Image: Adobe

Adobe is acquiring Topaz Labs, the company behind widely used image and video enhancement tools, including Topaz Photo, Topaz Video and Topaz Gigapixel.

The announcement follows a previous partnership between the two companies, unveiled at Adobe Max in October 2025. At the time, Adobe integrated some of Topaz's popular upscale, denoise and sharpen models directly into Photoshop, providing access to the tools using Adobe's AI credits rather than a separate paid subscription for each app. Topaz Gigapixel was also added to the cloud-based version of Lightroom in February 2026.

With the acquisition, Adobe says it plans to expand Topaz's AI enhancement models – which include upscaling, noise removal, sharpening, stabilization, frame interpolation and footage restoration – across its Firefly AI generation software, Firefly Services, and Creative Cloud products. Adobe also highlighted the integration of Topaz's proprietary Neurostream technology, which enables large AI models to run locally on consumer hardware rather than requiring cloud processing.

What this means for existing Topaz customers isn't totally clear. Adobe says Topaz products will continue to be available as standalone offerings through Topaz's own website after the deal closes, and that Topaz Labs CEO Eric Yang will remain with the company. It adds that customers "can expect continued support and investment in future innovation." However, the announcement makes no mention of pricing, subscription structure or how Topaz's tools will be positioned relative to Creative Cloud subscriptions going forward.

The transaction is expected to close in the second half of 2026, pending regulatory approval (which isn't always a given).

Adobe to Acquire Topaz Labs

• Adobe has seen strong demand for its AI products for creatives, including Adobe Firefly, the all-in-one creative AI studio, and Firefly Services, a collection of creative and generative APIs and services for enterprises
• The combination of Topaz Labs, which specializes in developing industry-leading video and image enhancement models, with Adobe's leading creative products will provide creators, designers, video professionals, photographers and enterprises the tools to achieve exceptional quality across every format and workflow
• Topaz Labs brings deep expertise in optimizing large, complex AI models to run directly on device, a capability that will allow Adobe to deliver faster, more responsive creative experiences for customers and make advanced AI more accessible and cost effective for creatives

SAN JOSE, Calif. —June 25, 2026 — Adobe (Nasdaq:ADBE) — the global technology leader that unleashes creativity, productivity and customer experiences through innovative tools and platforms — today announced that it has entered into a definitive agreement to acquire Topaz Labs, an AI company specializing in industry-leading video and image enhancement models.

Adobe empowers everyone from first-time creators to creative professionals and enterprises with groundbreaking AI tools and technology across every stage of the creative process. Adobe's creative AI portfolio brings together industry-leading AI models in Adobe Firefly the all-in-one creative AI studio, and Adobe Creative Cloud applications including Photoshop, Lightroom, Premiere and more, delivering creative professionals pixel-level control and precision tooling.

As AI rapidly reshapes video and image creation, creatives are increasingly working across hybrid workflows that combine traditionally captured footage with AI-generated content, and they are expected to deliver high-quality results across a growing range of formats, devices and production methods. Topaz Labs provides a broad array of advanced AI models for video and image enhancement that analyze and improve existing visual content by sharpening detail, removing noise, restoring footage and increasing resolution, making them essential for any workflow that combines real-world capture with AI-generated imagery.

Topaz Labs develops professional quality AI video and image enhancement models and tools that are trusted by creative professionals such as Asteria Film Co, award-winning filmmaker Robert Stone and enterprises to deliver exceptional fidelity and high-quality results across professional filmmaking, documentary restoration, social content creation, photography and archival workflows. The company has developed proprietary AI models to support professional video use cases such as upscaling, sharpening, stabilization, frame interpolation, noise removal, footage restoration and more.

"Adobe Firefly, Firefly Services and Creative Cloud offer the industry's best creative tooling and top AI models for creators and brands, and we're excited to build on the strong demand for these products with Topaz Labs," said David Wadhwani, President, Creativity & Productivity Business, Adobe. "Creators are creating more content by mixing captured and generated images and video, and with Topaz Labs we will give every creator the quality and control to easily produce that content at higher quality and resolution."

"Building technology to make images and videos look their absolute best has been our life's work for more than twenty years," said Eric Yang, CEO of Topaz Labs. "We've always believed that technology should serve human creativity rather than replace it — and so has Adobe. Together, we believe we can dramatically expand what's possible for filmmakers and creators everywhere."

With Topaz Labs, Adobe will expand its video and image model offerings with state-of-the-art AI enhancement models in Adobe Firefly, Firefly Services and Creative Cloud apps, giving creators, designers, video professionals, photographers and enterprises the tools to achieve exceptional quality across every format and workflow. With millions of customers, Topaz Labs and its Emmy Award-winning AI technology will be integrated across Adobe's creative AI portfolio, giving creatives the ability to enhance footage, restore and remaster archival content, and blend AI-generated and traditionally captured content into seamless final productions. Topaz Labs will also bring its proprietary Neurostream technology that enables large, complex AI models to run locally on consumer devices, democratizing advanced image and video models previously limited to high-end systems or cloud-only usage and positioning Adobe to tap into the growing opportunity for efficient, on-device AI video.

After the transaction closes, Topaz Labs customers of all sizes can expect continued support and investment in future innovation and Topaz Labs products will remain available as standalone offerings through the company's website. Upon close, Topaz Labs CEO Eric Yang will continue to lead the Topaz Labs team.

Transaction Details

The transaction is expected to close in the second half of 2026, subject to the receipt of required regulatory approvals and the satisfaction of other customary closing conditions.

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"The horse is symbolic of that ridden by Hussein, the great-grandson of the Prophet Muhammad, who was slaughtered over 1400 years ago and still revered in the modern era. This is an important day in the Muslim calendar – the ‘Muharram Jaloos’ procession."

Fuji X-H1 | Fuji 16mm F1.4 | F5.0 | 1/125 sec | ISO 200
Photo: Mark Lamb

Mark Lamb, known as Dark Inventions on the forums, serendipitously submitted a portrait photography spotlight to us right before we announced our community self-portrait mini challenge. This is a great capper for a week of luminous portrait photography among multiple community initiatives. Be sure to stop by the community forums to check them all out. In the meantime, see Mark's story and the people he photographed below.

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

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

"Another image from the Whitby goth gathering – one of the regular attendees."

Sony a7R V | Sony 85mm F1.4 | F1.4 | 1/400 sec | ISO 400
Photo: Mark Lamb Meet Mark Lamb

Home base: United Kingdom

"Photography has been part of my life for over forty years. What began as an interest in recording people and places gradually became an exploration of memory, identity and the passage of time. I have always been drawn to portraits because they allow me to connect with people from every walk of life."

"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."

What's in Mark's bag Mark's camera bag

Photo: Mark Lamb

Favorite camera: Sony a7R V

"The camera has become less important than the conversation that happens before the photograph. The image is often the final stage of a much longer process of listening and understanding."

• Lenses:
  • Sony FE 24mm F1.4 GM
  • Sony FE 35mm F1.4 GM
  • Sony FE 50mm F1.2 GM
  • Sony FE 85mm F1.4 GM
  • Sony FE 135mm F1.8 GM
  • For the Olympus PEN-F: 12mm and 17mm lenses (equivalent to 24mm and 35mm full-frame).

• Support gear: Mark typically carries a silver/white foldable bounce board and, when using the Olympus PEN-F, its compact flash unit. Away from photography gear, he considers a notebook and pen essential, along with calling cards featuring contact information and samples of his work. He keeps the kit flexible primarily by changing lens combinations rather than adding equipment, usually choosing either a 24mm/50mm/135mm trio or a lighter 35mm/85mm pairing.
  
  
• Camera bags: Peak Design Everyday Sling 10L and a second Peak Design sling.
  
  "I use two Peak Design slings, but usually only carry one of them on a shoot. Despite its modest size, the 10-liter sling will fit an a7R V with a 50mm lens and another a7R V with a 135mm lens. If I'm carrying a third body with the wide-angle lens, it will be on a QD sling outside the bag. I love these bags because I'm never tempted to overload them, and they are reassuringly waterproof."

"The girl’s precious rabbit was initially hidden, but a cooperative mom negotiated an appearance
from him. Whitby Goth Gathering."

Sony a7R V | Sigma 65mm F2 | F2 | 1/3200 sec | ISO 200
Photo: Mark Lamb

"I am primarily a portrait photographer. I am interested in people who carry visible traces of their lives in their faces, clothing, surroundings and personal histories."

"Many of my photographs are taken in northern England, particularly around Scarborough and Whitby. Whitby has been especially important because it brings together people from remarkably diverse backgrounds. The annual Goth events provide opportunities to photograph individuals who have consciously created identities that challenge conventional ideas of age, beauty and self-expression."

"My aim is always the same: to create portraits that are honest, empathetic and respectful."

"Alongside this, I photograph travelers (gypsies), circus, religious groups, family members, veterans, theatrical performers, dancers, and any of the charismatic people I encounter in my everyday life. My aim is always the same: to create portraits that are honest, empathetic and respectful."

"Beamish, near the city of Durham in the north of England."

Sony a7R V | Sony 24mm F1.4 | F2.8 | 1/250 sec | ISO 2500
Photo: Mark Lamb

How has your photography changed over the years?

"I'm not getting any younger (my vintage is 1956), so I'm in a constant battle with myself to lose weight from my bag by shedding all but essential gear. I'm definitely more patient than I used to be and make a lot of effort to engage fully with my subjects."

"I tend to use a simpler visual language these days, and I think it helps give my work a recognizable stamp. I've been fairly successful in the last year or so since I made an effort to put my work out there (rather than sitting on a hard drive) and, as a result, found success in the Taylor Wessing Portrait Prize, when a portrait of my wife was selected in the English National Portrait Gallery in London. I've also had exhibition success and appeared in a few magazine articles."

"My wife and dog, Enid and Molly. This is entitled ‘Precious Things in the Stream of Time’ and was exhibited at the National Portrait Gallery in London."

Leica Q2 Monochrom | Summilux F1.7 28mm ASPH | ISO 200
Photo: Mark Lamb

Portraits don't always reveal the surrounding scene. What places are your favorites to take these photos in?

"I'm a frequent attendee at the Whitby Goth Weekend, which happens twice a year, in the historic streets of this old fishing village. I also attend community events, special-interest meetings such as comic cons, and turn up regularly at cultural events such as gypsy horse fairs, religious processions and so on. In short, I will go anywhere that I can expect to find interesting people."

"As a younger man, I traveled the world extensively (circa 170 countries), but these days I don't feel the need to leave the UK in my search for subjects. I'm pretty certain that if I lived closer to London, I wouldn't need to travel outside the M25 (the motorway that encircles the city). Instead of traveling, I prefer to spend my effort in returning repeatedly to the same communities, which allows me to build relationships over time."

"Joan was ninety-three when this portrait was shot. She had just been running (!!) to catch a bus and had narrowly missed it. Luckily for me, she then had plenty of time for a portrait session."

Sony a7R IVa | Sony 50mm F1.2 | F1.2 | 1/640 sec | ISO 100
Photo: Mark Lamb

Is there such a thing as "the perfect portrait"?

"The perfect portrait usually happens after the planned photograph. Once the subject believes the session is over, the performance often drops away and something more truthful emerges. I pay close attention to conversation, body language and silence. Technical decisions are important, but the most important part of portrait photography is creating an environment in which people feel comfortable enough to reveal themselves."

"The perfect portrait usually happens after the planned photograph."

"The only advice I could possibly offer to someone I don't know is to shoot what you know and not what you'd like to be seen shooting. That's how I view my ongoing One Thousand Contemporary Portraits project. I'm also continuing work on memory, aging, and identity, and I have a burning desire to create a lasting portrait record of contemporary Britain."

Mark really enjoyed participating in this spotlight article and would be grateful for you to join him in discussion in the forums.

You can check out his other work at darkinventions.com.

Thanks, Mark, for being featured!

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?'

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Product photos: Mitchell Clark

The Leica SL3-P is a high-speed, high-resolution full-frame camera built around a 44MP BSI CMOS sensor. It's the latest in the company's SL range and perhaps the most polished and all-round capable camera in the series so far.

Key specifications

• 44MP BSI CMOS full-frame sensor with phase detection
• up to 40fps shooting with AF in 12-bit mode. Up to 15fps in 14-bit.
• Subject recognition AF
• 8K open-gate video up to 24p (7.2K open-gate up to 30p)
• Full-width 8K (UHD or ∼DCI) up to 30p
• Full-width 4K up to 30p, 4K/60 and 4K/120 with increasing crops
• Content Credentials image certification
• Battery rated to 383 shots per charge
• IP54-rated all-metal construction

The Leica SL3-P will be available at a recommended price of $6695 excluding tax in the USA, or Euro including sales tax.

Index:

• What is it?
• How it compares
• Body and handling
• Video
• Autofocus
• In use
• Initial impressions
• Specifications
• Leica press release

What is it? That 44MP BSI CMOS sensor will be familiar to anyone that's been following Panasonic's recent launches.

Thus far, Leica has produced high-resolution SL models and high-speed SL-S versions. The SL-P appears to be something of an attempt to merge the two lines, offering both high speed and high resolution.

The result is something akin to Sony's recent a7R VI or, perhaps more pertinently, the Panasonic S1RII: not an out-and-out sports camera but more a studio and landscape camera that's happy to venture further afield. That Panasonic comparison is unavoidable as the 44MP, 40fps headline spec is shared between both cameras, as are their processors, even if the branding of them differs.

However, our experience of the SL3-P and the S1RII reminded us of how different you can make two cameras, even if you start with many of the same components and have similar destinations in mind.

Leica talks a good game about building cameras that last, and that's immediately apparent in the feel and heft of the SL3-P. But what's really striking is how few control points the Leica seems to have. That minimalism, honing the camera down to its core functions and little more extends to the menus and interface, meaning it gives a very different experience to the Panasonic. Or, indeed, any other mainstream camera.

How it compares

Although it offers both high speed and high resolution, the SL3-P doesn't match the do-everything levels of capability of the Nikon Z8 and Canon EOS R5 II, with their stacked CMOS sensors. Instead it's closer in ethos to the Sony a7R VI or, perhaps unsurprisingly, the Panasonic S1RII, essentially delivering a studio and landscape camera that isn't scared of a little action, rather than a camera you might pick for sports work.

We've also compared it here to the SL3, which offers higher resolution but less speed, if absolute image quality is more important to you than the added speed.

