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

Viltrox has announced two new full-frame lenses, a 35mm F1.8 and a 55mm F1.8. The lenses are part of its Evo lineup, which it pitches as providing essential focal lengths that are sharp edge-to-edge.

The company says the lenses have apochromatic optical designs to control the color fringing that comes from chromatic aberration. The 35mm has 13 elements in 10 groups with 2 ED elements, 3 HR lenses and 1 UA element and can focus as close as 0.34m (13.4"). The 55mm, meanwhile, is made up of 13 elements in 9 groups with a similar mix of special glass as the 35mm, minus one HR lens. It can focus as close as 0.43m (16.9"). The company says the UA element used in the lenses is the same one that's found in its flagship Lab series of lenses. Both lenses have 9-bladed apertures.

The lenses have all the controls we expect from mid-range primes. We plan to produce a sample gallery with the 55mm F1.8 soon.
Photo: Mitchell Clark

Both lenses use an STM motor for autofocus. They also share a similar list of physical features: a customizable FN button, a switch to change the aperture ring from clicked to declicked, and an AF/MF switch. They also have a rubber seal on the lens mount for weather resistance, and a coating on the front lens to repel water and smudges.

The 35mm lens weighs 355g (12.5oz) for E-mount – around 20g more for Z mount – and the Sony version of the 55mm lens weighs 370g (13oz), with the same delta for Nikon. Both are relatively compact at around 76mm long and have 58mm filters.

While Viltrox has long offered both F1.8 35mm and 50mm options that were similarly lightweight and compact, it's nice to see the company build out its Evo line, especially given that it's aiming to offer quite impressive optical designs. The one somewhat disappointing aspect of the launch is mount availability: both modes will be available for Sony E and, somewhat surprisingly, given recent patent litigation, Nikon Z. It would've been nice to see it also launch for L-mount, or to at least get some hint on whether it'll be available on it in the future.

The AF 35mm F1.8 Evo (also known as the AF 35mm F1.8 II) retails for $395, and the AF 55m F1.8 Evo costs $370.

Press release:

Viltrox Unveils New 35mm and 55mm F1.8 EVO Lenses for Sony FE and Nikon Z Mounts

Embracing the “Photo to Cinema” Vision in an Expanding Imaging Ecosystem at NAB Show 2026

Las Vegas, NV — April 20, 2026 — Viltrox today announced two new additions to its EVO lens lineup: the AF 35mm F1.8 EVO and AF 55mm F1.8 EVO, available in both Sony FE and Nikon Z mount systems.

The new lenses will be showcased at NAB Show 2026 in Las Vegas, where Viltrox will present its theme, “Expanding the Viltrox Imaging System — From Photo to Cinema,” highlighting its growing portfolio of lenses, cinema tools, and production accessories that support creators from photography through to filmmaking.

AF 35mm F1.8 EVO Lens

The AF 35mm F1.8 EVO is designed for creators seeking a versatile, storytelling perspective. With a 63° field of view, the 35mm focal length excels in street photography, travel, and environmental portraits. A minimum object distance of 0.34m allows for detailed close-up shots, while its compact and light weight all-metal body ensures portability and longevity for everyday shooting. Fast and precise autofocus, powered by an STM stepping motor, supports both still and video applications.

Featuring a 13-element optical construction, the lens delivers sharp, high-resolution imagery from center to edge, even at its wide F1.8 aperture. Its APO-grade design minimizes chromatic aberration, ensuring accurate color and clean edges in challenging lighting conditions.

AF 55mm F1.8 EVO Lens

The AF 55mm F1.8 EVO offers a natural perspective close to the human eye, making it ideal for portraits, still life, and detail-focused imagery. A fast F1.8 aperture enables smooth, cinematic bokeh, complemented by a minimum object distance of 0.43m for close-up versatility. Its light weight balances performance with portability, and its durable metal construction is designed for reliable use and longevity in a variety of shooting conditions.

Its 13-element optical design ensures consistent sharpness across the frame, while the APO configuration effectively suppresses color fringing and preserves image clarity. Like the 35mm, it features responsive STM-driven autofocus and intuitive physical controls for seamless operation.

Brand Vision

“NAB Show 2026 marks an important step forward for Viltrox as we continue expanding our imaging system across both photography and cinema,” said Frank Fang. “With the introduction of new EVO lenses and continued development across our ecosystem, we’re excited to share a broader vision for supporting today’s image makers.”

Guided by its philosophy, “Vision to Explore,” Viltrox continues to develop tools that empower creators to push their visual ideas further, bridging the gap between photography and cinema through a connected and evolving imaging system.

Expanding the Viltrox Imaging System

At NAB 2026 Viltrox will also present a broader range of products across its ecosystem, including an expanding EVO lineup, L-mount lenses, LAB and Pro flagship optics, and cinema solutions such as the EPIC series, Raze lenses for the DJI Ronin 4D, and the NexusFocus adapter.

Attendees are invited to experience the latest Viltrox innovations at Booth 5735, which will feature live shooting environments demonstrating real-world creative applications.

Where to buy

For more information, please visit:

55mm F1.8 EVO Z

https://viltrox.com/products/af-55mm-f1-8-z

35mm F1.8 EVO Z

https://viltrox.com/products/af-35mm-f1-8-z

55mm F1.8 EVO FE

https://viltrox.com/products/af-55mm-f1-8-fe

35mm F1.8 EVO FE

https://viltrox.com/products/af-35mm-f1-8-fe

MSRP:

AF 35mm F1.8 EVO: 395 USD / 459 EUR / 385 GBP

AF 55mm F1.8 EVO: 370 USD / 429 EUR / 359 GBP

Viltrox 35mm F1.8 Evo specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length35 mmImage stabilizationNoLens mountNikon Z, Sony E, Sony FEApertureMaximum apertureF1.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades9OpticsElements13Groups10Special elements / coatings3 HR, 2 ED, 1 asph.FocusMinimum focus0.34 m (13.39″)Maximum magnification0.15×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight355 g (0.78 lb)Diameter69 mm (2.72″)Length76 mm (2.99″)Filter thread58 mmHood suppliedYesTripod collarNo Viltrox 55mm F1.8 Evo specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length55 mmLens mountNikon Z, Sony E, Sony FEApertureMaximum apertureF1.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades9OpticsElements13Groups9Special elements / coatings2 HR, 2 ED, 1 asph.FocusMinimum focus0.43 m (16.93″)Maximum magnification0.16×AutofocusYesMotor typeStepper motorFull time manualUnknownFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight370 g (0.82 lb)Diameter69 mm (2.72″)Length76 mm (2.99″)ColourBlackFilter thread58 mmHood suppliedYesTripod collarNo

Image: GoPro

Last week, GoPro announced the Mission 1 series, a lineup of what the company says are "compact cinema cameras" with Type 1 sensors, the ability to shoot 4K/120 open gate and, on one of them, a Micro Four Thirds mount. But a key part of the story was missing: the price.

Thankfully, GoPro has just announced it, earlier than expected. The standard Mission 1 will retail for $599, while the Mission 1 Pro and Mission 1 Pro ILS will both sell for $699 (though, of course, it's bring your own lens with the latter). If you pay for the company's subscription service, which includes the ability to automatically upload footage from your camera to the cloud, you can get $100 off the MSRP of one of the cameras, or up to $150 off one of the accessory bundles.

If you want to get the full story on the cameras, you can read our coverage here. The prices, added to the fact that the cameras were announced at the National Association of Broadcasters (NAB) Show, and that the camera's maximum bitrate was designed to meet Netflix's requirements, suggest that the Mission 1 series is less consumer-oriented than the Hero series; the Hero 13 Black retails for around $430. They also put the Mission 1 Pro ILS in competition with some other video-focused, APS-C interchangeable lens cameras, such as the Canon EOS R50V and Nikon Z30.

The company has started accepting preorders on its site for the Mission 1 and Mission 1 Pro, which will be available starting May 28th. The version with the lens mount is still set to arrive in "Q3 2026."

The National Association of Broadcasters (NAB) Show is in full swing, and Nikon has joined in, releasing a YouTube video teasing new Z Cinema glass. The video, which is also co-branded with Red, also heralds "a new Nikkor chapter."

The lens(es?) is only shown in shadow, but behind it, videos of older Nikon lenses are projected. Notably, it seems like the footage largely depicts wide-angle lenses, including a fisheye model and a 12-24; whether that's a hint or a coincidence, we'll have to wait and see. The video also shows cinema-styled controls, an autofocus/manual focus switch, and a line of lenses, which could hint that what's being announced is a series, rather than a single option.

