.6 lbs) and has a working load capacity of 40 lb. It offers a minimum height of 11.8 cm (4.6") and a maximum height of 155.2 cm (61.1"), and measures 67.3 cm (26.5") when folded down. While it has a similar weight to some travel options, its folded size means you probably won't be able to fit it in a backpack, so you'll need to consider how to attach it to your bag.

The Benchmark is the more traditional tripod without an inverted leg design.
Image: Really Right Stuff

The Benchmark is similar in most ways, though it features four-section legs instead of three, and doesn't have the inverted design. It features the same Tacti-Stop twist locks with weather sealing, four leg angles to choose from and magnetic pull tabs for easy leg angle adjustments.

Those with heavier rigs or who want a bit more reach will benefit from the non-inverted Benchmark. It offers a 34 kg (75 lb) maximum capacity, a minimum height of 10.7 cm (4.2") and tops out at 177 cm (69.7"). Of course, that comes with added bulk, too. It weighs 1.7 kg (3.8 lbs) and folds down to 60 cm (23.6"). Like the inverted model, the weight isn't out of the question for hiking and travel, but it isn't very compact when folded.

The Benchmark tripod starts at $945 without a head. It can also be bundled with RRS's Anvil-30 ARC ballhead for $1290, or with the BH-40-LR-II ballhead for $1360. The Benchmark Inverted starts at $795 for the tripod, or can be bundled with the same ballheads for $1150 and $1215, respectively.

Press release

Really Right Stuff Introduces the Core Line

Lehi, UT – May 12th, 2026 – Really Right Stuff, LLC (RRS) today announced the Core Line, an all-new series of carbon fiber tripods featuring the company’s latest in-house carbon fiber technology. Designed and manufactured entirely at RRS’s Lehi, Utah facility, the Core Line delivers true RRS performance at a more accessible price point.

Purpose

The Core Line was developed to bring premium Really Right Stuff support systems to a broader audience of photographers, videographers, and precision shooters. After years of research and development, RRS brought the entire carbon fiber manufacturing process in-house — from raw fiber selection to finished tubes.

This vertical integration has allowed RRS to significantly reduce costs while maintaining the uncompromising quality, stiffness, and durability that professionals expect from the RRS brand. Combined with a direct-to-consumer model, the Core Line offers exceptional value without sacrificing the stability and precision that define Really Right Stuff.

Target Market

The Core line is engineered for shooters and creators who demand rock-solid stability with price point in mind. Integrating the new Core line of carbon fiber within our tripods, we aim to serve the following customers:

  • Competition and precision rifle shooters
  • Hunters (including predator and big-game)
  • Landscape and astrophotographers
  • Multi-row panoramic photographers
  • Telephoto wildlife photographers using heavy lenses

The Core Line seamlessly integrates with RRS’s existing ecosystem of ball heads, quick-release plates, and accessories, allowing users to build a complete, high-performance system.

About the Carbon Fiber

At the heart of the Core Line is RRS’s all-new proprietary carbon fiber, developed and produced entirely in-house. This advanced material achieves an optimal balance of lightweight design, exceptional stiffness, and vibration damping while delivering meaningful cost efficiency. Every tube is manufactured under strict quality control at the Lehi facility to ensure consistent performance and long-term durability.

Availability and Pricing

The Core Line will initially launch on two new tripod models, with additional
configurations planned for the future. All Core Line tripods will be available exclusively through the Really Right Stuff website and at RRS headquarters in Lehi, Utah. Introductory pricing for Core Line tripods will range from $795 to $950 USD.

This MacBook Pro competitor comes from a surprising team-up

Image: Microsoft

Microsoft has made a few attempts to compete with the Apple Silicon-powered MacBook Pros that many photographers know and love, but its latest effort may be the most tempting option yet. It features a 15-inch mini-LED display that can achieve up to 2000 nits peak brightness in HDR mode, an SD card slot for offloading images from cameras, and a chip from a surprising partner: Nvidia.

It's called the Surface Laptop Ultra*, and, from the outside, it seems to continue a lot of Microsoft traditions. It has a hypermodern design with a rectangular metal build, a large trackpad and a 3:2 display that gives you plenty of vertical real estate. It also has a good selection of I/O, with several USB-C ports, a USB-A port for older devices, HDMI output, a headphone jack and an SD card slot, though there aren't currently any details on what speeds you can expect from any of them.

It's under the hood that things start to look a little different. Rather than using a processor from one of the usual suspects – AMD, Intel or even Snapdragon – Microsoft has partnered with Nvidia to use its new RTX Spark system on a chip. While the company is a big player in the graphics card industry and has dabbled in CPUs in the past, it's been a long time since we've seen it make something designed for a consumer PC.

According to Nvidia, the CPU portion of Spark was made in collaboration with MediaTek and features 20 cores, which use the same ARM base as Apple's custom silicon. The GPU is a more familiar affair, though both parts of the chip share a pool of memory – up to 128GB in the Surface Laptop Ultra – which can help if you're trying to render giant photo or video projects. (Of course, it's also useful for running local AI models, a use case Microsoft and Nvidia both give ample time to in their press releases.)

Adobe says it will "rearchitect" Photoshop and Premiere to deliver better performance on the chip, especially when doing tasks that can be accelerated by the graphics processor, like color correction, compositing, using "live filters," and working in HDR. That's not just relevant for people interested in the Surface Laptop Ultra, though, as Nvidia says other manufacturers like Asus, Dell, HP, Lenovo, MSI, Acer and Gigabyte will be using the Spark chips in some of their laptops, too, when it launches in the fall.

Part of Microsoft's pitch for the Surface Laptop Ultra as a tool for creatives is its ability to accelerate AI tasks like "noise reduction, intelligent masking, video upscaling, and AI-assisted code completion directly on-device."
Image: Microsoft

There are only a few other details currently available about the Surface Laptop Ultra. Microsoft says it will weigh less than 2kg (4.5 lb), and features a new cooling system to help keep the Nvidia Spark running at peak performance. And, unlike Apple's laptops, it features a replaceable SSD. The company also promises "all-day" battery life.

The big question, of course, is price, especially in the age of ultra-expensive memory. It's also not clear what the base specs will be; sure, the Laptop Ultra can be optioned with 128GB of memory, but what will it start with?

The Surface Laptop Ultra will be available "later this year"

It'll also be interesting to see how the RTX Spark's performance stacks up against the options from more traditional manufacturers. While it'll likely have a leg up when it comes to AI tasks, how will it perform in everyday computing, or while editing large batches of high-resolution photos or rendering a video? We've seen other ARM chips designed for Windows computers, like the Snapdragon X Elite, compete with Apple's base-level M chips, but so far, there hasn't been any real competition for its Pro or Max chips until you get to more traditional x86 designs from AMD and Intel.

We may have to wait a bit to find out. Microsoft says the Surface Laptop Ultra will be available "later this year," and Nvidia says the RTX Spark will start arriving in systems this fall.

* - No, it's not lost on us that Apple has famously helped pioneer the use of the word "Ultra" in its branding.

Best cameras for landscape photography in 2026

When you use DPReview links to buy products, the site may earn a commission. Updated June 1, 2026

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks: Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

$4999 at Adorama$4999 at B&H Photo What we like:
  • Excellent detail capture
  • Very high tonal quality
  • Ready-to-go JPEG or malleable Raws
What we don't:
  • Autofocus not especially fast
  • Video prone to rolling shutter

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which, while excellent, don't come cheap.

The GFX 100S II has improved autofocus and burst rates compared to its predecessor, but its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Smaller, less expensive options

While the GFX100S II's image quality is unassailable, it's also relatively large, heavy and expensive. If you mostly shoot landscapes, but don't want quite as much bulk or cost, consider Sony's a7R V and a7CR. The cameras share a 61MP full-frame sensor, are much cheaper than the GFX, and use less expensive full-frame lenses. The a7CR is smaller than the a7R V, but uses a less flexible fully-articulating screen (versus the larger camera's tilting/fully-articulating), has a smaller, lower-res viewfinder, and doesn't have a mechanical front-curtain shutter.

Best camera for landscapes and more: Sony a7R VI

66.8MP Stacked CMOS sensor | Up to 30fps shooting with e-shutter, 10fps mechanical | Up to 4K/120p video

Buy now:

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

The Sony a7R VI is a high-resolution full-frame camera with a stabilized 66.8MP stacked CMOS sensor.

Like previous a7Rs, it has strong landscape credentials as the highest resolution full-frame camera on the market, with the ability to read out both of its gain steps to let you exploit the deepest shadows. It's not just limited to static scenery, though; its sensor and autofocus are fast enough that it's capable of shooting faster-moving subjects and video, too.

The a7R VI captures tons of detail and dynamic range, especially when shooting with its mechanical shutter. Its autofocus is also some of the best out there, and is heavily customizable, with the ability to fine-tune the auto subject recognition modes and more. It also offers features like pre-capture and Speed Boost, which lets you temporarily increase or decrease your burst rate, to help make sure you get the shot without filling your memory cards too quickly.

It's a landscape camera that can stretch to other uses

Its electronic shutter modes don’t have the fastest rolling shutter speeds, but they’re controlled enough that you should be able to capture all but the fastest subjects without distortion. This is true in its video modes as well, even the 8K capture, which is oversampled from an 8.2K region.

