Image: Laowa

Laowa has announced that it will be bringing its 90mm F2.8 2X Ultra Macro APO lens to a new mount: Micro Four Thirds. The lens was originally made for full frame cameras, and it's been around for RF, Z, E and L mount systems for a few years now, but it's still exciting to see a manufacturer bringing out a new lens for Micro Four Thirds.

The lens, which will have a 180mm equiv. field of view on the new mount, has a design with 13 elements in 10 groups with 3 ED lenses. It can minimum working distance of 20.5cm (8.1"), allowing for 2:1 reproduction.

Its design is fully manual focus, but the lens has contacts that Laowa says will support EXIF data communication and electronic aperture control (which is, in fact, the only kind of aperture control for the lens; unlike the full frame version, there's no manual aperture ring). And while it's still a full frame lens at heart, the Micro Four Thirds version is a bit smaller and lighter than the versions made for other mounts, coming in at 540g (19oz) and measuring 115mm (4.5") long. It accepts 67mm filter threads.

Laowa says the lens will be available starting on February 29th, for $449.

Press release:

Laowa Expands Ultra Macro Lineup: The Acclaimed 90mm f/2.8 2x Ultra Macro APO Now Available for Micro Four Thirds

Anhui, China – January 29, 2026 – Anhui ChangGeng Optical Technology Company Limited (Laowa) is pleased to announce that the Laowa 90mm f/2.8 2x Ultra Macro APO is now available in Micro Four Thirds (MFT) mount.

Previously released for full-frame mirrorless systems, this specialized lens now brings its industry‑leading 2x magnification and Apochromatic (APO) performance to the MFT community, with the added benefit of an Auto Aperture mechanism. Thanks to the 2x crop factor of the MFT sensor, photographers can now enjoy an impressive 4x equivalent magnification without sacrificing resolution, making it a highly precise tool for exploring the microscopic world.

Unprecedented 2x Magnification and Reach

The Laowa 90mm f/2.8 2x Ultra Macro APO allows photographers to capture subjects at twice life-size. When paired with the 2x crop factor of the Micro Four Thirds sensor, this lens delivers an incredible 4x full-frame equivalent magnification. This enables the capture of microscopic details and textures that are often invisible to the naked eye, providing a powerful advantage for nature and scientific photographers.

Superior Sharpness and Rendering

Designed for the most demanding imaging tasks, the lens features a sophisticated optical formula of 13 elements in 10 groups. As a dedicated Apochromat (APO), it is engineered to suppress both longitudinal and lateral chromatic aberration to nearly zero. This ensures that high-contrast edges remain crisp and free of color fringing, even when shooting wide open at f/2.8.

Beyond its technical precision, the lens utilizes 9 aperture blades to produce a soft, creamy background fall-off, making it a versatile tool for compressed, cinematic portraits with a 180mm equivalent field of view.

Optimized for the MFT Workflow

This new MFT-specific version is built for modern digital integration, featuring electronic contacts that allow for seamless aperture control directly from the camera body. This integration ensures that all EXIF metadata is recorded and better supports image stabilisation. To further enhance usability in the field, the lens employs an internal focusing design. By maintaining a constant lens length, photographers can work confidently at the minimum working distance of 205mm without the risk of the lens barrel extending into skittish subjects or interfering with lighting setups.

Compact and Portable Design

Despite being originally designed for full-frame cameras, the Laowa 90mm f/2.8 remains remarkably compact on Micro Four Thirds. Weighing approximately 540g and measuring 115mm in length, it is still significantly smaller and lighter than equivalent macro setups. This compact form factor, combined with its robust build quality, makes it an ideal companion for handheld field work and long days of exploration in the natural world.

Pricing & Availability:

The Laowa 90mm f/2.8 2X Ultra Macro APO MFT Mount will be available for purchase starting February 29, 2026, through the Venus Optics official website (https://www.venuslens.net/) and authorized resellers. The U.S. retail price is USD 449.

Image: DJI

DJI has announced the RS 5, the latest version of its gimbal designed for creators and video professionals using mirrorless cameras. The update is a relatively subtle one over last year's RS 4, but it brings improvements to the gimbal's compatibility with DJI's accessory ecosystem, some tweaks to its physical switches and knobs and refinements of the algorithms it uses to keep your camera steady.

The RS 5 will look familiar to anyone who's seen or used previous RS (née Ronin) gimbals. However, the company has included the same mechanism for switching between horizontal and vertical shooting as was found in the RS 4 Mini, which should make the process just a touch easier than it was on the RS 4. The company has also added more ways to fine-tune the balance; the RS 4 had a knob for slightly shifting the tilt axis, while the RS 5 gains additional controls for its other axes. It weighs roughly the same as the RS 4, and supports the same 3Kg (6.6lb) payload.

Image: DJI

DJI has also made some software improvements, allowing the RS 5 to control Panasonic and Fujifilm cameras via Bluetooth, in addition to the Canon, Nikon and Sony models its predecessor supported. This lets you use the gimbal's interface to start and stop recording, control powerzoom lenses and set parameters like aperture, ISO and shutter speed, so you don't have to deal with two sets of controls or work around the gimbal to reach your camera's buttons. The gimbal also now has an indicator that will suggest adjustments to your pace and gait to help achieve even steadier footage.

The RS 5 can charge 60% faster than the RS 4

The company says it's also made improvements to the battery. When paired with the included RS33 battery grip, the RS 5 can charge 60% faster than the RS 4, getting 14 hours of power with just an hour of charging, assuming you have a 65W PD-capable power brick to plug it into.

The gimbal has gotten some other accessory-related updates, too. It can now natively attach to the company's latest RS Intelligent Tracking Module, an $85, sold-separately accessory that lets you have the gimbal automatically pan and tilt to follow a selected person or other arbitrary subject. While you could connect the module to the RS 4, doing so required using an adapter that used 'RSA' port, precluding the use of other accessories that might need to connect to it. With the RS 5 that port remains free while you're using the module.

The new Electronic Briefcase Handle now includes controls.
Image: DJI

The company has also introduced a new "Electronic Briefcase Handle," which lets you shoot with the gimbal at a different angle than would be practical with the standard handle. The pre-existing briefcase handle was, essentially, just a bent piece of metal, but the electronic version gives you buttons and other controls that let you operate the gimbal while using it.

According to DJI, the fifth-gen stabilization algorithm used by the RS 5 will perform better during quick movements, with the peak torque the motors are able to provide increasing by 50%. The comapny also says it'll perform even better when you're shooting vertically, something that's becoming increasingly common and influencers and brands continue to make content aimed towards social media.

As with the rest of DJI's recent releases, the RS 5 won't be officially launching in the US. The standard configuration is available in the UK for £485, and in Europe for €569. A combo pack that includes the RS Enhanced Intelligent Tracking Module, Electronic Briefcase Handle, a cable and carrying case, is also available for an additional £134 and €150, respectively.

Press release:

DJI Launches the RS 5, an All-New Lightweight Commercial Gimbal

DJI RS 5 Prioritizes Stability and Efficiency for Videographers, with New RS Enhanced Intelligent Tracking Module

JANUARY 29, 2026 – DJI, the global leader in civilian drones and creative camera technology, today launches DJI RS 5 – an all-new, lightweight commercial camera gimbal that brings videographers new levels of flexibility, creativity, and control for their work. The latest offering from the Ronin Series empowers videographers with enhanced intelligent subject tracking, stability and control mechanisms, and a longer runtime, redefining what’s possible for solo videographers.

Enhanced Intelligent Tracking and Stable Maneuvers

First introduced with the RS 4 Mini, the latest generation of the RS Intelligent Tracking Module has been updated with a number of impressive features. The new RS Enhanced Intelligent Tracking Module allows videographers to frame live footage and track any subject right from the gimbal’s touchscreen.

The new module also provides the ability to track objects other than people, such as vehicles, pets, or any object, and can maintain locked focus on a human subject up to 10 meters away, simplifying the process of shooting a scene with a crowded environment. If the subject leaves the frame, the module can easily re-aquire him or her, ensuring efficiency during a shoot. The module can be installed magnetically, without the need for an adapter or other accessories, making operation quick and convenient. Any videographer, regardless of experience level, can now effortlessly achieve complicated camera movements, such as surround shots, reverse tracking, or single-person fixed-camera tracking.

DJI RS 5 features the 5th generation RS Stabilization Algorithm, improving peak motor torque by 50%. This ensures greater stability in fast-moving scenes, such as when a videographer captures footage while walking or running, or when the camera undergoes extreme movements or switches angles quickly. It also offers significantly improved stability when shooting vertically.

Weighing just 1.46kg with the battery grip and quick release plates, RS 5’s compact body can carry a payload of up to 3kg and is capable of carrying a wide range of mainstream mirrorless cameras and lens combinations1. It also switches to vertical shooting without needing extra accessories, ensuring flexibility and ease for a wide range of videographer needs.

Unbridled Creativity

Videographers can finally get their shot with new features that unlock creative perspectives and enable a longer shoot day. RS 5’s new Electronic Briefcase Handle makes it possible to capture intriguing camera angles from above or below the subject, while offering electronic control of the footage. Its comfortable grip and easy-to-reach joystick or button controls allow for one-hand operation, while its smooth transitions reduce wrist fatigue. Additionally, the all-new on-screen Z-Axis Indicator suggests how the videographer should adjust their gait and pace to reduce image shake, helping to achieve steadier and more professional shots.

For longer shoots, RS 5 can be fully charged in just one hour2,3, a 60% improvement in charging efficiency compared to RS 4. The standard battery delivers 14 hours2 of power to ensure it lasts during long days on set. For even more power, the new BG70 High-Capacity Battery Grip extends RS 5’s runtime to 30 hours2, reducing downtime and lost hours waiting for more power.

DJI has also expanded camera compatibility for wireless control, with RS 5’s Bluetooth shutter now supporting Panasonic and Fujifilm cameras1, in addition to previously supported cameras from Sony, Canon, and Nikon.

The new fully-adjustable, fine-tuning knobs with Teflon™ interlayers on each axis arm enable precise balancing when installing a camera. The DJI RS 5 delivers a smooth and efficient leveling experience, even with heavier professional imaging equipment.