Whatever Nikon ends up announcing – currently, the video and its description contain no mention of a date – it's interesting to see that the company is working on expanding its options for pro video. It already teased late last year that it was working on cinema-focused lenses, and has released a very video-focused lens in the Z 28-135mm F4 PZ power zoom.

Photos: Mitchell Clark

Thypoch is showing off a groundbreaking lens at the NAB (National Association of Broadcasters) Show this weekend: the Voyager 24-50mm F2.8, a full-frame autofocus zoom. It's not just a first for the brand; it's the first autofocus zoom lens we've seen from a Chinese manufacturer.

While this kind of lens has seemed like an inevitability for a while, as we've seen increasingly ambitious primes from the likes of Viltrox, Laowa and Sirui, it's a bit surprising that it's come from Thypoch. The company is mainly known for manual focus primes, though its sister brand, DZOFilm, does make a range of manual focus zooms focused on cinema users.

The company isn't releasing full details for the lens yet – though stay tuned – but you can tell just by looking at it that the goal was to make it relatively compact. It's around the same size as Sony's 24-50mm F2.8 G lens, though Thypoch's lens features an internally-zooming design: this is no clone. It also has a clicking aperture ring, a customizable function button and an AF/MF switch.

The Voyager 24-50mm F2.8 is relatively compact for a fast, full-frame zoom.

The brand teased this lens on Instagram a few weeks ago, but its public unveiling is exciting, as it means it's one step closer to launching. We've seen Chinese manufacturers offer very decent budget prime lenses, and even come into their own with more advanced optics, becoming a competitive force driving the traditional players to come up with interesting offerings. If the same happens for zoom lenses, 2025 may not hold the title of the most interesting year for lenses for that much longer.

We've been able to spend some time with the lens and get some sample images with it, which you can check out below. We'll go more in-depth into image quality in a future article. For now, the high-level overview is that we found it to be relatively impressive, though we noticed some softness at the edges (especially when shooting wide open) and a propensity to flare under bright lighting.

We were impressed by its build quality; the aperture ring is satisfying to turn, and the rubber coating on the zoom and focus rings makes it very easy to handle.

Sample Gallery

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

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

Thank you to Sony for the loan of a Sony a7R V to capture this gallery. All images were processed using our standard lens workflow in Capture One, with no vignetting correction applied.

While video is becoming increasingly popular, and cameras' video features continue to become more sophisticated, there are still plenty of photographers who simply aren't interested in it.

And, in a time where cameras are already so good that the improvements on the photo side tend to be incremental, rather than groundbreaking, it can look like manufacturers are only interested in expanding their video capabilities.

This has, perhaps understandably, led to frustration among sections of the photography community. But it can also lead to the belief that a photo-only camera would be cheaper, which is not generally the case.

Generally, manufacturers only develop separate models if they believe there is a distinct audience to target, which is why, for instance, Nikon's ZR cinema/vlogging crossover camera is intentionally missing some features that would make it more appealing to someone that might otherwise buy a Z6III. Wheras, conversely, a stills-only version of the Z6III would compete for the same audience, leaving people to choose between a full-featured hybrid and a camera with the same components but artificially restricted.

Click here to read a fuller explanation of why taking video out of your camera wouldn't make it less expensive.

This weekend, the National Association of Broadcasters show (NAB) is in full swing. While announcements stemming from it typically focus on professional video, there were a surprising number of announcements this year that may appeal to photographers and camera enthusiasts, including Canon's use of an emerging sensor technology, GoPro releasing a camera with a Micro Four Thirds mount and BlackMagic adding photo editing to Davinci Resolve.

Richard, Dale and Mitchell sat down to discuss these announcements and what impact they may have on the future of photography.

Photo: Getty Images

AI has been a hot topic on the forums for a while now. Recently, members have asked us to develop clear guidelines for the fair, well-defined use of AI tools in the forums, especially when they involve the community's photography.

We're at the early draft stage of this process. Our goal is to craft a simple policy that defines best practices and clear boundaries. As with many major community policy updates around new technologies and tools, rather than just announcing a set of guidelines out of the blue, we want to create them with our community's input and ensure your voices are heard.

If you are part of our forum community or would like an excuse to join one of the many discussions there, please visit our AI thread and tell us what you think.

Thanks for your thoughts!

Share your opinion on AI use in our forums

Photo: Mitchell Clark

A camera companion app can unlock convenience and useful creative controls, provided it actually works well. Every major brand now offers at least one such app, promising remote camera control, wireless image transfer, GPS sharing and more, but the reality is often a mix of useful features and flaky connections.

In this piece, we're taking a closer look at Sony's latest effort – the Creators' App – to see how far things have come from the early, frustrating days of camera apps. The Creators' App supports models going back to the a7S III and is the default for newer bodies. The previous‑generation Imaging Edge Mobile app also works with many of the same cameras, but its newest supported body is the a1 II, so we will be focusing on the Creators' App here.

I used the Google Pixel 10a for all of my testing, but my colleague reports a similar experience on an iPhone 15 Pro, except where otherwise noted. Your experience and options may differ depending on your device.

Connectivity and reliability To do most things in the app, you'll need to use a Wi-Fi connection.

Connecting a camera to the Creators' App for the first time is straightforward and very quick, so it's feasible to do even if you're in a rush. The process uses a Bluetooth connection for initial pairing, along with basic functions like camera status and firmware updates when you open the app each subsequent time.

Most features, though, require either a Wi-Fi connection or a physical USB-C tether between your phone and camera. Using a USB-C cable provides a faster, more stable connection for file importing or camera control than a wireless one, but it also defeats the app's purpose in some use cases, so I've focused on Wi-Fi for my testing. Tapping the "Remote Shooting" or "Import" options will trigger a pop-up that asks which connection type you want to use. This will pop up each time unless you tap the box to "Use Wi-Fi connection from next time."

Left: The pop-up on the left will show up every time you connect to your camera via Wi-Fi unless you disable it.
Right: The connection process isn't very speedy.

When you connect via Wi-Fi for the first time on Android phones, you'll see a message from your phone's system informing you that the Creators' App wants to use a temporary Wi-Fi network. Selecting "Connect" will disconnect your phone from any other Wi-Fi networks and pair it with the camera's network.

Unfortunately, the Wi-Fi connection process takes much longer than Bluetooth pairing. Over the course of my testing, it took roughly 16 seconds to connect each time (occasionally faster or slower), which is just long enough to be annoying. The Wi-Fi connection will remain active as long as you remain in the app, or you can end the connection by tapping "Connected via Wi-Fi" just below the camera name.

You can opt to keep the camera connected to your phone even if you leave the app, saving you connection time if you are going back and forth.

If you are going to be in and out of the app during a session and don't want to wait for it to reconnect each time, you can choose to stay connected even when you close the app via the gear icon in the top right corner. Staying connected lets you access the remote control or image transfer options nearly instantly, but it also means that, as long as your camera is on, your phone won't be connected to any other Wi-Fi networks.

The connection was mostly reliable, though there were a few occasions when it dropped unexpectedly, or the camera failed to connect to my Android phone. There was one instance that happened multiple times in a row. These were rare, though, so it didn't drastically impede my use of the app.

Transfer, editing and sharing tools If you want to transfer Raw files, you'll need to change the "Image Size for Importing" option to "Original," even if you turned Raw on for the import target option.

Many look to companion apps to make sharing photos and videos faster and easier. The Creators' App supports those tools, with options for image and video transfer, cloud syncing and sharing.

On the image transfer side of things, you can choose whether to import 'JPEG and HEIF,' Raw or Raw + JPEG / Raw + HEIF. There are a few important things to note here. First, the camera can't output HEIF and JPEG at the same time, so despite the "and," you'll only be importing one of those.

It's also important to be aware that the app has a setting called 'Image Size for Importing,' which defaults to resizing synced files to less than 2MP. At that setting, the app converts the Raw file to a resized JPEG, and downsizes JPEGs, no matter what you have your file types set to. If you don't change this to 'Original,' you're not actually getting full‑resolution or Raw files.

From left to right: the camera's main folder, images taken on one particular date and the view with one image selected.

When importing photos, the app helpfully organizes your images into folders for each date, so that you aren't looking at a massive wall of images. Once in a date, you can select individual files or select all with the checkbox at the top of the display. You can also tap on an image to see it larger and import from there, but, annoyingly, you'll still need to treat it like you are selecting it by tapping the box in the top left and 'Import' at the bottom.

Differential import will upload any images taken since your last upload without requiring you to select any files.