Leica SL3-P Panasonic S1RII Sony a7R VI Leica SL3 MSRP at launch $6690 $3300 $4500 $6995 Resolution 44.2MP 44.2MP 66.5MP 60.3MP Sensor type BSI CMOS BSI CMOS Stacked CMOS BSI CMOS Max frame rate 7fps mech., 14-bit
25fps elec., 14-bit
40fps elec., 12-bit 9fps mech, 14-bit
40fps elec. 10fps mech., 14-bit
30fps elec., 14-bit* 5fps mech., 14-bit (AF-C)
15fps e-shutter, 14-bit. (AF fixed after first frame) Rolling shutter rate (14-bit still) 37.5ms 37.5ms 19.6ms 100.5ms Viewfinder res/mag/eye point 5.76M dot
0.76x
21mm 5.76M dot
0.78x
21mm 9.43M dot
0.9x
25mm 5.76M dot
0.76x
21mm Rear screen 3.2", 2.33M dot
Tilting 3.0", 1.84M dot
Tilt / Fully articulating 3.2", 2.1M dot
Tilt / Fully articulating 3.2", 2.33M dot
Tilting AF subject recognition Human
Animal
Car Human
Animal
Car
Motorcycle/Bike
Train
Airplane Auto
Human
Animal
Bird
Car/Train
Airplane
Insect Human
Animal Video resolutions

8K/24 open gate
UHD/DCI 4K/120 (up to 1.17x crop)
4K/60 (up to 1.1x crop)
4K/30 full-width

8K/24 open gate
UHD/DCI 4K/120 (up to 1.17x crop)
4K/60 (up to 1.1x crop)
4K/30 full-width

UHD 8K/30
UHD 4K/120 (1.1x crop)
UHD 4K/60 full-width UHD/DCI 8K/30 (up to 1.24x crop)
UHD/DCI 4K/60 (up to 1.24x crop) Video options ProRes 422
H.265
H.264 (All-I / L-GOP) ProRes Raw
ProRes 422
H.265
H.264 H.265
H.264 (All-I / L-GOP) ProRes
H.265
H.264 Connectivity Wi-Fi 5
1x 10Gbps USB-C
HDMI
Mic / Headphone jacks
Flash sync

Wi-Fi 5
1x 10Gbps USB-C
HDMI
Mic / Headphone jacks
2.5mm remote

Wi-Fi 6E
1x 10Gbps USB-C
1x USB-C PD
HDMI
Mic / Headphone jacks
Flash sync

Wi-Fi 5
1x 5Gbps USB-C
HDMI
Mic / Headphone jacks
Flash sync

Media Type

1x CFexpress Type B
1x UHS-II SD
External SSD

1x CFexpress Type B
1x UHS-II SD
External SSD 2x CFexpress Type A / UHS-II SD 1x CFexpress Type B
1x UHS-II SD Battery life (LCD / EVF) 383 shots 340 / 280 shots 710 / 600 shots 260 shots Weight 852g (30oz) 795g (28oz) 713g (25.1oz) 853g (30oz) Dimensions 141 x 108 x 85mm
(5.6 x 4.3 x 3.3") 134 x 102 x 92mm
(5.3 x 4.0 x 3.6") 133 x 97 x 83mm
(5.2 x 3.8 x 3.3") 141 x 108 x 85mm
(5.6 x 4.3 x 3.3") * Autofocus performance reduced when shooting at 30fps in 14-bit

It probably shouldn't come as a surprise to find that the SL3-P's specs are a very close match for those of the S1RII. The differences between the two cameras aren't something readily captured in a specs table.

The original SL3 offers a slight boost in resolution capture but at the cost of a lot of the new camera's flexibility. Sony's a7R VI offers both though: higher resolution and competitively fast shooting with excellent autofocus and slightly wider dynamic range. It's hard to imagine how two user interfaces and user experiences could be more different, for two cameras ultimately trying to do the same thing, though.

Body and handing The SL3-P's design is as simple and solid as the huge sans serif branding across its viewfinder hump. And with a vague sense that this is how it's always been.

The SL3-P uses the same body as the existing SL3 models: a solid, angular block of a thing with a few large control points and a substantial grip to wrap your hand around. The Leica branding across the viewfinder hump is so beautifully proportioned that it's easy to assume that this series (and, perhaps, a series of film cameras before it), have always looked this way. So it was a shock to see the original SL in the company's archives and see how far the design has evolved.

There are two buttons on the front of the camera, two on the top and one on the back, none of which have marked functions. Instead they can be re-programmed with a long press. In addition there are three marked buttons on the back of the camera: Play, Fn and Menu.

Then there are the three large command dials: one towards the front of the top plate, one protruding from the rear of the right shoulder and a third on the top left of the camera (which I kept forgetting about, as it's such an unorthodox place to find one).

Beyond this there's a small rubber joystick on the back of the camera, and that's about it. Relatively few control points and still fewer dedicated ones. No switches for focus mode or AF area, not even the seemingly obligatory stills/movie switch: that's controlled by swiping left or right on the rear screen.

Rather than making you dig through an incredibly long list of formats, the SL3-P makes it easy to filter down to the video modes that fit your shooting scenario.

We'll touch more on the user interface in the 'In use' section of the review, but Leica is continuing to refine the rather elegant and focused interface it introduced in the SL3. For instance, in this latest camera, the company has re-worked the way you select a video mode: letting you select the parameters that are most important to you: frame rate, resolution, codec, etc, then filtering down the available list from a seemingly unmanageable 193 down to the handful that fit your requirements. It sounds obvious once you've seen it done, but it's cleaner and simpler than most cameras we use.

Viewfinder and screen

The SL3-P has the same viewfinder as the other SL3 models: a 5.76M dot OLED panel (1600 x 1200px) with 0.76x magnification and a 21mm eyepoint. A large circular rubber cushion makes the camera comfortable to use if you wear glasses and there's a -4 to +2 diopter adjuster set behind that cushion.

The rear screen is a 2.33M dot (1080 x 720px) panel mounted on a tilt up/down mechanism.

Ports

The SL3-P has the same port arrangement as its sister models, with 3.5mm headphone and mic sockets and a full-sized HDMI socket under a large, rubber flap on the left flank of the camera. Below these is a USB-C socket that can be used for data transfer (10Gbps), tethering (including to an iPhone) or charging.

Battery As has become standard for Leica, the base of the battery includes the outer surface of the camera. There's a sprung silver lever on the base to release the battery and a stepped latch to prevent it just dropping onto the floor when you do.

The camera uses the same BP-SCL6 battery as its siblings: a 15.8Wh unit that powers the camera to a rating of 383 shots per charge, when tested to the CIPA protocol. As always, this tends to significantly under-represent the actual number of shots you can expect to get, but a rating of nearly 400 shots per charge is the sort of number that should means an enthusiast photographer rarely has to worry about topping-up on a day's shooting. It's only intensive shooting such a weddings, or anything involving a mixture of video and stills that are likely to call for you to have a spare to hand.

Autofocus

The Leica's autofocus behavior is as innovative and unconventional as the rest of the UI.

The camera has three AF area modes, but offers more than three AF areas. The first is called "Spot / Field," the second is called "Multi-Field / Zone" and the last is called Tracking.

There are three AF area options available, but two of them represent a series of different AF area modes.

The clue is in the forward slashes. Spot / Field lets you select a single AF point of various sizes, while Multi-Field / Zone lets you choose between an adjustable AF zone and all-area AF, where the camera selects a subject from anywhere within the frame. Once you've chosen an AF zone mode, you can adjust it by pressing the AF area on your rear screen or long-pressing anywhere on the live preview. This then lets you use the rear dial to adjust the focus area size.

You can't adjust the size of the tracking AF target but you can, in the menus, reconfigure it so it doesn't keep jumping back to the center of the screen.

Like Panasonic's recent cameras, the camera will track recognized subjects when you have subject recognition turned on, but won't track non-recognized subjects at all. So you'll need to turn subject recognition on and off depending on what you're trying to photograph. We'd definitely recommend configuring a button to do this.

By default, the camera's Tracking AF mode gives you a small rectangle that resets to the center of the frame at the end of each burst. However, while you can't change the size of the initial target, you can configure the tracking target to revert to wherever you last triggered it. So, for instance, if you want to track a car down through a series of curves, across your frame, then have the camera jump back to where the next car is likely to arrive, you can.

In use

One of the Leica's most compelling aspects isn't something you can see from product photos or interpret from the spec sheets: the user interface.

The SL3-P uses the latest iteration of the back-to-basics interface Leica has been refining over the past few years.

Pressing the menu button brings up this status panel, which can be customized with a long press of any of the virtual buttons. You can even customize the list of available options, to make selection faster. Pressing the menu button again takes you into the main menu, which is impressively concise for a modern camera.

At its heart, it's designed around putting the key photographic parameters at your fingertips and minimizing the extent of, and need for, menu options. For instance, holding down a customizable button or long-pressing any of the on-screen icons brings up a list of other functions you can assign to it. In fact one of the few options present in the main menu is one to filter-down which options are presented to you, when you long-press a control point to customize its function.

The result is an interface very focused on the fundamental settings of photography. It affords you the luxury of just ignoring what's going on in the interface, much of the time, and just letting you concentrate on the settings assigned to the two big dials, and what you're seeing in your viewfinder.

The Play, Fn and Menu buttons on the back of the camera are the only ones with marked functions: the rest are designed to be configured (and reconfigured) to suit your shooting style and preferences.

This minimalist approach extends to the body and its control points, too, with a smattering of custom buttons, a joystick and three large, solid-feeling command dials being your points of contact. It's remarkable how few dedicated control points there are and while, for my shooting, I found myself sometimes wishing for an AF mode selector, with a little work it's very likely that you can set the camera up in a way you find very quick and easy to work with.

Because it's such a different way of working, the interface takes a little bit of getting used to, though. It rewards you for taking the time to adjust to its design philosophy. One aspect of which is learning to save your setup as a user profile, or risk discovering that selecting the default profile erases any customization you've started applying.

It's also worth recognizing what is and isn't included in these profiles. Exposure mode is, but specific exposure settings aren't, so my attempt to build a profile for freezing the action and another one, with a slower shutter speed, for panning ended up being unsuccessful. Likewise, it's worth carefully planning your profiles before saving them: I thought it would be handy to define a custom button to switch between profiles. Which was great until I pressed the button and switched to a profile with different custom buttons settings, so couldn't get back.

Overall it works very well, though, giving a very photo-focused shooting experience where, for all the cleverness that modern cameras have brought, you end up remembering that the only things that really matter are shutter speed, aperture value, composition and where you're going to focus.

Video

Despite us saying that the SL3-P has a very photo-focused interface, it's probably better to say that it's a very exposure-focused. Swipe left on the camera's settings panel and you get a similar but now video-centric display, with yellow, rather than red accents.

The SL3 offers an incredible range of video modes: 157 in total. These range from 8K open-gate capture, that uses the full extent of the sensor, via 8K in either 1.89:1 or 16:9 aspect ratios and on to 4K capture, again with a choice of aspect ratios. But the camera also offers a selection of other resolutions for each of these capture regions, letting you strike a balance between resolution capture and speed.

Like Panasonic's S1RII, the SL3-P doesn't quite have enough pixels to capture DCI 8K (8192 x 4320px) footage so instead outputs 8132 x 4288px footage. UHD 8K is no problem, though, so you can also select the more conventional 7680 x 4320 resolution, if you prefer.

As you'd expect of a modern camera, you get the choice of 10-bit Log or HLG, or 8-bit if you don't plan to color grade, and you're targeting SDR displays.

Video options: Output dimensions Frame rates Crop MOV ProRes DR Exp 1.89:1 modes C8K 8128 x 4288 30, 25, 24 1.0 4:2:0 – Yes C6K 5760 x 4030 30, 25, 24 1.0 HQ 60, 50, 48 1.04 – – C4K 4096 x 2160 30, 25, 24 1.0 4:2:2 HQ Yes 60, 50 1.04 – 30, 25, 24 1.52 Yes 60, 50, – 120, 100 1.09 4:2:2 – – 16:9 Modes 8K 7680 x 4320 30, 25, 24 1.0 4:2:0 – Yes 6K 5888 x 3312 30, 25, 24 1.0 – Yes 60, 50, 48 1.11 – – 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 – Yes 60, 50 1.11 – – 30, 25, 24 1.52 – Yes 60, 50 – – 120, 100 1.17 4:2:2 – – 3:2 Modes 8K OG 8064 x 5376 24 1.0 4:2:0 – Yes 7.2K OG 7200 x 4800 30 1.0 4:2:0 – – 25 – Yes 6.4K OG 6432 x 4288 30 1.0 4:2:0 – – 25, 24 – Yes 4:3 Modes 4.7K 4736 x 3552 30, 25, 24 1.71 4:2:0 HQ Yes 60, 50, 48 – – - MOV boxes marked green offer All-I compression options
- Red boxes have a ProRes option

As with the Panasonic S1RII, the SL3-P has a Dynamic Range Expansion mode in video, which reads each exposure in both low conversion gain mode for maximum highlight capture and in high conversion gain mode, for cleaner shadows, and combines the two, to boost DR.

This is available in any resolution mode but only at frame rates up to 30p. In each case it increases the readout rate by around 33%. So, for instance, the UHD 8K/24 mode increases from 23.9ms to 31.9ms.

Initial impressions

The Leica SL3-P is the fastest-shooting camera Leica has ever made and should, in principle, be the only SL model they need to persist with. It offers an awful lot of what the SL3 offers, in terms of resolution, and it outperforms the more speed-focused SL3-S.

The subject recognition AF performs impressively well: finding subjects very quickly and following them well (especially when it's a subject the camera has been trained to recognize). Just as the user interface as a whole takes some getting used to, it's worth digging around in the menus and familiarizing yourself with the SL3-P's AF logic before you go out shooting. Without an instruction manual it wasn't obvious that Leica had grouped its AF area modes, or how to switch between them, nor that you can override the camera's default behaviour when it comes to AF tracking.

Some issues you can't overcome, though. The sensor is fast, but it's not as quick as the best stacked CMOS sensors. So the camera will start showing a slideshow of the images you've just shot, when you're shooting at its fastest rates, making it very difficult to keep pace with the action. Similarly, we were advised to shoot Raw-only and to disengage Content Credentials, to get the best performance.

Rolling shutter can become visible if the camera or subject moves too quickly. The camera makes clear whether it's shooting in 12 or 14-bit readout mode, which significantly affects the rolling shutter rate.

Leica Vario Elmarit 24-90mm F2.8-4.0 @ 75mm | 1/320 sec | F6.3 | ISO 100
Photo: Richard Butler

And, even with that done, the camera's approximately 20ms (1/5 sec) readout rates in 12-bit mode mean that rolling shutter will be apparent if you're trying to follow really fast action.

In this respect it's a lot like the Sony a7R VI we recently reviewed: very fast for a high-res studio/landscape camera, meaning it'll handle itself very confidently in a much broader range of circumstances than that. It's not quite the high-res, high-speed all-rounder that Canon's EOS R5 II and Nikon Z8 are, but it'll still be more than enough camera for a very broad range of photographers, taking a very broad range of photos.

The challenge, as ever with Leica, is the price. It's a beautifully built object, constructed in Portugal and Germany, that wears the Leica name and is likely to sell in relatively small numbers, when compared to the volumes of the large Japanese manufacturers. As such, the price is high.

For that money you get the fruits of some very clever design work, in a body that feels like it's designed to last decades. However, parts availability and the continued march of technology (we can already see that sensors and AF will continue to get faster), will make it difficult to match the sense of longevity that a Leica film camera gave you. So, as always, part of the calculus comes down to: how important are those five letters to you?

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Alongside the SL3-P, Leica has announced two new full-frame L-mount lenses: the Summilux-SL 50mm F1.4 Asph., and the APO-Macro-Elmarit-SL 100mm F2.8. The former is an update to an existing model, offering the same focal length and speed in a much smaller and lighter package, while the latter is a new addition to the company's mirrorless lineup.