While other cameras outperform the a7R VI in things like video or action shooting, it’s one of the most capable landscape cameras we’ve seen that can also stretch to those uses without too much effort.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H Photo What we like:
  • Excellent image quality
  • Fast, dependable autofocus
  • Good video support tools
What we don't:
  • Slight reduction in dynamic range in extreme scenarios
  • Temperamental eye control
  • Temperature limits in heaviest video modes
Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:
  • Sensor offers some of the best image quality in its class
  • Lovely ergonomics
  • 4K/60p (with a minor crop)
What we don't:
  • Autofocus interface a bit clunky
  • EVF not as high-res as competitors
  • Customization a bit limited
Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files. To say the Z7 II is a comfortable camera to hold would be an understatement The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Fujifilm X-T5 Photo: Richard Butler

Buy now:

Buy at B&H PhotoBuy at MPB What we like:
  • Dedicated dial interface shows your settings
  • Detailed 40MP images
  • Photo-centric design and feature set
What we don't:
  • Autofocus prone to false-positives
  • Significant rolling shutter in e-shutter mode
  • Smaller buffer, lower-spec video than X-H2
The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size. The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting. Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Buy now:

Buy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.comBuy at AdoramaBuy at B&H Photo Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

GoPro reveals who its interchangeable lens camera is really for

There's a lot of rigging equipment in this GoPro video.
Image: GoPro

GoPro has released an epic 7 minute long video to mark the launch of its next-gen Mission 1 and Mission 1 Pro action cameras, and to further tease the interchangeable lens model that's due out later this year. As you'd probably expect, it contains a lot of footage shot on the cameras, but it also has some behind the scenes shots that reveal exactly who its interchangeable lens camera is aimed at.

A quick refresher: the Mission 1 series cameras are built around a 50MP Type-1 (128mm²) sensor, and can shoot at 4K/120 open gate, and up to 960fps in FullHD. The Pro models can also shoot 8K open gate, while the standard Mission 1 is limited to 16:9 8K. While the Mission 1 and Mission 1 Pro have the integrated wide-angle lens we'd expect from an action camera, the Mission 1 Pro ILS instead has a Micro Four Thirds mount.

Back to the video. A lot of it is what you'd expect from GoPro: lots of slow-motion, people doing things that most of us would break our necks attempting, etc. And while the standard action cams are shown being used in a variety of ways, most of the Mission 1 Pro ILS' screen time is in a rig. Someone's either using it with a top handle an external monitor, flying it on a crane or wire, or holding it with a follow-focus.

There are a few fleeting shots of people using it as just a handheld camera with no accessories, but the message is pretty clear: the ILS is a camera mainly for professionals, and is designed to work on productions with a crew. It's not an action or vlogging camera, it's an inexpensive cinema tool that you can put anywhere to get decent-looking slow-mo, without being tied to the typical ultra-wide look that's been a staple of the company's previous products.

This is one of the few shots in the video where we see the Mission 1 Pro ILS being used without a ton of accessories, but it's still in the hands of a professional who seems to be shooting a commercial.
Image: GoPro

Of course, it's not like companies never use pro-looking setups to market cameras to consumers. Apple famously shoots its events using iPhones (and thousands of dollars of accessories, grip and lighting equipment), and uses the fact that some directors shoot movies and TV with them in its marketing. But I don't think that's what's happening here, at least for the ILS.

For one, we've seen no indication that it'll include any sort of autofocus capability – the cameras in the video clearly don't have any pins for lens communication – which would exclude most of the audience looking to use it as a pocket cam. If that's the case, anyone seriously using it will also probably need to rig it out with at least an external monitor; try pulling focus using the built-in 2.59" display.

It was also launched at the NAB Show, an event put on by the National Association of Broadcasters that mainly focuses on pro video gear. GoPro's website also specifically calls out that the ILS is designed to provide "versatility for professionals."

It's exciting to see GoPro taking the cinema market really seriously

As a photography enthusiast, it's a bit of a disappointing message to receive. My last bits of hope about this being a workable tiny ILC for photography are pretty much dashed, though I'm sure there will still be people who will try using it for that purpose.

But as something of a videographer myself, it's exciting to see GoPro taking the cinema market really seriously. Sure, shots from its action cams have shown up in lots of movies already, but it seems like the Mission 1 Pro ILS will be much more capable for a wider variety of shots, rather than being relegated to the crash cam that captures a crucial half second of footage before being written off on the insurance.

The Mission 1 Pro ILS is due out in Q3 this year, so there's still a while to wait and see whether GoPro's bid to court professional videographers will be successful. If it is, the company may have just found a way to stay competitive in a market with an increasing number of very good options.

The smartphone camera's most overlooked ingredient? Leica says it's still the lens

TJ Walton, Xiaomi's Senior Product Marketing Manager and Global Spokesperson (center) and Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division (right), answer questions from the press.

Photo: Abby Ferguson

The best camera, as the saying goes, is the one that's always with you. For most of us, that's a smartphone, and it's been that way for years now. Smartphones haven't just made photography more accessible, but have fundamentally changed the way we communicate.

And, of course, we all want our smartphone cameras to get better – many of us fantasize about the day our phone will rival our dedicated camera – and the smartphone manufacturers know it. That's why every one of them dedicates an outsized portion of each product launch to camera upgrades.

Smartphone cameras have been getting better, but as any camera enthusiast knows, what you can eke out of these cameras is, to some degree, gated by physics. In recent years, the conventional wisdom has been that most improvements to smartphone cameras will come from software, including improved computational techniques, machine learning and AI.

It's certainly a topic we've covered here at DPReview on multiple occasions. But it's not just us: computational photography is widely understood to be the key to smartphone image quality.

In recent years, smartphone manufacturers have largely depended on computational photography and AI technologies to improve image quality. The diagram above illustrates how Google Pixel's Night Sight feature combines data from multiple images to create a single, higher-quality image.

Image: Google

This week, a senior Leica engineer offered a counterpoint to that conventional wisdom: that lenses in smartphone cameras still have room to meaningfully improve.

At a joint Xiaomi/Leica launch event for the new Xiaomi 17T and 17T Pro smartphones, Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division, told DPReview:

"There's still a lot of room for improvement in smartphone optics. Of course, the miniaturization is always a challenge, not only in optics, but also in the rest of the components, like the sensor, the focusing motor, stuff like that. Leica will do its best to keep improving where we have the expertise, which is the design of lens elements, to produce the best image possible."

"There's still a lot of room for improvement in smartphone optics."

That's notable because one thing we don't often hear smartphone manufacturers talk about is optics or lenses. They love to talk about computational techniques like multi-frame stacking, scene detection and night modes, and they love to talk about sensors, including the fact that they're making them bigger, faster, and, most importantly (at least from a marketing perspective), at ridiculously high resolutions.

In fact, in most cases, the only thing we hear about lenses has to do with increasing zoom ranges, and those headline zoom numbers are often digitally derived rather than optical. (Smartphone manufacturers might also reliably predict that consumers' eyes will glaze over the moment someone starts talking about optical formulas in the middle of a keynote.)

Hearing Leica's head of engineering for mobile say optics is still a bottleneck cuts against that grain.

We spoke with Pablo Acevedo Noda (right), Head of Development and Engineering for Leica's mobile division, at a joint Xiaomi/Leica event in Vienna, Austria.

Photo: Abby Ferguson

What makes the comment noteworthy is its source. Acevedo Noda isn't a marketer – he's the lead engineer for Leica's mobile business, the optical side of the Xiaomi/Leica partnership. And he's stating that there's "still a lot of room for improvement in smartphone optics" at a co-branded launch event focused on camera features.

Leica and Xiaomi began co-engineering smartphone cameras in 2022, with Xiaomi's flagship phones featuring Leica-branded cameras. So when Acevedo Noda suggests there's still room for improvement, he's talking about hardware his own team has been working on for four years.

To be clear, Acevedo Noda isn't claiming optics are the biggest limitation on smartphone image quality – he even highlighted the importance of computational photography in smartphones – but he's calling out that the optics still have meaningful room to improve. Of course, Leica is an optics company, so you might expect it to say that, but if any company has earned the right to say it cares about optical quality over the years, it's Leica.

"If any company has earned the right to say it cares about optical quality over the years, it's Leica."

But it's also true that smartphone lenses have to cope with some pretty brutal design constraints. Lenses can only be as deep as a phone's design allows, and we all know manufacturers love making thin devices (I'm looking at you, Apple). That's a real engineering problem: working within a few millimeters of space, engineers turn to things like aspheric elements and exotic coatings to squeeze more out of a lens formula.

One thing we took away from the Xiaomi/Leica event is that Leica definitely has an opinion on what photos should look like, and Acevedo Noda wasn't the only Leica executive to weigh in on the company's image quality philosophy. Marius Eschweiler, Vice President of Leica's mobile business unit, explained that the company had to have "a very tough conversation" with Xiaomi about the look of photos from its co-branded phones.

Although that comment was made in the context of the aggressive processing and tone curves typically applied to smartphone photos, it suggests that Leica isn't just stamping its logo on a phone as a marketing exercise, but has a real interest in making sure images hold up to its own vision of what a camera should produce, optically and aesthetically.

If Leica can leverage its century-plus of optical design experience to develop lenses or lens technologies that advance smartphone image quality, that's a win, not just for its own customers, but for customers of other brands that are trying to keep up with the Joneses. Or, in this case, the Leitzes.

What you missed in the DPReview community: May 2026

DPReview's Community Manager, Mathew Anderson, shamelessly presenting an ice cream cone as if it were part of Ikea's product lineup. Ice cream cone courtesy of Ikea's cafeteria. A symbol of his light-hearted but still serious attitude toward community development.

Photo: Mathew Anderson

Greetings, DPReview community!

A lot happens across the community every month: lively discussions, feature articles spotlighting community members and their gear, photo events and more, and much of it naturally won't be seen by everyone. As DPReview's Community Manager, I want to change that as much as possible. In this "What you missed" roundup, I'll highlight some of the best community activity from the past month, including some of the things that didn't make it into articles.

Here's just a sampling of what happened in May.

What's in your bag? A community member spotlight

Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series tells the story of your trials and tribulations getting that perfect shot, and highlights their favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.