Trusted Efficiency from DJI, with DJI Ecosystem Compatibility

Along with its impressive roster of new features, RS 5 also incorporates some of the most reliable features from DJI’s flagship gimbals:

• The 2nd-Gen Automated Axis Locks automatically unlock the gimbal when it powers on, ensuring creators are ready to film in an instant. Similarly, the gimbal locks immediately upon power-off or during sleep mode.
• The 3rd-Gen Native Vertical Switch allows videographers to switch to vertical shooting within a few seconds.

DJI RS 5 is also compatible with DJI’s comprehensive product ecosystem. When paired with two DJI Focus Pro Motors, RS 5 allows videographers to adjust the zoom via the joystick and the focus via the dial wheel. Additionally, the DJI SDR Transmission provides high-definition live feeds, remote gimbal and camera control, and more collaboration opportunities.

Catering to each individual creator's unique needs, the RSA Communication Port connects to the Electronic Briefcase Handle, the RS Tethered Control Handle, and third party ring handles, enabling videographers to switch between different shooting combinations to fit their vision. The open RS SDK also allows third-party developers to build custom functions for the RS 5, making for endless shooting possibilities.

For more information4, please refer to www.dji.com/rs-5

1 For more details on camera and lens compatibility, please refer to the Ronin Series Compatibility Search page here: www.dji.com/support/compatibility.

2All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.

3Requires a 65W charger supporting PD protocol and DJI RS BG33 Battery Grip.

4Not officially available in the United States via official websites.

Image: DJI

DJI has announced the RS 5, the latest version of its gimbal designed for creators and video professionals using mirrorless cameras. The update is a relatively subtle one over last year's RS 4, but it brings improvements to the gimbal's compatibility with DJI's accessory ecosystem, some tweaks to its physical switches and knobs and refinements of the algorithms it uses to keep your camera steady.

The RS 5 will look familiar to anyone who's seen or used previous RS (née Ronin) gimbals. However, the company has included the same mechanism for switching between horizontal and vertical shooting as was found in the RS 4 Mini, which should make the process just a touch easier than it was on the RS 4. The company has also added more ways to fine-tune the balance; the RS 4 had a knob for slightly shifting the tilt axis, while the RS 5 gains additional controls for its other axes. It weighs roughly the same as the RS 4, and supports the same 3Kg (6.6lb) payload.

Image: DJI

DJI has also made some software improvements, allowing the RS 5 to control Panasonic and Fujifilm cameras via Bluetooth, in addition to the Canon, Nikon and Sony models its predecessor supported. This lets you use the gimbal's interface to start and stop recording, control powerzoom lenses and set parameters like aperture, ISO and shutter speed, so you don't have to deal with two sets of controls or work around the gimbal to reach your camera's buttons. The gimbal also now has an indicator that will suggest adjustments to your pace and gait to help achieve even steadier footage.

The RS 5 can charge 60% faster than the RS 4

The company says it's also made improvements to the battery. When paired with the included RS33 battery grip, the RS 5 can charge 60% faster than the RS 4, getting 14 hours of power with just an hour of charging, assuming you have a 65W PD-capable power brick to plug it into.

The gimbal has gotten some other accessory-related updates, too. It can now natively attach to the company's latest RS Intelligent Tracking Module, an $85, sold-separately accessory that lets you have the gimbal automatically pan and tilt to follow a selected person or other arbitrary subject. While you could connect the module to the RS 4, doing so required using an adapter that used 'RSA' port, precluding the use of other accessories that might need to connect to it. With the RS 5 that port remains free while you're using the module.

The new Electronic Briefcase Handle now includes controls.
Image: DJI

The company has also introduced a new "Electronic Briefcase Handle," which lets you shoot with the gimbal at a different angle than would be practical with the standard handle. The pre-existing briefcase handle was, essentially, just a bent piece of metal, but the electronic version gives you buttons and other controls that let you operate the gimbal while using it.

According to DJI, the fifth-gen stabilization algorithm used by the RS 5 will perform better during quick movements, with the peak torque the motors are able to provide increasing by 50%. The comapny also says it'll perform even better when you're shooting vertically, something that's becoming increasingly common and influencers and brands continue to make content aimed towards social media.

As with the rest of DJI's recent releases, the RS 5 won't be officially launching in the US. The standard configuration is available in the UK for £485, and in Europe for €569. A combo pack that includes the RS Enhanced Intelligent Tracking Module, Electronic Briefcase Handle, a cable and carrying case, is also available for an additional £134 and €150, respectively.

Press release:

DJI Launches the RS 5, an All-New Lightweight Commercial Gimbal

DJI RS 5 Prioritizes Stability and Efficiency for Videographers, with New RS Enhanced Intelligent Tracking Module

JANUARY 29, 2026 – DJI, the global leader in civilian drones and creative camera technology, today launches DJI RS 5 – an all-new, lightweight commercial camera gimbal that brings videographers new levels of flexibility, creativity, and control for their work. The latest offering from the Ronin Series empowers videographers with enhanced intelligent subject tracking, stability and control mechanisms, and a longer runtime, redefining what’s possible for solo videographers.

Enhanced Intelligent Tracking and Stable Maneuvers

First introduced with the RS 4 Mini, the latest generation of the RS Intelligent Tracking Module has been updated with a number of impressive features. The new RS Enhanced Intelligent Tracking Module allows videographers to frame live footage and track any subject right from the gimbal’s touchscreen.

The new module also provides the ability to track objects other than people, such as vehicles, pets, or any object, and can maintain locked focus on a human subject up to 10 meters away, simplifying the process of shooting a scene with a crowded environment. If the subject leaves the frame, the module can easily re-aquire him or her, ensuring efficiency during a shoot. The module can be installed magnetically, without the need for an adapter or other accessories, making operation quick and convenient. Any videographer, regardless of experience level, can now effortlessly achieve complicated camera movements, such as surround shots, reverse tracking, or single-person fixed-camera tracking.

DJI RS 5 features the 5th generation RS Stabilization Algorithm, improving peak motor torque by 50%. This ensures greater stability in fast-moving scenes, such as when a videographer captures footage while walking or running, or when the camera undergoes extreme movements or switches angles quickly. It also offers significantly improved stability when shooting vertically.

Weighing just 1.46kg with the battery grip and quick release plates, RS 5’s compact body can carry a payload of up to 3kg and is capable of carrying a wide range of mainstream mirrorless cameras and lens combinations1. It also switches to vertical shooting without needing extra accessories, ensuring flexibility and ease for a wide range of videographer needs.

Unbridled Creativity

Videographers can finally get their shot with new features that unlock creative perspectives and enable a longer shoot day. RS 5’s new Electronic Briefcase Handle makes it possible to capture intriguing camera angles from above or below the subject, while offering electronic control of the footage. Its comfortable grip and easy-to-reach joystick or button controls allow for one-hand operation, while its smooth transitions reduce wrist fatigue. Additionally, the all-new on-screen Z-Axis Indicator suggests how the videographer should adjust their gait and pace to reduce image shake, helping to achieve steadier and more professional shots.

For longer shoots, RS 5 can be fully charged in just one hour2,3, a 60% improvement in charging efficiency compared to RS 4. The standard battery delivers 14 hours2 of power to ensure it lasts during long days on set. For even more power, the new BG70 High-Capacity Battery Grip extends RS 5’s runtime to 30 hours2, reducing downtime and lost hours waiting for more power.

DJI has also expanded camera compatibility for wireless control, with RS 5’s Bluetooth shutter now supporting Panasonic and Fujifilm cameras1, in addition to previously supported cameras from Sony, Canon, and Nikon.

The new fully-adjustable, fine-tuning knobs with Teflon™ interlayers on each axis arm enable precise balancing when installing a camera. The DJI RS 5 delivers a smooth and efficient leveling experience, even with heavier professional imaging equipment.

Trusted Efficiency from DJI, with DJI Ecosystem Compatibility

Along with its impressive roster of new features, RS 5 also incorporates some of the most reliable features from DJI’s flagship gimbals:

• The 2nd-Gen Automated Axis Locks automatically unlock the gimbal when it powers on, ensuring creators are ready to film in an instant. Similarly, the gimbal locks immediately upon power-off or during sleep mode.
• The 3rd-Gen Native Vertical Switch allows videographers to switch to vertical shooting within a few seconds.

DJI RS 5 is also compatible with DJI’s comprehensive product ecosystem. When paired with two DJI Focus Pro Motors, RS 5 allows videographers to adjust the zoom via the joystick and the focus via the dial wheel. Additionally, the DJI SDR Transmission provides high-definition live feeds, remote gimbal and camera control, and more collaboration opportunities.

Catering to each individual creator's unique needs, the RSA Communication Port connects to the Electronic Briefcase Handle, the RS Tethered Control Handle, and third party ring handles, enabling videographers to switch between different shooting combinations to fit their vision. The open RS SDK also allows third-party developers to build custom functions for the RS 5, making for endless shooting possibilities.

For more information4, please refer to www.dji.com/rs-5

1 For more details on camera and lens compatibility, please refer to the Ronin Series Compatibility Search page here: www.dji.com/support/compatibility.

2All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.

3Requires a 65W charger supporting PD protocol and DJI RS BG33 Battery Grip.

4Not officially available in the United States via official websites.

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

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Playing 'Top Trumps' with camera specs doesn't give the full picture, but it can still reveal something interesting.

Composite image: Richard Butler

It occurred to me, recently, that the latest enthusiast cameras can often shoot faster than the pro cameras of just a few years ago. So I decided to do some quick comparisons to get a sense of how far cameras have come, in a series of regards, since the last generation of pro-level sports cameras.

The biggest change, of course, is the move from DSLRs to mirrorless. The previous gen pro sports models from both Canon and Nikon were DSLRs, whereas Sony launched its pro tier cameras in earnest with the mirrorless a9, back in 2017.

Speed Max frame rate (Mechnical / Electronic) Canon EOS-1D X Mark III (2020) Canon EOS R6 Mark III (2025) 16 fps / 20 fps 12 fps / 40 fps Nikon D6 (2020) Nikon Z6 III (2024) 14 fps / 10.5 fps 14fps / 20 fps Sony a9 II (2019) Sony a7 V (2025) 10 fps / 20 fps 10 fps / 30 fps

The most obvious spec comparison is shooting speed, as that's historically been the main area in which pro models stand out from more mainstream offerings.

The enthusiast models are all faster than the pro models in their e-shutter modes, but this does come with some rolling shutter distortion. It's worth highlighting that, despite its maximum shooting rate being lower, the Sony a9 II, with its Stacked CMOS sensor, still reads out faster than any of the newer cameras.