The 50mm F1.4 features an optical design with 11 elements in 6 groups, with 2 aspherical lenses. It has an 11-blade aperture, and can focus as close as 0.5m (19.7").

The 100mm F2.8 Macro.
Photo: Leica

The 100mm F2.8, meanwhile, can focus as close as 0.29m (11.4"), providing 1:1 reproduction. Its optical formula consists of 17 elements in 12 groups, and Leica says its apochromatic correction lets it provide "outstanding imaging performance right to the edges." It has a 9-blade aperture.

Leica SL3-P | Leica APO-Macro-Elmarit-SL 100mm F2.8 | F3.5 | 1/200 sec | ISO 250 | Processed in Capture One
Photo: Richard Butler

The company says the 100mm F2.8 is designed to honor one of its classic designs, the 1987 APO-Macro-Elmarit-R 100 F2.8. It's 138mm (5.4") long, and weighs 862g (30.4oz)

The 50mm F1.4 is 76mm (3") long, and weighs 584g (20.6 oz). This is compared to Leica's previous Summilux-SL 50 F1.4 Asph., which was 124mm (4.9") and 1065g (37.6oz), making the new much nicer to carry around.

Leica SL3-P | Leica Summilux-SL F1.4 Asph. | F5.6 | 1/200 sec | ISO 64 | Processed in Capture One
Photo: Richard Butler

Both lenses feature an aluminum build painted black, and are sealed against dust and splashes. The 50mm features an extremely minimal design; its only control is the large focus ring. The 100mm has one too, as well as a focus limiter switch. Both are threaded for 67mm filters. For the 50mm, this represents a substantial downsizing from its predecessor, which used 82mm filters.

The Summilux-SL 50mm F1.4 Asph. will retail for $4950, and the APO-Macro-Elmarit-SL 100mm F2.8 will cost $2700. Both lenses are scheduled to launch at the end of the year.

Press release:

New: The Leica SL3-P

Leica is expanding its SL-System for performance-oriented photography and videography with the release of its most advanced full- frame camera to date, accompanied by two new SL-Lenses, offering greater creative freedom

Teaneck, June 25th, 2026 – When it launched the SL-System in 2015, Leica set a new standard for creative photography and video production. Based on the L-Mount, the system combines technological innovation with the precision and quality that the company is known for. Developed in close consultation with professional users, the SL-System continues to be refined, drawing on practical experience. The result is an expanding full-frame system that meets the highest photographic and cinematic standards, while also offering non-professional users easy access to high-quality image and video production thanks to its convenient, intuitive operation. Looking to the future, Leica is now significantly strengthening the SL-System by presenting the Leica SL3-P, the brand’s most comprehensive full-frame camera to date, alongside the innovative Summilux-SL 50 f/1.4 ASPH. and APO-Macro-Elmarit-SL 100 f/2.8 lenses.

The New Leica SL3-P

At the heart of the SL3-P’s features are a new sensor and a new hybrid autofocus system. The 44- megapixel BSI full-frame sensor provides an ideal balance of high resolution and exceptional image quality. With a dynamic range of up to 14 aperture stops, even the finest tonal gradations are captured. The Multishot mode delivers extremely high-resolution, detailed images with up to 176 megapixels. The ISO range of 50 to 200,000 ensures high image quality and flexibility, even in challenging lighting conditions. The new hybrid autofocus system combines three focus technologies – phase detection (PDAF), depth mapping (object detection AF), and contrast detection (contrast detection AF) – to achieve quick, precise, and reliable focusing. With continuous shooting at up to 40 frames per second with full autofocus support, improved tracking performance with 819 AF points, and smart subject recognition, the SL3-P can handle even the most dynamic of subjects with ease.

In terms of video, the latest addition to the SL3 family enables recording at resolutions of up to 8K. This includes 8.1K Open Gate in 3:2 format at up to 24p, HDMI RAW 8K Open Gate, and 8K at 30p. For smooth motion rendering, the camera offers 5.9K recording at up to 60 frames per second as well as detailed slow-motion footage in 4K at 120p. Integration of the Apple ProRes codec at up to 5.8K guarantees outstanding image quality. Together with the two new in-camera LUTs – Leica Pure and Leica Cine – for the L-Log color space, this provides maximum freedom in professional post- production. This not only makes the SL3-P suitable for demanding film productions but also for high- quality hybrid workflows. It allows footage to be optimized for various channels and formats, and framing to be determined retrospectively without any loss of quality.

Manufactured in Germany, the SL3-P features a deliberately minimalist design with black control elements and without the red Leica logo. Its solid, full-metal body ensures maximum stability and reliability, while IP54 certification provides effective protection against dust and water splashes. The SL3-P also features the L-Mount, offering maximum flexibility for photography and filming with the exceptionally wide range of compatible lenses from L-Mount Alliance partners.

The SL3-P offers a unique combination of outstanding image quality, precision, feel, reliability, and speed as well as an unrivalled Leica user experience. This is based on well-conceived ergonomics, fully customizable controls, and a captivatingly clear user interface. The minimalist icon and menu design, which strictly separates photo and video modes, ensures particularly efficient navigation. A special color code – red for photos and yellow for videos – visually distinguishes between the two modes. In addition, the user interface automatically adapts to the camera’s orientation, displaying all information clearly and legibly on the high-resolution tilting screen in both vertical and horizontal positions. The exceptional Leica user experience is maintained through ongoing, uncompromising development. Regular firmware updates based on customer feedback are conveniently made available for the SL3-P via the Leica FOTOS App. This means that the camera embodies both modernity and longevity – from the choice of materials and continuous software improvements. It is a future-proof investment that offers a complete Leica experience from the very first use.

The SL3-P’s comprehensive connectivity ensures a seamless professional workflow. The Leica FOTOS App uses fast Wi-Fi and Bluetooth connections to link the camera directly to mobile devices. This enables fast downloads of DNG, JPG, and video files as well as full remote control via a smartphone or tablet.

Leica Looks can be applied as soon as the shutter is released, and their intensity can be adjusted either in the camera or later in the Leica FOTOS App. Native tethering support for Lightroom Classic and Capture One provides a stable, direct connection between the camera and computer, facilitating immediate image review in the studio. With Camera-to-Cloud via Adobe Frame.io, photos and videos can be transferred directly from the camera to the cloud, making them available for post-production immediately. In addition, the SL3-P is equipped with pioneering Content Credentials technology, developed in line with the Content Authenticity Initiative (CAI), which enables images to be signed with tamper-proof metadata if desired, thereby protecting creative professionals’ intellectual property.

The New Summilux-SL 50 f/1.4 ASPH.

The Leica SL-System is renowned not only for its high-performance cameras, but also for its range of lenses offering exceptional optical quality. With the Summilux-SL 50 f/1.4 ASPH., Leica once again demonstrates its innovative strength in lens manufacturing by presenting the world’s most compact autofocus lens with this focal length and a lens speed of f/1.4. The large aperture lets you capture high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh. Its compact dimensions are the result of state-of-the-art manufacturing processes, ensuring “Made in Germany” finesse. With a diameter of 74 mm (2.9″), a length of just 75.5 mm (3″) and a weight of 584 g (1.3 lbs.), it combines maximum portability with the exceptional image quality for which Leica is renowned. Eleven aperture blades, two aspherical lens elements, and perfectly matched, high-quality glass types produce the lens’s distinctive image aesthetics. The fast autofocus enables rapid operation and focuses by means of a particularly quiet mechanism. With a close focus distance of just 50 cm (1.6 ft), an E67 filter thread, and an L-Mount, the new Summilux-SL is a highly versatile standard focal length lens. The precision-crafted, full-metal lens body forms a unit with SL-Cameras that is protected against dust and water splashes as per the IP54 standard. The AquaDura coating also ensures reliable protection even under demanding conditions.

The New APO-Macro-Elmarit-SL 100 f/2.8

The Leica APO-Macro-Elmarit-R 100 f/2.8 was a milestone in optical craftsmanship when it was released in 1987. To honor this classic lens, Leica is now introducing the new APO-Macro-Elmarit-SL 100 f/2.8. Like its predecessor, this SL-System macro lens delivers outstanding imaging performance right to the edges thanks to apochromatic correction. With a close focus distance of just 30 cm (1 ft) and a maximum reproduction ratio of 1:1, this lens reveals details that are invisible to the naked eye. It is also ideal for use as a telephoto lens in portrait photography. The nine-blade aperture, in conjunction with the entire optical design, ensures a harmoniously rendered background. The robust, full-metal L-Mount body is 137.6 mm (5.4″) long and weighs 862 g (1.9 lbs.), including the supplied lens hood. The front element is protected from external influences by an AquaDura coating, while the E67 filter thread opens up additional creative possibilities.

Starting June 25th, 2026, the Leica SL3-P will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers. The retail price is $6,690.00 Leica is also offering three attractive kit deals for the SL3-P to mark its launch, providing customers savings up to $2,450.00, when compared to purchasing items separately. These are the SL3-P 28–70 Vario Kit, priced at $7,790.00, the SL3-P 24–70 Vario Kit, priced at $8,390.00 and the SL3-P 24–70 & 70–200 Vario Kit, priced at $10,995.00.

The Leica Summilux-SL 50 f/1.4 ASPH. and the Leica APO-Macro-Elmarit-SL 100 f/2.8 will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers at the end of 2026. The retail prices are $4,950.00 for the Summilux-SL 50 f/1.4 ASPH. and $2,700.00 for the Leica APO-Macro-Elmarit-SL 100 f/2.8.

Specifications:  Leica Summilux-SL 50mm F1.4 ASPH 2026Leica APO-Macro-Elmarit-SL 100mm F2.8Principal specificationsLens typePrime lensMax Format size35mm FFFocal length50 mm100 mmImage stabilizationNoLens mountL-MountApertureMaximum apertureF1.4F2.8Minimum apertureF16F22Aperture ringNoNumber of diaphragm blades119OpticsElements1117Groups612Special elements / coatings2 asphericalFocusMinimum focus0.50 m (19.69″)0.29 m (11.42″)Maximum magnification0.13×1×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight584 g (1.29 lb)801 g (1.77 lb)Diameter74 mm (2.91″)77 mm (3.03″)Length76 mm (2.99″)137 mm (5.39″)MaterialsAluminumSealingYesColourBlackFilter thread67 mmHood suppliedYesTripod collarNo

When you use DPReview links to buy products, the site may earn a commission. Photo: Chris Konesky / LK Samyang

LK Samyang has announced the AF 60-180mm F2.8 FE, a compact and versatile lens for Sony full-frame systems. The new lens joins the company's AF 14-24mm F2.8 FE and AF 24-60mm F2.8 FE lenses, completing the trio of lightweight zoom lenses designed in collaboration with Schneider-Kreuznach.

Like the other two lenses in the set, the 60-180mm offers a constant F2.8 maximum aperture and a compact, lightweight design. It weighs just 730 g (1.6 lbs), which LK Samyang says is the lightest in its class. For comparison, while it offers a slightly different range, Sony's 70-200mm F2.8 GM OSS II weighs 1045g (2.3 lbs). LK Samyang's lens is also lighter than the Tamron 70-180mm f/2.8 Di III VC VXD G2, which comes in at 810 g (1.8 lbs).

The lens uses an external zoom design, with a difference of 25mm (roughly 1") when zooming in or out all the way.

Photo: Chris Konesky / LK Samyang

The lens consists of 17 elements in 14 groups. These include one high-refractive, seven extra-low dispersion and two aspherical elements, aimed at minimizing aberrations and helping produce sharp images. It uses an extending zoom design, with the length increasing from 149mm (5.9") at the wide end to 174mm (6.9") when zoomed in.

The 60-180mm F2.8 features a floating focus system to help maintain image quality across the focus range. At the wide end, it offers a minimum focusing distance of 0.35m (1.2') and a maximum magnification of 0.26x (a ratio of 1:3.8), making it useful for close-up images. A linear stepping motor drives its autofocus system, which LK Samyang says is quiet and precise.

In terms of lens controls, it features an AF/MF switch and a zoom lock to keep the zoom constant even when moving. It accepts 77mm filters, the same as the LK Samyang 14-24mm F2.8 lens. Unfortunately, the 24-60mm F2.8 lens takes 72mm filters, so one set of filters won't be compatible with the entire lens set. There's also a USB port for firmware updates and weather sealing.

The 60-180mm F2.8 joins the 14-24mm F2.8 and 24-60mm F2.8, completing what LK Samyang calls "The Perfect F2.8 Trinity System."

Photo: Horia Vlad Bogdan / LK Samyang

The lens is only available for E-mount for now. However, LK Samyang recently released an L-mount version of the 14-24mm, and it says that the series will "continue to grow with L-mount." It isn't clear when we can expect it, but L-mount users should be able to count on the full trio coming to their system at some point.

The LK Samyang AF 60-180mm F2.8 FE lens is available for purchase starting today, though it hasn't specified a price. The company also says it will gradually launch across global markets with no set dates for specific regions.

LK SAMYANG Introduces AF 60-180mm F2.8 FE Completing an Ultra-Light Compact Zoom System with Three Lenses

Key Message

• Only 730g, exceptional lightweight performance in its class
• Constant F2.8 and 0.26x magnification for enhanced versatility
• Seamless focal range coverage from 14mm to 180mm with just three lenses

July 02, 2026 - South Korea, LK SAMYANG, a global optical specialist, announces the upcoming launch of the AF 60-180mm F2.8 FE, developed in collaboration with Schneider-Kreuznach, scheduled for release this July.

As camera and lens performance continues to advance, the burden of heavier gear has also increased. Carrying multiple lenses to cover a wide focal range remains a challenge for creators. LK SAMYANG set out to rethink this balance with a simple question: "What if you could carry less, capture more, without compromising performance?". This philosophy led to the development of the "Compact Zoom Series" in collaboration with Schneider-Kreuznach aimed at redefining the balance between performance and portability. The new AF 60-180mm F2.8 FE further extends this vision.

Together with the AF 14-24mm F2.8 FE (445g) and AF 24-60mm F2.8 FE (494g), the new lens
completes a truly lightweight zoom system, covering the entire focal range from 14mm to 180mm using just three lenses. Each lens in the series reflects LK SAMYANG’s consistent design philosophy delivering compact size, reduced weight, and practical usability without compromise.

Key Features

A New Standard in Lightweight Telephoto Zoom: Only 730g

The AF 60-180mm F2.8 FE weighs 730g and features a compact length of 149mm (wide) / 174.4mm (tele), offering exceptional portability within the F2.8 telephoto zoom category. Compared to traditional 70-200mm lenses, its significantly lighter design reduces fatigue during extended shooting sessions and enhances mobility in dynamic environments.

Constant F2.8 with Enhanced Close-Up Capability

With a constant F2.8 aperture throughout the zoom range, the lens ensures stable performance in low-light conditions and delivers smooth background separation, making it ideal for portrait photography. It also offers a maximum magnification of 0.26x (1:3.80), enabling detailed close-up shots and expanding creative possibilities across various shooting scenarios.