As with many of our other community initiatives, we often don't get a chance to cover every detail of a community member's story, so we're selecting an additional photo from each of the previous month's posts that you haven't seen yet. Check them out below.

Feeling artsy

Photo: Roberto De Micheli (roby17269)

Roberto De Micheli, who goes by the username roby17269 in the forums, switched from wildlife photography to focus on his passion for fashion. He also dabbles in travel and kids' photography (mainly family outings). Roberto submitted a wide range of photography on these subjects to us for this article, but we focused on the fashion segment as it's his most recent work.

"Fashion shoots happen in studios or on location. In my heart, though, I still remember my two safaris in Africa (Kenya and South Africa) most fondly, which can be a magical place. The safaris were during my wildlife 'phase'. I was absolutely floored by how rich, colorful and amazing nature was in those places."

Read more about Roberto's photography

The photographer who never stopped chasing the unique shot

Photo: Josh S. Rose

Josh S. Rose has been capturing visceral reactions since the 1970s, when he wandered around a racetrack park as a kid to explore the event. He found himself hanging out at the photo booth and loved to watch a team develop film after each race, calling up the winners to the announcer upstairs, then hearing the crowd wildly react. His career kept him intrigued by those early moments of capturing scenes on film.

"In the beginning, I tried to minimize mistakes. Because I shoot dance and movement a lot, this is exacting work, especially when you're inside – low light and fast movement is a nightmare for a camera. So, I kind of treated dance as one would sports, reaching first and foremost for clarity, focus and split-second timing. It isn't all that hard, honestly. It just takes a certain number of reps."

Read more about Josh's photography

This photographer uses an 800mm lens to lock onto nature's special moments

Photo: Alan Randle (AJRimages)

Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.

"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."

"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve been asked by docents if I want to check my ‘luggage’ to make life easier!"

Read more about Alan's photography

How this photographer sets up to capture life at the speed of the streets

Photo: Kevin Zhang (fatplanediaries)

Kevin Zhang, known as fatplanediaries in the wider community, began photographing at a young age under his father's influence, a dedicated Leica street photographer. What started as a focus on street photography evolved over time, especially after a chance moment in Shanghai, when he experimented with panoramas using only a prime lens. Since then, his work has developed into a distinctive blend of candid street scenes and highly detailed panoramic images, each discipline informing the other.

"I like to shoot candid street subjects, but I'm often pretty shy about approaching people to get the right shot. The best alternative is to get hired for events instead; everyone's vying to have you shoot them in those kinds of situations. I've had a lot of good practice at my friends' parties before getting to events as a photographer."

Read more about Kevin's photography

This reader mastered a Nikon Z5 to capture diverse European architecture

Photo: Brian Ormerod (ikon44)

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.

"I went with an architect friend to Barcelona, which I found to be an architectural wonderland. We photographed works by Antoni Gaudi, 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 a spectacular, fragmented mirrored canopy."

Read more about Brian's photography

Question of the week: we ask, you tell

Every other week, we ask the community a question about their photography, usually on a specific topic, with the results spotlighted on DPReview's front page and in the forums the following week. There are often many great photos submitted that we don't get a chance to spotlight them all in a single article.

Here is a newly revealed reader's photo from each of the previous two weeks' questions.

What accessories are must-haves in your kit?

From 'The surprise camera accessories our readers keep with them at all times'

Photo: cbf_si

Featured quote: "Different accouterments. A chamois, a laptop, a notebook and a pen (sometimes two; private and business), tissues, paracetamol (just in case ;-)), and some small things I can't remember. A Wuchuan canvas messenger bag with a Billingham insert and lots of useful pockets. It serves me well, carrying a D850 with one prime (24, 35, 58 or 85, depending on mood and plan, if any)." - Michiel953

Share your answer to this question

What photo book or article has supercharged your photography?

From 'The photographer's eye: The books that changed your photography forever'

Photo: Andreas Feininger

Featured quote: "The foundation came before I even owned a camera: 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 need to translate the lost dimensions (depth, movement and color) into your photograph."- Klaus dk

Share your answer to this question

Photo threads of the month: new types of challenges

"May we never forget."

Photo: BluesJake

Also every week, new photo thread discussions and mini-photo challenges pop up across the forums, generated by community members. Usually, these start as a discussion about a particular camera brand or type of photography. Our community has hundreds of topics to choose from, so there's no shortage of photography show-and-tell opportunities!

For the month of May, we wanted to highlight BluesJake's Post your Memorial Day photos thread, where community members have been contributing to pay their respects to veterans who lost their lives in conflicts and other events around the world.

Visit our Community photo threads index for all the latest opportunities to share an interesting photo from your collection. To contribute to most of these community initiatives, simply read the OP's (Original Poster) posting guidelines (if there are any) and then reply to the thread with your contribution.

We would also love for you to participate in DPReview's own photo initiatives: Photo exhibitions and the new Collaborative photo chain.

Discussion of the month: Sony's new a7R VI

On May 13, 2026, Sony announced the a7R VI full-frame mirrorless camera. The community was so excited about the news that they beat us to the punch and immediately started discussing the camera in the forums. Here is a peek at what they had to say:

PWPhotography: Nice! $4499, $500 'cheaper' than initially rumored, and it's slightly lighter than a7R V.

CanadianLongbowman: So the TL;DR is that it's a high-res version of the a7R V, in essence, with a similar readout speed and a few extra perks.

In response, PWPHotography said, "I hope so. However, the a7R V uses a partially stacked sensor, while the a7R VI uses a fully stacked sensor. Fully-stacked sensors, as in the A9 and A1 series, used to have a little DR penalty. Sony appears to have overcome this issue by combining the readouts of its low and high gain steps as in a7R V."

kbrkr: Sony announced the a7R VI today, and my mind automatically went to Nikon challenging it with a Z7 III. Some of the features of the Sony are quite impressive, such as 68MP, 30 fps Raw, pre-capture, and speed boost. I hate these leapfrog games, but I really wish Nikon had a high-megapixel camera to replace the Z7 II.

Discuss the Sony a7R VI

I'd like to consider writing an article like this one on a monthly basis. Future editions could include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.

For even more content posted directly by our readers, join the discussion forums and share your camera gear and photography curiosities!

Leica says it had "serious discussions" about how phone photos should look

When trying to capture this scene, most phones would probably try to brighten the shadows. The Xiaomi 17T Pro, shooting in the Leica Authentic color mode, didn't.

Photo: Abby Ferguson

One of the big conversations around mobile photography relates to how images are processed, with many bemoaning the unnatural look that some phones produce by dramatically brightening shadows. Apparently, Leica isn't necessarily a huge fan of the look, either. According to Marius Eschweiler, Vice President of the company's mobile business unit, it had "a very tough conversation" with Xiaomi about how photos from its co-branded phones should look.

The comment was part of an interview at the launch event for Xiaomi's latest phones, the 17T and 17T Pro, which feature Leica's "Vibrant" and "Authentic" profiles. Eschweiler, responding to a question about what the company's goal was with the latter color mode, says it was meant to show the real colors and shadows of a scene.

Leica executives participated in a group interview with Xiaomi for the launch of the 17T.

Photo: Abby Ferguson

The last part was apparently what prompted the discussions with Xiaomi. "That was a very tough discussion we had with the Xiaomi engineering team at the very beginning, because coming from the smartphone world, colorful, shiny images were seen as a benchmark," he says. "Then we came into play and said, 'yeah, but if you see it from the serious photographer's point of view, it's okay that some shadows are maybe not perfectly lightened up to let you see every detail.'"

"That computational imaging was getting too much in the picture for our taste"

Pablo Acevedo Noda, Head of Development and Engineering for Leica's mobile division, adds: "Leica Authentic was made more for photographers coming from the photography world," explaining that phones need to do a lot of computational photography to make up for their smaller sensors and lenses. "That computational imaging was getting too much in the picture for our taste."

The solution, he says, was processing the images in a completely different way than the vibrant ones. "In the end, we had to do two different pipelines. The image signal processor (ISP) has two different processing pipelines. One is the authentic, one is the vibrant. They share some common blocks, but the base is different."

A photo taken in the Leica Vibrant mode on the Xiaomi 17T Pro.

Photo: Abby Ferguson

He also says Leica had a hand in tuning the imaging pipeline for the phone's Live Moment feature, which captures a video before and after the shutter is pressed. The feature existed on Xiaomi products before, but now it includes the Leica color profile throughout. According to Noda, the company helped improve the resolution and HDR processing for the feature, as well as the exposure and white balancing for human subjects.

Eschweiler says Leica wants to give photographers a choice: they can go with the Leica Authentic for a more traditional photographic look, or the Vibrant for a more saturated aesthetic that mobile photographers will be familiar with. "It's a different philosophy, and I believe it's good that customers have the choice."

He echoes this sentiment about users having options when discussing the role of AI in mobile photography, after Xiaomi and Google touted the 17T's ability to use generative AI to transform images taken with the phone into videos, or to reimagine them. "Whether you take a serious image or whether you would like to create something with generative AI, I think that's a different use case," he says.

"It's a different philosophy, and I believe it's good that customers have the choice"

"You likely won't see that on a Leica M, but I think on the 17T series it makes sense," he says. Noda also adds that part of the point of features like Content Credentials, which Leica attaches to photos taken with its cameras, is to make it obvious when someone has tampered with a photo, using generative AI tools or otherwise.

The answers offer a look at some of the considerations traditional camera companies face when deciding to co-brand a phone. There are some fundamental differences in how those devices will produce images compared to a traditional camera, as well as different expectations from consumers, but the Leica name and branding come with their own set of expectations. Of course, not everything will come down to decisions around processing and software, but we'll cover the choices around hardware in a separate article.