If you want to simplify the transfer process, the app also offers a "differential import" option, which is essentially a smart sync. With this enabled, when you tap to import files, it transfers all new files that aren't already on your phone. This will prevent you from uploading duplicates of files, and it also serves as a step towards an automatic upload, so you don't have to select individual files. Of course, if you don't want everything on your phone, I wouldn't recommend turning this on.

Photos transferred relatively quickly, even when moving a batch of 30 or so Raw files at once. It's not as fast as using a quality card reader, but it didn't keep me waiting long. I didn't transfer any long videos, but short clips transferred quickly, too. I also didn't have any issues with the connection dropping when transferring batches of images. However, if I wanted to transfer a full shoot of hundreds of images (even just JPEGs), I would likely use a USB-C connection or a card reader to avoid potential issues and speed up the process. For a handful of images here and there, though, it worked very well.

There aren't many options for video transfer settings.

There are only a few options for video imports. If you shoot with proxy recording turned on, you can choose whether to import only the proxy, only the original or both. The only other video import setting is related to Sony's Shot Mark feature, which allows you to drop in-camera markers on video clips to flag important moments. If you've used Shot Mark, you can choose to have the imported clip cut around it (with options for 15-, 30-, or 60-second clips) or not cut at all.

Within the image transfer page, you'll find limited features. You see star ratings applied in-camera and view basic EXIF information. Those same tools are all that's available in the gallery page of the Creators' App, too, but you can add star ratings here instead of only being able to see them. The only other additions are a sharing option that lets you share to apps on your phone, an upload button where you can choose to upload images to a designated folder and a delete button.

There are no editing features, so you'll need to bring your images or videos into a different app for editing if that's part of your workflow. However, there is a menu for managing Look Up Tables, or LUTs, letting you upload the color profiles to your camera from your phone. Unlike some other camera apps, however, Sony doesn't offer a marketplace of LUTs within the app, so you'll need to find those elsewhere and download them to your phone before transferring to the camera.

Remote control and live view The remote control function gives you control over a lot of settings.

Another reason many people want a camera app is for remote camera controls, and the Sony Creators' app does indeed offer those. Its list of controls is robust, including all the basics you'd expect, like camera mode, shutter speed, aperture, ISO and exposure compensation. You can also toggle between photo and video modes and change many other settings, including focus mode, drive mode, D-Range Optimizer, metering, pre-capture flash, image size, file format, movie file format, touch functions and many more.

While there are plenty of controls for the promise of easy remote shooting, the functionality and reliability are hit-or-miss. At times, it all runs smoothly with very responsive changes. The live view image accurately reflects what the camera is pointed at, it looks natural when I adjust what's in the frame, and the focus changes rapidly when I tap on my phone's display. In short, it works just how I would hope a remote control app would work.

However, that's not always the situation. On a few occasions, live view was incredibly laggy. When that's the case, unless you're photographing still life scenes, it wouldn't be usable, and even then, it would be quite frustrating. The exposure controls can also be slow to actually adjust to your changes at times, resulting in a fair amount of waiting around.

While most of the touch functions work, the "Touch Focus" option has only worked once for me.

Oddly, I haven't been able to get the tap-to-focus feature to work again after my first attempt. It simply never changes the focus point, so that feature is completely unusable for me. Despite that, the other touch functions do seem to work as expected, including the ability to tap on the live view window to set auto exposure.

We didn't experience the same lag and slowness with the iOS version of the app, and tap-to-focus worked as intended.

GPS sharing You can share your phone's location with your camera to attach GPS information to your images.

The Creators' App enables GPS sharing, which means you can share your phone's GPS information with the camera. That way, you can have locations attached to your images and videos, since cameras lack integrated GPS.

While the GPS sharing feature works seamlessly, it is a bit hidden. To find it, scroll down on the 'Cameras' page of the app and tap on the 'Others' menu option. From there, select 'Setup' and 'Location Information Linkage.' You will have to change some phone permissions to allow the camera to pull location info, but it's very straightforward and quick.

Firmware and maintenance features Firmware updates are easy with the Creators' App

There are also some maintenance features available in the Creators' App. If there are firmware updates available, the app will let you download and install them via your phone. It was very fast and easy to update firmware via the app, which means I would be much more likely to keep it updated than if I had to download it to my computer and jump through the required hoops for that process.

The Creators' App also lets you save your camera's settings either to your phone or the Creators' Cloud, and then apply those settings to a camera. That way, if you need to reset your camera, you have all of your settings available and won't need to remember what you usually use for each menu item. It could be a big time- and headache-saver. Saving settings only took a matter of seconds, too, so it's very convenient. Unfortunately, you can only apply settings to the same camera model, so, for example, you wouldn't be able to transfer settings from the a7 V to the a7 IV.

Lastly, Sony sometimes offers updates and new features via licenses rather than traditional firmware updates. The app doesn't provide the ability to create those licenses, however, so you'll need to obtain or purchase them through your Sony Creators' Cloud account on the website, and then use the app's License Management menu to install and activate the license on the camera.

Image: Leica

The L-Mount Alliance is gaining another member, with cinematography equipment maker Freefly joining the growing lineup. This addition brings the alliance to 11 members, further expanding the range of products offered to L-mount users.

Freefly built its name on the Mōvi lineup, a series of professional cinema-level gimbals. It has since expanded its offerings to high-end drones and high-speed interchangeable-lens cameras made for extreme slow motion. The company doesn't make any consumer-level products; instead, it focuses on professional cinematographers, industrial operators and scientific users.

Given that Freefly is currently focused on cameras, it seems logical that the company will be adding to the list of L-mount cameras available. We'll have to wait and see whether its first L-mount device is a brand-new product or simply a new version of its existing camera lineup with an updated mount.

Freefly's CEO, Tabb Firchau, says the company wants to put the mount in places it hasn't been before, "from rocket launches to fighting forest fires." Indeed, its current camera lineup is quite different from those of existing alliance members, so it will be interesting to see what comes next for Freefly and the L-mount.

FREEFLY SYSTEMS INC. joins the L-Mount Alliance and to utilize the L-Mount standard developed by Leica Camera AG in future product development

Wetzlar, Germany, April 16th 2026. As a new member, Freefly is the 11th company to join the L-Mount Alliance since the public announcement of the L-Mount standard in 2018. The alliance consists of founding members Leica Camera AG, SIGMA, and Panasonic, as well as Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, SIRUI and VILTROX. This collaboration enables Freefly to develop products with the L-Mount which will present great benefits for a wide range of photo and video applications.

The L-Mount was developed by Leica Camera AG with the aim of providing customers with a future proof, flexible, robust and precise bayonet mount that would fulfil even the most demanding photographic needs. Since its initial appearance, development of the L-Mount was continued by Leica as well as by its strategic partners. This led to significant improvements and an effectively new and more sophisticated L-Mount technology, resulting in a constantly growing portfolio of cameras and lenses from all existing and new alliance partners, currently comprising over 20 cameras and more than 134 lenses. All lenses made for the different systems within the L-Mount Alliance can be used on all cameras without adapters and without any functional limitations – this illustrates one of the numerous benefits of the common bayonet.

Valentino Di Leonardo, Managing Expert Technology & Licensing at Leica Camera AG: "The L-Mount Alliance has been a central element of Leica Camera AG’s strategy from the very beginning, standing for openness, innovation, and the highest standards in imaging. With Freefly joining the alliance, we are welcoming a partner with a strong reputation in camera movement systems and aerial cinematography. Their expertise opens up new creative possibilities within the L-Mount ecosystem, particularly for professional film and high-end production workflows. Together, we continue to develop a versatile and future-proof system that meets the evolving demands of photographers and filmmakers alike."

Tabb Firchau, CEO at Freefly Systems Inc.: "Freefly is obsessed with building the world’s fastest cameras and toughest drones, and joining the L-Mount Alliance enable us to go faster than ever. The L-Mount allows us to interface with a wide range of beautiful lenses that are small, light, and feature advanced electronics that enable exciting electronic control options from the camera. We look forward to contributing to the Alliance and hope to put L-Mount lenses in places the world has not seen them before – from rocket launches to fighting forest fires."

About the L-Mount Alliance

The members of the L-Mount Alliance all utilize the L-Mount Standard developed by Leica Camera AG for mirrorless camera systems. Currently, the members of the Alliance are Leica Camera AG, SIGMA, Panasonic, Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, SIRUI, VILTROX and Freefly. The partners in the alliance utilize the L-Mount Standard for cameras and lenses that are offered under their own brand names. They market their respective products as competitors, and each with their own product and marketing strategies. The alliance works together on advancing the technology of the L-Mount Standard.