Compact Zoom Series, Co-Engineered with Schneider-Kreuznach

Developed in collaboration with Schneider-Kreuznach, the AF 60-180mm F2.8 FE embodies the core philosophy of the Compact Zoom Series, balancing optical performance and portability. The advanced optical design consists of 17 elements in 14 groups (including 1 HR, 7 ED, and 2 ASP elements), effectively minimizing aberrations while delivering sharp and clear images. A floating focus system ensures consistent image quality across the entire focus range.

Designed for Real-World Use

Equipped with a Linear Stepping Motor, the lens delivers fast and precise autofocus, making it suitable for both photography and video applications. Weather sealing enhances durability across various environments, while intuitive controls such as the AF/MF switch improve usability. In addition, the Zoom Lock function prevents unwanted zoom extension (zoom creep) during movement, keeping the lens securely in place. This ensures stable handling and a consistent user experience from transport to shooting.

Lightweight Coverage from 14mm to 180mm

The AF 60-180mm F2.8 FE expands the design philosophy of the Compact Zoom Series, enabling creators to cover a wide focal range with minimal weight. With three lenses weighing approximately 445g, 494g, and 730g, users can achieve seamless coverage from 14mm to 180mm while maintaining exceptional portability.

Availability

The LK SAMYANG AF 60-180mm F2.8 FE lens will be available for purchase starting today, with sales gradually launching across global markets through LK SAMYANG’s distribution network and authorized retailers. (For more information, please visit www.lksamyang.com)

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Product Photos: Mitchell Clark

85%Overall scoreJump to conclusion

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

Key Specifications:

• Up to 20.3MP images from a 26.5MP BSI CMOS Four Thirds sensor
• 10.9 - 34mm (24-75mm equiv.) F1.7-2.8 lens with OIS
• 2.36M dot OLED viewfinder
• 1.84M dot 3" fully articulating display
• Phase-detect autofocus with 6 subject recognition modes
• Metal body
• 5.2K open-gate video up to 30p
• 1x UHS-II SD card slot

The black and silver versions of the L10 cost $1499, and there's a special edition "Titanium Gold" version for $100 more, available from limited outlets (typically direct from Panasonic). It includes a threaded shutter button, leather strap and a color-matched automatically-opening lens cap (the latter accessory is available to buy separately for the standard editions in silver and black).

Index

• What's new
• How it compares
• Body and handling
• Autofocus
• Video
• In use
• Conclusion
• Sample gallery
• Specifications

Buy now:

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

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

Updated sensor

The L10 uses the same 26.5MP Four Thirds (225mm²) sensor that's found in the GH7 and G9 II. This results in images that have better dynamic range and are slightly higher resolution than you could get out of the LX100 II: up to 20.3MP in its 4:3 mode, rather than 17MP.

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

Graphic: Richard Butler

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

New processor

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

A cornucopia of colors

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

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

The decision to include these new modes was apparently based on the popularity of the L.ClassicNeo profile that it's included in its cameras for years. For video shooters (or photographers looking for a video-like look), the camera also includes a suite of "Cinelike" modes such as Cinelike D2, which is designed to give you a pleasingly flat look that, unlike the also-included V-Log, can be used for output, while still offering some editing flexibility in post.

How it compares

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

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

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

24–200mm 24-100mm Aperture range
(full-frame equiv.) F1.7-2.8
(F3.8-6.2) F1.7-2.8
(F3.8-6.2) F2.8-4.5
(F7.6-12.2) F1.8-2.8
(F4.9-7.6) Built-in filter? No No No 3EV ND Burst rate 11fps mech. (AF-S) / 9fps (AF-C)
30fps e-shutter (AF-C) 11fps mech. (AF-S)
5.5fps (AF-C) 10fps mech.
20fps e-shutter 8fps (C-AF)
20fps e-shutter (S-AF) AF Subject Recognition Human
Animal
Car
Motorcycle/Bike
Train
Airplane Face/Eye Face/Eye Face/Eye Pre-Capture? Yes No No No Display 3" 1.84M dot
Fully-articulated 3" 1.24M dot
Fixed 3" 921K dot
Tilting 3" 1.04M dot
Tilting EVF 2.36M dot OLED
0.74x
Fixed 2.76M dot equiv. field sequential
0.7x
Fixed 2.36M dot OLED
0.59x
Pop-up No Built-in flash? No (Hotshoe) No (external included) Yes (pop-up) Yes (pop-up) Battery life EVF / LCD 410 / 420 shots 270 / 340 shots 240 / 260 shots - / 235 shots Video 5.2K/30 Open Gate
4K/120 (full-width)
10-bit 4K/30 (1.34x crop) 4K/30 (1.08x crop) 4K/30 (full-width) 10-bit video Yes, HLG HDR / Log No No No Connectivity USB-C 10Gbps
Wi-Fi 5
Bluetooth 5
Mic jack Micro USB
480Mbps
Wi-Fi 3
Bluetooth 4.2
microHDMI Micro USB 480Mbps
Wi-Fi 3
Bluetooth 4.1
Mic jack USB-C
Wi-Fi 3
Bluetooth 4.2
Mic jack
microHDMI Dimensions 127 x 74 x 67mm
(5.0 x 2.9 x 2.6") 115 x 66 x 64mm
(4.5 x 2.6 x 2.5") 102 x 58 x 43mm
(4.0 x 3.3 x 1.7") 105 x 61 x 41mm
(4.1 x 2.4 x 1.6") Weight 508g (17.9oz) 392g (13.8oz) 302g (10.7oz) 304g (10.7oz)

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

Body and Handling

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

Controls and customization

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

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

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

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

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

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

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

You can also set any of the physical zoom controls to work continuously, smoothly zooming in through the lens's entire range, or to jump between common preset focal lengths (24, 28, 35, 50, 70 and 75mm equiv.). If you're using the sliding switch for zoom control, you can also set it to take different levels of crop from the 75mm setting for additional reach, though they'll just take you to 75mm equiv if you're shooting Raw. You can also have the camera remember what focal length it was at when you turned it off, and return to it when you start it up again.

EVF and display

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

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

Fully-articulating screens aren't to everyone's taste, but this represents a big increase in flexibility over the LX100 cameras, on which we found the wide-angle lens and fixed screen were an awkward combination. And, while some photographers will inevitably have preferred a flip-up rear panel to keep things discreet, anyone traveling is likely to appreciate the ability to fold the screen in, leaving it protected from scratches when thrown in a bag.

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

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

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

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

Image Quality

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

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

Shooting in Raw at its base ISO, the L10 captures a good amount of detail, on par with the Sony and Canon, and slightly more than the LX100 II. Despite using the same amount of sensor area as the LX100 II, it provides an image that can be 1EV cleaner thanks to its ability to gather more light by shooting at ISO 100 instead of 200. Likewise, it produces slightly less noise than its Type-1 peers, thanks to its 66% additional sensor area.

This advantage continues through to higher ISOs, though if you find yourself shooting in the dark often, it's worth considering the noise advantage that APS-C compacts like the Ricoh GR IV or Fujifilm X100VI provide, at the cost of less versatility thanks to their prime lenses. The L10's JPEG engine does a decent job of retaining details while reducing noise, though the older cameras that act as its competition are decent in this regard, too.

Where Panasonic's processing has improved is when it comes to its JPEG colors. Overall, they're pleasing and more punchy, and we've enjoyed them in the pictures we've taken with it outside of the studio. And if you don't enjoy the colors in its built-in modes, it's almost infinitely customizable thanks to the L10's Real Time LUT system, which lets you download new looks from its app, or create your own.

Dynamic Range

The L10 provides plenty of latitude to shoot to preserve highlights, then brighten in post.

Panasonic L10 | 75mm equiv. | F2.8 | 1/500 sec | ISO 100 | Edited to taste in Adobe Camera Raw
Photo: Mitchell Clark

The sensor used in the L10 has been shown to have very good dynamic range in the other cameras we've tested that use it, and we're happy to say the L10 is no exception. While its deepest shadows aren't quite as clean as those of the cameras that use the sensor's entire area, you still have plenty of room to exploit them. There's perhaps not as much difference as we might expect from a camera that can combine high and low gain readout in a 16-bit space, vs the 12-bit, single-read approach from the LX100 II, but you should still find them pretty flexible.

Exposure Latitude | ISO Invariance

Likewise, the sensor has very little read noise, giving you the option to choose an exposure, then lower your ISO to preserve highlights in low light situations, without having to worry about a ton of additional noise showing up in post when you raise the shadows. Shots at ISO 100 pushed 4EV will show a little more noise than shooting at ISO 1600 in the first place, but even by ISO 200 the difference isn't particularly distinguishable.

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

When we reviewed the LX100 II in 2018, we said that camera's 17MP sensor was showing the limits of the lens. With the L10 essentially using the same optics, paired with a higher-resolution sensor, that's even more true today, with noticeable softness in the corners even when stopped down to F4 or 5.6 (though doing so provides noticeable improvement versus faster apertures like F2.8).

The bright, complex, foldable lenses on compacts of all brands are quite susceptible to sample variation. Putting them in the studio scene also pits them against extremely high-quality primes, many of which are larger and heavier than the L10 in its entirety, and holds them to a higher standard than most would expect from their real-world shooting. In the process of shooting our sample gallery, we haven't come across many situations where the L10's lens felt inadequate for what we were trying to capture.

Autofocus

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

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

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

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

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

The L10's tracking mode won't fall back to generic tracking if you have it in subject recognition mode and it doesn't recognize a subject

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

AF performance

As we've come to expect from Panasonic's current autofocus system, the L10 is at its most accurate and snappy when you're using one of its subject recognition modes, which we've found work well in a wide range of scenarios. They occasionally need tuning for best results – choosing the right human detection mode depending on how active your subject is, or manually switching between subject types, as there's no auto mode – but for most uses it's not something you'll have to worry about.

The generic tracking mode works well in proper lighting, but can lose track of subjects in darker settings, or if they're moving erratically. We found, though, that for the types of photography we'd typically use this kind of camera for, the system worked well without requiring too much attention (beyond the mild awkwardness of controlling the selection point).

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

While the company mainly pitches it as a stills camera, the L10's use of the GH7's sensor means it has an extremely robust set of video features. In its H.265 mode, it can capture 5.2K 4:3 open gate at up to 30p, and full-width 4K at up to 120p. As we'd expect, there are a lot of other options too; 60 in total, with All-I recording modes, 1.89:1 'DCI' aspect ratios and >4K options.

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

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

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

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

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

In use The L10 isn't comfortably pocketable, but it's a world away from the size of most mirrorless cameras once you factor in a lens.

Where the L10 really shines is being so easy to bring along if there's any chance at encountering interesting things to photograph, without having to worry about lugging something big and heavy around for no reason. When there are photographs to be taken, it's proven capable at capturing most of what I've asked it to, without demanding I compromise on features and autofocus capabilities I've grown used to from Panasonic's interchangeable lens cameras. And having something like that with me all the time has lead to me feeling more creative in my photography than I have in a while.

There are a few annoyances. Chief among them is the lens, which is ponderous to deploy and zoom. It takes around two seconds to extend when booting the camera up (and to retract when shutting it down), and another few beats to make its way through its range. And while I have no reason to doubt its build quality, it doesn't quite feel as premium as its price tag suggests.

The L10's use of a leaf shutter means you can sync flash at any speed, which can be a lot of fun when paired with a relatively inexpensive Godox iT32.

Panasonic L10 | 24mm equiv. | F1.7 | 1/2000 | ISO 100 | Shot with external flash | Cropped and edited to taste in ACR

By default, the camera only uses its mechanical shutter, which I found frequently left me wishing for an internal ND, as it maxes out at 1/2000 sec. Switching the shutter type to Auto, and allowing it to go faster using the electronic shutter – up to 1/32000 sec – helped in most scenarios, though it introduces the risk of rolling shutter, and won't help if you're trying to shoot video with traditional amounts of motion blur. Any external ND you add will need to be pretty small to avoid putting too much force on the lens.

Conversely, it's lovely to be able to sync flash all the way up to that 1/2000 sec limit, because of its use of a leaf shutter, so there are definitely pros as well as cons.

The rear dial is extremely fiddly, to the point of it being a constant frustration when scrolling through the main menus, often deciding to jump to different pages or levels. This means the best navigation option is directly using the touchscreen; something you can, thankfully, do, but that usually requires two hands.

Where the dial is more annoying is in certain shooting modes. Panasonic has made the odd decision to move away from the dedicated shutter speed and exposure comp dials on the LX100 cameras, which closely mimicked the early Fujifilm X100 models and meant you rarely had to use the fiddly rear face dial. Instead the L10 can, particularly before customization, feel like it's running a different camera's firmware: a camera with front and rear command dials.

While there were plenty of complaints around the original LX100's propensity to gather dust, we've seen fewer about the LX100 II, after Panasonic said it worked to mitigate the issue. Realistically, it's a bit of a concern with most compacts – even more so if you put them in your pocket – and we wouldn't be more concerned about dust or weather resistance with the L10 than with, say, a GR IV or X100 VI (though the latter camera gives you the option of screwing on an adapter and filter for additional sealing if it starts to rain).

Conclusion

by Mitchell Clark

Things we liked Things to consider

• Very good image quality and DR
• Autofocus is usually accurate and easy to use
• Ambitious zoom lens is versatile
• EVF is a pleasure to use
• Extensive battery life
• Modern connectivity and app experience
• Some good color modes, and near-infinite customizability with LUTs
• Wide range of usable video modes
• Flip-out screen can be folded in to protect screen

• Controls won't match everyone's tastes
• No dedicated autofocus control
• Not particularly pocketable
• Lens can be sluggish to zoom
• Feel doesn't consistently match premium price
• Lack of a headphone jack and IBIS limits video capabilities
• Flip-out screen won't be to everyone's taste
• A fraction more reach on the zoom would significantly expand capabilities
• Possibly prone to switching on in bags

The L10 is, essentially, the camera we asked Panasonic for in our LX100 II review. If you look at our list of cons for that camera, almost all of them have been addressed. Add to that the other improvements – its battery has gone from good to great, and it has a majority of the company's latest and greatest features – and it feels like it should be an instant classic. After a string of great prime lens compacts, the people who want the versatility of a zoom finally have something to be excited about.

It gets close to that exciting potential. You can set the controls up to provide an engaging shooting experience, and its sensor and relatively ambitious lens provide image quality that's a step above what you can get from a camera with a Type 1 sensor or a phone (especially when you're comparing its telephoto performance with the latter). Its autofocus is among the most capable and responsive we've seen on a compact, and that, paired with blistering burst rates and precapture, means it can adapt to a wider range of moving subjects than the LX100 II.

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

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

Despite its clear focus on enthusiast photographers, it offers a lot to people looking for a capable and portable video camera, or beginners looking to upgrade from shooting on a phone, too. It may not be the perfect option for either camp – the lack of a headphone jack and IBIS limit its video ambitions, and the price may be a bit steep for someone looking for their first camera – but it's certainly a workable one, and it offers people just beginning their photography journey a lot of room to grow while still being approachable.