Related: What's a 'real' Leica and is your brand just a badge?

Leica's giving some of its most popular cameras a fresh coat of paint

Image: Lecia

Leica has announced a new finish option available for the M11-P, Q3 and D-Lux 8: "Metal Gray." (Calling it a new color would be a touch generous; it's no Safari green or burgundy.) The company says the new paint was "specially developed at the Leica factory," and will be available as an option alongside the existing finishes for each of the products.

The Metal Gray M11-P will be the first camera available with the finish, but the changes aren't limited to just a coat of paint. Rather than the leatherette-style wrap, it has what Leica calls "diamond-patterned leather," which has a pattern similar to the one found on the Q3.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.

Given that it's an interchangeable lens camera, it makes sense that Leica is also launching a color-matched lens: the APO-Summicron-M 50 F2 ASPH. Like the silver version of that lens, its focal length and the feet distance markings will be red. It will also have a gray front lens cap.

Image: Leica

The Q3, meanwhile, basically looks like an inverted image of the original, which had a black body with a gray wrap. The Metal Gray version, meanwhile, has a gray body with a black wrap. The control dials and lens remain black, but the yellow accents on the lens are now a deep red, instead. The D-Lux 8's design is very similar to the Q3's: gray body, black grip and lens, though the company also says its function buttons will be gray as well.

Of course, Leica doesn't expect people to buy a gray camera and then use accessories that don't match. A gray battery will be available for the M11-P (since it has a plate that's visible from the bottom of the camera), and there are dark brown protective cases for the M11 and Q3, and a "cognac" one for the D-Lux 8. There will also be a variety of black and brown straps available.

The Metal Gray M11-P, and its corresponding lens and accessories, will be available starting today, while the Q3, D-Lux 8 and their accessories are coming on July 16th. In the US, the cameras cost the same as their black counterparts – silver typically comes with a bit of an up-charge – while the lens will cost $45 more than the black version. Given that both lenses are around $10,000, though, that only represents a 0.45% increase.

Leica M11-P Metal Gray Buy at Leica Buy at B&H

Press release:

New Color Option for Leica Cameras

A modern metal gray paint finish is being added to the traditional black-and-silver Leica design palette

Teaneck, May 28th, 2026 – Leica cameras are renowned for their iconic design, which combines function and aesthetics in a clear, distinctive form. The classic camera colors of black and silver are a hallmark of a design that is consistently geared towards photographic practice. Leica Camera AG is now expanding this existing design language to include a new metallic gray tone. The elegant and exclusive appearance of Leica products is emphasized by this metal gray paint finish, which was specially developed at the Leica factory. The new metal gray paint finish will make its debut in the Leica M11-P, Leica Q3, and Leica D-Lux 8 cameras as well as the Leica APO-Summicron-M 50 f/2 ASPH. M-Lens. The company is also introducing a new range of elegant, functional accessories for these three camera lines.

Leica M11-P, Metal Gray Paint Finish

The Leica M11-P is the first M-Camera to introduce the new tone to the M-System. The subtle metal gray paint finish of the full-metal body, combined with the black control elements, emphasizes the camera’s deliberately understated style. Similarly, the characteristic diamond-patterned leather, which represents Leica’s DNA in terms of both aesthetics and feel, enhances the metallic gray camera’s modern look. Like all M-Cameras, this new color option for the full-frame camera is “Made in Germany” and precision-engineered in Wetzlar.

Optional new accessories are available to complement the metallic gray camera. These include a color-coordinated battery, protector, and carrying strap with a comfortable shoulder pad, crafted from a new dark-brown leather. There is also a multifunctional protector made of smooth black leather. The latter combines a protector with a handgrip to offer protection, an ergonomic grip, and functionality. The handgrip’s base plate is compatible with the ARCA-SWISS coupling system. This enables the handgrip to be quickly attached to tripods featuring this system without the need for additional tools.

Leica APO-Summicron-M 50 f/2 ASPH., Metal Gray Paint Finish

The high-performance Leica APO-Summicron-M 50 f/2 ASPH. lens is available in metallic gray to match the M11-P. The lens elements and front lens cap boast the new finish, while the engraving on the feet and f-stop scales stand out in red. Based on the respective standard models, the camera and lens form a unique combination with this new color option, where aesthetic design and optical excellence harmonize perfectly.

Leica Q3, Metal Gray Paint Finish

Starting July 16th, the Leica Q3 compact full-frame camera will also be available in the metallic gray color option, with black control elements providing subtle accents. The new Leica Q3 in metallic gray also differs from the standard black model in that the feet and f-stop scales on the lens feature red engraving. Based on the same technology as the Leica Q3, the metallic gray version also impresses with maximum image quality, minimal complexity, and seamless connectivity to enhance your creative day-to-day anytime, anywhere. The optional protector and carrying strap crafted from a new dark-brown leather provide an additional opportunity to express your personal style.

Leica D-Lux 8, Metal Gray Paint Finish

The D-Lux 8 in metallic gray will also be available starting July 16th. This brings the number of cameras bearing Leica’s newest design up to three. Both the camera body and the FN buttons are finished in metallic gray. All the other control elements and dials subtly stand out against the black background. With its fast DC Vario-Summilux 10.9–34 f/1.7–2.8 ASPH. zoom lens, this compact camera delivers astonishing image quality in a pocket-sized format. New optional accessories allow you to add a personal touch. To complement the existing black leather camera case, a cognac-colored version has been added to the range. The accessories for the compact D-Lux 8 are rounded off stylishly with a coordinated collection of carrying straps and a wrist strap in braided black leather.

Leica products in the new color option, as well as the new equipment, will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers.

Available from May 28th, 2026:

  • Leica M11-P, Metal Gray Paint Finish, retail price: $10,400.00
  • BP-SCL7 battery, Metal Gray Paint Finish, retail price: $200.00
  • Protector for M11 cameras, leather, dark brown, retail price: $340.00
  • Carrying strap with a shoulder pad for M- and Q-Cameras, leather, dark brown, retail price: $150.00
  • Multifunctional protector for M11 cameras, leather, black, retail price: $370.00
  • Leica APO-Summicron-M 50 f/2 ASPH., Metal Gray Paint Finish, retail price: $9,990.00

Available from July 16th, 2026:

  • Leica Q3, Metal Gray Paint Finish, retail price: $7,350.00
  • Protector for Q3 cameras, leather, dark brown, retail price: $280.00
  • Leica D-Lux 8, Metal Gray Paint Finish, retail price: $1,915.00
  • Camera case for the D-Lux 8, leather, cognac, retail price: $210.00
  • Wrist strap for the D-Lux 8, leather, braided, black, retail price: $110.00
  • Carrying strap for the D-Lux 8, leather, braided, black, retail price: $140.00

A passion for fashion: Inside one photographer's surprisingly versatile kit

When you use DPReview links to buy products, the site may earn a commission. "This may look like we were directly on the beach, but actually quite a distance away."

Phase One IQ180 | 50mm | F11 | 1/500 sec | ISO 35
Photo: Roberto De Micheli

Roberto De Micheli, who goes by the username roby17269 in the forums, switched from wildlife photography to more recently focusing on his passion for fashion. He also dabbles in travel and kids' photography (mainly family outings). Roberto submitted a wide range of photography on these subjects to us for this article, but we focused on the fashion segment as it's his most recent work.

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.

"I love the mood and color of this one, which was shot in the attic of an old building."

Canon EOS-1D X | Canon TS-E 24mm f/3.5L II | F3.5 | 1/50 sec | ISO 1600
Photo: Roberto De Micheli

Meet Roberto De Micheli (roby17269)

Home base: Jersey City, USA

Favorite camera and lens: Roberto’s current favorite setup is the Hasselblad X2D II 100C paired with the XCD 90mm f/2.5. For fashion work, he also regularly uses the XCD 35–100mm, appreciating the look and rendering that medium format delivers.

I am a sucker for big sensors, so currently the X2D II is my favorite tool. Plus, it is undoubtedly the most gourgeous camera on sale right now. For travel, family and event photography, he relies on a Canon EOS R5, often paired with Canon’s RF 50mm f/1.2, RF 85mm f/1.2 and RF 100–500mm lenses. Roberto describes himself as “more of a tele guy than a wide guy”. What's in Roberto's bag Roberto's camera bag

Photo: Roberto De Micheli

"I am a sucker for big sensors, so currently the X2D II is my favorite tool. Plus, it is undoubtedly the most gorgeous camera on sale right now."

"A lot of work went into setting up the table and the style of all four models. Group shots are tricky to make all the models look good at the same time."

Photo: Roberto De Micheli

What types of scenes do you like to focus on (pun intended)?

"My father was a film photography hobbyist, but somehow his passion never rubbed off on me. With the advent of digital photography, something clicked in my engineer brain and I bought a Sony DSC-F717 around 2003. I started with opportunistic travel photography and the compliments I received went straight to my head. From there, things started snowballing onwards with more professional opportunities every year."

"Fashion shoots happen in studios or on location. In my heart, though, I still remember my two safaris in Africa (Kenya and South Africa) most fondly, which can be a magical place. The safaris were during my wildlife 'phase'. I was absolutely floored by how rich, colorful and amazing nature was in those places."

"Experimental"

Phase One IQ180 | 300mm | F9.5 | 1/350 sec | ISO 35
Photo: Roberto De Micheli

When capturing that perfect shot, what techniques come to mind?

"For fashion, I do not have a preferred recipe. The best 'technique' I know is to work with great talent and to create a good atmosphere on set. I will also be bold and try different angles, poses and light setups. For travel, I like taking panoramas with a long lens (RF 100-500). For kids, I like to 'disappear' and take photos while they play for the best expressions. For drones, practice those flying maneuvers!"