But in many of these instances, the enthusiast models are just as quick in their mechanical shutter modes as the previous generation sports camera was. The enthusiast models don’t always have such deep buffers as their pro forebears, but they increasingly have at least one CFexpress slot to help clear those buffers quickly.

Autofocus

Of course shooting speed means nothing if your images aren’t in focus, but the modern cameras will do remarkably well in this regard. The pro DSLRs had AF systems honed by decades of development, and could be adjusted to suit a wide range of sports and subjects.

Subject recognition (Number of subjects recognized) Canon EOS-1D X Mark III Canon EOS R6 Mark III Eye detection (LV), Face / head (OVF) 9 subjects + Auto Nikon D6 Nikon Z6 III Face detection 9 subjects + Auto Sony a9 II Sony a7 V 2 subjects 6 subjects + Auto

However, we’d expect the enthusiast models to be competitive, as they all have AF systems that directly derive from their respective company’s most recent pro cameras. They also have subject recognition AF systems and much wider AF coverage that makes them much easier to get the best out of, for those of us who aren’t full-time professionals.

As a rough generalization, modern lenses perform better and the number of pin-sharp images delivered by mirrorless camera focus systems tends to be higher.

All three of the modern enthusiast models also offer some degree of pre-burst capture, again helping to boost the success rate of photographers who can't perfectly anticipate when the key moment is going to occur.

Viewfinders

The biggest difference we see is the move from optical viewfinders in the DSLRs to electronic viewfinders in the mirrorless cameras. Whether in terms of response time or just preference, there will be some photographers who simply prefer an optical finder, regardless of the spec of an EVF.

However, it's worth noting that each of the mirrorless cameras has a viewfinder that's at least as large as the largest optical viewfinder in play here. The 0.8x magnification, high brightness finder in the Nikon Z6 III is going to feel appreciably larger than the 0.76x finder in the EOS-1D Mark III, and even more spacious in comparison with the D6's 0.72x OVF.

Image stabilization

Another big difference is that the two most popular DSLRs didn't have in-body image stabilization, instead making use of in-lens stablization. This tends to be more effective for the long focal lengths used for sports, but less effective than in-body stabilization for the wide-to-normal focal lengths used in a lot of photojournalism and general photography.

Image stabilization
(Max correction posisble, per tesing using the CIPA standard) Canon EOS-1D X Mark III Canon EOS R6 Mark III In-lens only Up to 8.0EV Nikon D6 Nikon Z6 III In-lens only Up to 8.5EV Sony a9 II Sony a7 V Up to 5.5EV Up to 7.5EV

As well as the shift to in-body stabilization, Canon, Nikon and Sony have subsequently developed systems that can combine the effect of in-body and in-lens stabilization to boost the overall amount of correction that's possible and to play to the strengths of both systems.

Video Max frame rate (Mechnical / Electronic) Canon EOS-1D X Mark III Canon EOS R6 Mark III

• 4K/60 (10-bit)
• 5.5K/60 (Raw)

• 4K/60 (10-bit)
• 7K/60 (Raw)

Nikon D6 Nikon Z6 III

• 4K/30 (8-bit)

• 5.4K/60 (10-bit)
• 6K/60 (Raw)

Sony a9 II Sony a7 V

• 4K/24 (8-bit)

• 4K/60 (10-bit)

Unsurprisingly, perhaps, video is an area in which the modern cameras show the greatest advantage, not just in the resolutions and frame rates listed here, but in terms of the support tools and capabilities. It’s increasingly common to have false colour displays or waveforms to aid with exposure, as well as 10-bit Log or Raw capabilities, that still weren’t commonplace, just one generation of pro camera ago.

Video is one of the biggest areas of difference: even the mirrorless Sony a9 II, for all of the advances of its Stacked CMOS sensor, still only shot 8-bit video footage, which gives much less scope than 10-bit or Raw footage for color grading.

Photo: Dan Bracaglia

Battery life

One difference not captured here is battery life. We haven’t quoted the CIPA figures, as they aren’t especially comparable between DSLRs and mirrorless cameras, but the pro DSLRs will have vastly better endurance, as much from not having to power a screen to show a preview as from their significantly larger batteries. The Sonys are the outliers, in that the a9 II and a7 V use the same battery, and the newer camera is rated as giving more shots per charge.

The 'pro' differences

There are differences beyond specs and capabilities, though. In all three instances, the pro models have a level of build quality and environmental sealing that are essential for high-priced tools that need to keep working, day in, day out, regardless of the rigors of the job. All three also have features such as Ethernet connections that are essential for some professional applications but irrelevant for the majority of enthusiasts.

Weight (with battery & card) Canon EOS-1D X Mark III Canon EOS R6 Mark III 1440g 699g Nikon D6 Nikon Z6 III 1450g 760g Sony a9 II Sony a7 V 678g 695g Price

Even with the high levels of inflation over the past few years, the enthusiast models are significantly less expensive than the pro models were. Even without taking inflation into account, the professional DSLRs here cost at least twice as much as the latest enthusiast cameras. Factor inflation in and the new cameras come in at as little as 1/3rd the original list prices of the pro models.

MSRP at launch
(Money terms / Real terms) Canon EOS-1D X Mark III Canon EOS R6 Mark III $6500 / $8170* $2800 Nikon D6 Nikon Z6 III $6500 / $7890* $2500 Sony a9 II Sony a7 V $4500 / $5670* $2900

*Price adjusted using the consumer price index inflation figures, adjusted to the launch date of the newer camera

And, while we’re not saying enthusiast cameras are in every way a match for the pro cameras of the last generation, it’s striking at how close they are. And at how far we’ve come, during a period where you could easily make the mistake of thinking things haven't particularly changed.

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Playing 'Top Trumps' with camera specs doesn't give the full picture, but it can still reveal something interesting.

Composite image: Richard Butler

It occurred to me, recently, that the latest enthusiast cameras can often shoot faster than the pro cameras of just a few years ago. So I decided to do some quick comparisons to get a sense of how far cameras have come, in a series of regards, since the last generation of pro-level sports cameras.

The biggest change, of course, is the move from DSLRs to mirrorless. The previous gen pro sports models from both Canon and Nikon were DSLRs, whereas Sony's launched its pro tier cameras in earnest with the mirrorless a9, back in 2017.

Speed Max frame rate (Mechnical / Electronic) Canon EOS-1D X Mark III (2020) Canon EOS R6 Mark III (2025) 16 fps / 20 fps 12 fps / 40 fps Nikon D6 (2020) Nikon Z6 III (2024) 14 fps / 10.5 fps 14fps / 20 fps Sony a9 II (2019) Sony a7 V (2025) 10 fps / 20 fps 10 fps / 30 fps

The most obvious spec comparison is shooting speed, as that's historically been the main area in which pro models stand out from more mainstream offerings.

The enthusiast models are all faster than the pro models in their e-shutter modes, but this does come with some rolling shutter distortion. It's worth highlighting that, despite its maximum shooting rate being lower, the Sony a9 II, with its Stacked CMOS sensor, still reads out faster than any of the newer cameras.

But in many of these instances, the enthusiast models are just as quick in their mechanical shutter modes as the previous generation sports camera was. The enthusiast models don’t always have such deep buffers as their pro forebears, but they increasingly have at least one CFexpress slot to help clear those buffers quickly.

Autofocus

Of course shooting speed means nothing if your images aren’t in focus, but the modern cameras will do remarkably well in this regard. The pro DSLRs had AF systems honed by decades of development, and could be adjusted to suit a wide range of sports and subjects.

Subject recognition (Number of subjects recognized) Canon EOS-1D X Mark III Canon EOS R6 Mark III Eye detection (LV), Face / head (OVF) 9 subjects + Auto Nikon D6 Nikon Z6 III Face detection 9 subjects + Auto Sony a9 II Sony a7 V 2 subjects 6 subjects + Auto

However, we’d expect the enthusiast models to be competitive, as they all have AF systems that directly derive from their respective company’s most recent pro cameras. They also have subject recognition AF systems and much wider AF coverage that makes them much easier to get the best out of, for those of us who aren’t full-time professionals.

As a rough generalization, modern lenses perform better and the number of pin-sharp images delivered by mirrorless camera focus systems tends to be higher.

All three of the modern enthusiast models also offer some degree of pre-burst capture, again helping to boost the success rate of photographers who can't perfectly anticipate when the key moment is going to occur.

Viewfinders

The biggest difference we see is the move from optical viewfinders in the DSLRs to electronic viewfinders in the mirrorless cameras. Whether in terms of response time or just preference, there will be some photographers who simply prefer an optical finder, regardless of the spec of an EVF.

However, it's worth noting that each of the mirrorless cameras has a viewfinder that's at least as large as the largest optical viewfinder in play here. The 0.8x magnification, high brightness finder in the Nikon Z6 III is going to feel appreciably larger than the 0.76x finder in the EOS-1D Mark III, and even more spacious in comparison with the D6's 0.72x OVF.

Image stabilization

Another big difference is that the two most popular DSLRs didn't have in-body image stabilization, instead making use of in-lens stablization. This tends to be more effective for the long focal lengths used for sports, but less effective than in-body stabilization for the wide-to-normal focal lengths used in a lot of photojournalism and general photography.

Image stabilization
(Max correction posisble, per tesing using the CIPA standard) Canon EOS-1D X Mark III Canon EOS R6 Mark III In-lens only Up to 8.0EV Nikon D6 Nikon Z6 III In-lens only Up to 8.5EV Sony a9 II Sony a7 V Up to 5.5EV Up to 7.5EV

As well as the shift to in-body stabilization, Canon, Nikon and Sony have subsequently developed systems that can combine the effect of in-body and in-lens stabilization to boost the overall amount of correction that's possible and to play to the strengths of both systems.

Video Max frame rate (Mechnical / Electronic) Canon EOS-1D X Mark III Canon EOS R6 Mark III

• 4K/60 (10-bit)
• 5.5K/60 (Raw)

• 4K/60 (10-bit)
• 7K/60 (Raw)

Nikon D6 Nikon Z6 III

• 4K/30 (8-bit)

• 5.4K/60 (10-bit)
• 6K/60 (Raw)

Sony a9 II Sony a7 V

• 4K/24 (8-bit)

• 4K/60 (10-bit)

Unsurprisingly, perhaps, video is an area in which the modern cameras show the greatest advantage, not just in the resolutions and frame rates listed here, but in terms of the support tools and capabilities. It’s increasingly common to have false colour displays or waveforms to aid with exposure, as well as 10-bit Log or Raw capabilities, that still weren’t commonplace, just one generation of pro camera ago.

