Photo: Mitchell Clark

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

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

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

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

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

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

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

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

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

Image: Panasonic

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

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

Apps available

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

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

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

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

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

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

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

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

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

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

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

GPS sharing

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

Firmware updates

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

Capabilities beyond the basics

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

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

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

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

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

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

Live streaming

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

Rainbow Lorikeet

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

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

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

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

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

Meet Lance Blackburn (Lance B.)

Home base: Australia

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

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

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

While-bellied Sea Eagle catching a fish.

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

What's in Lance's bag

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

Lance's camera bag

Photo: Lance Blackburn

What are your favorite pieces of gear?

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

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

Any other interesting gear you take with you?

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

Osprey with a catch.

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

What got you started in photography?

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

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

What's unique about photographing overseas locations?

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

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

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

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

What tips can you share for shooting rare birds?

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

Sacred Kingfisher

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

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

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

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

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

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

Photo: Abby Ferguson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fujifilm's film heritage and colors

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

Photo: Mitchell Clark

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

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

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

Where the X mount lineup is headed

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

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

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

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

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

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

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

Photo Credit: (NASA/John Kraus)

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

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

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

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

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

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

Image: Westend61 / Westend61 via Getty Images

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

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

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

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

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

Click here to answer the Question of the week

Image: Canon (via CanonCat.net)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo: Jeff Keller

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

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

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

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

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

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

Image: SmartSens

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

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

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

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

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

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

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

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

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

Photo courtesy of Daniel Balton

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

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

Inside the new era of halftime

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

Photo: Daniel Balton

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

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

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

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

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

Photo: Daniel Balton

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

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

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

Coordinated chaos Photo: Daniel Balton

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

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

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

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

Shifting gear requirements

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

Photo: Daniel Balton

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

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

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

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

Born into the broadcast

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

Photo courtesy of Daniel Balton

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

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

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

Advice to future generations Photo: Daniel Balton

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

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

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

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

Buy now:

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

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

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

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

Sony a7 V review sample gallery

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

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"Night Lights" photo challenge

The theme for our March Editor's photo challenge was "Night Lights."

We asked you to share your best photos featuring artificial light sources, and you lit up the board with brilliant entries. In addition to great photos, we were impressed by the variety of geographic locations represented in this month's submissions, featuring locations from around the world.

As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

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

Breskens Lighthouse

Photographer: Phantogram

Photographer's statement: The Breskens Lighthouse was built in 1867 to guide ships safely through the mouth of the Western Scheldt. The tower was designed by Dutch engineer Quirinus Harder, who was responsible for several lighthouses in the Netherlands. It stands about 28 meters tall and is constructed from cast-iron plates, a modern building technique in the 19th century. The light helped vessels heading to the important port of Antwerp.

During World War II, the lighthouse was damaged by wartime actions but ultimately survived. After the war, it was restored and returned to service for maritime navigation. In the second half of the 20th century, the lighting system was modernized and later fully automated, eliminating the need for lighthouse keepers. Today, the lighthouse is no longer active as a navigational aid but remains an iconic symbol of Breskens. It is a national monument and commemorates the region's maritime history. Many visitors still come to admire the view over the Western Scheldt.

Equipment: Sony a7 III + Sigma 14-24mm F2.8 DG DN Art

Midnight heron

Photographer: Deutsch

Photographer's statement: Walking past the pond fountain in our community around midnight, I saw the Blue Heron standing calmly there with a lot of Canadian Geese. I said, "Don't move, I've got to get my camera." I came back, and the Herron was still there, but I didn't want the geese in the photo. I've learned shooting wildlife, Herrons don't scare off easily, but the geese do. I walked closer and said, "Hello, Geese", and they all flew away, but the Herron stayed put. I couldn't resist the night light fountain glow, silhouetting the Blue Herron. Peaceful.

Equipment: Nikon Z7 + Nikon AF-P Nikkor 70-300mm F4.5-5.6E ED VR

The last days of Eden

Photographer: Electro35

Photographer's statement: This photo shows the last days of the cinema Eden Palast in Aachen in its former glory, with its beautiful entrance area and neon signs from the 50s, before they did a renovation. Now the original neon signs are unfortunately gone, but the new sign mimics the old ones, and they built a nice lounge-style waiting area. But, of course, I miss the old look, which I particularly loved on rainy nights.

Equipment: Olympus OM-D E-M5 II + Olympus M.Zuiko Digital ED 12-50mm 1:3.5-6.3 EZ

Baohua Road, Guangzhou, China

Photographer: olli thomson

Photographer's statement: I spotted this alleyway off Guangzhou's Baohua Road. The bright red lights of the signs created vivid reflections on the wet streets. The red glow of the signs was complemented by the red taillight of the scooter, and even the tiny red spot of the glowing cigarette in the hand of the guy edging into the photograph.

Equipment: Fujifilm X-S10 + Rokinon 75mm 1.8 AF-FX

Time for ice skating

Photographer: Kuzmabrik

Photographer's statement: In December, I decided to try out my new Fujifilm X-E5 camera by capturing some photos of a newly opened ice rink. The rink, illuminated by thousands of lights, is located on the riverbank and is about 1.7 km long. On that day, it was also the first snowfall of the winter, so the flakes of snow added a festive atmosphere to the scene.

Equipment: Fujifilm X-E5 + Fujifilm XF 27mm F2.8 R WR

Soho Odaiba

Photographer: Barry Bloom

Photographer's statement: I always look for nighttime shots in Tokyo. I found this recommendation. This is an office building with a small center courtyard – very hard to include all – I shot it with my fisheye lens from the 2nd floor.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 8mm F1.8 Fisheye PRO

Lamp and fog

Photographer: PuneetSood

Photographer's statement: Jersey City, NJ, USA. Taken while walking late at night in my neighborhood in March. It had almost finished raining, but there was still fog in the air, and the steam exhaust from the parking lot next to the lamp looked interesting.

Equipment: iPhone 13

Light show at Niagara Falls

Photographer: yfan

Photographer's statement: Visiting Niagara Falls in winter has become more and more popular these days. As a photographer, you will enjoy the less crowded season. The light-painted wintery falls are just so magnificent.