About the L-Mount Standard

To ensure maximum product diversity, the diameter of 51.6 millimeters was chosen to make the L Mount suitable for use not only with full-frame cameras, but also on cameras with APSC sensors. The short register of only 20 millimeters enables a short distance between the lens and the sensor, which in turn allows for a considerably more compact construction – which is particularly helpful for developments in the wide-angle lens segment. To ensure resistance to even the most extreme conditions and guarantee maximum reliability for many years of intensive use, the camera bayonets are manufactured from wear-resistant stainless steel, with four flange segments that prevent canting and ensure a secure and precisely positioned lens attachment. The standardized L-Mount contact strip facilitates trouble-free communication between the electronic components of the lens and the camera – including the possibility of installing future firmware updates for lenses to react to technological advances and exploit their full performance potentials of the lenses.

Further information can be found under: www.l-mount.com.

"English Village in the Cotswolds. No EXIF data due to Photoshop processing."

Photo: Stephen Felce

Photography has been a lifelong pursuit for DPReview reader Stephen Felce, known in the forums as keepreal. Over more than seven decades, he has developed a passion for street scenes and beautiful landscapes, moving from black-and-white to color film, and then to digital and mirrorless systems.

"I started photographing at the age of nine, learning to print my own film with guidance from my father. My passion for capturing the world around me has never waned. Photography isn't just a hobby, it's a way of seeing and experiencing life more fully."

Stephen works to bring out the beauty of places like the lochs of the Scottish Highlands and the deserts of the American Southwest, highlighting their unique natural lighting. His approach to post-processing has enabled him to turn complex scenes into images that are quite evocative.

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

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

"Piazza in Arezzo, Tuscany, Italy. This is a panorama shot with extensive Photoshop processing to cope with the dynamic range. No EXIF data due to Photoshop processing."

Photo: Stephen Felce

Meet Stephen Felce (keepreal)

Home base: Greater London, UK

Favorite camera and lens: Olympus OM-D E-M5 II with Laowa 6mm and 10mm Zero-D lenses. Stephen likes this setup specifically for landscapes and street shots because it delivers the best detail and edge sharpness. The wide-angle lenses let him capture expansive vistas and architectural subtleties with minimal distortion.

What's in Stephen's bag

• Primary cameras: Olympus OM-D E-M5 II
• Lenses:
  • Laowa 6mm F2 Zero-D
  • Laowa 10mm F2 Zero-D
  • m.Zuiko Digital ED 12-45mm F4.0 PRO
  • m.Zuiko 75-300mm F4.8-6.7 II
• Support gear: Stephen uses a compact Hama Traveller Mini Pro tripod for most shots and a full-size Velbon Ultra REXi L tripod for larger setups. He also employs custom-made panorama heads, multiple Manfrotto ball heads and quick-release adapters to handle panoramic and detailed landscape compositions with precision.
• Camera bags: He relies on three Crumpler bags – two for camera bodies and lenses, and one for panorama brackets and accessories. For his longest lenses, such as the 75-300mm, he uses a dedicated Nikon lens case.

Stephen's camera bag

Photo: Stephen Felce

Any other interesting gear you take with you?

"I kept two Nikon SB-26 Speedlights from my Nikon days, which I can fire wirelessly from the small Olympus FL-LM3 flash to get balanced lighting like studio lights. I mostly use a lightweight Hama Traveller Mini Pro Tripod now, though I also have a full-size Velbon Ultra REXi L for heavier setups."

"I even built my own panorama head from hardwood with sections for horizontal and vertical shots, using Manfrotto quick-release adapters for fast and precise alignment. For printing, I use an Epson Stylus Professional 3880 for prints up to A2 and an Expression Photo XP-8605 for everyday use, both with pigment inks for long-lasting color."

"Near the entrance to Zion National Park, Utah. I was lucky with the light, which, though extremely weak, was better than in other images I have seen of this. My favorite self-took picture, so I made an A2 framed print for my living room. No EXIF data due to extensive Photoshop processing."

Photo: Stephen Felce

How has your photography changed since you started?

"When I did my own monochrome photography, I settled upon Kodak Panatomic X and Ilford Pan F exposed at about half the nominal ISO. I also developed in the Beutler formula from raw chemicals to give a long scale with beautiful highlights."

"I have always gone for pictures from high-dynamic-range scenes, usually against the light. I rarely consciously decide on contre jour; it just happens, being in my element when those lighting conditions present themselves in brilliant sunshine. You cannot get those Beutler tones on digital, possibly because there is no shoulder to the highlights in a digital image, as the slope there is far too high."

"Still, when I switched to digital, my photography really took off, and somehow I found getting good colors easy, whereas with film I never felt my results were very good."

"When I switched to digital, my photography really took off, and somehow I found getting good colors easy." How do you post-process a less-than-ideal scene?

"One of my picturesque street scenes, Gold Hill in Shaftesbury, Dorset, is familiar to most Brits because of a famous 1973 Hovis Bread advert. I took my picture there on negative color film and processed it myself. Early on in digital, I used to scan my negatives and got a superior result with Gold Hill, partly because of the light in the shot and partly because of the skills I developed with Photoshop Elements 2."

"Gold Hill in Shaftesbury, Dorset. No EXIF data due to Photoshop processing."

Photo: Stephen Felce

"There was a street sign ruining the picture, weeds growing in the gutters of a nearby dwelling and more distractions spoiling the overall effect. I cloned out the distractions, straightened a wall and changed the creamy cottage to blue as the original looked sad against the white cottage two doors down. Next, I filled in the bald sky and sharpened the out-of-focus wall on the left."

"After two years of digital manipulation and printing, I finally get good results. The photo won me a copy of Photoshop CS2, which I had wanted but cost far too much for my liking."

Have you taken any particularly memorable trips? "My best holiday ever was to the Southwestern USA in 2011... from San Francisco to LA, 3,000 miles through Utah and Arizona.

"My best holiday ever was to the Southwestern USA in 2011, driving for three weeks from San Francisco to LA, 3,000 miles through Utah and Arizona, as well as in California. I estimated the distance for my route before I went, and amazingly, it was only a mile out."

"I loved Zion National Park, where, unusually, you get different kinds of rock, different textures and colors adjacent to one another, creating a remarkable effect. I loved Zion so much that I had to include it again in a 2018 trip of a similar distance from LA to Denver to see other must-see places like Arches National Park, but I actually preferred Dead Horse Point State Park overall."

"Spectacular Rocks in Zion National Park, Utah. Unusual to see such variety in adjacent rocks. No EXIF data due to Photoshop processing."

Photo: Stephen Felce

When capturing that perfect shot, what are your preferred techniques?

"I always take a spot reading for exposure on the brightest part of the image, more often than not, the sky, and set exposure adjustment to +3 stops. That way, highlights are never blown out, and it works in every natural-light situation. If the dynamic range demands it, I use bracketed exposures."

"On the E-M5 II, it is brilliant because I can set the gaps two or three stops apart and simultaneously use exposure adjustment to increase exposure for the deepest shadows, without having to resort to shorter exposures, which is not necessary."

For eager photographers to capture it all, what would you suggest?

"Most camera buffs feel obliged to take pictures. I don't, as I take very few even in the best of places. I can quite literally return from a trip with nothing, enjoying the outing no less for that. Some scenes are beautiful, but do not lend themselves to the camera. Instead, they can be quite an experience in real life if you are able and willing to see with insight."

"Ennerdale Water. Lovely clouds making a beautiful scene in the Lake District, northern England. No EXIF data due to Photoshop processing."

Photo: Stephen Felce

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

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

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

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

Image: DJI

DJI has announced the latest iteration of its compact gimbal camera, the Osmo Pocket 4. The new generation brings more subtle changes than the last update, with integrated storage, a bump in frame rate, new controls and the promise of better low-light shooting.

Like the Osmo Pocket 3, the fourth-gen camera uses a Type 1 CMOS sensor and an integrated 20mm equiv. lens with an F2 aperture. Unlike the 3, which topped out at 4K/120, the Osmo Pocket 4 doubles its maximum framerate to 4K/240. It also uses 10-bit D-Log instead of the D-Log M found on the previous model, trading a more contrasty image that took less grading work for one with a bit more latitude. DJI promises the Pocket 4 can achieve 14 stops of dynamic range.

DJI says the new pocket camera will perform better in low light, delivering truer-to-life colors and better-looking skin tones. It also says that it will provide better results in high-contrast scenes as well. Given that the sensor hasn't changed, both changes are almost certainly thanks to improvements in processing.

When the screen is in landscape orientation, users have access to two additional buttons.