Video is one of the biggest areas of difference: even the mirrorless Sony a9 II, for all of the advances of its Stacked CMOS sensor, the a9 II still only shot 8-bit video footage, which gives much less scope than 10-bit or Raw footage for color grading.

Photo: Dan Bracaglia

Battery life

One difference not captured here is battery life. We haven’t quoted the CIPA figures, as they aren’t especially comparable between DSLRs and mirrorless cameras, but the pro DSLRs will have vastly better endurance, as much from not having to power a screen to show a preview as from their significantly larger batteries. The Sonys are the outliers, in that the a9 II and a7 V use the same battery, and the newer camera is rated as giving more shots per charge.

The 'pro' differences

There are differences beyond specs and capabilities, though. In all three instances, the pro models have a level of build quality and environmental sealing that are essential for high-priced tools that need to keep working, day in, day out, regardless of the rigors of the job. All three also have features such as Ethernet connections that are essential for some professional applications but irrelevant for the majority of enthusiasts.

Weight (with battery & card) Canon EOS-1D X Mark III Canon EOS R6 Mark III 1440g 699g Nikon D6 Nikon Z6 III 1450g 760g Sony a9 II Sony a7 V 678g 695g Price

Even with the high levels of inflation over the past few years, the enthusiast models are significantly less expensive than the pro models were. Even without taking inflation into account, the professional DSLRs here cost at least twice as much as the latest enthusiast cameras. Factor inflation in and the new cameras come in at as little as 1/3rd the original list prices of the pro models.

MSRP at launch
(Money terms / Real terms) Canon EOS-1D X Mark III Canon EOS R6 Mark III $6500 / $8170* $2800 Nikon D6 Nikon Z6 III $6500 / $7890* $2500 Sony a9 II Sony a7 V $4500 / $5670* $2900

*Price adjusted using the consumer price index inflation figures, adjusted to the launch date of the newer camera

And, while we’re not saying enthusiast cameras are in every way a match for the pro cameras of the last generation, it’s striking at how close they are. And at how far we’ve come, during a period where you could easily make the mistake of thinking things haven't particularly changed.

I created this image while I was working full-time, applying to far too many graduate schools and navigating a long-distance relationship.
Photo: Abby Ferguson

It's well established that photography is a superb tool for documentation purposes. It's also fairly well accepted as an art form. It's less recognized, or at least talked about, as a therapeutic tool, but it can be a powerful resource for just that. If you'll allow me to get a bit personal, photography has helped me get through some very challenging times. I won't go so far as to say that it's saved my life, but I know many people can say that is the case for them.

To be clear, I'm not a therapist, and I don't see photography as a replacement for therapy with a licensed professional. Instead, I view it as a therapeutic tool. I have seen the impact the medium has had on my own life and the lives of others. For those who haven't used photography intentionally as a tool for healing or growth, perhaps this can be a helpful guide on how to do so, or a gentle push to lean on the medium as such when you need it.

Distraction and mindfulness Sometimes using the camera as a distraction tool can be just what you need.
Photo: Abby Ferguson

Sometimes, photography can simply be a good distraction. There are times when it's best to focus on something other than current events or difficulties in your personal life, and photography can be an excellent method for that. Taking photographs requires focus (no pun intended) and attention. Instead of dwelling on heavy or hard things, you can, at least momentarily, put your energy towards something else.

When taking photographs, you pay more attention to light, shadow, shapes and details. You look carefully at the things directly in front of you at that particular moment. It forces you to stay in the here and now, which is similar to general mindfulness practices that aim to help you manage stress. It's a simple thing, but it can make a significant difference.

Having my dog with me on hikes often has the added bonus of some comedic relief.
Photo: Abby Ferguson

For some, photography is a solitary endeavor, which can be an excuse to give yourself time and space to just breathe. When I need stress relief, I often find myself going on a hike by myself (and my dog) with my camera. I typically come back feeling more refreshed and in a much better headspace than when I set out.

Simply being in the outdoors is a big part of that for me, but the camera also helps me tune out everything else more effectively while I'm hiking. Even if I only feel inspired to take a few photographs, it at least makes me pay more attention to what's around me instead of putting my head down and trudging through. Plus, if I do manage to get a photograph that I think is cool, it gives me a sense of accomplishment, which is always a nice mental boost.

Photography as an outlet I took this self-portrait just last weekend, since I was in desperate need of a creative outlet, and this concept kept coming to mind.
Photo: Abby Ferguson

What's been even more important for me at various points in my life is using photography as an outlet and a means of self-reflection. Creating photographs can be excellent for self-expression, and also a tool for working through difficulties and managing emotions.

Photography is a fantastic resource when I don't want to talk about what I'm going through but still want to express it in some way. Alternatively, sometimes I haven't even fully processed what I'm dealing with and don't have words for it. Photography helps me get out some of the emotion instead of simply bottling it up. There are even times when creating a photograph has helped me better understand my current mental state, even if I hadn't been willing to acknowledge it prior to that.

"Photography helps me get out some of the emotion instead of simply bottling it up"

For a long time, self-portraits were my preferred method of photography as therapy. I've produced some deeply emotional and personal self-portraits over the years for that reason. Some of them were the result of my knowing exactly what I was dealing with and what I wanted to convey. Others were simply a result of struggling with something and not quite knowing how to articulate it, so I poured my emotion into a self-portrait. At times, these were somewhat elaborate and thoroughly planned; others were more spontaneous. Both formats helped in their own way.

Still life has become a relatively new therapeutic tool for me.
Photo: Abby Ferguson

These days, I've been using still life as my primary outlet. Instead of putting myself in front of the camera, I'm photographing objects that I feel can convey what I'm working through in my head. They may not look as personal at first glance, but they were incredibly valuable as I processed and dealt with things going on in my life.

My method of using photography as an outlet involves conceptual work, but that doesn't have to be the case. Any type of imagery that helps you express yourself or process your emotions is beneficial, even if it isn't intentionally done.

Photography can just be for you Photo: Abby Ferguson

The bigger picture here is that photography doesn’t always have to be for an audience or a client; it can simply be for you, and that’s often where its most therapeutic power lives. I've recently written about tackling photo projects to find your creative spark again and about embracing bad photos. In all of these cases, the key is that photography can be a personal endeavor that can have a significant impact on your life. When you give yourself permission to create without pressure, photography becomes a method to clear your head, listen to yourself, notice what you’re feeling and be present with it.

Whether you’re a working photographer or a hobbyist, making space for personal projects can be therapeutic. It can reconnect you with why you picked up a camera in the first place, help you process what you’re going through and simply remind you that the act of paying attention is worthwhile in itself.

So, whether you're going through a particularly hard season or not, let me encourage you to pick up your camera with no goal other than to see what comes out. Or plan a shoot with the specific intention of showcasing your emotion or mental state. The photos don’t have to be "good." They just have to be honest, and they only ever need to mean something to you.

Image: Adobe

Adobe has announced an update to Photoshop that brings new types of adjustment layers and improves generative AI-powered fill tools. It's also adding a feature in beta that makes it easier to manipulate text into certain shapes.

Late last year, Adobe announced it was adding two new adjustment layers to Photoshop: one that controlled dehaze and clarity, and another for adding a grain effect. Now, those are coming out of beta and should be available to everyone using the app. While you've been able to use similar effects in Photoshop before, you had to bake them into a specific layer in your image, and once they were added, you couldn't adjust them. Having them as an adjustment layer, though, lets you easily adjust the effects after adding them, and easily have them apply to multiple parts of your image.

The update also brings some of Photoshop's AI-powered features out of beta, with the company promising better, higher-resolution results when using the Generative Fill, Generative Expand and Remove tools in the web version of Photoshop. The company also says it's improved the reference image feature in the Generative Fill tool, which lets you use an existing image to give the model a better idea of what you want it to generate.

Finally, there's a feature that Adobe's calling Dynamic Text, which the company says will make it "easy to transform any text layer into circular, arched, or bowed shape." While you could obviously already achieve something similar with paths and the text tool, Adobe says the Dynamic Text tool will automatically fit your text to the shape, something you'd have to manually manage using other techniques.

The new adjustment layers are available in the latest version of Photoshop, which Creative Cloud subscribers can download starting today. Dynamic Text will be available in the Photoshop Beta app.

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

Nikon has announced firmware V1.10 for the ZR camera, heralding the first update for the video-focused camera. Given that it comes only a few months after it launched, it's no surprise that the changes it brings are mostly small quality-of-life tweaks, rather than massive overhauls to how the camera works.

Perhaps the biggest change is that Nikon says it has "significantly extended" the amount of time the camera can record for in many of its modes. While it used to top out at 125 minutes, it can now continuously capture for up to six hours in its sub-100fps compressed modes, though doing so will require the use of an external power supply or battery.

The company has also added the option to display a red line in your histogram or waveform to make it obvious where the clipping point is, which can be especially useful as you switch between modes with different base ISOs.

When it launched, the ZR supported timecode synchronization via Bluetooth, making it easier to keep track of footage and audio captured with multiple devices in the edit. The update adds support for timecode sync over a wired connection through the microphone jack. Other quality of life features include a setting to keep the green light around the power button illuminated while the camera is on (by default, it turns off quite quickly) and the LUT import screen can now display up to 50 CUBE files, rather than 10 (though the camera can still only store 10).

The firmware update is available today as a free download from Nikon's website.

Press release:

NIKON RELEASES FIRST FIRMWARE (V1.10) FOR THE NIKON ZR CINEMA CAMERA

MELVILLE, NY (January 26, 2026) - Nikon Inc. is pleased to announce the first firmware update for the recently released Nikon ZR full-frame cinema camera. Version 1.10 is available now and adds an assortment of functional enhancements and features to benefit a wide range of videographers.

Firmware version 1.10 supports timecode input over a wired connection, making it easier to synchronize with audio recording devices and other cameras. The update also significantly extends the maximum recording time, making continuous shooting possible even for long recording sessions. In addition, a file-naming convention similar to that of RED cameras has been adopted, enabling more efficient data management, especially when shooting with multiple cameras. A number of features that enhance usability have also been added, including a function that displays a warning line indicating the maximum brightness level in the brightness information display (histogram and waveform monitor) when recording R3D NE videos in Log3G10, as well as a setting to prevent unintentional battery drain.