Should photographers spend what they can to get the best shot?

"I'd say two things: don't spend too much until you find your niche and decide to be serious about it, and learn to take control of your photography!"

Roberto really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. You can also visit his work at rdmfashionphoto.com. Thanks, Roberto, 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?'

Xiaomi hopes Leica will breathe life into its latest smartphones

Left: Xiaomi 17T Pro. Right: Xiaomi 17T
Photo: Abby Ferguson

Xiaomi has announced the latest entries in its extensive phone lineup: The 17T and 17T Pro. The updates are overall fairly incremental over the 15T series of phones (Xiaomi skipped 16 in its lineup), but brings its 5x Leica co-branded telephoto camera to the base model for the first time.

The main change on the 17T in regard to cameras is the telephoto lens. The 15T featured a 46mm equivalent (2x) telephoto camera, which doesn't offer a true telephoto view. Now, like the Pro model of the T lineup, the base phone features a 5x, or 115mm equivalent lens. That comes with a bit of a tradeoff, though, as the aperture is now F3.0 compared to the F1.9 of the wider lens. Otherwise, the 17T keeps the same main and ultrawide cameras as the previous generation.

Xiaomi 17T Xiaomi 17T Pro Main camera Sensor size Type 1/1.55 (50mm²) Type 1/1.31 (72mm²) Resolution 50MP 50MP Aperture F1.7 F1.67 Equivalent focal length 23mm 23mm Ultrawide camera Resolution 12MP (15mm²) 12MP (15mm²) Aperture F2.2 F2.2 Equivalent focal length 15mm 15mm Telephoto camera Resolution 50MP (21mm²) 50MP (21mm²) Aperture F3.0 F3.0 Equivalent focal length 115mm 115mm

The 17T Pro has even more subtle changes to its camera system. Xiaomi upgraded the sensor in the main camera from its Light Fusion 900 to Light Fusion 950, though it isn't clear what the practical implications of that are. The aperture of the main camera has also been ever-so-slightly changed, moving from F1.62 on the 15T Pro to F1.67 on the new model. Otherwise, the telephoto and ultrawide cameras remain the same as the last generation.

Beyond camera hardware, Xiaomi has added what it's dubbed "Leica Live Moment" to both of the new T-series phones. While the previous generation supported live photos (which capture a short video clip around a still image), those did not have specific Leica color profiles associated with them. Now, users can select between the Leica Authentic and Leica Vibrant profiles even when Live Moment is turned on.

The 17T Pro gets a new chip, the MediaTek Dimensity 9500, which also features an updated image signal processor (ISP). The new chip and ISP promise to bring some processing and autofocus improvements to the table, in addition to providing general speed and efficiency gains. The 17T also gets a new chip, though it's more of a modest refresh. Xiaomi also updated the batteries on both phones, promising slightly longer battery life. The 17T still lacks wireless charging, though.

The Xiaomi 17T will be available in blue, purple and black at a starting price of €749, while the 17T Pro comes in purple, white, blue and black for a starting price of €899. These prices represent a move up-market for the T series, as the previous versions started at €649 and €799, respectively.

Xiaomi Unveils Xiaomi 17T Series, Bringing Dual Sizes, Telephoto Capabilities Across the Lineup, and Leica Live Moment

Vienna, AUSTRIA, May 28, 2026 – Xiaomi today unveiled the latest additions to its
T Series smartphone lineup with the brand new Xiaomi 17T Series, including Xiaomi
17T and Xiaomi 17T Pro. Combining an advanced Leica 5x telephoto camera and
eye-care display with an ultra-large capacity battery, Xiaomi 17T Series comes as an
imaging flagship encased in a refined design. Introducing dual sizes to the T Series
for the first time, this lineup is set to deliver an exceptional experience, crafted for
modern users.

Transform moments into living stories with The Telephoto Master and Leica Live Moment

Combining Leica optics with Xiaomi's cutting-edge imaging technology, Xiaomi 17T
Series features a triple camera system headlined by a 50MP main camera designed
to capture crystal-clear images. Inside lies an ultra-large 1/1.31-inch sensor in
Xiaomi 17T Pro and a 1/1.55-inch sensor in Xiaomi 17T. Both combine Leica
UltraPure optical design with a 1G + 6P hybrid Leica Summilux lens structure,
renowned for rendering fine detail with exceptional clarity. The large aperture across
the series delivers superior dynamic range and beautifully rendered depth of field.

For the first time, Xiaomi 17T Series brings the Leica 5x telephoto camera to both
models in the T series, redefining versatility across the lineup. It delivers 50MP
images with OIS and exceptional range, from intricate details captured via 30cm
macro photography to 10x optical-grade zoom and up to 120x AI Ultra Zoom. This
enables seamless shooting from near to far, giving creators flexibility across focal
lengths. Beyond photography, the telephoto system also enhances videography,
particularly on Xiaomi 17T Pro, which introduces Xiaomi Series smartphones' first 4K
60fps cinematic recording, delivering natural background bokeh for a more
immersive visual experience. Specialized modes such as Stage further improve
performance in complex lighting conditions across both photo and video, helping
ensure concerts, performances, and other scenes are captured with clarity.

Moving beyond traditional still photography, Xiaomi 17T Series introduces Leica Live
Moment, capturing not only the decisive instant, but also the motion and emotion that
lead up to it. Leica Live Moment preserves movements and fleeting expressions,
adding greater depth and context to everyday scenes. Supported across all rear
camera focal lengths, Leica Live Moment delivers dynamic imaging infused with

Leica's signature aesthetic, ensuring a consistent visual style across perspectives.
The result is more expressive, nuanced storytelling beyond a single frame, capturing
emotion and narrative in every shot.

Leica Live Portrait extends this capability into Portrait mode, adding a natural bokeh
effect that enhances subject separation while retaining the fluidity of motion. Newly
designed exclusive Leica watermarks are available for Leica Live Moment captures,
and multiple moments can be combined into shareable collages for social platforms.

Live cinematography, exclusive to Xiaomi 17T Pro, brings further creative options
with Ultra-HD Live Moment in 4K, as well as seamless zoom effects via Freestyle or
Portrait Live cinematography.1

A flagship display experience balancing visual brilliance and intelligent eye care

Xiaomi 17T Series puts user needs at the forefront, integrating advanced eye-care
technology into its displays to debut Xiaomi Vision Care.2 Guided by medical
research with precise engineering, this display automatically adapts to ambient light
conditions, and effectively manages blue light, flicker, and motion blur to ensure all-
day comfort. Thanks to these innovations, Xiaomi 17T Series is the first to receive
the TÜV Rheinland quadruple eye-care certification, and has earned Xiaomi's first
TÜV Rheinland Intelligent Eye Care certification.

At the heart of this exceptional visual experience is a 1.5K AMOLED display with
3500-nit peak brightness that delivers clear image quality and high color accuracy
even in bright outdoor sunlight. Xiaomi 17T Pro takes this a step further, enhancing
ultra-low-light night-time viewing with hardware-level 1-nit minimum brightness.

Not only is viewing crystal-clear, but also buttery-smooth with a high refresh rate
offered across the series, namely up to 144Hz on the Pro variant,3 and 120Hz on the
base version. Surrounding the screen are ultra-slim bezels that create an immersive
look, focusing attention on the display. Notably, Xiaomi 17T Pro achieves this with
the innovative LIPO packaging solution, resulting in equally-sized 1.29mm bezels on
all four sides.5 Xiaomi 17T, meanwhile, comes in a more compact form factor that
features a streamlined and lightweight design, optimized for effortless one-handed
use for users who value portability and convenience.

Accentuating this display are a series of finishes that blend timeless design with
modern style through the latest technology and craftsmanship. Xiaomi 17T Pro is available in a sophisticated Deep Blue, an elegant Deep Violet, or a classic Black.4 Meanwhile, Xiaomi 17T is available in four expressive colors, including an iridescent Opal White, an ethereal Violet, a vibrant Blue, or a classic Black.4 A refined brushed finish extending around the sides lends a neat, modern look, while the smaller, lower camera module adds to the sleek silhouette. Micro-curved edges also result in an effortless in-hand feel.

Power and performance without compromise

Enabling these advanced camera and visual experiences on the Xiaomi 17T Series
is the powerful underlying performance across the series. Both models introduce
next-generation silicon-carbon battery technology, achieving higher energy density
while maintaining long-term performance.

Xiaomi 17T Pro's 7000mAh battery4 is the largest on a Xiaomi Series smartphone in
the international markets,7 with a 27% increase in capacity over the previous
generation,5 delivering an average of 1.88 days of use for typical users and all-day
power for even the heaviest users.8 Both 100W wired HyperCharge and 50W
wireless HyperCharge are also supported for a quick recharge whenever needed.9
Meanwhile, despite coming in a more compact design, Xiaomi 17T is equipped with
a 6500mAh battery6 with an 18% higher capacity than the previous generation.5
Paired with 67W HyperCharge,10 it keeps users powered throughout the day. Both
Xiaomi 17T Pro and Xiaomi 17T are compatible with third-party chargers, thanks to
100W9 and 50W PPS support,10 respectively.

Maximizing battery efficiency are two highly optimized chipsets designed for
sustained performance. Xiaomi 17T Pro is powered by the MediaTek Dimensity
9500, built on a 3nm process, while Xiaomi 17T features the MediaTek Dimensity
8500-Ultra on a 4nm architecture. Both deliver major upgrades in CPU, GPU, and AI
performance, enabling smooth responsiveness across demanding multitasking and
next-generation gaming. To maintain this peak output, the Xiaomi 3D IceLoop
System provides advanced thermal management through efficient vapor–liquid
separation. By rapidly channeling heat away from the core chipset, it enhances
sustained stability and ensures the device remains comfortable to hold, even under
heavy workloads.