Image: DJI

The Osmo Pocket 4 keeps the rotating screen that DJI added to the 3, though it adds two additional buttons that are revealed when the screen is in landscape orientation. One button is dedicated to cropping in, allowing users to digitally zoom to 2x or 4x. The second button is customizable, giving users a shortcut to their most-used settings. DJI also says the 5D joystick is new, though it isn't clear what new functions it unlocks compared to the previous iteration.

DJI added 107GB of integrated storage to its latest gimbal camera, compared to the Osmo Pocket 3's full reliance on microSD cards. It's still compatible with 1TB microSD cards as well. It also promises an additional 14 minutes of battery life, for a total of 3 hours of recording at full resolution, or 4 hours at 1080p.

Like many DJI products, the Osmo Pocket 4 supports gesture control and offers multiple subject tracking options to keep subjects sharp and centered in the frame. It relies on DJI's ActiveTrack 7, which it debuted on the Osmo Mobile 7 smartphone gimbal and promises smoother, more natural tracking, better subject reacquisition and the ability to recognize multiple subjects.

The Osmo Pocket 4 is compatible with DJI's vlogging accessories, such as its mic system.

Image: DJI

The Osmo Pocket 4 is priced at £445, which is cheaper than the Pocket 3's launch price of £489. That's especially impressive given that the new model gains 107GB of internal storage at a time when that isn't coming cheap.

The camera will be available for immediate sale in the Chinese market on April 16 and for pre-order in all other regions. Official sales will begin on April 22. The standard combo costs £445 and includes the camera, USB-C cable, gimbal clamp, wrist strap, handle, and carrying pouch. DJI is also offering the Creator Combo for £549, and it includes the addition of the Osmo Pocket 3 Wide-Angle Lens, DJI Mic 3 kit, a fill light and a mini tripod.

As expected, the one exception in terms of availability is the US. DJI says the authorization application is still pending in the US, so it will not be available for purchase.

Press release:

DJI Delivers Next-Generation Imaging Capabilities with Osmo Pocket 4

Powered by a 1-inch CMOS sensor, DJI's new pocket gimbal camera captures stunning 4K/240fps footage and clear low-light shots.

April 16, 2026 - DJI, the global leader in civilian drones and creative camera technology, today announces the Osmo Pocket 4. Building on the worldwide success of its predecessor, DJI has enhanced the imaging capabilities of its popular 1-inch CMOS pocket gimbal camera. It can now capture stunning 4K/240fps1 footage and clearer low-light shots while delivering cinematic depth via 14 stops of dynamic range1 and 10-bit D-Log1. With the Osmo Pocket 4's new intelligent tracking capabilities, creators can keep their subjects in focus and in frame as they move and mingle in a crowd.

Clearer Low-Light Shots and Sharper Views

Osmo Pocket 4's 1-inch CMOS sensor and f/2.0 aperture ensure natural, clear portraits even in low light. The 14 stops of dynamic range1 and 10-bit D-Log1 color profile bring out rich tones and true-to-life colors, whether at dusk, by the seaside, or in other low-light environments. With this improved straight-out-of-camera quality, portrait shots deliver healthier and more refined skin tones. It also achieves superior performance when capturing images in high-contrast lighting conditions. With a dedicated Zoom button, creators can switch between 1x and 2x lossless zoom1 with one tap. Ultra HD slow-motion footage can also be recorded in 4K/240fps1.

Smart Capture, Standout Shots

Osmo Pocket 4's three-axis stabilization enables creators to film steady, high-quality vlogs and livestreams while walking. It features multiple gimbal modes for even smoother, silkier camera movements. With ActiveTrack 7.01, subjects can be tracked even at 4x zoom. Tracking modes, such as Spotlight Follow and Dynamic Framing, make capturing cinematic single-handed shots effortless.

Intelligent AutoFocus keeps subjects sharp. When "Subject Lock Tracking"1 is enabled, the camera automatically locks onto and tracks a selected subject. A new subject can be swapped with a simple tap on the screen. Alternatively, the "Registered Subject Priority"1 can be used to prioritize focusing on a pre-registered subject. Quick Shots can also be captured via gesture control1. For example, showing your palm (Palm Gesture) toggles ActiveTrack1, while flashing a peace sign ("V" Gesture) takes a photo or starts and stops recording.

More Intuitive and User-Friendly

The Osmo Pocket 4 enhances the user experience with several new intuitive features designed to streamline the creative process. To start recording, creators can simply rotate the screen. Below the screen are two new buttons. One is a dedicated Zoom button that can switch between 1x to 2x zoom1, or jump to 4x zoom. The other is a custom preset button that can be customized with the creator's preferred settings. The new 5D joystick allows creators to move the camera backwards, recenter the gimbal, and flip the camera. With 107GB of built-in storage, creators can shoot more footage and easily transfer up to 800MB/s1 of footage without a memory card.

More ways to create with the Osmo Pocket 4 include:

• Slow Shutter Video: In Video mode, shutter speeds can be adjusted to create motion blur, capturing movement trails and the passage of time for a unique visual experience.
• Film Tone1: Choose from a range of film tones to easily recreate classic styles and capture master-grade tones.
• In-Camera Beautify 1: Fine-tune skin smoothness, brightness, and tone for a natural look in both selfies and group shots.
• Attachable Fill Light1: Adds natural, soft lighting to enhance low-light or backlit scenes, with three brightness and temperature settings.
• Extended Runtime & Fast Charging: Recharge from 0 to 80% in just 18 minutes1 for up to three hours of shooting. When fully charged, it can record up to 240 minutes of 1080p/24fps footage1.

Compatible with OsmoAudio Ecosystem

The Osmo Pocket 4 captures clear vocals while recording ambient sounds through its built-in microphone array. It also supports direct connection to DJI Mic transmitters, enabling a 4-channel audio recording. Supported DJI Mic transmitters include Mic 2, Mic 3, and Mic Mini (each sold separately or included in select combos).

1 Only supported by certain camera modes. All data was tested in controlled conditions. For more details, please refer to the official DJI website.

Sigma is now farming rice in Aizu, Japan, where the company's factory is located. According to CEO Kazuto Yamaki, it's an effort to support its own neighbors while maintaining an important Japanese tradition.
Photo: Sigma

For Sigma, "Made in Japan" isn't just a marketing ethos; it signifies a commitment to the company's home country, and to the region surrounding the city of Aizu, where its factory is located.

In an industry where most companies manage global manufacturing and supply chains, Sigma CEO Kazuto Yamaki takes pride in anchoring his company not only in its geography but in its culture. In fact, when Sigma introduced its new logo last year, it also doubled down on this regional connection, making "Made in Aizu, Japan" a core part of its brand identity.

Which explains why we find ourselves in Japan talking to Mr. Yamaki about rice. As we wrap up our interview at CP+, he casually mentions, "Actually, I'm not sure if you know it, but we decided to start growing rice."

Sigma products and packaging proudly emphasize the company's roots in Aizu, Japan.
Photo: Richard Butler

Sigma announced its rice-growing ambitions a few days before our meeting, and while we saw the same press materials as everyone else, it was fascinating to hear the story behind the project, and what inspired it, in Mr. Yamaki's own words.

It's about history and ecology

"Aizu is known for many things," he tells us. "But one reason it's well known is for being a good production site for rice. There are many rice fields in Aizu, and they produce top-quality rice. But these days, as you know, Japan is a rapidly aging country. Also, the kids don't want to take over the farmers' business. So the farmers are losing their successors. Actually, this is nothing new. This already started in the 90s or late 80s. But thanks to the tractor and combine, we don't need many people."

"Aizu is known for many things, but one reason it's well known is for being a good production site for rice."

According to Yamaki, this represents an important economic and cultural shift from the past.

"Before World War II, we had many big landowners, but after World War II, property was shared by the farmers thanks to the American government, which occupied Japan at the time. So in Japan, there are many small farmers. Until now, some farmers asked neighboring farmers to take care of their fields because, thanks to tractors and combines, they could grow rice through the neighbors."

The Sigma factory in Aizu, Japan. Under Mr. Yamaki's leadership, the company has leaned into its roots in Japan, focusing on the use of Japanese suppliers and working with local partners.
Photo: Dale Baskin

But it's not just a matter of changing demographics. As Mr. Yamaki observes, the disappearance of the small farmer is having a lasting physical impact on the land itself.

"But what is happening today is these kinds of farmers are aging, and they are losing successors. I started seeing many abandoned rice fields or paddy fields in the Aizu area. This creates a lot of problems. Paddy fields contain water, right? There's a particular ecosystem there, so we lose that ecosystem."

"The disappearance of the small farmer is having a lasting physical impact on the land itself."