Richard's take

"There’s a lot to like about the L10, even though every change made to its controls feels like a step backward, to me. It still isn't quite the X100-with-a-zoom that it wants to be, possibly as a result of the distancing effect of the zoom lag or because the image quality doesn’t ‘Wow’ in the way the X100’s can. But the larger battery, protected screen and added responsiveness make it a cracking travel camera and I really like it." – Richard Butler

But despite all of that praise, the L10 isn't quite the unalloyed success that it seemed at first glance. While the new battery brings with it a lot of benefit, and there's not a centimeter of wasted space on or in it, the fact of the matter is that you used to be able to get this lens in a substantially smaller package (though with a slightly less impressive sensor, and much less advanced autofocus). And while the buttons now have room to breathe, that benefit is offset by its somewhat clumsy new control scheme and stuffed menus that feel grafted on from another camera, rather than custom-made to match the experience this camera wants to provide.

We appreciate the lens's fast aperture, but the actual experience is better described as sluggish. There just enough lag from when you push the zoom rocker and when it actually starts zooming to be annoying, and it's not in any hurry to make it through its range.

Despite those complaints, we've always said that a Gold isn't meant to say that camera is perfect. It indicates that if you're shopping for this kind of camera, the model in question should be at the top of your list. And the L10 should be. Not just because it's the first truly new enthusiast zoom compact we've seen in nearly a decade, but because it actually delivers the benefits of modern sensor and processing tech in a body that can provide an engaging shooting experience.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-L10Category: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic L10 offers an engaging shooting experience for enthusiasts, with a relatively versatile and ambitious lens.Good forEnthusiasts looking for a small everyday carry or travel camera Photographers looking to dabble in videoNot so good forThose who want lots of reach Anyone who needs the most compact option85%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcl10","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

Compared to the Panasonic LX100 II (and its updated and more pedigreed sibling, the Leica D-Lux 8), the L10 is noticeably larger, no longer comfortably fitting in a jacket pocket. However, for the reduction in portability, you get better battery life, a much nicer viewfinder, and modern autofocus and connectivity. Its controls and interface aren't as refined as those of its predecessor or the Leica, but it's also capable of capturing a broader range of subjects and scenarios.

We find the L10 more engaging to shoot with than the Sony Cyber-Shot RX100 series, and appreciate its lens' speed (even if we wouldn't mind having at least a bit of the extra reach provided by Sony's most recent VII models). The L10's modern USB-C port and compatibility with Panasonic's most recent app are also big conveniences over the Sony as well. The cameras are relatively equally matched when it comes to autofocus performance, but the L10's inclusion of more extensive subject recognition will make it easier to capture certain kinds of subjects.

The Canon PowerShot G7X III suffers from being perpetually out of stock, but matches many of the L10's modern conveniences, while offering that bit extra reach at the cost of a bit of image quality. We find the L10 a bit more engaging to shoot with, perhaps because of its EVF, and despite the G7X III's focus on content creators, it doesn't come close to matching the L10's video capabilities.

Sample Gallery

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

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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

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

Tamron has announced that it's bringing its 17-70mm F2.8 APS-C lens to Canon's RF and Nikon's Z mounts, providing a versatile option for shooters on those systems. It delivers a 26-105mm equiv. range for Nikon shooters, and is a 28-112mm equiv. on Canon.

The lens, formally named the 17-70mm F2.8 Di III-A VC RXD, offers essentially the same experience as the E-mount version that was announced in 2020. The Z-mount weighs 540g (19oz), with the RF version coming in 10g lighter, and it uses an optical formula with 16 elements in 12 groups. At the wide end, it can focus on subjects as close as 0.19m (7.5"). zoomed in, that goes up to 0.39m (15.4").

Unlike the Sony and Nikon versions, the RF version of the lens has physical controls for turning its optical stabilization on and off and for selecting whether it's in auto or manual focus mode. Both the Z and RF versions of the lens have a USB-C port for firmware updates and for use with Tamron's Lens Utility app.

Image: Tamron

This lens is a welcome addition to both systems, as there wasn't anything really comparable for either. RF-mount has the Sigma 18-50mm (29-80mm equiv.) F2.8, and Z-mount has Nikon's 16-50mm (26-75mm equiv.) F2.8, but neither has an option that goes that bit further while still maintaining a constant aperture. For those looking for a single lens they can use while walking around, the 17-70mm F2.8 may be a more versatile option.

When we reviewed the lens in 2021, we found it was generally quite good, with a few optical downsides like distortion, onion-ring bokeh and longitudinal chromatic aberration. Given its price, though, there will likely be many willing to make those tradeoffs.

The Tamron 17-70mm F2.8 Di III-A VC RXD will retail for $749 – $50 more than the Sony version, and $50 less than the Fujifilm one – and will be available starting July 2nd.

Canon RF

Buy at B&H

Nikon Z

Buy at B&H Tamron 17-70mm F2.8 sample gallery

We got our hands on a copy of the RF-mount version of the lens and had the opportunity to shoot a small sample gallery with the Canon EOS R7. In addition to these sample photos, you can also check out our more extensive sample gallery, captured when the lens was originally launched for E-mount.

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

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Press release:

Class-Leading1 4.1x Zoom Ratio Standard Zoom with Built-In VC 17-70mm F/2.8 Di III-A VC RXD (Model B070) For Nikon Z Mount and CANON RF Mount APS-C Mirrorless Cameras

June 24, 2026 – TAMRON announces the launch of the 17-70mm F/2.8 Di III-A VC RXD (Model B070), a fast-aperture standard zoom lens, compatible with Nikon Z mount and CANON RF mount APS-C mirrorless cameras. The lens will be available in both mounts on July 2 at a retail price of $749 USD / $949 CAD.

The 17-70mm F/2.8 Di III-A VC RXD (Model B070) is a fast aperture standard zoom lens for APS-C mirrorless cameras. It's engineered to deliver both a broad zoom range and excellent image quality. With a focal length range of 17-70mm2, it achieves a 4.1x zoom ratio, class-leading for an APS-C standard zoom lens, while maintaining a fast, constant maximum aperture of F2.8.

The 17-70mm F2.8 VC includes VC (Vibration Compensation)3, and a fast, quiet AF system. With focus breathing and AF noise effectively suppressed, the 17-70mm F2.8 VC is optimized for both stills and video shooting. Despite offering a class-leading zoom ratio and VC, the 17-70mm F2.8 VC remains notably lightweight and compact. This makes the 17-70mm F2.8 VC an outstanding choice for daily use, as well as for travel where minimizing weight is essential. Excelling in close-up work, the 17-70mm F2.8 VC achieves an MOD (Minimum Object Distance) of just 0.19m (7.5”) at the wide end. Capture unique, expressive images in a variety of everyday scenes, including street photography and portraits. Functionality and versatility are enhanced by features such as Moisture-Resistant Construction and Fluorine Coating. In your everyday life and on your trips to distant places, the 17-70mm F2.8 VC captures all the excitement and discoveries with the finest possible detail.

Product Features

1. Versatile 17-70mm Focal Length: Excellent in Every Shooting Scenario
2. Constant F2.8 Aperture: Beautiful Bokeh and Exquisite Detail
3. Built-In VC: Achieves Stable Shooting for Stills and Video
4. High Performance AF: Fast, Quiet, and Ready to Capture Decisive Moments
5. Suppressed Focus Breathing: For Natural, Seamless Video Expression
6. MOD of 0.19m (7.5”) for Amazing Close-Ups
7. Lightweight and Compact Design for Superior Mobility
8. AF/MF Switch and VC ON/OFF Switch for CANON RF Mount
9. Firmware Updates via TAMRON Lens UtilityTM for Nikon Z and CANON RF Mounts
10. Unified 67mm Filter Size
11. Protective Features (Moisture-Resistant Construction and Fluorine Coating)

1 Among the fast-aperture F2.8 standard zoom lenses for APS-C mirrorless cameras (As of May 2026 – TAMRON)

2 The full-frame equivalent of 25.5-105mm for Nikon Z mount and 27.2-112mm for CANON RF mount

3 With the 17-70mm F2.8 VC for CANON RF and Nikon Z mounts, the autofocus may become less responsive when tracking subjects during zooming in video shooting.

Tamron 17-70mm F2.8 Di III-A VC RXD Specifications Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length17–70 mmImage stabilizationYesLens mountCanon RF, Fujifilm X, Nikon Z, Sony EApertureMaximum apertureF2.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades9OpticsElements16Groups12Special elements / coatings1 aspherical + 2 glass-molded aspherical elementsFocusMinimum focus0.19 m (7.48″)Maximum magnification0.21×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterNoPhysicalWeight525 g (1.16 lb)Diameter75 mm (2.95″)Length119 mm (4.69″)SealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread67 mmHood suppliedYesTripod collarNo

Product images: Lexar, Viltrox, DJI, Insta360, Godox and Samsung

Amazon Prime Day is officially underway, running from June 23 to June 26. The shopping holiday is certainly flooded with noise, with loud claims of sales that aren't really that beneficial. However, there are good deals buried in all of that, including some all-time lows on popular cameras, and, perhaps more helpful, discounts on memory cards and storage. We've done our best to cut through the clutter to share discounts that actually matter for photographers and videographers.

It's important to note that Prime Day deals require an active Amazon Prime membership, and prices can – and do – change without warning mid-sale. The deals and prices below are confirmed at the time of writing, but they may sell out or revert before Prime Day ends on June 26.

Prime Day deals on memory Image: Lexar

It's no secret that the cost of items like memory cards and hard drives has skyrocketed, with prices doubling (and more) in just a few months. Thankfully, there are some discounts on these items with Prime Day, albeit not as plentiful as in years past. And, unfortunately, most of the discounts still don't bring prices back to last year's levels, but any discount is better than none right now. If you need to stock up on storage and can't wait for a potential AI bubble burst to bring prices down, this could be a good time to do so.

Memory card discounts

Lexar 512GB Professional 2000x SDXC $480 (was $640)

Lexar 128GB (2-Pack) High-Performance 800x PRO $80 (was $100)

Lexar 512GB Professional Silver $145 (was $175)

Delkin Devices Power 128GB SDXC UHS-II $119 (was $149)

Nextorage 128GB SD Card UHS-II $200 (was $255)

SanDisk 256GB Ultra microSDXC UHS-I $42 (was $53)

Nextorage CFexpress 4.0 Type A 1024GB $425 (was $900)

Nextorage CFexpress 4.0 Type B 512GB $247 (was $290)

SSD discounts

SanDisk 1TB Extreme PRO Portable SSD $178 (was $210)

Lexar 2TB Professional Go Portable SSD $230 (was $300)

Samsung T7 Portable SSD, 1TB $190 (was $275)

Samsung T9 Portable SSD 1TB $180 (was $288)

Action camera and drone deals Image: DJI

Summer is in full swing, which, for many, means more time outside adventuring. If you're looking to upgrade your means of capturing your summer fun, you could be in luck, since most of the camera-related deals we've seen this Prime Day are on action cameras and drones. That includes the lowest price we've seen on the highly popular DJI Osmo Pocket 3.

DJI Osmo Pocket 3 $378 (was $499)

DJI Osmo Action 6 Enhanced Combo $421 (was $496)

GoPro LIT Hero $180 (was $270)

Insta360 X5 $435 (was $550)

Insta360 Ace Pro 2 Xplorer Bundle $360 (was $450)

Insta360 GO Ultra Creator Bundle $400 (was $500)

DJI Mini 4K Fly More Combo $294 (was $449)

DJI Neo $139 (was $199)

DJI Flip Fly More Combo $619 (was $779)

Camera and lens Prime Day deals Image: Fujifilm

Discounts on cameras and lenses are always hit and miss during Prime Day, and that's no different this year. There aren't many true deals out there (at least at the time of writing), but a few are worth checking out, at least as long as you aren't looking for anything high-end.

Camera discounts

Fujifilm X half $549 (was $649)

Fujifilm Instax Mini 12 $80 (was $94)

OM System OM-5 Mark II with M.Zuiko 14-150mm F4.0-5.6 lens $1270 (was $1500)

Panasonic Lumix S9 with S 18-40mm F4.5-6.3 lens $1333 (was $1800)

Lens discounts

Viltrox 50mm F1.4 Pro $439 (was $549)

Viltrox 85mm F2 EVO $220 (was $275)

Viltrox 20mm F2.8 $141 (was $176)

Viltrox AF 50mm F2.0 Air Z $159 (was $199)

Sony FE 70-200mm F4 Macro G OSS II $1598 (was $2000)

Sony FE 35mm F1.8 $698 (was $850)

Tamron 70-300mm F/4.5-6.3 Di III RXD for E mount $369 (was $549)

Accessory Prime Day deals Image: Insta360

Last but not least, there are some healthy discounts on accessories like mics, lights and tripods this Prime Day. That includes Insta360's newly released customizable Mic Pro and the lowest price we've seen in the last month on the DJI Mic 3.

Insta360 Mic Pro (2 TX + 1 RX + Charging Case) $280 (was $330)

DJI Mic 3 (2 TX + 1 RX + Charging Case) $224 (was $264)

Neewer 100Ws 2.4G Round Head TTL Flash $226 (was $280)

Godox DP800III Strobe Flash $213 (was $296)

Neewer LiteTrip LT 32 Travel Tripod $161 (was $239)

Manfrotto Befree Live Travel Video Tripod $203 (was $335)

The new Pelican Gridpoint system provides even more organizational opportunities.

Image: Pelican

Pelican has announced the "next generation" of its Protector-series cases, which many photographers and videographers have long turned to when their gear needs to be kept safe from the worst that nature (and airlines) can throw at it. The company says its new cases are not only even more protective, but it is also making them easier to use and adding some interesting ways to keep your gear organized.

The main upgrade is to the material used to make the hard polymer shell. The company says it's now using what it calls "HPX," which it claims is 12% stronger when it comes to impacts, letting it handle "high-velocity drops and extreme kinetic stress" better. Pelican also says it's more rigid under load, so it'll seal better under the kinds of pressures you'd find in "high-altitude transport or deep-sea deployment." Finally, the company says it should also stay strong and retain its color even with long-term UV exposure.

The company has upgraded the wheels on cases like the Protector 1510 and 1560, making them smoother, even when carrying a heavy load. It also redesigned the latch system, adding a push-button mechanism that it says will make the case easier to open.

From the outside, the cases look much the same as they have for decades.
Photo: Pelican

Finally, there are some new accessories coming for the system. Perhaps the most exciting is the "Gridpoint" system that will be available for select models of cases. It replaces the traditional foam interior of the lid with a panel of hook and loop and standardized MOLLE attachment points. This lets you attach pouches or other organizational tools to it, which can be used to store accessories such as flashes, charging cables, storage media, etc. The company is also introducing what it calls the ModLight Pivot, which is essentially a rechargeable lamp designed to fold up on the inside of its cases, which you can swing out and illuminate your gear if you need to see it better.

The one thing that may be a minor disappointment is that the company hasn't taken this opportunity to rethink its "Pick N Pluck" foam system, which you have to painstakingly and semi-permanently customize for each gear loadout. While it has its advantages, we'd be interested to see if the company could adapt the Re-Set system it recently introduced for its gun cases to work with camera gear.

Still, it's nice to see a company making a good product even better and, if the few product pages that are up are anything to go by, doing so without substantially raising the price. The company says the full lineup will be available this summer.

Photo: NEEWER

Built for photographers who want strong output, fast control and dependable portability in one compact lighting tool, the NEEWER Q4PRO 400Ws Outdoor Flash combines versatile flash modes, high-speed sync, wireless functionality and intuitive operation to handle everything from portraits to action-focused shoots.