Both Xiaomi 17T and Xiaomi 17T Pro deliver comprehensive upgrades across the
board, including an enhanced camera system featuring the innovative Leica Live
Moment and a highly versatile telephoto lens, along with increased battery capacity
and more, elevating the Xiaomi T Series to an entirely new level.

Price and Availability11

Xiaomi 17T Pro will be available in three color options: Deep Blue, Deep Violet, and
Black.4

Xiaomi 17T Pro comes in three storage variants12, starting from XXX.

Xiaomi 17T will be available in four color options: Violet, Opal White, Blue, and
Black.4

Xiaomi 17T comes in two storage variants12, starting from XXX.

Moreover, users who purchase Xiaomi 17T Series in eligible markets will enjoy
several benefits¹³ at no extra cost: a 3-month trial of Google AI Pro with higher
access to Google AI and 5TB of cloud storage;14 a 3-month trial of YouTube
Premium,15 with ad-free access and offline downloads across YouTube and
YouTube Music; and a 4-month trial of Spotify Premium with ad-free listening,16
offline downloads, and enhanced audio quality.

Disclaimers

1 This feature will be available via OTA, starting from May 28, 2026.

2 This product is not a medical device. Its features are not intended for medical use
and are not intended to predict, diagnose, prevent, or cure any disease.

3 The screen supports a maximum refresh rate of 144Hz. The screen refresh rate
may be slightly different under different application interfaces and game image
quality. Please refer to the actual experience.

4 Color availability may vary between markets.

5 Data tested by Xiaomi Internal Labs, actual results may vary.

6 Refers to the typical value of the smartphone's battery capacity.

7 As of up until May 2026.

8 Data is based on test results from Xiaomi Internal Labs, measured under a
simulated, comprehensive battery life scenario reflecting heavy daily use (including
typical smartphone activities such as home screen use, call, music playback,
gaming, social media, email, maps, video streaming, camera, browser, standby, etc.)
Actual results may vary due to differences in the testing environment, software
version, network conditions, and individual usage patterns.

9 Please consult the local seller on the availability of power adapters in the box.
Supports up to 100W charging with PPS-compatible adapters. Actual performance
may vary. Wireless charger sold separately.

10 Please consult the local seller on the availability of power adapters in the box.
Supports up to 50W charging with PPS-compatible adapters. Actual performance
may vary.

11 Prices for different markets may vary due to VAT, taxes, and other factors.

12 Configurations available may differ between different regions. Available storage
and RAM are less than the total memory due to storage of operating system and
software pre-installed on the device.

13 Availability of these benefits is subject to applicable terms and user eligibility.

14 Gemini is a trademark of Google LLC. Terms apply. Offer ends June 12, 2027.
Only available for ages 18+. Unless canceled earlier, Google One will charge a
monthly fee after the trial ends (price varies by region). Cancel anytime. Return of
purchased device may result in cancellation of subscription. Terms:
https://one.google.com/offer/terms-and-conditions/xiaomi_3month_aip_trial

15 New users only (no prior trials of YouTube Premium, YouTube Music Premium, or
YouTube Premium Lite). Redeem by Aug 31, 2026, 11:59 PM local time. Individual
subscription will automatically renew after the trial period ends. Billed on a monthly
recurring basis. Cancel anytime. Redeem in the YouTube app. Terms apply:
https://www.mi.com/global/support/terms/youtube-premium-terms/

16 Offer is valid for new Spotify Premium users only. Offer applies to Spotify
Premium Individual except for Indonesia, India, and the United Arab Emirates,
wherein the offer applies to Spotify Premium Standard. Redeem by Sept 25, 2026, 11:59 PM local time. Free trial, then monthly fee applies unless canceled (price
varies by region). T&Cs apply. Terms: https://www.mi.com/global/support/terms/spotify-premium-terms/

17 The device is certified to be water and dust resistant exclusively under specific
laboratory conditions not corresponding to normal use conditions. The warranty does
not cover liquid damage caused by conditions other than test conditions. Ingress
protection might deteriorate due to wear and tear, physical damage and/or
disassembly needed for repair. For more information, please refer to Xiaomi's official
website.

18 The availability of Xiaomi Offline Communication may vary by country. Xiaomi
Offline Communication requires a SIM card and a logged-in Xiaomi account to
function. It supports voice calls within a limited range between two supported devices
in open, unobstructed environments. Actual call quality may vary depending on
environmental conditions. Please refer to your actual experience. This feature is not
designed or intended for emergency or life-saving communications.

19 Availability of AI features may vary depending on version, apps, languages, and
regions. Please check the official website for more information. An internet
connection is also required. Please check responses for accuracy.

20 Google and Android are trademarks of Google LLC. Available on select devices
and internet connection required. Works on compatible apps and surfaces. Results
may vary depending on visual matches. Check responses.

21 Google and Gemini are trademarks of Google LLC. Check responses. Setup
required. Compatibility varies. 18+.

22 Supports up to 22.5W wired reverse charging, compatible with devices verified
through Xiaomi Internal Labs. Actual performance may vary depending on battery
condition and other factors. Ensure your phone has sufficient charge and that the
receiving device is compatible.

23 Wi-Fi 7/Wi-Fi 6E/Wi-Fi 6 capability may vary based on regional availability and
network support. Wi-Fi connectivity (including Wi-Fi frequency bands, Wi-Fi
standards and other features as ratified in IEEE Standard 802.1 specifications) may
vary based on regional availability and local network support. The function may be
added via OTA when and where applicable.

24 Dual SIM may vary based on region availability. Use of eSIM requires a wireless
service plan. This service plan may be subject to certain restrictions of use on
switching service providers and roaming (even after contract expiration). eSIM
availability may vary depending on country/region and carrier. For more details,
please contact your carrier.

25 Connectivity and network bands may vary based on region availability and local
operator support.

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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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Nikon shooters are getting a new $690 portrait monster

When you use DPReview links to buy products, the site may earn a commission. Image: 7artisans

Earlier this year at CP+, 7artisans showed off a full-frame autofocusing 135mm F1.8 lens. Now, the company is launching it for Nikon's Z mount, and has fully unveiled the specs and price.

The AF 135mm F1.8 (7artisans occasionally adds "Max" to the end of the name, but not consistently) has 16 elements in 13 groups, with six extra-low dispersion lenses and five high refractive index elements. It has a 0.68m (2' 3") minimum focusing distance, and can achieve up to 0.25x magnification. Its aperture has 12 blades, which the company says will provide "naturally circular bokeh" and 12-point starbursts.

Autofocus duties are handled by a stepper motor, and the lens has a switch for going between manual and auto focus. It also has two function function buttons, though it's not entirely clear whether they can be programmed to do different things, or if it's the same function but easy to access whether you're shooting in portrait or landscape. It also has a customizable control ring.

Image: 7artisans

At 1014g (35.8oz), it's relatively hefty, though a touch lighter than Viltrox's AF 135mm F1.8 Lab. Part of that is likely down to its aluminum construction. It's 130mm (5.1") long, and accepts 82mm filters. The company says the mount has a gasket to keep out dust, and that the front element has a coating to repel fingerprints, moisture and oils.

At CP+, the company said the lens would also be coming to L and Sony E mount, and there are references to those versions in recent Instagram posts and product photos. However, at time of writing those don't appear to be available for sale yet. Those versions will have a dedicated aperture ring, rather than the Z mount version's customizable control ring.

The Z mount version of the lens is available now for $690. That's quite an aggressive price point, as Samyang's 135mm F1.8 retails for around $800, with the Viltrox option selling for $100 more.

Buy now:

Buy at Amazon.comBuy at B&H Photo 7artisans AF 135mm F1.8 specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length135 mmLens mountL-Mount, Nikon Z, Sony E, Sony FEApertureMaximum apertureF1.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades12OpticsElements16Groups13Special elements / coatings6ED, 5HRFocusMinimum focus0.68 m (26.77″)Maximum magnification0.25×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1014 g (2.24 lb)Diameter91 mm (3.58″)Length130 mm (5.12″)MaterialsAluminium SealingYesColourBlackFilter thread82 mmHood suppliedYes

Halide Mark III: Redesigned camera, new looks, and surprise Raw file support

Image: Lux Camera

Lux Camera, the company behind the Halide camera app for iPhones, has announced Halide Mark III, the third generation of the popular app. The new version includes several upgrades and new features, including one that caught us by surprise: the ability to process Raw files from several popular camera brands.

Photo looks

According to CEO Ben Sadofsky, the company put significant effort into developing the app's photo processing capabilities. As part of that effort, it teamed up with a Hollywood colorist to build a custom photo processing pipeline designed around the specific dynamic range and color gamut of the iPhone camera. The result is a new set of Halide Looks.

Halide Mark III ships with five: Valencia, which features saturated colors and heavier contrast, designed for landscapes and cityscapes; Rembrandt, a portrait look with extra mid-tone contrast that "emphasizes bone structure and lighting," along with uniform skin tones; Nova, a colorful look with strong contrast and "smooth, peachy highlights," also intended for landscapes and cityscapes; Zephyr, a more neutral look designed to mimic the subtle contrast of film with the character of a traditional print; and Chroma Noir, a black-and-white look with medium contrast.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Photos captured with Halide Mark III's new photo looks.
Photos: Lux Camera

The new looks join Halide's existing Process Zero, which bypasses the computational processing typically applied to smartphone photos, resulting in a grittier, more retro photo look.

Camera design

Sadofsky says the camera interface has been redesigned to keep the most important controls within thumb's reach. This includes a tile in the lower right corner representing your currently selected look – inspired by the windows on film cameras that allowed you to see what film was loaded in your camera.