"Once the land loses its ability to absorb water, it creates floods and also mudslides. And the abandoned fields have unexpected, undesirable plants. It invites bugs and harmful animals from the forest. So it creates a lot of problems. And also, the look of the landscape – I mean the traditional Japanese landscape, including the paddy fields – we are losing. So our aim, our purpose, is to keep the traditional Japanese landscape as it is. We are not going to grow the agricultural business, but our purpose is to preserve the paddy fields as they are."

A view from the train

For Mr. Yamaki, the decision to farm was a deeply personal one, rooted in a final request from his father.

"My father [Sigma founder Michihiro Yamaki] passed away 14 years ago. He had liver cancer. At the very last stage, maybe two or three months before he died, he asked me to take him to Aizu several times."

Kazuto Yamaki's father, Sigma founder Michihiro Yamaki (far right), poses with supporting members of the Sigma Research Institute Co., Ltd, around 1961.
Photo: Sigma

"Because of his illness, at first I drove him to Aizu. But at some point, he told me he wanted to go by train. The local train in Aizu runs through the paddy fields. And he was looking at the paddy fields. And I realized why he wanted to go to Aizu by train. He was just looking at the rice fields, and since then, I really like looking at the paddy fields."

"But these days," he explains, "I feel very sad looking at an abandoned paddy field. So I was interested in starting agriculture about three years ago, and finally, we can start this year."

Leveraging the experience already inside Sigma

At the Sigma factory, the line between technician and tradition is closer than one might expect; some of the same hands that craft many of Sigma's world-class lenses are now being tasked with a much older form of craftsmanship: maintaining Aizu's rice paddies.

"Many of our factory workers are farmers. They know how to make rice, and they have machines. So, we can ask people over age 60 or 65, "Could you work at the rice paddy rather than the factory?" And if we rent out their tractor, we can pay. If we rent their tractor for a week, it can be revenue for them. So we already have the resources to make it."

Some of the same hands that craft many of Sigma's world-class lenses are now being tasked with a much older form of craftsmanship: maintaining Aizu's rice paddies.
Photo: Dale Baskin

However, don't expect to see Sigma brand rice on store shelves anytime soon. Yamaki has a pragmatic plan for what to do with all that rice: keep it within his own family of employees.

"We consume it ourselves, because we have a cafeteria in the factory and we have one at the headquarters. If we sell to wholesalers, we have to sell it very cheaply. But we can sell it directly to the company that runs the cafeterias. So we may not lose much money. So it's a kind of win‑win situation."

For Mr. Yamaki, Sigma's foray into agriculture is an opportunity to lead by example.

"For Mr. Yamaki, Sigma's foray into agriculture is an opportunity to lead by example."

"It's really important to commit to the local community," he states emphatically.

"Well, of course, as a company, making a profit is the most important responsibility. But in today's society, companies play many important roles in society and have many social responsibilities. I think the contribution to the local community is one of the important responsibilities a company has. So we are just doing what we can do."

"Of course, we cannot save the Earth. We cannot save the whole region. But I like the phrase, "Think globally, act locally." By announcing this kind of activity, it may influence others, and if such activity spreads to the world, people may be able to help the Earth."

Image: Westend61 / Westend61 via Getty Images

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

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

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

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

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

Click here to answer the Question of the week

Image: Adobe

Adobe is continuing the flow of video news from the National Association of Broadcasters (NAB) show with its announcement of a new "Color Mode" for Premiere. The company says it's a "first-of-its-kind color-grading experience," designed to be approachable for video editors, rather than professional colorists.

The mode will live as its own tab in Premiere, alongside Import, Edit and Export. Activating it brings up a new interface with a large preview window and several tools for adjusting things like color temperature, saturation, contrast and more. You can apply your adjustment, or multiple adjustments, to a single clip or to all (or most) clips in your sequence, and use masks to apply adjustments only to certain parts of your video. Color mode will also pre-select the most prominent hues in your image, so you can quickly and easily adjust them.

Image: Adobe

The tool will include several pre-made "Style Presets," which have their own adjustable parameters. You'll also be able to save your customized version of a style as its own preset, so you can easily apply it to other footage later. You can use the tools to build those presets on their own, to go beyond basic color grading as well.

Adobe is pitching the mode as an exercise in simplicity; something designed for editors, rather than professional colorists. Rather than tweaking numerical parameters, drawing custom curves on graphs or sitting at a physical piece of hardware with an ocean of knobs and dials, it seems like you mostly control the tools through a simple mouse-based interface that lets you drag controls until you get the look you're going for.

Color mode's simple interface doesn't preclude more advanced edits, like masking. Each tool also includes a "heads up display" window that pops up to show you how your edit is changing the color.
Image: Adobe

However, the company also says the system "grows with your ambition," letting you do more complex grades if necessary. Still, it seems the main appeal is its ease-of-use, with Adobe's press release calling it an alternative to unnamed other apps that "pull you out of your edit entirely and force you to study out-of-reach pro-colorist tools that were never designed for you."

In the same vein of making things easier for editors, Adobe has also released a new program called Frame.io Drive, which lets you "mount" your projects stored on the cloud as storage media on your computer. From there, you can access and clips or files directly from your computer's file manager, without having to manually download or sync them.

Color Mode is available in the beta version of Premiere starting today, while Frame.io Drive will "roll out in phases," starting with enterprise users.

The Canon MS-510 surveillance camera is the second to use its SPAD sensor.

Image: Canon

Canon has announced its second camera based around a 'single photon avalanche diode' (SPAD) sensor. It's a completely different sensor technology to the CMOS sensors we typically encounter, based on a completely different physical phenomenon, and able to measure the arrival of individual photons.

The MS510 is a box camera, designed for applications such as nighttime border surveillance and maritime monitoring over long distances. The MS510 has a 3.2MP Type 1 (∼131mm²) sensor, from which it derives 1920 x 1080 video footage, Canon says it has greater sensitivity to near-IR light than the previous model.

In conventional CMOS designs, a charge is accumulated as arriving photons of light trigger the release of electrons via the photoelectric effect. This charge builds up during the exposure and the magnitude of the accumulated charge is read out at the end of the exposure.

In a SPAD sensor, the photoelectrons that are released are then accelerated by a powerful electrical field. The energy of their impact triggers an avalanche of electrons to be released within the semiconductor. This allows sensors to detect down to the sensitivity of individual photons.

Such sensors don't need to accumulate charge before they're read out, so individual photon arrivals can be detected as they arrive: continuously sampling, rather than capturing separate, discrete exposures.

And, because each avalanche of electrons is so distinct from any coincidental electronic noise, it's possible to essentially factor-out all read noise from the system. However, the nature of light means that photon shot noise (the randomness of light) would still be unavoidably present in any photograph.

Nestling behind some magnifying optics is a Type 1 SPAD sensor, capturing 1920 x 1080 footage from its 3.2MP resolution.

Image: Canon

These characteristics lend themselves very well to video capture in extreme low light. Canon has previously show its SPAD sensor visualizing a single pulse of laser light as it moves. The MS510 is geared towards slightly less rapid movement, and has a movable infrared filter, allowing it to capture some light just outside the visible spectrum, for even better performance in extreme low light.

Like its predecessor, the MS510 accepted broadcast lenses designed for Type 2/3 sensors, and features magnifying optics in front of the sensor to make full use of the sensor area.

However, while some of these properties sound like they would be useful for photography, and Canon has previously talked about the SPAD sensor matching the performance of a sensor 10 times its size, you shouldn't expect to see a SPAD sensor in an EOS camera any time soon.

The electrical field required to accelerate photons as they arrive in the sensor uses much more power than the CMOS sensors we're used to. We only have the figures for the MS510 camera as a whole, which includes powering its controllers and fan but, for reference, Canon's other MS cameras with Super35 and full-frame CMOS sensors consume between 8 and 12W, whereas the MS510 consumes 24W. This suggests both battery life and thermal management would be challenging to produce a photographer's camera. And, for now, at least, resolution.

Photo: MPB

Spring is synonymous with growth, and it might just be the best time to upgrade your photography kit. That's why we've teamed up with MPB, the leading platform for buying, selling, and trading camera equipment, to give away a $1,000 gift card.

Because MPB has everything from lenses and bodies to bags and tripods, one lucky winner will be able to customize their ultimate shopping spree to precisely their needs. Enter below by April 29 for your chance to win.

Enter Here

Terms: No purchase necessary. Enter from April 15, 2026-April 29, 2026 for your chance to win. Sweepstakes is open to residents of the United States and the District of Columbia who are lawful U.S. residents, and are 18 years of age or older, as of the start date of the sweepstakes. Void where prohibited by law. Sponsor: Gear Patrol. See official rules for details and Sponsor’s privacy policy.