Equipment: OM System OM-5 + OM System M.Zuiko Digital 14-150mm f4-5.6 II

Streamers

Photographer: DrummerJim

Photographer's statement: Streamers of lights from different modes of transport illuminate the streets of Poznan, Poland. Trams, cars and bikes contribute to this ever-changing scene. Taken from my hotel window using Live-Composite mode on my camera.

Equipment: OM System OM-1 + OM System 40-150mm F4.0 PRO

Lantern exhibition at Basel Carnival

Photographer: Andreas Graf

Photographer's statement: The Basel Carnival or Fasnacht is a major cultural event in the Swiss city of Basel. After being paraded in a procession in the early morning hours of day 1 of the 3-day festival, the lanterns are then exhibited on the central square in front of Basel Minster for everybody to see. So I went there with my camera ready, and as every year, people came flocking in to take a closer look.

Equipment: Nikon Z6III + Nikon Nikkor Z 24-120mm F4 S

Finding treasure

Photographer: knulp

Photographer's statement: During winter, you can see glass eel fishing boats from a bridge in Tokushima, Japan. They hunt for valuable baby eels using strong light. The price of glass eel was recorded at more than 2.5 million JPY (~$15,000) per kg in the 2024 season.

Equipment: Sony a7R III + Tamron 28-75mm F2.8 Di III RXD

Walking down the street

Photographer: Michel Jarry

Photographer's statement: During a 2022 road trip across the United States in our motorhome, we captured thousands of images along the way. This one quickly became a favorite, taken on the vibrant Fremont Street in old Vegas under its dazzling night lights. And judging by the glance from the man on the right, she was definitely turning heads.

Equipment: Nikon Z7 + Nikon Nikkor Z 20mm F1.8 S

Main Street Turkey at midnight

Photographer: sprucemesa

Photographer's statement: I took this photo of Main Street in Turkey, Texas, after an evening photographing the Milky Way at Caprock Canyons State Park nearby. I was in the middle of the street for about 30 minutes and never saw another auto, not even the sheriff.

Equipment: Nikon D850 + Tamron SP 15-30mm F/2.8 Di VC USD

Winter wedding photo with kimono, snow and gas lamps

Photographer: Kaz Tsurudome

Photographer's statement: Couple's dream winter wedding photoshoot in Ginzan Onsen, Yamagata, Japan. There are winter destinations in Japan, and then there's Ginzan Onsen, where fresh snow settles on wooden ryokan rooftops, gas lamps glow at dusk, and the entire riverside street feels like a scene from another era.

Equipment: Leica SL2-S + Leica Vario-Elmarit-SL 24-70mm F2.8 ASPH

The protected view

Photographer: Ouroboros66

Photographer's statement: Guy de Maupassant preferred eating in the Eiffel Tower as it was the only place where he couldn't see the darned thing. I only had a short bit of free time when I was in Paris, so I decided not to visit the tower but to find a place where I could see it.

Equipment: Olympus OM-D E-M1 + Olympus M.Zuiko Digital ED 40-150mm F4-5.6 R

At the drive-in

Photographer: kitagata_kara

Photographer's statement: Taken in Universal Studios Orlando on a Halloween Horror Night, down the path from the Terminator 2 3D attraction outside of the faux 50s diner. This vacation goes down as the final one before my parents separated!

Equipment: Sony a7R II + Sony FE 35mm F2.8 ZA Carl Zeiss Sonnar T*

Welcoming beacon

Photographer: JeffryzPhoto

Photographer's statement: At the end of a dirty, muddy road, the neon lights of a hotel beckon to weary travelers in the Mustang Valley in the Himalayan Mountains of Nepal. A portion of the road was washed out by rain just after we drove through on our way back down the mountains. Hotel Karnali in the town of Kagbeni.

Equipment: Fujifilm X-T4 + Fujifilm XF 16-55mm F2.8 R LM WR II

Devil's Bridge at night

Photographer: arizonaphotoadventures

Photographer's statement: Sedona's iconic Devil's Bridge seen far from its usual social-media moment. Instead of the daytime line of photographers waiting their turn, I captured this image during a night hike with my daughter, when the desert finally grows quiet. Using light painting, I briefly illuminated the massive natural arch against the darkness.

Equipment: Canon EOS R5 + Canon RF 15-35mm F2.8L IS USM

Lighting up the polar night

Photographer: eric87

Photographer's statement: When it's dark all day long for several months, even a single small light brings undeniable comfort to those around it. In this white winter landscape of the Lofoten Islands (Norway), lights are everywhere in the windows, providing warmth.

Equipment: Fujifilm X-T2 + Fujifilm XF 18-55mm F2.8-4 R LM OIS

Ride the big wheel!

Photographer: DavidAMWA

Photographer's statement: Every year, our family goes to the Royal Show in Perth, Western Australia. The children's favorite is the side show alley with all the stalls and outrageous rides. The rotating machinery provides an excellent photographic challenge.

Equipment: Canon EOS 5D Mark III

The Saturnix is a soon-to-be open source DIY camera project that has a lot of style.
Photo: Yutani

While it seems like camera companies are willing to experiment again, it’s been a while since I’ve come across a camera with a design that really stopped me in my tracks. That changed when a friend forwarded me a Reddit post from a person named Yutani, who custom-designed what he describes as a “retro-futuristic digital camera” called the Saturnix. Friends, take a look at this gorgeous piece of camera hardware.

I reached out to Yutani, who says the camera started as a passion project purely for personal use. That changed when some friends insisted he share it, and Yutani isn’t stopping at just posting pictures of it and from it online: he also plans on posting all the information you’d need to build it yourself, along with the operating system and custom-built UI to run it for anyone to use.

And the award for most enticing buttons on a camera goes to...
Photo: Yutani

Obviously, the most attention-grabbing part of the Saturnix is the case. Yutani says it’s inspired by sci-fi movies and old computers in general, and by the terminals in the video game Alien: Isolation, specifically. Adding to that effect is the fact that the buttons on the camera are mechanical keyboard switches and keycaps, giving them a robust, chunky look and a satisfying mechanical click. “It honestly doubles as a fidget toy when the camera is off,” Yutani says. “Just clicking the buttons during a trip is kind of a stress reliever.”