Nikon will continue to enhance its products through firmware updates that address user needs, while also contributing to the development of imaging culture in the field of cinema.

Enhanced Multi-Camera Production and Workflow Features

In addition to conventional timecode synchronization over a Bluetooth connection, the camera now supports a simpler and more reliable wired connection that enables timecode synchronization with external devices connected to the camera via the external microphone/line input connector. Timecode synchronization is simplified, as Bluetooth pairing is not required. Once initially synchronized, the timecode remains running even after disconnecting the generator (jam sync), eliminating the need to re-synchronize.

In addition, a file-naming function similar to that of RED cameras has been implemented to enhance production workflows. This feature prevents duplicate video file names, and makes managing large numbers of files from multiple cameras much more efficient with video-specific file names and the display of file names on the live view screen.

Significantly Extended Recording Time

The maximum recording times for continuous recording have been significantly extended from 125 minutes to up to 360 minutes (6 hours)1. This enables long takes and shooting at events that require extended recording, such as interviews, concerts, documentaries and special events. This extended recording time applies to ProRes 422 HQ, H.265 and H.264 formats at various frame rates.

Improved Exposure Monitoring

Firmware version 1.10 offers users a function that displays a warning line indicating the maximum brightness level in the histogram or waveform monitor to avoid unintentional clipping. This indicator line varies according to ISO sensitivity when recording R3D NE videos in Log3G10, making exposure easier to control.

Additional Enhancements

A [Power-on lamp energy saver] option has been added to the setup menu, allowing users to choose an option that keeps the power-on lamp lit at all times when the camera is powered on. This allows users to check whether the camera is on or off at a glance, even when the monitor is closed, helping to prevent unintentional drain on the battery while carrying or transporting the camera. In addition, [Video file type] can now be set to [R3D NE 12-bit (R3D)] in the video recording menu even if the shooting mode is set to AUTO.

Furthermore, the number of LUTs that can be viewed while importing from a memory card using Custom Setting [3D LUT] > [Import CUBE file] has been increased from 10 to a maximum of 50. This allows users to have greater variety when choosing the LUT that will best match the intended final look from a broader range of options while on location.

Availability

Starting today, ZR owners can visit the Nikon download center to get the new firmware for free.

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

Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

1.When [ProRes 422 HQ 10-bit (MOV)] (except 119.88p or 100p), [H.265 10-bit (MOV)] (except 239.76p–100p), [H.265 8-bit (MOV)] (except 239.76p–100p), or [H.264 8-bit (MP4)] (except when recording slow-motion videos), at 25°C/77°F with [High] selected for [Auto temperature cutout]. Use of an external power source such as a portable battery is required.

DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/320 sec | F5.6
Photo: Erez Marom

In part one of my series about photographing Mongolia in winter, I wrote about my experience shooting the Khongor Sand Dunes and Lake Khuvsgul. This time, I'd like to take you to another north-Mongolian destination, and to the east of this vast country.

After I was done shooting in Lake Khuvsgul, I took a long 4X4 drive further north-east, across some harsh terrain and interesting, frozen landscapes. We made a short stop to drone over the mountains and valleys of the Khoridol Saridag range.

After long hours, we finally arrived in our next major destination: Jargant River. This river is unique in that its waters come from an underground spring, and so parts of it do not freeze even when it's -40ºC (-40ºF) outside. The temperature difference between the river and the air causes water to rise as droplets, which stick and coat the trees and totally cakes them in white ice. These foggy conditions are great because it emphasizes the sun penetrating between the trees, creating beautiful light rays that work really nicely with the other compositional components around.

The fog here serves both as a compositional element and as a medium through which the trees' shadows show.

DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/400 sec | F10

Here, the fog serves the separation between compositional elements: the closer tree is perfectly visible, whereas the background trees are shrouded in fog, helping the viewer's brain understand that they are at different distances, thus creating depth. The light rays penetrating between the trees add a lot to the image, do you agree?

Canon EOS R5 Mark II | Canon RF 24-105mm F4 L IS USM | ISO 100 | 1/320 sec | F11

A nice example of sun rays shining between the trees.

Canon EOS R5 Mark II | Canon RF 24-105mm F4 L IS USM | ISO 200 | 1/250 sec | F8

A top-down image showing the icy coating of the trees. Note that this is definitely not snow, but water droplets that stuck to the trees.

DJI Mavic 3 Classic | 1/30 sec | ISO 100 | F5.6

Jargant River is especially winding, which is useful for creating nice compositions. The fog above it adds another layer of interest.

DJI Mavic 3 Classic, 1/100 sec, f/6.3, ISO 100

The fog from the river had spread across the planes, allowing me to create a dreamier scene in which only the higher-elevation elements are clearly visible.

DJI Mavic 3 Classic | ISO 100 | 1/100 sec | F6.3

Photos: Erez Marom

There are a few nice locations in the Jargant Valley area. If you're there, it's worth your while to take a drive to the Singing Springs (known locally as Duut Spring), another location where liquid water is visible even at a bone-chilling -40ºC or even -50ºC (-40º to -58ºF). The moisture carried in the air coats not only trees, but low bushes and different kinds of plants that look somewhat weird dressed in white.

An aerial shot of the Singing Spring. At -37ºC (-35ºF), liquid water is still visible and usable as a compositional element. Note that the slanted, closer, more visible tree is located in the gap between the left- and right-side trees, to avoid overlap. In general, since the colors are quite homogeneous in this image, separation and depth become more important: apart from the slanted tree's location, I also used the background fog to separate the trees from the mountains. In turn, the warm sunrise tones separate the mountains from the clouds. These planes of separation contribute to the overall feeling of depth in the image, which is critical, especially in winter imagery.

DJI Mavic 3 Classic | ISO 100 | 1/30 sec | F4
Photo: Erez Marom

After returning from northern Mongolia, I took a very long drive toward the far east region of Mongolia: the Steppe, where I spent several days shooting wildlife. My main goal was to get interesting shots of one of the cutest and grumpiest creatures on Earth: the Pallas's cat. This bundle of joy isn't much bigger than a house cat, but its super-dense fur, round pupils and less-than-friendly attitude give it a very special kind of charm.

What it lacks in size, it makes up for in ferocity and in cuteness!

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/2000 sec | F6.3
Photo: Erez Marom

I teamed up with an organization dedicated to the preservation of this beautiful species and stayed in a ger camp, from where we would head out twice daily to try to find the wildlife. The mornings were usually devoid of cats, as they primarily roam in the afternoon, so we dedicated them to other wildlife. I got some nice images of owls, which show the snowy, rocky environment.

A little owl perching on the snowy ground. Note how I did my best to show the animal in its environment in a compositionally-appealing way: there is a foreground subject (the owl), another small rock on the left to counterbalance it, and a clear (even if out of focus) background subject comprised of distinct elements with proper separation between them.

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/400 sec | F8

The nice thing about this image is the similarity in colors between the owl and the rocks. Both are brown with white blotches: in the owl, it's the feathers. In the rocks, it's the patches of snow.

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM + Extender RF 1.4x | ISO 400 | 1/640 sec | F10

Photos: Erez Marom

The owls were nice, but naturally, my main focus was the Pallas' cat. The cat shooting was very much unlike any wildlife photography I'd ever done. First of all, the cats can be hard to find. We sometimes had to send a tracker to locate one of them, which, considering the vastness of the area, was an astounding feat. Once found, however, the Pallas' cat is a surprisingly easy animal to get close to and shoot. Contrary to more easily-agitated species, their natural behavior is such that they disguise themselves as rocks and stay perfectly still unless you get really close to them.

In this image, I used the color similarity between the grass and the cat's eyes to enhance interest.

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/2500 sec | F7.1

A very grumpy blob assuming the shape of a rock.

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1600 sec | F7.1

Cats will be cats.

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 200 | 1/3200 sec | F5.6

Photos: Erez Marom

As stationary as they often are, once the cats decide to go, they bolt. This gives the photographer a chance to get some action shots. It's a hard mission, since you don't know exactly when the cat will run or in which direction, but here are my best attempts.

Canon R5II, Canon 100-500mm f/4.5-7.1 254mm, 1/8000 sec, f/5, ISO 1600
Photo: Erez Marom

When the Pallas' cat is sitting down, it's possible to get relatively close to it. Morally speaking, as long as you do it in a responsible manner and understand when you're too close, there's no harm in that. This last shot shows exactly such an event: I was still at a comfortable distance, but the cat made sure I knew I'd gotten on its nerves, and so I backed up and went away.

This threatening gesture meant it was time to go.

Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 1600 | 1/8000 sec | F5
Photo: Erez Marom

I hope you've enjoyed my images from frozen Mongolia. If you are well-equipped for winter photography and mentally able to handle extreme cold, I can highly recommend it as a unique photographic experience.

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

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

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

Selected Articles by Erez Marom:

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

The photo John Abernathy took, showing his point of view as he was being surrounded by ICE officers, right before he threw his camera to another photographer.
Photo: John Abernathy | Instagram: @john_abernathy_

By now, you've probably seen the viral photo of John Abernathy, an independent photographer, throwing his Leica M10-R to another photographer after being pinned to the ground by officers of the US Immigration and Customs Enforcement (ICE) agency. It's from a striking sequence of images taken by freelance photographer Pierre Lavie, which show Abernathy being tackled, locking eyes with Lavie – then a stranger – and tossing his camera and phone to him in an attempt to keep them from being confiscated.

We caught up with both photographers to get the story behind the photos they took that day, see how they've dealt with suddenly having their work presented on a global stage, and talk about how this incident, and others like it, have affected how they cover protests and other similar events.

Click to see Lavie's images of Abernathy throwing his camera

If you haven't seen the photos or aren't familiar with the backstory, this is what happened: Abernathy and Lavie were photographing a protest against ICE around the Whipple Federal Building in Minneapolis, MN. Both photographers say that, throughout the event, police forces would gather to press into the crowd. Abernathy says that, while photographing protesters and counter-protesters, he lost his situational awareness for a moment as he was trying to simultaneously live-stream with his phone and take photos. That's when he was tackled from behind and wrestled to the ground by several ICE officers, who then pepper-sprayed him.