A high-capacity USB-C rechargeable battery helps minimize downtime, while Bowens mount compatibility opens the door to a broad range of modifiers and light shaping tools. With features aimed at speed, flexibility and creative control, the Q4PRO is a capable all-in-one solution for photographers who need power without sacrificing convenience. Here's what you need to know.

Features that maximize creativity Photo: NEEWER

The Q4PRO’s core feature set gives photographers a high degree of control across different shooting conditions. TTL mode supports +/-3EV of flash exposure compensation, flash exposure bracketing, flash exposure lock, high-speed sync up to 1/8000s and front or rear curtain sync, making it well suited to changing light and fast-moving subjects. Manual mode offers precise 1/512 to 1/1 power adjustment at up to 400Ws, along with S1 and S2 optical triggering for more traditional multi-light arrangements. A 30W modeling light lets you preview the effect of flash position and light modifiers without the need for time-consuming test shots.

For creative motion work, Multi mode can fire up to 100 consecutive stroboscopic flashes to capture movement sequences with added visual impact. The flash is supported by an upgraded quartz tube with a GN42 guide number and a consistent 6000K daylight-balanced color temperature, helping deliver reliable brightness, clean color and natural-looking results every time. Plus, user-replaceable tubes means practical long-term value.

Streamlined operation Photo: NEEWER

Everyday usability is another strength of the Q4PRO. The main LCD screen presents settings on a clear, straightforward interface, while an auxiliary display shows the current wireless group in a distinct color for quick identification during multi-light setups. Control via the dedicated NEEWER Studio app adds another layer of convenience by allowing remote adjustments from a smart device when the flash is positioned out of reach.

Power comes from a high-capacity 21.6V 2800mAh battery that delivers up to 325 full-power flashes, with a 1.2-second recycle time and quick recharging over USB-C to keep downtime to a minimum. The Bowens mount expands compatibility with a wide selection of light modifiers and shaping accessories, while the portable handle provides 180° tilt, a 5/8-inch stand receiver and an umbrella socket for easier positioning in different shooting environments. Weighing just 5.7lbs / 2.58kgs, including battery, flash tube and reflector, the Q4PRO is also light enough to transport easily, from location to location.

Wireless control and functionality Photo: NEEWER

Wireless functionality adds another layer of flexibility to the Q4PRO. Its 2.4G sync system works as both a transmitter and receiver, allowing it to control or join broader lighting setups with ease. It can trigger all NEEWER Q System flashes and also sync with Godox X System triggers, the Sekonic L-858D light meter (RT-GX Modules) and native NEEWER QPRO and QZ triggers, which makes it easier to fit into an existing workflow.

With five groups, 32 channels and 99 IDs, the system is designed to reduce interference while maintaining a range of up to 328 feet in open environments. For high-speed action, Freeze mode offers an ultra-short flash duration of up to an incredible 1/28,570s and a recycle range of 0.01 to 1.2 seconds, while the mask function creates a clean background exposure that simplifies post-production when compositing.

Taken together, these features make the NEEWER Q4PRO 400Ws Outdoor Flash a strong option for photographers who need portability without giving up control or output. Its combination of versatile flash modes, outstanding battery life, wireless flexibility and modifier compatibility supports a wide range of creative and professional applications. Whether used for outdoor portraits, events or sports, the Q4PRO, which retails for $459.99, is designed to help you work quickly and efficiently to produce polished results every time.

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

Earlier this year, LK Samyang announced an L-mount version of its 14-24mm F2.8 lens. The lens marked the company's first co-branded lens with German optics specialist Schneider-Kreuznach, and offered a compact take on an ultrawide zoom. We've had the opportunity to test it out to see what it's like, and provide some samples taken with the lens as well.

Impressions

The front element is nearly flat, and the lens accepts traditional front filters as a result.
Photo: Abby Ferguson

In terms of build, the LK Samyang lens has a few things working in its favor. First, unlike similar ultrawide zoom lenses, it doesn't have a bulbous front element. As a result, it's the only 14-24mm F2.8 for L-mount that can accept front filters (77mm), which makes it much more convenient to add things like ND or polarizing filters.

LK Samyang's 14-24mm F2.8 is also noticeably smaller than other lenses in its class, weighing just 441 g (15.5 oz) and is 87mm (3.4") long. I have the Sigma 14-24mm F2.8 for Sony E mount, and it is almost comically large next to the LK Samyang. For hiking and other applications where I would want an ultrawide zoom, its compact design is certainly very appreciated, and much preferred.

Despite the smaller size, it still feels well-built. The rubber on the focus and zoom rings has a nice texture, making it easier to get a grip even in damp conditions. The lens feels quality without unnecessary bulk, and I wouldn't feel the need to overly baby it when out and about.

LK Samyang's 14-24mm F2.8 (left) is substantially smaller than Sigma's version (right; the E mount model is pictured here).
Photo: Abby Ferguson

The lens isn't covered in controls, but offers an MF/AF switch and a single customizable function button on the side of the lens. The manual focus ring rotates really nicely, with just enough resistance that I don't constantly overshoot focus. The lens also has a short throw, so it's easy to quickly go from 12mm to 24mm with a slight twist of the hand.

A stepper motor powers the autofocus, which is essentially silent, and it was able to mostly keep up with my erratically moving black dog. For all but the most demanding situations, it certainly performs well enough. Images are sharp, including on the edges, and chromatic aberrations were very minimal. I was also impressed by how it handled shooting towards the sun, with limited flare and well-handled ghosting.

Photo: Abby Ferguson

There is some substantial distortion at 14mm, but by 24mm, that distortion is almost entirely gone. This is typical of wide-angle lenses that are focused on being compact and lightweight, and can be corrected with a lens profile. Also typical of lightweight, compact, budget-focused lenses is the rather heavy vignetting when wide open, which doesn't go away until F4.5 or so.

Overall, I really enjoyed shooting with LK Samyang's take on a 14-24mm F2.8. One of my first favorite lenses was Nikon's DSLR version, and it felt like going back to my roots a bit, which may have influenced how happy I was with the images. The size and weight alone make it an appealing ultrawide zoom, and it offers nice quality, to boot. Plus, at $1200, it's slightly more affordable than Sigma's version, and substantially more affordable than Leica's.

LK Samyang 14-24mm F2.8 Sample Gallery

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

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All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting.

Your unique self-portraits revealed

Nikon D90 | NIKKOR 50mm F1.8 | F5 | 1/160 sec | ISO 400

Photo: Abby Ferguson

Our community is buzzing with unique stories about their cameras and gear, and the people behind them. Often, we hear those stories through forum discussions or comments on an article. You'll actually see their face much less often, quite possibly because we're all too busy taking photos of other things :).

Today, we get to learn a little more about our community's members. While it's technically "National Selfie Day", we wanted to celebrate in a more sophisticated way by challenging you to take a traditional self-portrait. Last week, we asked you to submit one taken with any camera or phone (but not with a front-facing camera).

What you've submitted has certainly delivered! Check out the entries in the slideshow above. If you're interested in contributing your own self-portrait, you still can. Click the button below to do so.

Thanks to all participants for letting us get to know you!

Share your creative self-portrait

nobru1958

Photo: nobru1958

Share your creative self-portrait

KPM2

PENTAX K-1 | SMC PENTAX-FA 28-70mm F2.8 AL @ 45mm | F8 | 1/100 sec | ISO 320

Photo: KPM2

"I think life as a smoker is far too short to take seriously. I used my Godox LUX ELF as a hair light here, cable connected to my K1. My mobile phone, even though it is visible here, was not involved in the recording process."

Share your creative self-portrait

simple-joy

Canon EOS R5 | Super-Cinestar 65mm | 1/60 sec | ISO 1000

Photo: simple-joy

"I'm neither a portrait photographer nor a regular selfie-taker, but I do take self-portraits regularly in order to test the unusual lenses I've got. I often describe myself as an old lens enthusiast and use everything from enlarging, industrial and interesting taking lenses, to cine- and projection lenses."

"This quick self-portrait was taken with a Benoist Berthiot Super-Cinestar 65 mm F1.8, a small and lightweight cine projection lens, made in France, probably somewhere around 50-60 years ago. I tried to capture the moment of me checking out the rendering of subtle highlights with that lens, which were created by holding a caliper in front of me – one of the tools I'm using a lot while analyzing old lenses in order to document them."

Share your creative self-portrait

Ruby Rod

Nikon Z6 III | NIKKOR Z 14-30mm F4 S @ 14mm | F5.6 | 1/125 sec | ISO 800

Photo: Ruby Rod

"Eventually, you get old enough to just not care anymore, so here I am sitting at my electronic bench contemplating an audio amplifier circuit board. Z6iii with 14-30mm F4, on a little Manfrotto table tripod. Light from the desk lamp."

Share your creative self-portrait

Maoby

Fujifilm X-T5 | XF 56mm F1.2 R WR | F1.2 | 1/110 sec | ISO 125

Photo: Maoby

"I took this photo today with my latest camera, the Fujifilm X-T5, and the Fujifilm XF 56mm F1.2 R WR lens. I have always loved photographing my camera collection, and occasionally including myself, for a touch of humanity. But you have to admit that we’re at a disadvantage to the self-portrait of the lovely Abby Ferguson."

Share your creative self-portrait

AshleyMC

Break the rules

Photo: AshleyMC

Share your creative self-portrait

HyperMP

Photo: HyperMP

"It was her birthday. She wanted to be Marilyn Monroe in just sunlight."

Share your creative self-portrait

kirby2112

Photo: kirby2112

"Self portrait taken on my RX100 mk V, propped up on a tree stump and self timer. I'm taking another photo at the same time on an old CCD Canon point and shoot that I was testing out."

Share your creative self-portrait

DNZM

Photo: DNZM

Share your creative self-portrait

Mick_Tumilty

Apple iPhone 14 | 2.69mm | F1.9 | 1/85 sec | ISO 80

Photo: Mick_Tumilty

Share your creative self-portrait

DuckShots

Photo: DuckShots

Share your creative self-portrait

Jorge Oliver

Nikon D850 | TAMRON SP 24-70mm F2.8 | F5 | 1/200 sec | ISO 200

Photo: Jorge Oliver

Share your creative self-portrait

Apochroma

Photo: Apochroma

"Old photographer with a photo alert pendant (Nikon Coolpix A). Inspired by Abby Ferguson's creativity, I tried a bit of imagination about what an old photographer might be. Amazed by what actors can do when I tried. It helped that I am an old photographer :)."

Share your creative self-portrait

Ansel Spear

Nikon D850 composite

Photo: Ansel Spear

"Living Alone."

Share your creative self-portrait

Myles Baker

Canon EOS R8 | 35mm | F11 | 1/15 sec | ISO 400

Photo: Myles Baker

"Editing old photos."

Share your creative self-portrait

Mole Delta

Nikon Z f | 24mm | F8 | 1/125 sec | ISO 100

Photo: Mole Delta

Share your creative self-portrait

Juergen_B

"A different point of view. The brush was brand new, I promise! The photo was taken with a Canon EOS 1D Mark II. Can you still remember these? Solid as a rock, but no points in the usability department. Good old times!"

Photo: Juergen_B

Share your creative self-portrait

dmanthree

Canon EOS R5 | RF 24-105mm F4 L IS USM | 24mm | F11 | 1/80 sec | ISO 1600

Photo: dmanthree

"Because sometimes you gotta get wet."

Share your creative self-portrait

Pedro Rato

Canon EOS R6 | 100mm | F2 | 1/80 sec | ISO 800

Photo: Pedro Rato

"Me blowing the horn. Trumpet bell looks like a black hole distorting spacetime."

Share your creative self-portrait

milo006

Nikon D7500 | 140mm | F5.6 | 1/100 sec | ISO 6400

Photo: milo006

"Experimenting with overlays when I made this selfie."

Share your creative self-portrait

elliottnewcomb

Sony Cybershot | 13.9mm | F8 | 1/10000 sec | ISO 100

Photo: elliottnewcomb

"I made it, an accidental hike (long story). I propped my Sony R1 on some rocks. If you zoom in on the sign, you will see a large fly next to my hand. He chased me all the way down to the tree line."

Share your creative self-portrait

Jones Longshot

Nikon Z 6II | 35mm | F6.3 | 8/10 sec | ISO 800

Photo: Jones Longshot

"This was not intended to be a self-portrait, but I often need to use myself as a stand-in when working out a portrait idea."

Share your creative self-portrait

Recardo Jorge

Panasonic DMC-G7 | 20mm | F2.5 | 1/160 sec | ISO 100

Photo: Ricardo Jorge

"I'm not really good at following rules... but I like this pic."

Share your creative self-portrait

When you use DPReview links to buy products, the site may earn a commission. Panasonic L10 | 50mm equiv. | F2.7 | 1/60 sec | ISO 1250 | Flash
Photo: Richard Butler

We're hard at work at finishing our review of the Panasonic L10, and, in the process, have been taking quite a few pictures with it. We've updated our sample gallery with some of the best ones, including a few taken with flash, and some Raw conversions that exploit its dynamic range capabilities.

If you want to dive deeper into the L10's image quality, we've also added it to our studio scene, and you can read our writeup about it here.

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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Image: Adobe

Adobe has announced that it's bringing its AI "creative agent" to the desktop version of Photoshop, after it debuted on the web version of the app earlier this year. While the software is still in beta, it shows that the company is moving forward with its plans to add an increasing number of AI-powered features into its photo editing software.

The goal of the assistant is to provide a chat interface that lets you ask the software to carry out various tasks for you. These could be relatively simple menial tasks – adjusting a photo's brightness, organizing layers, applying edits to make the subject stand out – or relatively complex tasks, like figuring out error messages, coming up with captions for your photo for social media, or identifying fonts in an image.

Image: Adobe

When we spoke to a Photoshop project manager at Adobe's Max conference last year after the feature's announcement, they made it clear the company viewed the AI tool as a way to automate tasks, rather than a guide to teach you the software. And while it can act as one – it describes the edits it makes, which are often applied as layers and effects that you can then tweak – the company is clearly continuing along that line, pitching it as a way to let you focus on your craft, rather than the boring parts of editing.

Of course being an AI system, and a beta one at that, there are still plenty of warnings that results may be inaccurate, and that it can make mistakes. We found that to be true when we tried out the version of the tool available on the web earlier this year, though we wouldn't be surprised if Adobe has made some progress on that front since then.

The AI assistant is currently available in Photoshop Beta for Creative Cloud subscribers.

Adobe Unveils Major Expansion of Creative Agent Across Firefly and Creative Cloud Apps Including Photoshop and Premiere

SAN JOSE, Calif. — June 18, 2026 — Today, Adobe (Nasdaq: ADBE) — the global technology leader that unleashes creativity, productivity and customer experiences through innovative tools and platforms — announced a major expansion of its creative agent across Firefly and Creative Cloud. Adobe Firefly, the all-in-one creative AI studio, now delivers expanded agentic capabilities with new creative skills and tools, and previewed a unified experience that brings every stage of creative work together from ideation to creation to production. Adobe is also introducing its creative agent across Creative Cloud apps including Photoshop, Premiere, Illustrator and more, enabling creators to describe their desired outcome while the assistant orchestrates multi-step workflows. Together, these advancements establish Adobe’s creative agent as the connective layer across every stage of creative work, letting creatives focus on the craft, taste and judgment that make the work distinctly theirs.