Even after the design work, bringing it to life wasn’t just a matter of grabbing a 3D printer and hitting go. Yutani says the process involved a resin printer, ultrasonic cleaning baths, a wash station and curing oven, and a lot of time sanding and airbrushing. Most DIYers won’t be willing to spend an entire month on the exterior of their camera, and Yutani says it was the hardest part of the process, but an essential one. “For me, the design was the whole point. If it doesn't feel like a real camera in your hands, what's the point?”

The internals – the parts that actually make it a working camera – will probably be familiar to anyone who’s kept up with the DIY camera scene. It’s powered by a Raspberry Pi Zero 2W, has a 2” LCD display, and uses an Arducam IMX519 camera, which has a 16MP Type 1/2.53 (23mm²) sensor and a roughly 27mm equiv. autofocusing lens.

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While the images it produces are about what you’d expect given those specs, anyone hoping to build a Saturnix isn’t tied to that specific module; Yutani says he “plans to add support for all major official Raspberry sensors” to the operating system, which unlocks the possibility of using the much larger Arducam Type 1/1.32 (65mm²) 64MP camera.

With that said, the pictures that Yutani has shared from the Saturnix have that classic point-and-shoot charm that’s all the rage these days. That’s even more true of the ones processed with built-in “film simulation” filters, which aim to replicate classic stocks.

The camera's UI is also custom-built; it's written in Python, running on top of a minimal Raspberry Pi OS install. Keeping it lean is important, since the Raspberry Pi Zero 2W that powers it is a mere four-core ARM chip running at 1GHz, with 512MB of RAM.
Photo: Yutani

Those filters are included in the camera's operating system, which has a UI that follows the retro sci-fi aesthetic, and which allows for manual control of parameters like shutter speed, white balance and ISO. It can shoot DNG Raws and JPEGs, has a histogram and exposure meter, and can transfer photos over Wi-Fi. Yutani says the interface still has a ways to go. "The UI has gone through a ton of iterations and I don't think it's anywhere near final. Once the code is public, I'm hoping the community will customize and build on it too — that's the beauty of open-source."

While DIY cameras based on the cheap and modular Raspberry Pi computers are nothing new, Yutani's is definitely noteworthy for having an incredible amount of style. It apparently took around a year to design and fully get working, a process spurred on by the desire for a small, completely personal camera without the size, weight and feature overload of modern devices. Yutani says he started to get the idea that his creation might be worth sharing when people on the street came up to ask him what he was using while he was shooting with the camera.

Yutani's plan is to release everything you'd need to replicate the camera yourself in around two weeks, as there's still some work left to do before it's ready for the general public. "I want to polish a few things first, there are some issues to fix, and I need to write a detailed build guide covering everything from printer settings to assembly. I'm also waiting on a few components to arrive, like a vibration motor – I want to add haptic feedback for a more tactile shooting experience," Yutani says. "I want to make sure that when someone decides to build it, everything just works."

That release will also include a detailed list of all the components you'll need to replicate the camera, which Yutani estimates will cost around $100. At that price, I'm almost tempted to build one myself – with the nicer, slightly more costly sensor, of course – despite my complete lack of fabrication tools or experience. Even if I don't, I'll be excited to see if anyone else does, and what little modifications they do to make it their own.

The camera market has changed and, I suspect, we're going to have to adapt to a new reality for cameras, one in which there is a wide array of cameras available, but they won't necessarily be designed for existing photo enthusiasts. Recognizing that we'll see fewer like-for-like replacements and that some of these future models aren't designed for us will avoid a lot of confusion.

Camera makers are trying new things

I think Canon's take-a-photo of a projected image 'retro' camera mockup exemplifies the kind of vibes-over-IQ camera I suspect we'll see more of.

Photo: Mitchell Clark

You can see this proliferation already happening, with several brands creating vlogging models, to the point that Sony has developed its ZV series that sits completely apart from its Alpha or Cyber-Shot ranges. Similarly, though riding on the coat-tails of the existing X-series branding, Fujifilm released the X half: a camera specifically and explicitly designed for people who don't currently buy cameras. And Canon showing off demos of retro-styled cameras that project an image onto a screen that is then photographed, giving them more in common with the X half or even the early I'm Back modules than with the EOS range.

Don't mistake "not for me" with "that doesn't make sense."

If you're the kind of person who owns several cameras or has owned a series of cameras over the years, some of these models aren't going to make conventional sense, because they're designed to be something different for different people.

But don't mistake "not for me" with "that doesn't make sense." And don't assume that camera makers are going to follow their existing patterns or your existing preconceptions.

Some of which are unconventional

While it shares most of its specs with its predecessor, the new Panasonic Lumix DC-ZS300 isn't a like-for-like replacement, much less an upgrade. But the result is a camera significantly cheaper than its obvious rival and it's less expensive in real terms, than the previous model.

Image: Panasonic

For instance, we've just seen Panasonic launch the ZS300 / TZ300, an updated version of its large sensor travel zoom, It has essentially the same specs as the TZ200 from 2018, but no longer includes a dedicated viewfinder.

Whereas we understand why the Ricoh GR has no viewfinder: it's a camera aimed at enthusiasts and specifically a group of enthusiasts who've loved previous generations of GR and keep telling Ricoh that a small camera is more important than adding a viewfinder. It's not quite the same situation with the ZS300, which is aimed at a broader, perhaps less experienced market. It also replaces a model that did have a finder, making the omission all the more striking.

User keep telling Ricoh that a small camera is more important than adding a viewfinder to the GR

However, it's worth noting that the majority of compacts ever sold had no viewfinder, and most people weren't willing to pay extra for the models that had them. Also, while the devilry of inflation means the price of ZS300 is higher in money terms, if you take inflation into account, it's priced significantly below the $1050 that the ZS200's launch price would equate to today. And, for reference, its most closely comparable rival, Sony's RX100 VII, currently sells for $1689.