Lavie, who was shooting nearby, saw this happening and turned to photograph it. That's when the now-famous moment was captured. Abernathy, concerned that the police might delete photos from his camera, locked eyes with Lavie and tossed his Leica M10-R and phone to the other photographer.

"It was instinctual at that moment"

"It was instinctual at that moment," Abernathy says, adding that he believes an ICE agent was trying to grab his phone out of his hand. "I didn't know what would happen to me after that, so in a split second I decided: 'I gotta throw it.'" Lavie, who was crouching down to photograph what was happening, says it was all very quick. "It's not more than a handful of seconds that he went from being tackled to being on the ground, tossing his camera and his phone, and then being pulled back in and detained."

Lavie admits he briefly hesitated before going for the camera and phone. "In my head, I was like, 'Do I grab this? Do I not? If I do, am I gonna get pulled into this thing?" But then he told himself, "Okay, screw it. I'm doing it."

After Abernathy was released, he says he looked around for his camera, asking someone with a bullhorn to ask if anyone had seen it, but nobody had. "After they let me go, I was in an absolute panic to know where my camera was," he says. "I was like, fuck, maybe I made the wrong decision. I shouldn't have done that, why did I do that?" Eventually, though, he and a friend were able to track his phone, letting him meet up with Lavie and retrieve his camera and the images on it, some of which he's posted to Instagram.

One of the last photos Abernathy took before he was tackled.
Photo: John Abernathy | Instagram: @john_abernathy_

"When I finally got back to the images that I shot during the protest, there are some very aggressive shots of agents coming down on protesters," Abernathy says. "So in hindsight, throwing my camera was the right thing to do, for multiple reasons. One, bringing attention to this entire issue we're having. And two, the images show the aggression that they're coming down on for no apparent reason."

View this post on Instagram

A post shared by Captured by Rectangles (@john_abernathy_)

The photos Abernathy took while being detained, and the photos Lavie took during the event, have received a lot of attention both in national outlets and on several social media platforms, something neither photographer expected.

"I'm actually getting chills right now," Abernathy says when asked whether he was surprised at people's reactions. "I did not obviously expect literally any of this attention. If it wasn't for Pierre's photo, I literally don't think any of it would have happened. There were a lot of other photographers there, and they got some good shots as well, but his shot is literally epic. It shows so much. It's more than a photo of me. It shows the struggle against this... unidentified ominous power."

"It's resonating with everybody for a reason"

Lavie calls the response "surreal" and says he's thankful, flattered and humbled by the outpouring of support. "It's resonating with everybody for a reason. And I don't think it's a good reason. As much as I would love it to be some miraculous picture of a butterfly or something like that, unfortunately, this is the situation, and that's where we are right now. Hopefully it's gonna work its way through the system in a healthy way."

Abernathy also understands why the photos have resonated so much. "I'm most grateful that it's become a focal point to bring attention to not only this area but what's happening in the whole United States," he says. "It speaks to freedom of the press. A lot of people are picking up on that for obvious reasons, but it speaks way beyond my personal experience. It's freedom of the press, and it's individual people trying to struggle against that massive power. Both his shot and my last shot show only legs in power positions. And they're dominating, and there's weapons, and it really represents a lot more."

"it is always shocking"

The incident is just part of a recent wave of police and ICE officers tackling, pepper-spraying and arresting photographers and journalists as the agency gains an unprecedented level of power, budget and legal immunity. "I've seen it quite a few times now, unfortunately. But it is always shocking," says Lavie. "It's a fine line that journalists of all types walk out there to make sure that they can be there and not be involved, and yet still do their job to record."

It's a job both men plan to continue doing, though Abernathy says he'll make sure to have more personal protective equipment the next time he covers a protest, including vapor-tight goggles. He also says he's considering getting a ballistic helmet and bulletproof vest, both things Lavie tells me he already wears when covering similar events.

When we spoke, Abernathy said he was still recovering from the incident, with some serious bruising from the pepper spray balls and being thrown to the ground, and occasional shivers. But despite knowing that he'll need to take more precautions in the future, he still sees the need for photographers like him to document these kinds of events. "I think that's more important than probably most people realize," he says. "The amount of things that are going on – I don't know what's going on in other parts of the country except for what's been in the news, and I don't even see all of that. I know that people are seeing bad things, but they're not seeing all of it; they're not seeing the volume of it and the random moments."

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Abernathy was out shooting a protest a few days afterwards, with the same camera he threw.

The event has reminded both photographers of the importance of community. Abernathy says he's received messages from all over the world expressing horror at what's happening in the US, and gratitude for those documenting it. He also spoke about how other protests he's covered in Minnesota were moments of bonding for the community, citing how, at the end of a protest over the death of Renee Good, a Somali woman and her husband showed up to feed protesters and give them tea. Lavie spoke of the camaraderie he's seen between photographers and advised people looking to document events like this to be friendly and ask questions to folks who look like they've been doing it a long time.

Finally, there's the camera. While Abernathy initially thought his Leica had come away unscathed, besides a few new scratches, he said he later discovered that its rangefinder patch had stopped working, forcing him to focus based on his finger's position on the focusing ring (a task made slightly easier by the fact that he shoots at F11 on a 28mm lens). When we spoke, it was working again, but he was unsure whether the critical focus had shifted. He also says his phone survived the ordeal, despite having been stomped on.

Still, that didn't stop him from going out and shooting another protest with it, which Lavie was also at. "I'm glad John wasn't hurt badly," Lavie says. "He was out that following Saturday taking pictures again. I saw him walk by me. I was like, 'Oh, dude, you're out here.'"

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We're back with the first episode of the DPReview team discussions show of the new year, and just in time. The first few weeks of the year have been relatively busy, with Ricoh bringing out a new variant of the GR IV, this time with a completely monochrome sensor, and Fujifilm bringing video to its Instax line.

The team got together to discuss these cameras and the community's reactions to them. Be sure to let us know what you think in the comments below, and over on our forums.

This image from last year could have potential, but the composition just isn't very good in my opinion.
Photo: Abby Ferguson

I’ve been thinking a lot about growth in photography lately, especially how projects and challenges can push creativity forward. Recently, during one such project, someone asked a question that made me pause: how can taking a bad photograph possibly help you get better or feel creative again?

That question stuck with me. At face value, it can seem pointless to take photos you’re not confident will work, and it’s easy to feel bad when an image doesn’t turn out the way you wanted. Yet I’m a firm believer in the importance of bad photographs. Creating bad work is essential for any creative, and photographers are no exception.

What I mean by "bad" photographs

Photography is, of course, subjective; what's bad in one person's eyes may be brilliant to another. A photograph can also be bad for countless reasons. It may have technical mistakes, such as blur, poor focus or incorrect exposure. There can also be compositional issues that weaken the image. Or there might be a conceptual disconnect, and the photo doesn't capture what you intended to convey. It could also simply capture a subject or theme that doesn't resonate with viewers.

The list of reasons a photo might be “bad” goes on and on. What matters more, though, is that those imperfect images are often the ones that teach you the most.

Learning often happens from mistakes

In my mind, there are two distinct periods of making bad work. The first is when you’re new to photography and trying to learn the craft. Ira Glass has a well-known talk about what he calls "The Gap": you have good taste, which is what drew you to the art form, but you don’t yet know how to create work that lives up to that taste. The only way to close that gap is to keep making work that falls short, building your skills until your photographs begin to match the images you imagine.

Along the same lines, photographer Henri Cartier-Bresson famously said, "Your first 10,000 photographs are your worst." It's also worth noting that Cartier-Bresson was an early adopter of 35mm film, when the medium wasn't nearly as approachable or forgiving as it is today. In our digital age, that number should perhaps be much larger, since it's significantly easier (and more affordable) to take thousands upon thousands of photographs, even in just a single day.

"Your first 10,000 photographs are your worst."

Simply put, photography is a skill that requires work and practice. Bad photographs are simply inevitable. However, the key is remembering they aren’t a sign you should quit. Their existence, and your ability to recognize that they've missed the mark, is often the clearest sign that you’re doing the work, which is how progress is made.

This image is from a failed self-portrait shoot back in 2013. There were plenty of technical and compositional issues with the images, and conceptually, they weren't hitting the mark, either.
Photo: Abby Ferguson

The second stage comes after you have years of experience. Even then, you don’t magically start producing only award-winning images. In the beginning, bad photographs teach you fundamentals; later on, they keep you from getting stuck and keep your practice alive. I first picked up a camera seriously nearly 20 years ago, and I can still say, with confidence, that I produce bad photographs on a regular basis. I screw up my settings, I fumble compositions and I create images that just aren’t very interesting. I have a strong foundation of skills and knowledge, but I still make work that misses the mark.

Those mistakes can be frustrating. But they’re not a signal to put the camera away, and they aren't a sign of failure. When I’m culling images after a shoot, I go through the "bad" ones slowly, asking what went wrong and why, and how I could approach them differently next time. That deliberate look at my failures is often where the real learning happens. By taking the time to reflect on that bad work, I'm improving in the process.

"As photographers, especially in certain genres, it can be easy to slip into a perfectionist mindset"

As photographers, especially in certain genres, it can be easy to slip into a perfectionist mindset and only take images that you are confident will work out. I am guilty of having ideas for photos, but I worried about how they would turn out and let that keep me from even trying. By forcing myself to just take photographs, even when I'm uninspired or unsure of the outcome, I risk a bad or uninteresting image, but I'm also putting myself in a position to learn and grow. Plus, it also allows for the outcome that it could be good, or even the serendipity of "oh, this isn't what I imagined at all, it's better!"

Make room for bad work

For some, the idea that bad photographs are crucial to learning may seem obvious. For others, it may feel pointless to intentionally put yourself in situations where you might make bad work. But, as in most areas of life, progress usually comes when you’re uncomfortable. Trying new compositions, experimenting with unfamiliar gear or tackling a new genre – even when the outcome is likely to be bad – is often the best way to move your photography forward. Bad work is evidence that you’re still experimenting instead of coasting. I, for one, will continue to make bad work and embrace those mistakes when they happen.

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

We recently got the opportunity to get a Leica M11-P (which is, at its heart, the same as the M11, M11-D and M EV1) in front of our studio scene. While we've attempted to shoot the scene with the standard M11 before, but weren't able to get hold of an optimal lens to do so. Leica has this time been able to lend us the APO-Summicron-M 90mm f/2 ASPH, which has given us a much better representation of the camera's performance.