Adobe's creative agent puts creators in the director's chair, handling the orchestration and execution of complex, repetitive workflows so the creative vision stays theirs from start to finish. Built on four decades of understanding how creative work gets made, it scales to support every type of creator from individual creators to enterprise creative and marketing teams. And with Adobe’s pro-grade creative tools now expanding to platforms including ChatGPT, Claude, Copilot, Gemini and Slack, that reach grows to hundreds of millions of people wherever they create and work.

"Adobe has always been at the center of how the best creative work comes to life, and this is a major expansion of that promise," said David Wadhwani, president of Adobe’s Creativity & Productivity business. "Every creative now has an agent capable of helping them execute across every app and platform where they work so they can set the vision, apply their taste and make the calls that only they can.”

Adobe Firefly expands agentic capabilities and advances its creative AI studio experience

Since launching in public beta recently, AI Assistant in Firefly has rapidly gained traction with creators who have embraced it as a faster, more intuitive way to bring their ideas to life. Today’s expansion builds on that momentum with new creative skills and tools designed for creators and solopreneurs building their brands on social media, along with customization upgrades that can be tailored to each creator’s preferences. Powered by Adobe’s creative agent, AI Assistant in Firefly brings pro-grade tools from across Adobe's Creative Cloud applications into a single conversational interface in Firefly, allowing creators to describe the outcome they want, while the assistant orchestrates multistep workflows behind the scenes.

New creative skills and tools include:

• Brand kit creation: Describe your style, brand name and color palette; AI Assistant in Firefly generates and saves a complete logo, brand identity and color palette, ready to apply across every piece of content you create.
• Short product video creation: Turn product photos into polished, cinematic short-form videos with premium lighting, motion, audio and brand styling — ready to publish.
• Create a Quick Cut: Automatically assemble video clips into a polished first cut, edited around dialogue, narration or visual content.
• Create storyboards and generate video from storyboards: Turn an idea into a visual scene sequence, then use those storyboard frames to generate video.

AI Assistant in Firefly also delivers new customization upgrades that better understand a creator’s intent, surface any asset they describe in their own words and learn their preferences over time. Creators can now also invite collaborators to review and provide feedback on work directly inside AI Assistant in Firefly before publishing.

Firefly creative AI studio: from idea to finished content in one seamless workflow

Adobe Firefly gives every creator the speed, control and creative freedom to move from idea to high-quality content. Today, Adobe is previewing an upgraded Firefly creative AI studio experience that connects generation and editing in one place, so creators can seamlessly move projects from ideation to creation to production without breaking their flow.

The upgraded Firefly creative AI studio experience, now in private beta, is designed to give creators persistent context, reusable assets and organized workflows so they can maintain continuity, style and creative vision across every iteration and format, at every stage of production:

• Elements: Save characters, locations and objects you've already created and reuse them across generations, helping maintain consistency at scale as stories, campaigns and projects evolve in Firefly.
• Projects: Keep your assets, generations and creative context organized across Firefly and Creative Cloud, making it easier to pick up where you left off and build on previous work.

The announcement comes as creative AI becomes increasingly central to how creators work. According to Adobe’s recent Creators’ Toolkit Report, which surveyed more than 16,000 creators globally, 75% of creators describe creative AI as integrated or essential to how they work, but 85% also say the final creative decision should always remain theirs — a principle at the heart of how Adobe is building its creative agent.

Adobe brings its creative agent to Creative Cloud app

Adobe is bringing AI Assistants, powered by Adobe’s creative agent, to its category-leading Creative Cloud apps as public betas, starting with Premiere, Photoshop, Illustrator, InDesign and Frame.io. The creative agent powers AI Assistant in each application, orchestrating multi-step workflows so creative professionals can stay focused on their craft: choosing what to hand off to the assistant, what to own and how best to apply their taste, expertise and judgment to shape every editable outcome.

AI Assistant in each Creative Cloud app operates as a specialist enabling:

• Premiere: The tedious set-up work is taken care of for you: sorting assets into bins, batch renaming clips, identifying interview questions, adding markers or even assembling a working starting point. If you can do it in the Project panel or Timeline, AI Assistant can help.
• Photoshop: Describe the desired outcome, such as swapping out a background, resizing assets for every platform or organizing layers, and the assistant executes across the entire composite, applying intelligent adjustments that can continue to be adjusted further.
• Illustrator: Ask the AI Assistant to support multi-step production jobs such as generating 50 versioned files from a spreadsheet, reorganizing layers across a document or running a pre-flight check to flag color mode errors or missing fonts before anything goes to print.
• InDesign: Drop in a new brand PDF or open an existing template, then let the assistant apply updates across every layout including copy, styling and print-readiness checks.
• Frame.io: Provide creative direction and the AI Assistant helps organize shoot assets, surface feedback across revisions, and generate B-roll, all within the project.

AI Assistant is available in After Effects in private beta and Adobe is working to extend its agentic capabilities to other Creative Cloud apps for more photography, video and motion design workflows.

Bringing Adobe’s industry leading creative tools everywhere

Today's announcement builds on Adobe's strategy to bring its pro-grade creative tools to surfaces where people already work, making it easier for people to create standout content wherever inspiration strikes. Beyond the applications, Adobe’s tools are available across a number of third-party platforms that reach hundreds of millions of people worldwide, including OpenAI’s ChatGPT, Anthropic’s Claude and Microsoft 365 Copilot. Adobe also recently announced plans to bring its connector to Google Gemini and Slack, further expanding the reach of its creative tools across the AI ecosystem.

Pricing and availability

The latest capabilities for AI Assistant in Firefly (beta) are available today in the Firefly web app. The upgraded Firefly creative AI studio experience — including the unified generation and editing space, as well as Elements and Projects features — is available in private beta through a waitlist. For more details, review the blog post.

AI Assistant is available today in public beta across Premiere, Photoshop, Illustrator, Frame.io and InDesign. AI Assistant is available in private beta in After Effects. For more details, review the blog post.

The name Phaos comes from the ancient Greek word for light, and the logo is made to represent the interaction between a photon and a silver halide crystal.

Logo and photo: Danielle Honan

Ask a photographer how they feel about Instagram, and you're likely to get groans. Many of us, at best, have a love-hate relationship with the app, especially since the CEO announced in 2021 that the platform would focus on video going forward. Now, the photographs you're proud of may not even be shown to everyone who's chosen to follow you, thanks to the opaque and increasingly mutable algorithm.

For film photographers, the frustration with social media platforms like Instagram is compounded by the challenges associated with the medium. Managing scans of rolls of film can be quite difficult and requires lots of organization or time, or you're left with camera rolls and hard drives filled with images without any clear information or context.

While there have been social media apps meant for film photographers in the past, few have taken off, and none have really stuck. Danielle Honan hopes to change that with Phaos – a platform built not around the logic of social media, but around the logic of film. I sat down with Honan to find out what drove her to build it, and where she sees it going.

What Phaos does differently The Phaos platform can serve as both an archive and a social media platform.
Image: Danielle Honan

In terms of design, every decision in Phaos reflects how film actually works, rather than how general social media works. For Honan, having the roll as an integrated unit was very important, and so she designed the app to allow users to upload an entire roll at once. "It has inspired me to shoot more film," she said. "When I get a roll, I'm super excited to have the pictures together in one place."

When uploading a roll of film, you can add a range of useful information.
Screenshot: Abby Ferguson

When you upload an entire roll, it is formatted as a contact sheet with specific looks for 35mm, 120 and large format. It also gives you the opportunity to add information such as the camera, film stock, development lab, if it was expired, any pushing or pulling information, development date and general notes. You can choose to publish the roll to your profile for public view, or simply keep it as part of your personal archive.

There are more traditional social media app features, too. You can still post individual photos without uploading an entire roll, and can like and comment on individual images. There's also a feed of people you follow, with photos shared chronologically, and a feed to discover new photographers whom you don't follow. "I like the idea of seeing pictures in the order they were posted," said Honan. "That's how Instagram started, and now I don't even know how I'm seeing things on my feed. It's really nice to see it when someone posts a new picture."

Phaos has a feed of people you follow, and a feed to discover new photographers.
Images: Danielle Honan

That focus on discovery is an important one for Honan. When I asked her how she wants users to feel as they scroll through the feed compared to Instagram, she focused on inspiration. "I definitely want them to be inspired and to engage with other photographers, to learn from them and connect with them," she explained. "For example, someone posted a fantastic photo with Harman Red film stock and I was like, 'Oh, I have to try this.' So finding inspiration to shoot film more, try different things, and learn."

"I wanted to create a space that appreciated the intentional, slow process of film"

Creating a slower pace was also a critical feature for Honan as she developed Phaos. "I wanted to create a space that appreciated the intentional, slow process of film and where I could look back at what I did," she said. Honan explained that she sees the chronological feed as a way to create that slower pace. "You're only posting when you have pictures, so you're not generating new content all the time," she said. "You're not going to get stuck doomscrolling like you would on Instagram." There are also no ads or videos in Phaos, giving a much different experience from today's Instagram.

Honan has found that the ability to see an entire roll has a similar slowing-down effect. Taking the time to look at all 36 exposures from a roll makes you move a bit slower than quickly scrolling through disparate images, and it gives you a new perspective on someone's work. She also purposefully didn't include a carousel-like feature. "I got rid of the carousel; on the iOS app, you scroll through it more like a gallery to create a more intentional experience," she said.

Identifying the gap

A view of the profile page in the iOS app.
Image: Danielle Honan

Hona's decisions about the design and functionality of Phaos are inspired by film, but they also come from experience with other apps. Like many of us, she took to Instagram to share her photographs, but it became increasingly frustrating. She explained how, unless you're a giant account, your work simply doesn't get seen. The app's move to video was a tipping point. "When I started attempting to create Reels on Instagram, I was like, 'I'm spending way too much time trying to share my work on a platform that is not making it possible,'" she said.

In 2022, she discovered a web app called Grainery, which became quite popular with film photographers. There was a premium version that cost $3 a month, and Honan (and others) liked it enough that they were paying that fee. The solo developer released a beta for the iOS app, but then they basically disappeared, and no final version was ever released. The web app isn't receiving any updates, either.

"I'm spending way too much time trying to share my work on a platform that is not making it possible"

Since then, other apps have appeared, some of which seem to copy Grainery quite closely. But with all of those, Honan felt like they were missing the mark. She wanted something that went beyond a typical social platform for film, and instead added useful features tailored specifically to film photographers. In her mind, there should be an app that looks at the roll as a unit, a personal archive you can look back through.

Managing files is a challenge for all photographers, but film photographers have some added layers of complexity. Honan described the process of getting a WeTransfer link back from a lab and dumping all the images into her camera roll. Unless you take the time to set up a specific organizational structure, those images end up buried, with no metadata to help you remember information like camera, lens and lab.

The app and web versions let you upload an entire roll to view it as a contact sheet, or tap to view a single image at a time.
Image: Danielle Honan

"I feel like the gap is putting your rolls together, not just single posts, but posting an entire roll of photos together and being able to look back at those as your own personal digital archive, like a contact sheet," she explained. "I felt like I would get the most value out of that personally because I don't have a way to track or organize my rolls in my camera roll. I was actually shocked that didn't exist in another film social media platform yet."

What's next Image: Danielle Honan

Phaos is still very much in its early days. Honan started building the platform in March, and she has big plans for it. So much so that she decided to take some time off from her economic consulting job. "I think part of why I left was that I just wanted to create things and build things, and working full-time, I wasn't able to do all the stuff I wanted to do," she told me.

Thanks to previous platform development time, Honan said it took roughly two weeks to build the initial version of Phaos. She has been iterating ever since and now has both a web platform and an iOS app with around 100 users at the time of writing. She also plans to start work on an Android version soon.

The next primary feature that she's working on is a forum. "It'll be a place for things like 'film versus digital' or 'film versus iPhone' comparisons and more in-depth discussion about your work," she explained. "It gives you a way to recycle your work, like adding your photos to a communal album of 'red tone' photos and seeing what others uploaded."

She's also focused on the experience of using Phaos and how she can make it easier to use than other apps. "I hate the effort required to post on Instagram. One thing I'm considering is having a separate gallery within Phaos of all your film once you upload a roll, making it easier to select from that to create posts," she said.

Even though it's in its early days, the Phaos app allows for a fair amount of customization, including three background color options.
Images: Danielle Honan

As with any app, there's always the question of how it can be financially sustainable. It's still so early that Honan hasn't solved that, but she is clear that she wants it to remain free. "I've intentionally avoided monetizing for now," she explained. "Film is already so expensive; I'm not trying to profit off people like me. Maybe in the future, it could be a way for photographers to sell prints or host a portfolio. I really believe the core product should be free."

"I want to build a strong, robust community around film that's eager to engage"

Honan says she wants to make the platform strong enough to serve as a full replacement for other social media apps. "I want to make it feel like the only platform you need," she told me. Even more important, though, Honan wants Phaos to be the landing spot for film photographers of all types and levels. "I want to build a strong, robust community around film that's eager to engage and be genuine," she said.

From a personal standpoint, an app tailored to film photography, with a better way to organize and revisit my rolls, is exactly what I've been looking for. Finding community around a shared passion is never easy, and if Phaos can be that place for film photographers, it's worth keeping an eye on.

If you're interested in checking it out, head over to the Phaos website or download the iOS app.

Image: VSCO

VSCO has long been an app photographers turn to for film-inspired presets, but now the company is making a pivot toward something far more ambitious. This week, it announced two interconnected products that aim to serve photographers far more broadly: Studio Pro, a dedicated professional batch-editing app, and VSCO One, an all-in-one platform launching later this month that bundles editing, client galleries, booking and more.

Studio Pro is the more immediate piece of VSCO's new platform. At launch, Studio Pro is fairly limited in features, with a primary focus on editing colors and making minor tweaks to JPEGs. VSCO says it's intentionally shipping the first version now so that it can gather feedback before rolling out additional features. It says it plans to regularly release improvements and new features "based on real-world professional workflows."

Image: VSCO

To start, one of its primary features is batch editing, allowing photographers to apply VSCO's film presets and adjustments like HSL, grain, exposure, contrast and white balance on up to 100 images at once with one tap. The tool is aimed at portrait, wedding, sport and event photographers who need to be able to quickly edit larger sets of images.

Studio Pro also offers Style Match, which analyzes a previously edited reference image and replicates its color and tonal character across new images. The tool promises to make it easier to achieve a consistent look across image sets, allowing photographers to develop a distinct style. Lastly, the app will allow photographers to post images to VSCO Galleries, making it easier to share finished work with clients.

Image: VSCO

Raw file support, something most professional photographers would consider a must-have, is listed as a planned future feature, not something available immediately. Likewise, manual culling with star ratings, custom crop tools, tethering and advanced export options such as file renaming and resolution control are all slated for the product roadmap. There's also a macOS desktop version planned for later this year.