So while it doesn't appear to make sense when compared with its predecessor, there might be some logic in what Panasonic has done. We've requested one and hope to see how significant the impact is.

Wishful thinking won't make these cameras into something they're not

The Nikon ZR says "Red" on the back and "Cinema" on its shoulder. It's not trying to be a photo camera, and adding a viewfinder and mechanical shutter to cannibalize Z6III sales is the last thing I'd expect Nikon to do.

Photo: Mitchell Clark

And, as cameras diverge from traditional patterns, it's worth recognizing when that's happened. I've written before about people commenting about the Panasonic S9 and Nikon ZR as if they're small photographers' bodies, or are just one misguided step away from being them. That's misguided.

In the case of S9, I can see why that is: it looks so much like a large Lumix GM that I can see why so many people want to project their unrequited desire for such a camera onto it. But the S9 is a vlogging camera with no mechanical shutter, and it's just not much fun as a photo camera. The distinction should be even clearer in the case of the Nikon ZR, in that it's full of video features such as 32-bit float compatibility and says Red on the back in large, capital letters.

Nikon didn't almost manage to make a rangefinder shaped photographers camera and miss, any more than Panasonic did with the S9

This should make clear than Nikon didn't almost manage to make a rangefinder shaped photographers camera and miss. They didn't forget to add a viewfinder, are unlikely to create an optional viewfinder, given they don't generally sell, and the camera wouldn't suddenly gain a mechanical shutter even if they did so. And if you add a mechanical shutter and viewfinder, you basically create a direct competitor for the Z6III and no longer have a more affordable vlogging model.

There will still be cameras for you

Please don't interpret this as me saying: "there won't be any more cameras for you, and you need to just accept it." Not least because I've always been a big fan of small cameras, I prefer a camera with a viewfinder and I'm much more of a photographer than videographer. It's not just that I understand the desire for some of the hypothetical cameras that aren't being made: I share it. My initial enthusiasm for mirrorless was spurred by the prospect of cameras that was smaller than DSLRs but offered much better IQ than compacts.

We may not have had a new Pen but Fujifilm's X-E5 isn't conceptually a million miles from one. And the X100 series might give a clue to the future of the camera market.

Photo: Richard Butler

And, to an extent, some of those cameras do exist. The Fujifilm X-E5 moved decisively back towards offering a level of control and build quality that enthusiast photographers expect. Better still, it arrives in what's now perhaps the most extensive and complete lineups of lenses for APS-C that's ever existed, meaning you can pair it with small, capable lenses, just as I'd hoped would be the case. That doesn't quite make it a GM substitute, but it's not so far from being a Pen alternative, and it's much closer to those cameras than the S9 and its full-frame lenses could ever be.

There can be only one

There may be a lesson in the continued evolution of the Fujifilm X100 and the Ricoh GR, even when rivals such as the Nikon Coolpix A and Fujifilm X70 crashed and burned. And in Canon's continued production of the G7X Mark III, even as its former competitors have disappeared from the market and take up their place in the records of our database and as increasingly risky eBay purchases.

You won't see every camera maker competing in every niche

From where I'm sitting, I suspect the new reality will see some camera series discontinued or never updated, while an increasing range of unexpected, niche cameras arrive instead. These won't necessarily resemble the things we've seen before and won't be trying to address the same people who previously bought cameras. There will continue to be plenty of interesting cameras for photographers but, especially away from the top-selling, do-everything models, you won't see every camera maker competing for every niche.

So long, and thanks for all the FLOPs.
Image: Apple

Apple has discontinued the Mac Pro, removing the desktop computer from its website and telling 9to5Mac that there aren't any plans to replace it. This marks an end of an era, as the company is no longer selling a large computer with internal PCI-e slots that could be used to expand its capabilities, after decades of offering that kind of halo-tier product.

This leaves the Mac Studio as the top-end desktop that Apple sells, though anyone paying attention to the Mac lineup knows that it kind of was already. The now-discontinued Mac Pro was announced in 2019, outfitted with an Intel processor. Just under a year later, Apple started transitioning to using its own chips for the Mac lineup, eventually updating the Pro to use its top-end M2 Ultra chip in 2023.

Announced alongside it, though, was the Studio, a much smaller computer with that same chip. And while the Mac Pro's modularity had provided it some distinct advantages in the pre-Apple Silicon era – the ability to add in third-party GPUs for extra horsepower, or to upgrade the RAM or storage with third-party options – those disappeared with the M2.

The M2 Mac Pro looks almost empty; there are PCIe slots, sure, but no massive banks to slot RAM into, nowhere to put hard drives, no big graphics card taking up a few slots.
Image: Apple

Essentially, the Studio and the Pro were the same computer, except one was a lot bigger and more expensive, and its PCI-e slots were only useful in very niche situations. People wondered what the point of the Pro was in the era of the studio, and predicted that Apple would give up on the larger desktop eventually. Those fears were essentially confirmed in 2025, when Apple updated the Mac Studio to add its latest chips, leaving the Pro to languish.

Was it complete overkill for any photographer, and most videographers? Almost certainly.

As someone who grew up as a computer enthusiast, it's a little sad to see the world's largest computer company give up on this concept and form factor. Was it the most powerful computer out there? Absolutely not. Was it complete overkill for any photographer, and most videographers? Almost certainly. But it was aspirational; a modular, upgradable computer that showed that Apple still cared about the niche of enthusiasts willing to pay for something they could tinker with.

That is, of course, remembering the Mac Pro of the past, because the M2 Ultra-equipped model didn't fill that role either. This week's discontinuation essentially feels like a formality; Apple is finally admitting that there hasn't really been a reason to buy a Mac Pro in a while.

PS: When the Mac Pro was launched in 2019, it was launched alongside the Pro Display XDR, a monitor that was recently replaced by the Studio Display XDR. The Studio's dethroning of the Pro continues.

After a fascinating 2025, this year has started off really slowly. We're now three months into 2026 and only two cameras have so far appeared: the Ricoh GR IV Monochrome and the Panasonic ZS300.