This is sponsored content, created in partnership with MPB. What does this mean?

Image: Leica

Leica is opening a new retail store and, as we've come to expect, that means it's also releasing a limited edition camera to commemorate the occasion. It's called the Chicago Edition 17 (no points for guessing where the store's located), and it's an M11-P wrapped in a "boysenberry leatherette."

While the press release describes the body as silver, the images Leica provided of the camera show a black finish; we've reached out to clarify.

Special-edition Leicas are nothing new, and the company has a long list of limited releases and collaborations, including the city-specific models it released as part of its 100th anniversary celebrations last year. To my eye, though, this one looks especially nice, and the special edition tax is surprisingly low. The Chicago Edition 17 will retail for $10,900, around $500 over the price of a standard M11-P.

Image: Leica

As the name implies, there are 17 of the limited-edition cameras, and they're only being sold at the Chicago store. The company says the store is "soft opening" today, but that it will be holding a grand opening ceremony on the 30th, which will include an exhibition of work by Leica photographer Craig Semetko in the location's gallery space. The company also says the store will feature work from other artists, too, such as Alana Tsui and Dr. Romanelli. That's also when the camera will be available for sale.

Leica Camera Unveils Chicago Flagship: A Destination for Photography and Design

Celebrating 50 years of Leica’s Galleries, Leica Adds a New Cultural Hub to Its Global Network

TEANECK, N.J. [April 14, 2026] Leica Camera, the renowned German camera and optics company, is proud to announce its new store and opening in Chicago on April 30, 2026. Located in the heart of Chicago’s Gold Coast, one of the city’s most storied cultural and architectural districts, the new store draws on Chicago’s creative spirit, offering a dynamic space where visitors can experience rotating gallery exhibitions, participate in workshops through the Leica Akademie, connect with fellow creatives, and discover the latest innovations in imaging technology. Situated on Michigan Avenue, Chicago’s premier commercial corridor, the store further solidifies Leica’s presence among the world’s leading cultural capitals.

This opening coincides with the 20th anniversary of Leica retail, which began with the brand’s first store in Japan. Since that inaugural opening, Leica spaces have created an ecosystem designed not only to showcase precision-engineered tools, but to foster a thriving, connected photographic community. The Chicago flagship is the culmination of this 20-year legacy and adds to a network of around 120 Leica Stores worldwide.

This milestone is further marked by the 50th anniversary of the Leica Galleries, a global program that shares a common vision with its retail spaces: presenting photography as an art form, a historical record, and a social voice that can be experienced by people around the globe. With approximately 150 exhibitions taking place annually, they balance contemporary photography by displaying iconic works from both the present day and the past. This new flagship destination reflects the brand’s continued cultural expansion and demonstrates a deep commitment to visual storytelling.

“Chicago has one of the most dynamic and layered cultural histories in the world, shaped by artists and storytellers who are not afraid to challenge perspectives,” said Karin Rehn-Kaufmann, Art Director & Chief Representative of Leica Galleries International. “Photography is one of the most powerful cultural forces of our time; it influences how we see, how we remember, and how we understand one another. We’re excited to become a part of Chicago’s vibrant, creative community and contribute to its ongoing cultural conversation.”

“For our Leica customers, a camera is not a one-time purchase. It is the beginning of a lifelong journey; and these experiential spaces are essential to cultivating and sustaining that relationship,” added Mike Giannattasio, President of Leica Camera North America. “As we open our doors here, our commitment is not only to present extraordinary innovation and photography, but to foster a creative community that brings people together to create lasting emotional impact.”

Chicago’s architectural heritage forms the foundation of the new Leica Store and Gallery. Its restored Arts & Crafts façade echoes the geometric clarity and meticulous detailing championed by Frank Lloyd Wright, and Louis Sullivan, whose influence helped shape the city’s early modern identity. These attributes come to life through Art Deco inspiration, warm materials, clean lines, and Leica’s design ethos which mirrors the precision of its beloved camera.

Inside, the 5,000-square foot space spread over two floors unfolds like a dialogue between Chicago’s architectural past and the evolving art of photography. The new location serves not only as a destination gallery and communal creative space but also an immersive retail environment where customers can explore and purchase Leica's full range of products, including cameras, watches, home cinema, sport optics, and accessories.

Leica Launches Special Chicago Edition 17 Camera

Named after “The Atelier” Commemoration: 1917, Leica introduces the Chicago Edition 17, a limited-edition silver Leica M11-P with boysenberry leatherette created exclusively for Leica Store Chicago. This special edition pays tribute to the year the historic Perkins, Fellows & Hamilton studio building was constructed, the architectural landmark that now houses Leica’s flagship Chicago store and gallery. The camera is an ode to the enduring spirit of creation that continues to shape Leica’s house of craftsmanship and design today. The Chicago Edition 17 will release on April 30 and will be available exclusively at Leica Store Chicago.

Leica Store & Gallery Chicago Programming

To honor Chicago’s vibrant artistic spirit, Leica Store Chicago will open with a series of events celebrating the city. Installations by renowned artists, Alana Tsui and Dr. Romanelli will debut during the grand opening weekend, highlighting custom and bespoke works of art showcased throughout the store.

The grand opening will also culminate in the inaugural gallery exhibition, Life Unposed, by celebrated Leica photographer Craig Semetko, whose work captures the humor, humanity, and spontaneity of the world around us. Craig will join the opening on April 30 followed by a special artist discussion in conversation with Leica’s Chicago Gallerist, Lucas Zenk.

Throughout the season, Leica’s exhibitions will showcase work by local Chicago artists, offering a portrait of the city through the eyes of those who know it best. Leica Akademie will host hands-on classes and workshops, inviting creators of all levels to deepen their craft, explore new techniques, and connect with one another in a space designed for learning and discovery. Together, these programs establish the Chicago flagship not only as a retail destination, but as a vibrant cultural hub where community, creativity, and storytelling converge.

Leica Store & Gallery Chicago

800 N. Michigan Ave

Chicago, IL 60611, USA

Tel: +1 312 705 3670

Email: leicastore.chicago@leica-camera.com

Store & Gallery Hours

Monday–Saturday: 10:00am – 6:00pm

Sunday: 12:00pm – 5:00pm

Exhibition Dates

April 30 – July 5, 2026

Opening Reception

April 30, 6:00pm – 8:00pm

May 1, 2026

Artist talk and book signing for America Unposed with Craig Semetko

Panel with Chicago artists

Beers and Cameras event

Additional community programming throughout the opening weekend

Image: GoPro

GoPro has announced a new line of cameras, dubbed the Mission 1 series, which includes something entirely new for the action-cam company: an interchangeable lens camera with a Micro Four Thirds mount.

There are three cameras in the series: the Mission 1, Mission 1 Pro, and Mission 1 Pro ILS. The latter has the headline-grabbing mount, while the standard models have an integrated lens that the company says provides a 159° field of view.

Image: GoPro

All three cameras are powered by a 50MP Type-1 (128mm²) sensor with a Quad Bayer design, allowing for 8K 16:9 video capture across all of the models. All three can shoot in open gate mode, using their whole 4:3 sensor, though this is where they start to diverge in capability.

The difference between the base and Pro models largely comes down to framerates, with GoPro saying that the standard Mission 1 is designed for someone who doesn't need high-resolution open gate recording, or super fast frame rates for slow motion. The Pro versions' specs seem to match those of the recently announced Sony IMX06A.

Mission 1 Mission 1 Pro / Pro ILS 8K open gate — 60p 8K 16:9 30p 60p 4K open gate 120p 120p 4K 16:9 120p 240p FullHD 240p 960p (10-second burst)
480p (continuous)

While the cameras can be used as standard action cameras, GoPro is also clearly targeting them at more professional users, too. They support HLG-HDR recording, as well as GoPro's GP-Log2 10-bit mode, as well as 32-bit float audio, which can help prevent clipping. The company is also making a version of its Media Mod for it, adding a multi-pickup-pattern, three 3.5mm jacks (one for audio in, one for audio out, and one for timecode) and a microHDMI port, which can output 4K/60.

There are some physical changes compared to the Hero lineup of cameras too, with GoPro saying that the OLED display on the back is 14% larger, and the buttons are "chunkier" and more prominent, making them easier to use if you're wearing gloves.

Image: GoPro

The cameras are the first to be powered by the company's GP3 processor, which the company announced earlier this year. GoPro says that, compared to the GP2, its new chip has twice the processing power, which can help with things like noise reduction and scene recognition.