Other new tools include aspect ratio options to match popular camera formats: 3:2, 1:1, and a 65:24 panoramic format, plus a dynamic aspect ratio for Instagram that adjusts depending on whether you're shooting landscape or portrait. New composition overlays add a uniform grid, the golden ratio and the rabatment of the rectangle to the existing rule-of-thirds grid.

Halide Mark III's new camera interface.

Image: Lux Camera

Additional controls are accessible via a three-dot "More" menu. In a nod to photographers more comfortable with the previous layout, there's an option to revert to the Halide Mark II interface.

The Photo Lab

The updated app also includes a new Photo Lab module for reprocessing Raw files. It's designed to let you quickly try different looks, adjust exposure, toggle HDR, and make other basic adjustments.

The new Photo Lab module is designed to quickly try out different looks

Image: Lux Camera

Photo Lab also supports Raw files from several camera brands. Sadofsky says that during development, the team felt Halide Mark III's output was beginning to rival their dedicated cameras, and wanted a way to bring that processing to files shot on those cameras.

The result: Halide Mark III can process Raw files from Canon, Sony, Nikon, Fujifilm, Leica, and Hasselblad. The company currently classifies this as a beta feature.

Pricing and availability

Halide Mark III is available on the iOS App Store as a one-time purchase for $60, or via a $20/year subscription. Users who purchased Halide Mark II will receive a free upgrade.

What are your favorite weather conditions for photography?

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

Panasonic L10 initial review: The compact that's dividing photographers

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Product Photos: Mitchell Clark

The Panasonic DC-L10 is an enthusiast compact with a Four Thirds sensor and an optically stabilized 24-75mm equiv. F1.7-2.8 lens with motorized zoom. Like the Panasonic's LX100 and Leica's D-Lux series of cameras, the camera doesn't use its entire sensor, instead letting you preserve the same diagonal angle of view from 4:3, 3:2 and 16:9 crops of it, which use up to 81% or around 183mm² of the sensor.

Key Specifications:

  • Up to 20.4MP images from a 26.5MP BSI CMOS Four Thirds sensor
  • 10.9 - 34mm (24-75mm equiv.) F1.7-2.8 lens with OIS
  • 2.36M dot OLED viewfinder
  • 1.84M dot 3" fully articulating display
  • Phase detect autofocus with 6 subject recognition modes
  • Metal body
  • 5.2K open-gate up to 30p
  • 1x UHS-II SD card slot

The L10 will be available in June, with the black and silver versions costing $1499. There will also be a special edition "Titanium Gold" version for $100 more, which will be available from limited outlets and include a threaded shutter button, leather strap and a color-matched automatically-opening lens cap (the latter accessory will be available to buy separately for the standard editions in silver and black).

Index

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's New? The LX100 II (left) is a fair bit smaller than the L10 (right).

Panasonic is pitching the L10 as the start of a new line of compacts, rather than a direct successor to the LX100 II from 2018, but the cameras' shared DNA and place in the market make it worth seeing what else the removal of an X and a zero has changed. The biggest difference is, of course, the design, which will be covered in the body and handling section.

Updated sensor

The L10 uses the same 26.5MP Four Thirds (225mm²) sensor that's found in the GH7 and G9 II. This results in images that have better dynamic range and are slightly higher resolution than you could get out of the LX100 II: up to 20.4MP in its 4:3 mode, rather than 17MP.

The L10 continues Panasonic's tradition of cropping in on its sensor to produce a multi-aspect ratio shooting experience, where the different crop modes it offers generally have the same diagonal angle of view.

Graphic: Richard Butler

The bigger improvement, though, is the addition of phase detect autofocus. The L10 has essentially the same autofocus we've seen in all of Panasonic's most recent cameras, with algorithms for recognizing six kinds of subjects (humans, animals, cars, motorcycles/bikes, trains and planes), as well as part priority (e.g., focusing on a rider's helmet, or the cockpit of a plane) derived from machine learning.

New processor

Panasonic has used its latest processor in the L10, the same one found in recent models like the S1RII. The camera runs Panasonic's latest-generation of firmware, so it's compatible with the company's Lumix Lab app and has features like HLG HEIF output, Live View Composite (a multi-exposure mode that shows you the image as it builds up, and lets you stop it when you choose), in-camera processing of focus stacking bursts and the Real-Time LUT system, which lets you bake custom-designed color profiles into your JPEGs and videos.

A cornucopia of colors

While the Real-Time LUT system (for which there's a dedicated button on the rear plate) lets you use custom color modes for your JPEGs, the camera includes a few new built-in color modes too, which Panasonic says are "film‑inspired." These are "L.Classic," which the company says is low-saturation and highlights greens, and "L.ClassicGold," which gives your photos a very warm, amber look.

Standard Color Profile L.Classic Neo L.Classic L.Classic Gold

The decision to include these new modes was apparently based on the popularity of the L.ClassicNeo profile that it's included in its cameras for years. For video shooters (or photographers looking for a video-like look), the camera also includes a suite of "Cinelike" modes designed to give you a pleasingly flat look that, unlike the also-included V-Log, can be used for output, but which also offer some editing flexibility in post.

How it compares

One of the most exciting things about the L10 is that it's a new enthusiast compact camera aimed at photographers, which is something we haven't seen in quite a while. Companies like Canon and Sony still sell the latest entries in the G7X and RX100 lines, but both cameras were introduced in 2019, around 7 years ago.

While it can be tempting to compare the L10 to cameras with fixed prime lenses like the Ricoh GR4 and Fujifilm X100VI, the use of a zoom lens means that it's targeting a different kind of photographer. Likewise, vlogging compacts like Canon's PowerShot V1 and Sony's ZV-1 II are much more focused on pleasing videographers than photographers.

Panasonic L10 Panasonic LX100 II Sony RX100 VII Canon G7X III MSRP $1499 $999 $1499 $879 Sensor 26.5MP BSI CMOS
Up to 183mm² 21.8MP BSI CMOS
Up to 183mm² 20.1MP stacked CMOS
116mm² 20.1MP stacked CMOS
116mm² Lens (equiv. focal range) 24-75mm 24-75mm

24–200mm 24-100mm Aperture range F1.7-2.8 F1.7-2.8 F2.8-4.5 F1.8-2.8 Built-in filter? No No No 3EV ND Burst rate 11fps mech. (AF-S) / 9fps (AF-C)
30fps e-shutter (AF-C) 11fps mech. (AF-S)
5.5fps (AF-C) 10fps mech.
20fps e-shutter 8fps (C-AF)
20fps e-shutter (S-AF) AF Subject Recognition Human
Animal
Car
Motorcycle/Bike
Train
Airplane Face/Eye Face/Eye Face/Eye Pre-Capture? Yes No No No Display 3" 1.84M dot
Fully-articulated 3" 1.24M dot
Fixed 3" 921K dot
Tilting 3" 1.04M dot
Tilting EVF 2.36M dot OLED
0.74x
Fixed 2.76M dot field sequential
0.7x
Fixed 2.36M dot OLED
0.59x
Pop-up No Built-in flash? No (Hotshoe) No (external included) Yes (pop-up) Yes (pop-up) Battery life EVF / LCD 410 / 420 shots 270 / 340 shots 240 / 260 shots - / 235 shots Video 5.2K/30 Open Gate
4K/120 (full-width)
10-bit 4K/30 (1.34x crop) 4K/30 (1.08x crop) 4K/30 (full-width) 10-bit video Yes, HLG HDR / Log No No No Connectivity USB-C 10Gbps
Wi-Fi 5
Bluetooth 5
Mic jack Micro USB
480Mbps
Wi-Fi 3
Bluetooth 4.2
microHDMI Micro USB 480Mbps
Wi-Fi 3
Bluetooth 4.1
Mic jack USB-C
Wi-Fi 3
Bluetooth 4.2
Mic jack
microHDMI Dimensions 127 x 74 x 67mm
(5.0 x 2.9 x 2.6") 115 x 66 x 64mm
(4.5 x 2.6 x 2.5") 102 x 58 x 43mm
(4.0 x 3.3 x 1.7") 105 x 61 x 41mm
(4.1 x 2.4 x 1.6") Weight 508g (17.9oz) 392g (13.8oz) 302g (10.7oz) 304g (10.7oz)

By virtue of being the newest camera on this list by at least seven years, the L10 has the benefit of many modern features we've come to expect: subject recognition for more than just faces, fast wi-fi transfers to a modern app, pre-burst capture, full-width video even at ambitious resolutions and frame rates and more. And while Panasonic typically hasn't matched the autofocus performance of Sony and Canon's latest systems, the systems used by the compacts discussed here are noticeably less advanced.

Body and Handling

The L10 isn't a tiny camera by any means; it's noticeably larger and heavier than its Type-1 competitors, and even the LX100 II, though it's essentially the same size as Fujifilm's ever-popular X100-series. It feels solid, with ample grip and some breathing room for its controls. While the top plate controls aren't the most premium feeling – they're similar to the S9's – they're well-placed for one-handed use.

Controls and customization

The L10 has a wide variety of customizable dials, buttons and switches along almost every surface. While this affords a lot of flexibility to customize the camera how you want – you can easily set it up in a way that lets you largely avoid the main menus while shooting – some of the defaults aren't the most sensible in our view.

As an example, when you're in aperture priority or manual mode, the top plate command dial is set to control aperture... which it won't do unless the dedicated aperture ring is in the 'A' setting. If it's not, turning the wheel does nothing, wasting the camera's single top plate dial. In our view, it'd have made more sense to control exposure compensation by default, at least in aperture priority mode.

Most of what were dedicated controls on the LX100 cameras have become customizable. What was previously a shutter speed dial is now a mode dial, and what was once a marked exposure compensation dial is now a customizable dial with a button in the middle.