The Panasonic is a slightly downgraded version of an eight-year-old camera and, while the Ricoh has shown itself to be rather lovely, it's a mono version of an existing model. And it was first announced last year. So we've got nearly a quarter of the way into the year without a major new model announcement.

For reference, the average number of cameras launched in the first quarter of the year over the last half decade has been 5.6 new models.

Admittedly, the mainstream models from all the biggest full-frame makers have all just been updated, but there are plenty of other models that might benefit from an update, and whole segments that feel like there should be enough pent-up demand to be worth refreshing, whether that's compact Micro Four Thirds models as a concept or enthusiast compacts as a segment.

So what should you do, if the replacement for your camera or the camera you think should exist, hasn't arrived yet?

Brace yourself for the possibility that "the next version" of your camera isn't coming

We're hoping OM System or Panasonic might re-introduce a small Micro Four Thirds camera, or that anyone will commit to the idea of an enthusiast photographers' compact but, even if they do, development typically takes a couple of years, so we're not holding out collective breath.

Photo: Carey Rose

The first thing we'd suggest is tempering your expectations. The camera market has shrunk significantly, and most of the major camera makers are exploring what sorts of cameras might appeal to a wider audience, rather than simply modernising their existing lineups.

Whether it's Sony's expansion into the vlogging-focused ZV series, Canon teasing a waist-level camera that takes photos of an image projected on a screen or the increasing interregnum suggesting we may never see a like-for-like replacement of the Nikon Z7, the signs are that camera makers are looking to do things differently. There'll still be plenty of photographer-focused models such as the Nikon Z6III, Panasonic S1II, Canon EOS R6 III and Sony a7 V, but some of the less mainstream models may not be replaced.

As camera makers look to engage with wider audiences we're likely to see more things like Canon's "Analog" concept, in which a small sensor takes a photo of an image projected on a screen. Cameras that are about fun, more than image quality, rather than just like-for-like replacements of existing models.

Photo: Mitchell Clark

So, while within our circles, it may seem obvious that there's demand for an enthusiast compact or replacement for the Panasonic GM5 or Olympus PEN-F, the camera manufacturers may not interpret their tea leaves the same way. Don't hold your breath.

Also, bear in mind that cameras typically take two to three years to develop: camera makers aren't going to be able to react to the latest trends unless they spotted them quite some time ago.

Focus on other things

Another way to pass the time is to stop focusing so much on cameras. In many instances, a new lens for your existing camera will have a more profound impact on your photography than a new body that shoots slightly faster, captures better video or recognizes a few additional subject types.

If you're still using DSLR lenses, you might be surprised by how good the latest designs are. Or how competitive some of the emerging manufacturers from China are becoming.

Photo: Richard Butler

Alternatively, consider signing up for some photography courses, to help improve your technique or provide some inspiration. Though the prevalence of people very confidently and incorrectly explaining concepts such as ISO on photo course videos on Instagram would make us suggest you choose those courses carefully.

Or, of course, you could spend your money on some sort of trip that provides new photo opportunities. This could be an explicitly photo-focused trip to somewhere you've never been or it could just be a trip for travel's sake, with the camera along for the ride. Either way, it might do more for you and your photography than a new camera.

Wait it out

Historically, we've seen that a lot of people skip a generation when it comes to upgrading cameras, and that's generally quite a sensible approach: it's pretty unusual for a camera's replacement to be so dramatically better as to be worth the costs associated with upgrading, but your camera's replacement's replacement will typically be appreciably better. So if you have a recent model, there's probably no harm in waiting.

That said, we know there are a lot of people hanging onto their DSLRs and their DSLR lenses, who may be unaware of how dramatically autofocus has improved in the past few years, in terms of accuracy and consistency, as well as easy-of-use, or how much better many modern lenses are than DSLR optics.

Ultimately, if you have a camera you like already, there's no pressing urge to upgrade, so there's no real downside to just biding your time to see what arrives. The only thing we wouldn't recommend is holding off in the hope that prices will drop. Sadly, the significant inflation of the past few years is likely to mean that the price you paid for your last camera isn't much of a guide to what your next one will cost. If nothing else, the camera drought might let you save up a little longer.

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

Last month, Viltrox announced its first L-mount lens since joining the L-mount alliance in September 2025. The 16mm F1.8 L wasn't a new design, as it had previously been available for E and Z mounts. Still, since it was the company's first L-mount offering, we took the opportunity to shoot with it a bit to see what it's like.

I happened to have the lens while in Japan for CP+, so I had the opportunity to put it through the paces in Tokyo and Yokohama, along with back home while spending time with family. Some of that time included very rainy conditions, and I wasn't exactly careful about protecting the lens. Thankfully, Viltrox says the lens has some weather sealing, and indeed, I didn't experience any issues even after a full day in the rain. It feels really solid in general, so I wouldn't feel the need to baby it.

"I didn't experience any issues even after a full day in the rain."

What I did have issues with, though, was the aperture ring. The dedicated aperture ring can be clicked or declicked, but I found the clicks to be very subtle. It was very easy to turn the aperture ring unknowingly, which left me frequently confused about why I couldn't change my aperture with the camera's front dial, not realizing the lens's control had been knocked out of 'A' mode. If you prefer to use the aperture ring instead of camera controls, it won't be an issue, but it did take some getting used to and meant I had to pay extra close attention to where I was touching the lens.

The front element is subtly protruding, but it doesn't go beyond the filter thread.

Photo: Abby Ferguson

In addition to the aperture ring, the lens offers an AF/MF switch and two customizable function buttons. It also features a front element that doesn't protrude past the lens housing, unlike some 16mm lenses, which kept me from worrying as much when walking around with the lens sans lens cap. I didn't use any filters during testing, but the less bulbous element also means it's compatible with traditional screw-in filters (77mm), which is helpful.

16mm isn't a focal length everyone needs or loves, but it is a fun tool to play around with, especially when traveling, provided you don't mind the size and limited versatility. It can provide some distinctive and dramatic perspectives, though, which is always nice with the right subjects.