Studio Pro enters a crowded and competitive field that includes Lightroom Mobile, Darkroom and Halide, apps with more mature feature sets and, in Lightroom's case, years of well-established professional workflows behind them. Whether photographers find enough in Studio Pro's current iteration to trial it depends largely on how central VSCO's preset aesthetic already is to their work. For shooters already living in the VSCO ecosystem, the batch workflow could be a meaningful upgrade. For everyone else, it may be worth revisiting when Raw support arrives.

For everyone else, it may be worth revisiting when Raw support arrives.

What could be enticing to photographers, though, is the promise of a more complete ecosystem under one umbrella. Historically, photographers have had to stitch together various tools from different companies to manage all aspects of the business. That could mean Lightroom for editing, Pixieset for gallery delivery, HoneyBook for contracts and invoices, Squarespace for websites, and the list goes on, with each carrying its own subscription. VSCO puts the costs at $800 to $3200 annually.

Image: VSCO

VSCO's upcoming ecosystem, VSCO One, aims to ease those costs and the pain points of dealing with multiple subscriptions with what it's calling the "Connected System for Photographers." The platform is designed to cover the complete photography workflow, from creative to business needs, and it bundles the company's existing offerings under one subscription that costs $500 a year.

VSCO One isn't launching until the end of June, but it will include two editing programs (Studio Pro and AI Lab), galleries for client delivery and sharing, portfolio websites, client collaboration and creative planning tools, a camera app and community.

Additionally, the subscription will include VSCO Workspace, a tool for client management, booking, scheduling, invoicing, contracts and studio operations. It will also provide access to The Freelance Photographer, a business education and mentorship platform that VSCO acquired last year.

VSCO's new Studio Pro is available for free on iOS now, though you will need a subscription for some features, such as the company's full preset library. VSCO One will be available at the end of the month.

When you use DPReview links to buy products, the site may earn a commission. "U2; Concert for Obama, 2009, Washington, D.C. It was 10 seconds before they went on, we were all standing on wood planks and frozen ground, feeling history at the same time."

Canon EOS-1D X | EF 70–200mm F2.8L IS II USM | F2.8 | 1/200 sec | ISO 640
Photo: Brian Ach

Brian Ach, known as Achman in the wider community, loves to cover raving stadium shows and gain backstage access at major cultural events for clients like Getty and AP. In contrast, his personal work takes things down a notch in speed and seriousness. Street, travel and fine art photography give Brian room to go back to when he first learned photography: shooting film in New York City on his daily commute with a 35mm camera.

"After I was a couple of blocks from the WTC on 9/11, I decided life was short and graphic design wasn't for me. I left the full-time job and became a freelance photographer."

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

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

"Venice Beach; California. For me, there is nothing better than exploring the world with TriX."

Canon F1 | Canon FD 35mm F2 | Tri X ISO 400
Photo: Brian Ach

Meet Brian Ach

Home base: United States

Favorite camera: "It's not related to my work or these photographs, but I’ve had my original Yashicamat for 30 years – it’s more than just a camera to me, it feels like a friend."

What's in Brian's bag Brian's camera bag

Photo: Brian Ach

Cameras for work: Canon R5 ("two of them, actually")

• Lenses:
  • Canon RF 24–105mm F4
  • Canon RF 14–35mm F4
  • Canon RF 70–200mm F4
  • Canon EF 135mm F2
  • Plus a classic FD 35mm F2 for adapted and film-era work

Cameras for play: Yashica Mat, Canon VI-L and a Canon F1

• Lenses:
  • Summaron 35mm F2.8
  • Canon 35mm F2

• Support gear: Brian's kit shifts depending on assignment. For commercial and editorial stills, he travels with a streamlined pro setup built around the R5 system, backed by a Pelican Air carry-on, a MacBook Pro, a Wi-Fi hotspot and a 2TB Samsung SSD for fast offload and backup in the field. Lighting is handled with a Profoto B2, including two packs and four heads.
• Camera bags: "Like many others in the DPReview community, I'm a fan of the ThinkTank ShapeShifter and a blue Pelican 1535 Air. The ShapeShifter is a flexible day-to-day carry solution for moving between shoots, and the Pelican serves as a convenient travel-and protection-first case, especially on long-duration flights."

"Taylor Swift; NYC, 2010. Sometimes you have minutes to make a portrait; here I had 15 seconds."

Canon EOS-1D X | EF 85mm F1.2L II USM | F2.8 | 1/250 sec | ISO 1600
Photo: Brian Ach

What's your preferred shooting scene?

"My work is pretty divided into work and play."

"For work, I shoot for Getty, AP, and editorial and commercial clients. I've been around the world on these jobs, working as Prince's European tour photographer alongside other major names like Jay-Z and Journey. And also big brands and events from Jaguar/Land Rover to Samsung to New York Fashion Week and the MTV VMA awards. I like to say I've shot everything and everyone."

"Film forces me to really shoot with intention, to dissolve into the process and be deliberate about what I'm doing."

"For play, I like street, travel and fine art. I started in film, and it is still what really gets me going. Film forces me to really shoot with intention, to dissolve into the process and be deliberate about what I'm doing. I started learning by shooting street in NYC with a rangefinder and a 35mm lens on the way to and from work every day. It trained my eyes to be soft and let the image find its way to my shutter. This early work informed my process to this day, even in my professional work."

Have you taken any particularly memorable trips?

I visited 12 countries in 24 days quite a few years ago, and recently visited 9 countries in less time, including India and Japan. I'm a travel junkie. Many times, I only took the film cameras out, and it was just great. Sometimes you would see a shot you wanted to get, but you weren't able to because of what you had, and it was good to be able to let go of that, because professionally, I can't.

"Shadow Dancer; Chelsea Flea Market, NYC, 2002. Yashicamat, TriX. I was born on this street."

Photo: Brian Ach

How has your photography changed since you started?

"Shooting for clients all the time has definitely made me shoot less for fun. Carrying a lot of gear to a job often means no room for a fun camera, even if it is small. I just don't want to carry another thing. So, it's a sad but true thing that I shoot less of the 'fun' stuff. It does make it more special when I choose to do it, though."

"When I started out professionally, I was concerned about creating a certain 'look'. Something people would know is from me. I quickly started shooting like my heroes, Callahan, Mary Ellen Mark and learned from each of them. But if I could tell myself how it really works, I would say: 'Learn and move on.' Your style will become clear after years of shooting. Don't get hung up on that."

"Learn and move on. Your style will become clear after years of shooting."

"My shooting has improved for simple reasons – experience has taught me to understand what the shot I'm seeking really is, and when to take it. I shoot fewer frames than ever because I am not searching as much. With clients, I've probably thought more about their shoot than they have by go time, and it makes it easier."

You clearly have a distinct shooting method. What's your secret?

"I think through the job or the trip multiple times, pack everything I want to take, and then take stuff out of the bag or case depending on what conclusions I come up with."

"I teach my method, which I call 'Content meets Context', in workshops. I use this every time I shoot to create 'intentional' photographs. Content is nothing without context, especially nowadays. An example would be Prince performing at the Stade de France. A picture of him on stage performing would be great, but there is no context – nothing to indicate it is in the iconic arena. I went and shot him wide, from behind (thanks, all access) as he turned around, so you can have the context of the arena in the shot."

"Prince; Stade de France, Paris 2011; This was the first show on the European Tour, the first time I had photographed him in concert."

Canon EOS-1D X | EF 17–40mm F4L USM | F4 | 1/320 sec | ISO 2000
Photo: Brian Ach

"For all photographers: shoot more, be open to criticism and learn how to self-critique. Like a musician who knows their keys and scales by rote, you need to know your cameras the same way. Practice, refine, grow and get the work out there. Happy shooting!"

Brian really enjoyed participating in this spotlight article and would be grateful for you to join him in discussion in the forums. You can also visit his work at brianach.com.

Thanks, Brian, for being featured!

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

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

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

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

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

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

Shooting in Raw at its base ISO, the L10 captures a good amount of detail, on par with the Sony and Canon, and slightly more than the LX100 II. Despite using the same amount of sensor area as the LX100 II, it provides an image that's 1EV cleaner thanks to its ability to gather more light by shooting at ISO 100 instead of 200. Likewise, it produces slightly less noise than its Type-1 peers, thanks to its 66% increase in sensor area.

This advantage continues through to higher ISOs, though if you find yourself shooting in the dark often, it's worth considering the noise advantage that APS-C compacts like the Ricoh GR IV or Fujifilm X100VI provide, at the cost of less versatility thanks to their prime lenses. The L10's JPEG engine does a decent job of retaining details while reducing noise, though the older cameras that act as its competition are decent in this regard, too.

Standard Color Profile L.Classic Neo L.Classic L.Classic Gold The L10 has pleasing colors in its standard color mode, and a variety of other profiles, with the option to experiment further, through the use of uploadable LUT files.

Where Panasonic's processing has improved is when it comes to its JPEG colors. Overall, they're pleasing and more punchy, and we've enjoyed them in the pictures we've taken with it outside of the studio. And if you don't enjoy the colors in its built-in modes, it's almost infinitely customizable thanks to the L10's Real Time LUT system.

Dynamic Range

The L10 provides plenty of latitude to shoot to preserve highlights, then brighten in post.

Panasonic L10 | 75mm equiv. | F2.8 | 1/500 sec | ISO 100 | Edited to taste in Adobe Camera Raw
Photo: Mitchell Clark

The sensor used in the L10 has been shown to have great dynamic range in the other cameras we've tested that use it, and we're happy to say the L10 is no exception. While its deepest shadows aren't quite as clean as those of the cameras that use the sensor's entire area, you still have plenty of room to exploit them. There's perhaps not as much difference as we might expect from a camera that can combine high and low gain readout in a 16-bit space, vs the 12-bit, single-read approach from the LX100 II, but they should still be pretty flexible.

Exposure Latitude | ISO Invariance

Likewise, the sensor has very little read noise, giving you the option to choose an exposure, then lower your ISO to preserve highlights without having to worry about a ton of additional noise showing up in post when you raise the shadows. Shots at ISO 100 pushed 4EV will show a little more noise than shooting at ISO 1600 in the first place, but even by ISO 200 the difference isn't particularly distinguishable.

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

When we reviewed the LX100 II in 2018, we said that camera's 17MP sensor was showing the limits of the lens. With the L10 essentially using the same optics, paired with a higher-resolution sensor, that's even more true today, with noticeable softness in the corners even when stopped down to F4 or 5.6 (though doing so provides noticeable improvement versus faster apertures like F2.8).

The bright, complex, foldable lenses on compacts are quite susceptible to sample variation, and we aren't able to test multiple copies of the camera. Putting it in the studio scene also pits it against extremely high-quality primes, many of which are larger and heavier than the L10 in its entirety, and holds it to a higher standard than most would expect from their real-world shooting. In the process of shooting our sample gallery, we haven't come across many situations where the lens felt inadequate for what we were trying to capture.

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The Viltrox AF 28mm F4.5 "Chip" is finally available for L-mount.

Image: Viltrox

After months of teasing, Viltrox has released the L-mount version of its full-frame AF 28mm F4.5 "Chip" lens. It becomes the company's second autofocusing lens for the system since it joined the alliance in September, 2025, and is a truly tiny option for people with cameras that use the mount.

The lens design has been around for a few years on Sony E and Fujifilm X mounts, and it gets its name and notoriety from its size: it's 15.3mm (0.6") thick, and weighs 60g. That, and its relatively wide focal length, make it an attractive prospect for anyone looking for an as-small-as-possible kit for everyday shooting.

That's an especially interesting proposition on L-mount, where there haven't been that many choices for that kind of lens, despite how much small, gripless cameras like the Panasonic S9 and Sigma BF would benefit from one. Panasonic itself released a relatively small 40mm F2 recently, and there are a few similarly-sized options from other brands, but even those are still noticeably bigger and heavier than the Chip. And while Panasonic's 26mm F8 is similarly-sized, it's quite a bit slower, and manual-focus only.

Image: Viltrox

Conversely, the Viltrox has a voice coil motor (or VCM) for autofocus and can't be manually focused. It also includes an integrated lens cap, which you can deploy by sliding a switch to keep the front element protected if you're sliding the lens into a bag.

The lens is made up of six elements in six groups, with two aspherical and two ED lenses, as well as coatings to reduce reflections and to repel water and oils from the front element. Perhaps its biggest is the aperture: while you may be willing to trade the speed of the ~F2 options for the size and weight savings, it is worth noting that the Chip is a fixed F4.5 lens, meaning you also can't stop it down any further if its particularly bright or if you want to capture more depth of field or blur motion.

While it's exciting to see Viltrox release a new lens for L-mount, especially one that fits into an underserved niche, this release also highlights the company's relatively slow entrance into the L-mount ecosystem. In the ten months since it announced it was joining the alliance, it's only released this lens and its 16mm F1.8 for the mount, both of which were promised at the beginning. In that time, it's released six other full-frame lenses for other mounts (mainly Sony's E and Nikon's Z), with the only word on L-mount versions coming in the form of responses to Instagram comments.

Still, the release of the AF 28mm F4.5 Chip is a sign that there's at least some work being done at Viltrox for L-mount. It's available today for $99.

Press release:

Viltrox Launches AF 28mm F4.5 Chip L-mount Lens

Ultra-compact, ultra-light pocket-size full-frame lens built for street photography, travel, or spontaneous everyday shots

Shenzhen, China, June 16, 2026 — Viltrox today announced its new AF 28mm F4.5 Chip L, a full-frame autofocus pancake lens for L-Mount cameras. The lens combines an ultra-slim profile, exceptional lightness, and excellent portability that’s ideal for everyday shooting, travel, and street photography.

With the launch of the AF 28mm F4.5 Chip L, Viltrox further expands its L-Mount lineup. In addition to support for in-camera correction functions, the lens is optimized to work seamlessly with modern L-Mount camera systems, delivering a compact and effortless shooting experience for everyday photography.

Weighing just ~60g and measuring just 13.2mm thin, this ultra-compact autofocus lens is comparable in size to a simple lens cap or camera body cap, transforming a professional mirrorless camera into a pocket-friendly companion. When paired with cameras such as the Panasonic Lumix S9 and Lumix S5II, the AF 28mm F4.5 Chip L creates a remarkably compact full-frame setup, allowing photographers to stay highly mobile with minimal bulk.

An Ultra-Lightweight Pancake Lens for Everyday Creativity

The Viltrox AF 28mm F4.5 Chip L features a fixed F4.5 aperture and a VCM (Voice Coil Motor) autofocus system that delivers fast and quiet autofocus performance. Its versatile 28mm focal length and minimum focusing distance of just 0.32m make it well suited to a wide range of everyday shooting scenarios, providing a natural balance between environmental context and subject emphasis.

To maximize convenience, the lens incorporates a signature slide-lever lens cover design. This built-in mechanism allows users to open and close the integrated lens cover without the need for a separate lens cap, further streamlining the transition from carrying to capturing.

The lens also features a distinctive polygonal aperture plate design that produces recognizable starburst effects around point light sources in backlit and night scenes, adding a unique visual signature to select images.

Learn more: https://bit.ly/4fGYGQh

Pricing and Availability

Viltrox AF 28mm F4.5 Chip L MSRP - $99 / €109 / £90

Amazon Store US: https://www.amazon.com/dp/B0H338KPY6

Amazon Store Europe: https://www.amazon.de/dp/B0H338KPY6