Speaking of aperture, though, we appreciate that the ring is clicked, and that it handles the variable aperture in a sensible manner. For example, if you have it set to F1.7, but have the lens at 75mm equiv., it'll set the aperture to F2.8. The aperture setting will stay the same as you rotate it, until you hit F2.8, at which point it'll begin to change.

Behind the aperture ring is a customizable control ring. By default, it's set to control the power zoom (another redundancy; the toggle rocker around the shutter button does that, too), but you can have it control things like exposure compensation, ISO, white balance, AF mode and more.

Switching between the 'A' setting on the lens and the aperture range takes a bit of force – it'd be difficult to accidentally knock it out of your preferred position. Conversely, we found the focus mode switch to be a bit too easy to knock into macro mode.

Finally, there's the four-way switch on the top barrel of the lens. By default, it controls your aspect ratio, and you can customize what the 1, 2 and 3 positions do; the first position hands off control to the body. If you prefer, you can remap the control to do something else, like switching between three color modes, focal lengths or subject recognition settings.

You can also set any of the physical zoom controls to work linearly, smoothly zooming in through the lens' entire range, or to jump between common preset focal lengths (24, 28, 35, 50, 70 and 75mm equiv.). You can also have the camera remember what focal length it was at when you turned it off, and return to it when you start it up again.

EVF and display

The OLED panel in the L10's view finder is bright and high-resolution for a compact. While its eye point is only 20mm, we found it was relatively easy to see, even when wearing glasses. Thankfully, the color tearing of the field sequential displays that Panasonic used in the LX100 series is no longer an issue.

The rear monitor is fully-articulating, offering nearly unlimited flexibility in what angle you shoot from, though not the quickest deployment if you're just trying to shoot from above or below. Panasonic has created a vertical version of its on-screen UI, so if you're shooting in portrait, the details on the screen will be much easier to read, as they'll be in the correct orientation.

Ports You can have audio input, but you can't monitor due to the lack of a headphone jack.

The L10 doesn't have an immense amount of input and output options. There's a USB-C port for charging and data transfer, which it can do at 10Gbps, and a 3.5mm microphone jack. The camera also has a fully functional hotshoe, which can be used to connect to a flash, digital microphones, and even Panasonic's XLR2 accessory that lets you record four-channel and 32-bit float audio, all but eliminating the risk of clipping.

Battery The SD card slot gets its own dedicated door, rather than having to share one with the battery.

The L10 uses the same 16Wh BLK22 battery found in many of Panasonic's full-frame mirrorless cameras, providing a CIPA-rated 410 shots per charge when using the EVF, and 420 shots when using the display. It's not unusual to get double those ratings in real-world use, so many users may be able to get through even relatively heavy weekends of shooting without having to recharge.

Autofocus

The L10's autofocus can recognize several types of subjects, not just humans.

Panasonic L10 | 30mm equiv. | F2.1 | 1/60 sec | ISO 800

The L10 has several modes for selecting your autofocus point: the fine-grained pinpoint, a resizable single area, area-plus, a customizable zone, horizontal/vertical zone, full area, and tracking.

It doesn't have an autofocus joystick, so selecting your AF point will require using the touchscreen, or setting up the four-way controller to move it around. You can also set the screen or a portion of it to act as a touchpad to move it when your eye is up to the viewfinder.

Besides pinpoint, all of those modes can be combined with subject detection, which can be set to recognize several different types of subjects. If there are multiple recognized subjects, the camera draws a box around each of them, highlighting which one is selected, and allowing you to switch to another one. In general, it does a good job of respecting your chosen AF point; it won't jump to a recognized subject unless it's quite close to your selected area, letting you leave it on most of the time.

The L10's tracking mode won't fall back to generic tracking if it doesn't recognize a subject

The one exception is if you're a fan of the track to recompose method. Like the S1II-series, the L10's tracking mode won't fall back to generic tracking if it doesn't recognize a subject. The AF point will stay in the same place in the frame, instead of trying to stick to whatever you placed it over. This means you'll have to constantly engage and disengage subject recognition mode depending on what you're shooting, which you can do with a custom button or using the lens's four-way switch.

Video The L10 has a lot of video capabilities, but cuts down on at least some complexity due to its lack of advanced codecs like ProRes and ProRes Raw (which would likely be too much for an SD card to handle).

While the company mainly pitches it as a stills camera, the L10's use of the GH7's sensor means it has an extremely robust set of video features. In its H.265 mode, it can capture 5.2K 4:3 open gate at up to 30p, and full-width 4K at up to 120p. As we'd expect, there are a lot of other options too; 60 in total, with All-I recording modes, 17:9 aspect ratios and >4K options.

It also incorporates Panasonic's MP4 (Lite), which is designed to produce files that are good enough quality for social media, but that are relatively small and therefore easy to transfer and upload. That codec supports 4:3 open gate at around 4K at 30p, which gives you the flexibility to take both horizontal and vertical crops for different platforms, as well as output-ready UHD 4K and FullHD, but, strangely, only in 60 and 120p.

The L10 mostly continues the tradition of offering every video assist feature

The L10 mostly continues Panasonic's tradition of including every video feature under the sun*. It has Log and HLG recording modes, and view assist tools for them, waveform exposure monitoring, multiple customizable frame guides, the Focus Transition tool that lets you do automated, repeatable focus pulls and more. All of its autofocus subject recognition modes are available in video, even when shooting at high frame rates, and you have a lot of control over which settings are or are not shared between your stills and video modes.

This means that it can be used as both a simple point-and-shoot video option for photographers who occasionally want to just capture something in motion without thinking too hard about it, and as a tool for someone serious about getting good video (though its form-factor comes with plenty of inherent limitations, despite its 43mm thread technically allowing you to attach an ND filter).

* There are a few omissions: unlike other Panasonic cameras, it doesn't offer a false color overlay for judging exposure, nor is there the option to use shutter angle instead of shutter speed.

Initial Impressions

By Mitchell Clark

Since the L10 launched, I've read hundreds of comments about it, a large portion of which focused on what the writers wished it was instead; a Micro Four Thirds interchangeable lens camera, a prime-lens compact, a smaller, more direct successor to the LX100 II, a full-frame follow-up to the S9, the list goes on. And while I understand why people want the cameras of their imaginations, we should set our dreams aside and focus on what it actually is: an enthusiast compact with modern tech.

At a high level, there are a few reasons to get a compact camera: you might want something that's flexible, but still provides an engaging experience without being a burden to carry around. Or you want a step up from your phone to something that's still relatively easy to use, but that has better zoom and subject separation.

I suspect the L10 produces better photos than my iPhone 15 Pro. I know it's more fun to use.

Panasonic L10 @ 33mm equiv. | F2.8 | 1/125 sec | ISO 125

To me, the L10 checks those boxes handily. Having the latest autofocus with several subject recognition types makes it easier to use for beginners, and features like pre-capture and capable video expand the envelope of what an experienced photographer can easily do with it. It lets you easily get the look you want in camera with LUTs and aspect ratios, then offload them to your phone, but doesn't preclude editing in post. And its EVF and copious control points provide an engaging shooting experience, though you might have to spend some time in the customization menus to get a setup you find truly satisfying to use.

While none of this is revolutionary for cameras in general, it's not something you get with many of the other compacts on the market, with the closest competitors to the L10 dating back to 2019 (read: before ubiquitous 5Ghz Wi-Fi and fast USB C).

There are still frustrations with it. While the camera's UI is snappy and responsive, the lens, which is an older design, can be ponderous. It takes around two seconds to extend when booting the camera up (and to retract when shutting it down), and another few beats to make its way through its zoom range. And while I've found the tracking AF performance to be decent so far, there have already been times where it fell down, making me wish I had a direct control for my focusing point. It also doesn't feel quite as premium as the marketing and price tag lead me to expect.

I remain enthusiastic about this compact.

Figuring out how those affect the shooting experience, and if there are any other hidden gotchas, will require a bit more time with it. But at the moment, my dreams of what this camera could be haven't been shattered by actually using it.

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

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Xiaomi 17T Pro sample gallery: First photos from the upcoming phone

Photo: Abby Ferguson

Xiaomi is gearing up to announce its next T-series phones: the 17T and 17T Pro. Ahead of the launch, the company sent us the new devices so we could check them out. We spent some time specifically shooting the Pro model to see what the camera is like. You can check out the resulting images in the gallery below.

We'll be able to share more details at launch, so stay tuned to hear more on May 28th at 3:00 PM CEST (GMT+2) / 9:00 AM EDT.

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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Reaching far with Sony's 100-400mm F4.5 zoom lens

When you use DPReview links to buy products, the site may earn a commission. Sony a7R VI | Sony FE 100-400mm F4.5 GM OSS | 320mm | F4.5 | 1/800 sec | ISO 800
Photo: Richard Butler

Alongside the a7R VI, Sony launched an ambitious new telephoto lens: the FE 100-400mm F4.5 GM OSS. It has a constant aperture through its range, internal zoom, and a wide selection of controls, making it clear that it's aimed towards professional sports and action photographers.

We were able to shoot it alongside the a7R VI, taking it to a rugby game, a bird sanctuary and the streets of New York City to test it in a variety of scenarios. And, now that we have Raw support for the a7R VI, we can provide a closer look at how the lens performs, without having to worry about what corrections the body is applying and JPEG noise reduction. You can see the results in the gallery below.

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.

While we typically process images for a lens sample gallery using Capture One, we used the Sony a7R VI to test the lens, which isn't currently supported by that program. We've reverted to processing these images using ACR. We've worked to use settings similar to our standard C1 recipe while also using the lens' built-in correction profile. No correction for vignetting was applied, and we'll replace the images with ones processed in Capture One when a7R VI support becomes available.

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