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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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All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no vignetting correction. The profile only corrects a small amount of distortion around the edges, so we wouldn't consider it to be an essential part of the lens design if you prefer not to use it, or your preferred software does not support lens corrections.

OM System's Director of Marketing Communications, Nobuaki Tanaka, and SVP of Global Brand & Marketing Strategy, Kazuhiro Togashi, at CP+ 2026.

Photo: Abby Ferguson

The interchangeable-lens camera market may be holding steady, but OM System executives say the ground beneath it is shifting. In a recent interview at CP+, they pointed to smartphones, rising prices and changing expectations surrounding computational photography as forces reshaping where they compete and what they focus on.

At this year’s CP+ show in Yokohama, we sat down with OM System's Kazuhiro Togashi, Senior Vice President of Global Brand & Marketing Strategy and Nobuaki Tanaka, Director of Marketing Communications, to talk through those questions from their perspective. In a wide‑ranging conversation, we discussed everything from compact cameras and the future of Pen to lenses, OM System's outdoor positioning and how far they’re willing to go with AI.

Changed opinions on compact cameras

For now, the Tough series is OM System's most current compact camera, with the TG-7 coming out in 2023.

Image: OM System

Last year at CP+, Togashi made it clear that OM System had no plans to develop a compact camera beyond the TG series. Instead, he told us, "We feel that this is a temporary trend," in terms of enthusiast compacts. He also added that high-end compacts would require too much investment in "research and development [and] also in reestablishing a high-end compact brand image" to allow for a profitable product.

"We are closely monitoring and analyzing this trend"

Now, though, Togashi seems to have changed his mind. "We are closely monitoring and analyzing this trend," he tells us. "The situation is very clear," he says, adding that "the compact camera segment has shown signs of growth over the past two to three years." As Togashi sees it, "some users who originally intended to purchase an ILC but were unable to do so due to higher prices are increasingly considering premium compact cameras as an alternative."

While this apparent change in stance doesn't necessarily mean we should expect an OM System compact this year (or at all, for that matter), it could leave the door open for hope among compact fans looking for a truly new option.

A new Pen is underway

The last Pen came out under the Olympus brand. OM System made it clear that a new model is in the works, though.

Image: Olympus

Togashi also told us last year that it was too soon to expect a new Pen. "We think the camera's design must realize the concept of the product, so we don't start to decide the camera design before deciding the camera's concept," he said at the time, adding that, "we haven't decided on the product concept" for the Pen.

"The new Pen’s concept progress is on schedule"

It appears that process has progressed, though. "The new Pen’s concept progress is on schedule," he says. "We already started creating the design concept. So we already started some kind of Pen camera project. Progress is good." While that was the extent of the detail he is able to share, Togashi adds that the "new Pen will satisfy many, many younger generations in the future." It certainly is an exciting-sounding teaser, at the very least.

"The new Pen will satisfy many, many younger generations in the future."

"The Pen series is very important for us," Togashi says. But he also has a clear understanding that, given how long it's been since the last Pen (2021 for the Pen E-P7), some reeducation will be necessary to help people understand the legacy of that line. "We will explain about the Pen again to the market," he says. "Because you are specialists, right? You know a lot of insight for the camera industry and manufacturing history, but maybe younger generations, they don't know what 'Pen' is."

AI and computational photography

OM System's latest cameras, the OM-3 and OM-5 II, have a new button that lets you directly access their computational photography features.

Photo: Mitchell Clark

While the Pen is centered around nostalgia, OM System is also focused on advancing technology to offer photographers something new in camera bodies. Togashi says this comes in the form of three key points: updated hardware (such as image processing engines, new sensors or AI chips), enhanced computational photography and AI features.

AI, in that framework, is something Togashi describes as having "two faces." On the positive side are things OM shooters already rely on, like subject detection, AF and noise reduction that can squeeze more usable files out of smaller sensors. "AI subject detection AF will continue to be advanced by AI technology advancement, and noise reduction functions can also be improved by AI," Togashi says.

"There is potential to provide generative AI in the camera body,"

There is a concerning side, too, however. "Generative AI can easily make fake images," Togashi acknowledges. "Therefore, we also need to take into consideration this concern." Even so, he isn't closed off to the idea of generative AI in a camera. He tells us that there is "potential to provide generative AI in the camera body," but frames it as an option on the table rather than something inevitable.

Despite seeing potential, Togashi and his colleagues stress that they feel a responsibility to protect "the real shooting experience." Tanaka put it bluntly: "Is it real photography or not? It’s a very important key for us."

"We shouldn't hide from new technologies in our cameras"

Still, Tanaka is remaining open to the idea. "In my personal opinion, we shouldn't hide from new technologies in our cameras," he says. No matter what, the team makes it clear that it is interested in providing options for users, giving them the power to decide whether to use generative AI or not.

The importance of OM System's lenses

OM System has been mostly focused on telephoto lenses in recent years, but Togashi says there are plans for more wide angle and prime lenses in the future.

Photo: OM System

Some users have questioned whether lens development at OM System has stalled because of a thin lens roadmap compared to the past, but Togashi assures us that is far from the case. "For our lens lineup, we'd like to expand more and more," he says. Lately, that expansion has largely been focused on longer telephoto lenses, "but we also have a plan to expand small wide-angle lenses and prime lenses in the future," he adds.

"We also have a plan to expand small wide-angle lenses and prime lenses in the future"

Togashi emphasized that lens size is a focus for the team moving forward. After all, the Micro Four Thirds format allows for more compact lenses compared to APS-C and full-frame. "The other systems are compact – maybe other competitors have smaller camera bodies, but not lenses," explains Togashi. "Our lenses are very small and compact in the right way. This is a clear differentiation from our competitors."

Compact lenses are especially important following the launch of the OM-3. "I think we need appropriately designed brand‑new lenses for OM‑3, as many of the existing lenses are relatively large for this type of camera," Togashi says.