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.

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With its base ISO of 64, the Leica M11-P's processed Raws start out cleaner than most (though not all) of its full-frame, color-filter-bearing competitors and are roughly similar to the noise levels we see from cameras like the Nikon Z7 II, which also has a sub-100 base ISO. Unsurprisingly, it captures lots of detail, on par with what we expect from other cameras using Sony's 61MP sensor. At mid and high ISOs, its Raws are on par with other modern full-frame cameras.

The M11-P's JPEG engine produces pleasing colors, but isn't quite as successful at revealing the full extent of the detail captured by the Raws, even at base ISO. This becomes more evident at higher ISOs, with the camera doing a decent, but not class-leading, job of retaining details despite its noise reduction. That noise reduction also doesn't appear to be as sophisticated as what Canon, Nikon and Sony are using, leaving more chroma and luma noise in the JPEG.

We noticed the effects of shutter shock in images shot with lower speeds using the mechanical shutter, and have used electronic shutter shots for some of the samples to provide the sharpest results possible. While it's a characteristic worth being aware of when shooting with a tripod, for shooting handheld, your ability to focus the camera and hold it steady, combined with its unstabilized sensor, would more likely be the limiting factor on sharpness.

In terms of dynamic range, the M11-P performs as well as we'd expect given the excellent results we often see from this sensor, giving you plenty of latitude to pull shadows up in post or to shoot to preserve highlights.

Exposure Latitude | ISO Invariance

The M11-P is capable of excellent image quality under studio conditions, even if, realistically, that's not where the camera and its rangefinder focusing mechanism are most at home. Still, it's good to know that whatever you're trying to accomplish with it, the sensor is more than able to deliver the image quality you need.

Photo: Community member NiVoak

For our most recent Question of the Week, we asked about a topic that's near and dear to my heart: photography projects. We wondered what projects you are taking on to spark creativity and move your photography forward. We also invited you to share ones that have made a difference for you in the past, even if you're not currently working on one.

You all had some wonderful responses (and photos), sharing about long-term projects, the constraints you put on yourself to help you see things anew and the regular challenges that keep you picking up your camera.

Constraints to drive creativity This image is from Maoby's project, which involves photographing the same subject at different times of year and with different cameras.
Photo: Community member Maoby

Many of you mentioned projects that may not be based on a specific period of time, but instead are more focused on applying narrow constraints on what or how you take photos. That could be taking images of the same subject or location repeatedly, or only using certain types of gear. The important thing was working on one specific thing over and over again.

Maoby: As already mentioned in your article of January 11, with a mini statuette, an approach which I have just taken up again. Another (fairly classic) example is to photograph the same subjects at different times of the year and with different cameras. Or recently, photographing with old M42 Helios lenses M42 Helios 44-2 & 44M 58mm F2.

This image of a violet-green swallow is part of Faunagraphy's project to photograph swallows and swifts right as they splash on the water.
Photo: Community member Faunagraphy

Faunagraphy: The last major project that I assigned to myself was to photograph swallows and swifts as they splash on water...Despite (or because of) the challenges, I learned so much from this project. I experimented with different wetsuit thicknesses and designs, making the most of less-than-ideal light, how to use my gear to squeeze the most juice out of it, but above all, I learned so much about my subjects!

gary_mak: My new project for 2026 is learning – and mastering – taking wide-angle landscapes with short telephoto lenses - and then pan stitching into a single "wide angle" image. I recently attended a session by Dennis Hammon at Imaging USA 2026. After seeing his magnificent landscapes and hearing his presentation about the reasons for not using a wide-angle lens, it made a lot of sense to me, so I decided that would be a good "technical improvement" project for 2026 for me: Learn how to do landscapes with short telephoto lenses and master pan stitching.

Sirhawkeye: Another project I might also do is a prime lens project (possibly with different focal lengths, but probably will start with 50mm as this is a common focal length). While these types of projects have been done to death by the photo community, they can be a good exercise in learning how to see, and how to approach a scene, especially considering you have one focal length to work with.

Time-based projects An image from SpiderJacek's photo-a-week project.
Photo: Community member SpiderJacek

In my post, I shared that I have completed many projects that involve taking a photo a day for a year, or a photo every week for a year. There were a handful of you who are tackling (or have in the past) something similar, focused on projects that have at least a rough endpoint.

SpiderJacek: "One week, one photo" project

JJack: I did many kinds of projects with the main purpose to either advance my skills or to overcome a creativity block, but none had such a profound effect as joining the Monthly Scavenger Hunt, which required me to shoot 20 differently-themed photos each month. (Actually, it allowed for some slack about using older photos as well – but new ones were much preferred.) Themes varied quite wildly – some simple, some bordering on impossible (at a given time and place). That caused me to keep the list of them in my pocket wherever I went (along with a camera, of course). And since photos were all rated at the end of the month, it was a bit of competition among the participants as well. Very friendly and good-natured, of course, but it provided that bit of extra oomph that kept me doing it for a few years.

It made me really look differently at the world around me. Every little thing became a potential motif – and a speculation about what future hunting themes might bring, so my shooting rate skyrocketed. And to this day, I still tend to shoot everything that's even a bit out of the ordinary, which has provided me with quite diverse themes for photo exhibitions as well during the years.

Jaberg: In December of 2023, I began what was intended to be a "one-year" (thirteen-issue) project, publishing a monthly minizine. Mostly of my vernacular photography, though some event and special project work was included. Limited to 25 copies, distributed to close friends, mostly fellow photographers and artists.

Unfortunately, my father’s health took a turn and, as his primary caregiver, I lost the thread of the project and stopped publishing after seven issues. I don’t beat myself up for this failure. In fact, I don’t look at it as such. I’ve said elsewhere here that I consider process to be more important than product. I got value and learned much from the work that I did. I will return to publishing soon, though possibly switching to a quarterly production schedule.

Long-term projects NiVoak is working on a long-term project photographing Romanesque Architecture.
Photo: Community member NiVoak

The most common responses were projects that are long-term and still ongoing. Many of these focus on specific subjects, but have been years in the making.

Vidja: One other project is to photograph the old doors and windows in old barns and farms around the region before they are gone. This started after an accidental photo of a barn door in my hometown. I now have a collection of more than 200 barn doors and old windows within walking distance of my house.

NiVoak: My Romanesque Architecture is a huge ongoing project. I was fascinated by some Romanesque column capitals in a small country church in the mountains. I have ended up photographing this architecture all over Northern Italy. The subjects range from small county churches, through to the big cathedrals.

I have put together a series of shift lenses. I love this slow photography, and I have developed a lot of new skills. I enjoy playing with perspective effects. I use a tripod when I can and use HDR as standard. I have accumulated a small library of books on the subject, as understanding what you are photographing helps enormously. So photography has been a positive cultural advancement.

Cherry_F likes to photograph plastic and junk as a challenge to find interesting images, even of the mundane.
Photo: Cherry_F

Cherry_F: I have various projects that I keep going on in parallel, but my favorite themes are plastic and junk. I believe my creativity most increased when photography prompted me to take a closer look at my environment. Especially about things we find so mundane, we don't even bother about.

Challenge yourself

The common thread between all of these projects is that they are designed to challenge you in some capacity. Whether it's learning a new skill or mastering your gear, gaining a better understanding of a specific subject or forcing yourself to see things in new, fresh ways, your projects aim to push you in some way. If you're feeling stuck in your photography, maybe some of these responses can help you find ideas to source new inspiration or motivation.

Stay tuned for next week's edition of our Question of the Week series. You can also still participate in this question via the link below.

What are you working on? Click here to join the discussion!

Viltrox has released a range of high-end lenses for Nikon Z-mount, including the 85mm F1.4 Pro. These appear to have been released without a license from Nikon.

Photo: Viltrox

Nikon has responded to reports of it taking legal action against the maker of Viltrox lenses by focusing on its work with licensees of its lens mount.

"Nikon has always worked with officially licensed partner companies to expand the Z-mount ecosystem." the company said in response to questions about the lawsuit: "We promote technological advancement through healthy competition and encourage the use of third-party lenses from manufacturers licensed by Nikon."

The statement notably neither acknowledges nor denies the reports of legal action being taken.

Up until now, a large number of lenses have been available for Nikon's Z-mounts made by third-party makers that aren't part of Nikon's license program; these come in addition to the specific lenses it has issued licenses for, from Tamron and Sigma.

Translations of the court docket by Nikon Rumors suggest Nikon is claiming Viltrox's lenses infringe on patented work. A hearing is scheduled for March 2nd, 2026.

"We... encourage the use of third-party lenses from manufacturers licensed by Nikon"

Like Canon, Nikon has been selective about which third-party lenses it's issued licenses for, but whereas Canon pursued both Samyang and Viltrox to prevent them from offering unlicensed products, this is the first instance we've seen of Nikon taking legal action against companies that haven't licensed the mount and its communication protocol.

If Nikon prevails in the case, we'd expect to see Z-mount Viltrox lenses withdrawn from the market. It's unclear where that would leave existing owners of Z-mount Viltrox lenses. Firmware updates for cameras have previously caused compatibility issues with unlicensed lenses, and Viltox may be blocked from updating them if the patents in question relate to the communication protocol.

Success for Nikon may also prompt other third parties to withdraw their Z-mount lenses, if they conclude their designs touch on the same patented technologies.

Image: Adobe

Adobe has announced Premiere 26, the latest version of its video editing software that brings a useful feature out of beta, adds support for the R3D NE Raw files that Nikon introduced with the video-focused ZR and comes with a subtle change to the program's name.

The flagship new feature of Premiere 26 is Object Masks, which the company started publicly beta testing late last year. It updates the editor's built-in masking tools to make it much easier to select a specific subject in your video, such as a person or object, and cut it out so you can apply effects to it independently from the background (a process video editors will know as "rotoscoping"). Like Final Cut's similar "Magnetic Mask" feature, Premiere can then track the mask forwards and backwards through the footage, so it follows the subject and adapts its shape as it or the camera moves. Of course, the program allows you to tweak the mask it generates, if the AI behind it doesn't create a perfect cut out.

While it took a long time for Premiere to get support for Nikon's proprietary NRaw video codec, things have moved a little faster with the company's latest format, R3D NE. Just a few months after the camera that debuted the format launched, Adobe has added native support for it to Premiere, letting you edit and color grade R3D NE footage.