Aiding the promise of OM System's lens lineup is the company's financial situation. Togashi tells us that the company is generating operating profit continuously. "Our fundamental financial situation is very stable and stronger than it was before," he informs us. "We can invest in human resources or new technologies, not only for camera bodies but also for lenses. Therefore, we will develop new lenses in the future."

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

Western Grebe rushing on a lake in San Jose, California. It is their mating ritual.

Nikon Z9 w/ Nikkor Z 400mm F4.5 S | F5.6 | 1/2500 sec | ISO 800
Photo: Shun Cheung

DPReview community member Shun Cheung, known as shuncheung in the forums, has taken up the challenge of writing about what he carries in his camera bag on photography journeys for our What's in your bag? spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Check out Shun’s gear and fascinating nature photography experiences below. His remarkable journey began in the early 1970s and has evolved through the film, DSLR and mirrorless eras, so he has quite a wide range of photography from it all.

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

Meet Shung Cheung (shuncheung)

Home base: San Francisco, CA USA

Favorite camera and lens: Nikon Z8 paired with the Nikon 600mm F4. Shun favors this combination for wildlife photography because the latest version of the 600mm is significantly lighter than earlier models and includes a built-in 1.4x teleconverter, allowing him to switch between 600mm and 840mm when photographing birds and animals.

Typical photo scenes: Wildlife and nature photography, especially birds and coastal habitats around the San Francisco Bay Area. Shun also photographs landscapes and travels internationally to destinations such as Antarctica, Africa and the Galapagos Islands for wildlife and nature photography.

“I’ve been photographing since the early 1970s, when one of my high school teachers took a group of us hiking and introduced us to photography using a Minolta SRT-101. Several of us bought the same camera so we could share lenses, and I’ve been hooked ever since.”

Sally Light Foot crabs in the Galapagos Islands in Ecuador.

Nikon D7000 w/ AF-S Nikkor 200-400mm F4 ED VR @ 250mm | F5.6 | 1/200 sec | ISO 200
Photo: Shun Cheung

What's in Shun's bag

• Primary cameras: Nikon Z8 and Nikon Z9 for stills, and a Nikon Zr for video.
• Lenses: Nikon 600mm F4, 400mm F4.5, 100–400mm, 70–200mm F2.8, and 24–120mm F4. The 600mm F4 is a favorite because the new version is much lighter than earlier models and has a built-in 1.4× teleconverter for quick reach between 600mm and 840mm.
• Tripod: A sturdy Gitzo tripod, often accompanied by hex wrenches and a Leatherman tool for adjustments in the field.
• Filters and accessories: Spare batteries, charger, external microphone for video, and sunscreen. Shun also highly suggests to always carry insect repellent...
• Camera bags: MindShift BackLight 26L and 36L, as well as the Gura Gear Kiboko 30L. These carry two or three camera bodies and several lenses, with the Kiboko being especially useful for two long telephoto lenses.

Shun's camera bag

Photo: Shun Cheung

What are your favorite destinations?

Shun describes himself as a nature and wildlife photographer who loves to explore exotic destinations like Antarctica, but also appreciates the appeal in returning to familiar locations to capture the best seasonal activity. Living in the San Francisco Bay Area gives him easy access to parks, wildlife refuges and coastal habitats, where he often photographs a variety of domestic birds.

"My favorite destinations for nature photography are Antarctica, Africa, and South America, especially the Galapagos Islands. I was fortunate to have visited all three, for the first time, in the 1990's. Since then, I have been back to each one several times."

King Penguins in St. Andrews Bay on South Georgia Island

Nikon D700 w/ AF-S Nikkor 28-70mm F2.8 @ 70mm | F8 | 1/1250 sec | ISO 200
Photo: Shun Cheung

Any of those destinations uniquely memorable?

"My most memorable experiences include visiting the king penguin colony on St. Andrew's Bay on South Georgia Island, where thousands of noisy penguins are calling nonstop. Also just as memorable was the wildebeest migration crossing the Mara River in Tanzania. For those international destinations, I tend to travel with a photo group with a dozen or so photographers."

Wildebeest migrating across the Mara River in the Serengeti, Tanzania

Nikon Z9 w/ Nikkor Z 400mm F4.5 S | F5.6 | 1/1250 sec | ISO 400
Photo: Shun Cheung

What's special about local scenes vs international ones?

"While I visit international "exotic" locations once or twice a year, I capture many of my best images locally. I tend to revisit those locations over and over, so I understand them thoroughly and can visit only when the weather and lighting are favorable. I am fortunate to live in San Francisco, with many local parks and seashores."

"For example, the pride of Madeira flowers tends to bloom from late March to mid-April every year along the San Francisco Bay, and the Anna's hummingbirds will have a feeding frenzy on those flowers. During that time of the year, I may visit the flower hot spots two to three mornings a week between 7 a.m. and 9 a.m., capturing several hundred images a morning. Digital photography is, of course, the norm now, but 20 years ago, I told myself I could never have done that with film. Film and processing costs would have been prohibitive to use five rolls of film a day, three times a week."

Anna's hummingbird feeding on Pride of Madeira flowers.

Nikon Z9 w/ Nikkor Z 400mm F4.5 S | F4.5 | 1/2000 sec | ISO 1250
Photo: Shun Cheung

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

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

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

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

Image: DJI

DJI has announced the Avata 360, a compact 360-degree drone meant for immersive FPV footage. The new drone, which takes on Insta360's Antigravity A1, promises 8K 360° video and 120MP stills. It also offers a list of features expected in a DJI drone, such as obstacle sensing, compatibility with DJI's accessories, tracking and more.

Like other similar cameras (including the flightless varieties), the Avata 360 uses two lenses to stitch together 360° images and videos. DJI says the "360° lens uses 1-inch-equivalent sensors," however, that language is a bit misleading. Like the Osmo 360, the company's 360 action camera released last year, the Avata 360's two sensors combined result in roughly the same area as a Type 1 sensor; each sensor is not a Type 1 sensor on its own.

Image: DJI

The Avata 360 drone appears to use the same sensor as the action camera; it features 2.4 μm pixels and can capture up to 120MP stills. The drone is capable of recording 8K 60fps for 360° footage or 4K 60fps in single-lens mode. Like other cameras of this type, the 360° videos allow users to reframe footage after the fact.

Beyond 360-specific features and footage, the drone should be very familiar to DJI users. It relies on DJI's flagship "O4+ video transmission system," which promises 1080p 60fps transmission and a range of up to 20km (12.4 miles). It offers an all‑direction obstacle sensing system even in low-light conditions, integrated propeller guards for better safety when flying, and multiple tracking modes. It also sports replaceable lenses, so users can replace them on their own if they get damaged, provided they buy the separate kit to do so.

The drone allows users to replace lenses with a separately purchased kit.

Image: DJI

DJI promises 23 minutes of flight time from the drone. It offers 42GB of internal storage and supports Wi-Fi 6 for fast transferring, even of large files. It's a compact and lightweight drone, coming in at approximately 455g (1 lb) and measuring 246x199x55.5mm (9.7 × 7.8 × 2.2").

As with previous DJI releases, the Avata 360 will not be available in the US through official channels. It is available for immediate purchase in the Chinese market and for pre-sale in all other regions, with shipping dates estimated for April. The standalone drone costs £409.

Press release:

DJI Avata 360 Sets New Standards for Immersive 360 FPV Flying

Equipped with DJI’s flagship 1-inch imaging, O4+ video transmission, and omnidirectional obstacle sensing, creators can now film 360 footage in 8K with ease while flying with confidence

March 26, 2026 - DJI, the global leader in civilian drones and creative camera technology, today launches the Avata 360. Designed to unlock endless creativity in one take1, DJI’s new 8K 360° flagship drone delivers 360° imaging with 1-inch-equivalent sensors1 for filming in 8K/60fps HDR video. Meanwhile, DJI’s powerful O4+ video transmission system and obstacle sensing1 enable creators to see farther with a more stable, safer, and more immersive flight experience. Paired with DJI goggles and motion controllers, the latest addition to the popular Avata series delivers an immersive 360° flight experience for FPV thrills. Creators can also use the DJI remote controllers to capture a full 360° view in a single flight that can be reframed from any perspective, transforming a single take into multiple creative possibilities.

Brilliant Imaging, Boundless Creativity

Avata 360 offers two different lenses that can be seamlessly switched. The 360° lens uses 1-inch-equivalent sensors1 that can capture 360° images in rich detail for 8K/60fps HDR videos1 and 120 MP photos. With the large 2.4 μm pixels and high dynamic range, light and shadow are also captured with exquisite clarity. Both video and photos can be exported directly or reframed in post-production. Meanwhile, the Single Lens mode allows creators to use the classic Avata-style filming in 4K/60fps1.

Powerful Video Transmission, Immersive Flight

Avata 360 leverages DJI’s flagship O4+ video transmission system to deliver stable and clear live feeds for smoother, more immersive flights. Its strong anti-interference capabilities enable high-definition, high-frame-rate transmission at 1080p/60fps and support a range of up to 20 km1.

Fly With Confidence, Create With Ease

Avata 360 offers up to 23 minutes of flight time1 and includes several standard safety features, including nightscape omnidirectional obstacle sensing1 and integrated propeller guards. If damaged, the camera lens can be easily replaced with the DJI Avata 360 replacement lens kit with tools (sold separately). It also brings an exceptional experience to aerial content creation, where a single shot with the drone's 360° imaging can be transformed into multiple, masterful creations through post production using the DJI Fly and DJI Studio apps, including:

• Spotlight Free1 - Locks onto a moving subject and assists with camera movement, replicating the sophisticated camera language like a pro with Inspire 3. By comparison, Spotlight locks onto your subject’s face to effortlessly capture Circle or Dronie shots without manual adjustments.
• ActiveTrack 360°1 - Automatically selects the optimal tracking mode. For example, Standard mode maintains a steady distance and altitude relative to the subject. Meanwhile, Cycling mode reacts faster to turns and keeps the subject in frame even in complex environments.
• FPV mode - Enables even novice pilots to adds a natural roll effect to Spotlight Free, ActiveTrack 360°, and manual flights to create dynamic, high-speed FPV-style footage. This mode can be applied in post-production.
• Intelligent Tracking - Powered by advanced algorithms, the DJI Fly and DJI Studio apps make it effortless to lock onto and smoothly track people, vehicles, pets, and more, even in 360° footage.
• New One-Tap In-App Editing - With GyroFrame, 360° footage can be adjusted to an ideal angle and exported in the DJI Fly app. Both DJI Fly and DJI Studio allow camera movement effects to be added.
• Virtual Gimbal1 - Uses a 360° view to enable infinite rotation and tilt for dynamic camera moves. Even when flying in one direction, horizons can be rotated, and perspectives can be shifted to look back or perform a flip.
• Replaceable Front Lens Element - The front element features a replaceable design. Purchase a replacement lens kit with tools1, and you can easily replace the old lens yourself—no need to send it in for repair.
• 42GB Internal Storage and High-Speed Transfers - With 42GB of internal storage, 30 minutes of 360° video in 8K without a microSD card. Using Wi-Fi 6 High-Speed Transfer, 1 GB of footage can be transferred to the DJI Fly app in 10 seconds at up to 100 MB/s1.

FPV Flights and Aerial Filming in One Drone

Avata 360 combines the creative freedom of a 360 camera with the thrill of FPV flying like never before. It can be flown with the DJI remote controllers (RC 2, RC-N2, RC-N3) for precise camera movement, allowing creators to unlock new ways to create stunning aerial shots. Meanwhile, DJI goggles and motion controllers offer a more immersive flight experience with 360° imaging at 1080p/60fps. Like the Avata 2, aerial acrobatics like drifting can be performed - even by beginners - with the DJI RC Motion 3.

For more information2 , please refer to: https://www.dji.com/avata-360

1 Only supported by certain camera modes or with specific accessories. All data was measured using a production model of DJI Avata 360 in a controlled environment; actual experience may vary. For more information, please refer to https://www.dji.com/avata-360.

2 Not officially available in the United States via official websites.