The updated Adobe Stock panel.
Image: Adobe

The update also brings updated versions of the Frame.io and Adobe Stock panels, making it easier to pull media from your own projects and elsewhere into your edit. However, perhaps the most interesting (though most superficial) is that Adobe seems to have taken a cue from The Social Network and Final Cut by dropping a word from the program's name: the app, formerly known as Premiere Pro, is now simply Premiere. During a briefing, Adobe representatives said this subtle rebranding doesn't signal a move away from it being a tool for professionals; instead, it seems to be Adobe just accepting that most editors were already just referring to it as "Premiere" anyways.

Premiere 26 is available for Creative Cloud subscribers to download starting today.

When you use DPReview links to buy products, the site may earn a commission. Nikon Z8 | Tamron 70-180mm F2.8 | 180mm | F4 | 1/200 sec | ISO 125

Photos: Mitchell Clark

Late last year, Tamron announced that it was bringing its venerable 70-180mm F2.8 Di III VC VXD G2 to Nikon's Z mount. We took the opportunity to shoot a sample gallery with it, to get an idea for how it performs, and how much it asks you to give up compared to a heavier, larger and more expensive 70-200mm F2.8.

That is a bit of a spoiler for what the experience of shooting with the lens was like. Its size makes it much more usable as an everyday walkabout lens than your typical 70-200mm F2.8, and I found myself taking it places I normally wouldn't bring this class of lens, just because it'd be too much of a hassle to do so.

Even extended, the Tamron 70-180mm F2.8 Di III VC VXD G2 isn't particularly long (unlike its name).

The autofocus motors in the lens were snappy enough that I never felt like they were holding the camera back, even when I was shooting fast-moving subjects like horses. I also appreciated the lens's inclusion of optical image stabilization, which, when paired with the Z8's in-body stabilization, let me get sharp handheld shots at shutter speeds that would typically be difficult to manage with a telephoto lens.

Optically, you do give up a bit compared to the more premium options; as evidenced by several photos in our sample gallery, there's some pretty heavy vignetting at F2.8, though it's noticeably better at F4, and pretty much clears up by F5.6. There's also, of course, the 20mm difference at the long end, though in most scenarios, most photographers won't really notice the difference between a photo shot at 180mm and one shot at 200mm. The lens is also reasonably sharp throughout its range, and has relatively pleasing bokeh wide-open.

The vignetting will be most noticeable when shooting relatively bright, featureless surfaces like the sky, and is less distracting in other situations.

Nikon Z8 | Tamron 70-180mm | 180mm | F2.8 | 1/200 sec | ISO 80

Finally, there are the controls. The lens has a single customizable button, which is always a nice inclusion, and Nikon allows you to assign a wide variety of functions to it. I also appreciated the inclusion of a lock switch to keep the lens retracted. It's an extending zoom design (which isn't my favorite, but makes sense given its size), and having the ability to keep it from walking while I was carrying it around was much appreciated. However, it's worth noting that it's quite a strong lock; unlike with some of Sigma's lenses, you can't overpower it if you forget to deactivate it before raising the camera up to your eye.

My biggest complaint with the lens is the focus ring, which is quite sensitive, and is situated exactly where I'd typically rest my hand. This led me to frequently bump the camera into manual focus mode at inopportune times. If I spent long enough with the lens, I'm sure I'd adapt to it (and the focus ring's location will be more familiar to those who only shoot Nikon), but I ended up simply setting it to do nothing in the camera's settings.

The buttons are nice to use, but the focus ring can be quite touchy, and doesn't leave you much room to hold the lens.

Minor complaints and personal preferences aside, I found the Tamon 70-200mm F2.8 Di III VC VXD G2 to be a capable and versatile lens, especially for the price. But be sure to check out the gallery below so you can make your own assessments.

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I took this photo while touring Astoria, Oregon, solely to explore the sites featured in the 1985 movie The Goonies. The photo depicts the driveway sign leading up to the house where some of the Goonies kids lived.

Photo: Mathew Anderson

Our January Editors' photo challenge theme is "Silly Signs."

This month, we're celebrating the silly and strange world of signage that tells an interesting story. Whether you're traveling across the country or just around the corner, capture a photo of a sign with a unique story to tell. It could be a massive billboard along a highway or a quirky notice in your local pub. We can't wait to see what you discover!

Photos can be submitted between Sunday, January 18, and Saturday, January 24 (GMT). The challenge is open to photos captured at any time.

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

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

Visit the challenge page to see the full rules

Photo: Abby Ferguson

Getting a new camera is always exciting, even if it's only new to you. So much so that it can be tempting to jump right into using it without much, if any, setup. However, despite the urge to get started right away, it's important to take a few minutes to review some important settings. Doing so can make a significant difference in what your first impressions of the camera are and how the first photos you take turn out.

It's important to note that different genres of photography and video will require their own specific tweaks. However, there are some foundational settings that stay the same no matter what you like to capture, especially when setting up a new camera. This guide focuses on core settings to help beginners navigate a new camera.

Additionally, each specific camera brand will have its own intricacies. We'll touch on some of the more prominent ones in a later article. For now, our focus is on more general settings that apply to most people, no matter their camera brand.

Settings everyone should change

There are a few settings that everyone should check and potentially change when dealing with a new camera. These are relevant to every photographer, no matter your preferred genre or camera brand.

Time and date

When you turn on a new camera for the first time, you'll be prompted to make a few changes right off the bat, including time and date. Some cameras let you skip this step, but it’s best not to. Also, if you bought a used camera, we'd advise looking up how to do a complete reset and then entering the correct information. After all, having the correct date and time will make it easier to organize your photos and videos later on, so it's useful to start here.

Firmware updates Canon's firmware menu screen will tell you at a glance which version of firmware you have.
Screenshot: Mitchell Clark

Your camera may be brand new, but it was likely sitting on a shelf for some time before you brought it home. As a result, there could be new firmware available, which is usually worth installing right away. Some new firmware updates are minor, simply enhancing stability or improving security, but they can also unlock new features and improve performance, so it's important to make sure your camera is up to date. New cameras from many brands will now check for you when you connect them to your phone for the first time, so it's also worth downloading the relevant app, too.

If you bought a used camera, you don't necessarily know if the previous owner kept it updated. As a result, we'd recommend checking whether new firmware is available. To check if there's new firmware, head to the manufacturer's website and see if there's an updated version for your camera's model.

Set the diopter The dial just to the right of the viewfinder is the diopter dial.
Photo: Abby Ferguson

The diopter is an often overlooked and even unknown feature on cameras. The diopter is a tiny optical lens in front of the viewfinder with a small wheel off to the side. It allows you to make small adjustments to the viewfinder so that it matches your eyesight, ensuring that text and details look sharp. It doesn't change the sharpness of your photos, only what you see in the viewfinder. However, with a mirrorless camera, having it set wrong could make you think your shots aren't sharp, so it's critical to dial this in. You can think of it like changing the prescription of your viewfinder. If you have a camera without a viewfinder, this won't be relevant; however, if your camera does have one, be sure to set it up correctly right out of the box.

Image quality and file format A screenshot of Canon's interface for choosing image type and size. Screenshot: Mitchell Clark

Your new camera will arrive with the file format set to JPEG only. While that works well for photographers who don't need the greater control that Raw files unlock, it's not the preferred option for some. If you're the type of photographer who expects to use Raw files, make sure to change your file format settings right off the bat. Or, you can select to shoot both Raw and JPEG at once, giving you the best of both worlds. If you're unsure or on the fence, we'd suggest shooting in Raw. You can always discard the file if you don't need it, but if you get a shot you really want to edit, you can't acquire the Raw data later.

It's also worth checking the image quality settings while you're at it. Even if you shoot in JPEG only, there are multiple options to choose from that determine how large your files are. We'd recommend shooting in the largest, highest quality your camera offers. Even the largest JPEGs are pretty small, and you can always downsize or recompress a large file, but you can't regain the quality or detail you didn't originally save.

Settings to consider changing

There are settings everyone should definitely check, like the ones above, and others that many people prefer to adjust right away, while others may not. The default settings all have reasons for being there, so they make sense in certain situations and for some people, but many photographers prefer to turn them off or change them immediately.

Beeps, sounds and audio signals We'd suggest turning the beeps off right away. This is what the menu looks like on a Nikon camera.
Screenshot: Mitchell Clark

Most camera manufacturers have lots of beeps turned on by default. These could be beeps for focus confirmation, for starting a recording, menu beeps and so on. For most of us, those constant noises can drive us (as well as the people around us) mad, so we'd suggest you turn them off right away. That's especially true if you're photographing in any situation where quiet is important. The only reason to leave the beeps on is if that added notification is helpful to you when using your camera, but there are also other tools you can employ in most situations that you'd use beeps.

AF-assist light

Another feature that's typically turned on by default is the AF-assist light (it can go by different names depending on the brand). It's a small light on the front of the camera that is intended to lightly illuminate a subject, helping your camera focus in dark conditions.

However, autofocus systems in cameras these days are impressive even in very low light, and that light can be annoying or even disruptive. It's not fun for a subject to have a beam of light in their eyes when you press the shutter. Plus, it's only effective for subjects that are close to the camera. Unless you know you'll need it, we'd recommend turning that off right away.

Autofocus settings Autofocus options on a Panasonic camera.
Screenshot: Mitchell Clark

Modern cameras have a long list of autofocus settings you can tweak, such as focus mode, focus area, subject detection and more. Most of these settings will depend on your specific type of photography or subject. Additionally, some may not be "set it and forget it" settings if you shoot a wide range of subjects. In those situations, we'd suggest getting a feel for the settings and modes you find yourself using, then checking if there's a way to configure your camera to quickly switch between your favorites.

Whether you shoot a variety of genres or stick to one, it's still worth going into the autofocus menu on your new camera. For many, you'll likely end up changing the focus mode and subject detection option to ensure that the settings align with how you most often photograph. If you don't photograph a lot of people, for example, you don't want the subject detection mode to be set to Human.

Don't forget your personal preferences

The above items are likely just a starting point for many photographers. It's also important to remember that you are the one using your camera, and choosing the settings that work best for your workflow and preferences is always the way to go. It may take time to dial in your new camera, but spending the time to figure out the best setup for your needs will help you enjoy using the camera a lot more.