It's easy to get excited about the prospect of a small camera with a Type-1 sensor that can be used with compact Micro Four Thirds lenses, especially when GoPro seems to be leaning into the idea of using the Mission 1 for photography. It can shoot Raw, and the company is selling an add-on "Point-and-Shoot Grip" that it says is designed for "run-and-gun" handheld capture.

GoPro says the Mission 1 Pro ILS can use its "HyperSmooth" stabilization algorithm with "any rectilinear, prime focal length lens." The bigger news, though, is what the mount doesn't have: electrical contacts.
Image: GoPro

However, there are still some questions about how an ILC GoPro will work, both for stills and videographers. The biggest is focus: GoPro's press release doesn't mention any sort of autofocusing system, and the company's main offerings have usually come with fixed-focus lenses. Having to manually focus on such a small display would likely end up being a dealbreaker for many potential buyers.

In some ways, the company has been building towards an interchangeable lens camera for a while. The company has been shipping accessory lenses like its Anamorphic and Macro "Mods" for a few years, and it harbored ambitions of going after professional users long before introducing those. Still, it's a very unexpected move from the company, not least because it built its brand on making the toughest cameras out there; you can't water- and shock-proof a camera with a lens mount as much as you can one with a fixed lens (though the company does say the Mission 1 ILS is "weatherproof").

Companies like Insta360 and DJI continue to make inroads into the traditional action cam market

But as companies like Insta360 and DJI continue to make inroads into the traditional action cam market, it's easy to see why GoPro is looking to expand its offerings. Just last week, the company announced it was restructuring and laying off almost a quarter of its workforce, so it clearly needs to do something big to win customers back, and it's hard to ignore a swing for the fences like this.

The company says pricing for the cameras will be announced later in the year. The Mission 1 and Mission Pro 1 will be available for preorder starting May 21st, and will hit store shelves a week after. GoPro says the Mission 1 ILS will release later, in Q3 of this year.

GoPro Announces New MISSION 1 Line of Professional 8K and 4K Open Gate, Compact Cinema Cameras for Filmmakers, Creators and Aspiring Enthusiasts

The World’s Smallest, Lightest, Most Rugged Cinema Cameras Designed for Any Mission:

MISSION 1 PRO— Featuring a Cutting-Edge 50MP 1" Sensor; Incredible Low-Light Performance; 8K60, 4K240, and 1080p960 Ultra-High Frame Rates; 8K30 and 4K120 Open Gate Video Capture; and New GP3 Processor Delivering Category-Leading Image Quality, Battery Runtime, and Thermal Performance for Extreme Use Cases

MISSION 1 PRO ILS— A New Class of Ultra-Compact Mirrorless Cinema Camera with the Same Sensor as MISSION 1 PRO, Compatible with Micro Four Thirds (MFT) Lenses for Expanded Cinematic Versatility

MISSION 1— Same as MISSION 1 PRO, but with 8K30 Video Capture; 4K120 Open Gate; 4K120 and 1080p240 Slo-Mo Frame Rates

MISSION 1 Accessory Ecosystem Includes New Wireless Mic System; Point-and-Shoot Grip and Powered Grip; Higher-Capacity Enduro 2 Battery; I/O Expansion Media Mod and More

SAN MATEO, Calif., Apr. 14, 2026 — GoPro, Inc. (NASDAQ: GPRO) today announced its new MISSION 1 Series of cameras— the world’s smallest, lightest, and most rugged 8K and 4K Open Gate cinema cameras. Featuring a new 50MP 1” sensor and GoPro’s new, ultra-efficient GP3 processor, the MISSION 1 Series cameras deliver category-leading resolutions, frame rates, runtimes and thermal performance for mission-critical reliability in even the most demanding environments. The new series is comprised of three camera models—MISSION 1 PRO, MISSION 1 and MISSION 1 PRO ILS which features an interchangeable Micro Four Thirds lens system compatible with an even broader array of lenses via adapters.

Made for the Pursuit—the MISSION 1 Series is designed from the ground up to meet the needs of today’s demanding filmmakers and creators. Whatever your mission, GoPro.

“The MISSION 1 Series is the pinnacle of performance for low-cost, compact cinema cameras,” said Nicholas Woodman, GoPro’s founder and CEO. “Our most demanding, pro-minded customers have asked us for years to make this very line of cameras, and we’ve finally delivered. The MISSION 1 Series is built to withstand the most extreme environments our customers push them into. The footage is going to look amazing.”

“With the launch of the MISSION 1 Series, GoPro is entering the premium end of the digital imaging market in a significant way," said Pablo Lema, GoPro's Senior Vice President of Product. "The combination of our new 50 megapixel 1” sensor and ultra-efficient GP3 processor sets a new performance bar for compact cinema cameras, enabling resolutions, frame rates, low-light performance, runtimes and thermal capabilities never seen before in cameras this small. We expect the MISSION 1 Series to expand the creative potential of filmmakers and creators around the world, similar to the impact GoPro made when it pioneered the category for durable, ultra-capable compact cameras.”

MISSION 1 Series Features

• New 50MP 1” Sensor features a larger surface area and larger native 1.6µm pixels and massive 3.2µm fused pixels—capturing more light for professional low-light performance, up to 14 stops of dynamic range at the sensor, and professional-grade image quality when paired with GoPro’s new GP3 processor and its image processing capabilities.
• New GP3 Processor features an ultra-power-efficient 5nm design, enabling category-leading battery runtimes and thermal performance along with best-in-class resolutions, frame rates and image quality. An AI Neural Processor Unit (NPU) enables next-generation video pixel processing and stunning low-light image performance.
• Incredible Low-Light Performance and Dynamic Range is made possible by the combination of the new 50MP 1” sensor and the new GP3 processor with its advanced image processing. Capable of up to 14 stops of dynamic range at the sensor and giant 3.2µm fused pixels in Quad Bayer mode, the MISSION 1 Series’ imaging pipeline preserves exceptional detail in the darkest of shadows while protecting highlight details, resulting in beautifully balanced, true-to-life images.
• Category-Leading 16:9 Video Resolutions, Frame Rates and Slow Motion are possible with MISSION 1 PRO and MISSION 1 PRO ILS, including professional-grade 8K 16:9 video at up to 60 frames per second (2X Slo-Mo), ultra-smooth 4K 16:9 at up to 240 frames per second (8X Slo-Mo), and up to 10-second burst 960 frames per second in 1080p 16:9 for shockingly smooth 32X Slo-Mo. You can also capture non-burst 1080p 16:9 (and 1440p 4:3) at 480 frames per second (16X Slo-Mo). These are the highest frame rates and slowest Slo-Mo rates in category, rivaling the capabilities of cameras costing tens of thousands of dollars. MISSION 1 enables 8K30, 4K120, and 1080p240 16:9 capture along with 4K120 and 1440p240 4:3 video.
• Industry-Leading 8K30 and 4K120 Open Gate Video is supported in MISSION 1 PRO and MISSION 1 PRO ILS, enabling full sensor 4:3 captures for added flexibility for reframing, editing, and exporting content in multiple aspect ratios for different viewing platforms. The Series’ base model, MISSION 1, supports 4K120 Open Gate video capture.
• Category-Leading Runtimes and Thermal Performance are made possible by the new ultra-power-efficient GP3 processor, advanced hardware optimizations, and the higher-capacity, fast-charging Enduro 2 Battery. The MISSION 1 Series of cameras deliver 5+ hours of recording at 1080p301 and 3+ hours of recording at 4K30 on a single charge. The Enduro 2 battery is also compatible with HERO13 Black cameras and likewise the MISSION 1 Series cameras can work with the older HERO13 Black Enduro battery, albeit with shorter runtimes2. The MISSION 1 Series has been designed from the ground up to deliver reliable, mission-critical performance in the most demanding use cases and environments.
• 13 Capture Modes Enable Convenient Pro-Capture: Each mode is tuned for specific environments or use-cases, using advanced machine learning and scene detection to deliver optimal image quality across a broad range of environments. From activity-specific underwater color science and tuned-stabilization in Dive Mode to face-aware framing and tone mapping in Vlog Mode, the MISSION 1 Series can simplify image-optimization for many common capture scenarios. Or you can choose to capture video with your own custom settings, bypassing all automated settings for complete control.
• Category-Leading Bitrates, Color Depth and Control for Professionals: Dial up the bitrate to a stunning 240Mbps and capture HLG-HDR, 10-Bit Color with GP-Log2, and Timecode Sync for multi-camera shoots, or maximize quality while minimizing file size with GP3’s new advanced encoder.
• Category-Leading Pro-Level Audio: 4 microphones deliver improved stereo recording and wind noise reduction while 32-Bit Float audio recording helps prevent clipping. And Bluetooth® 5.3 audio lets you wirelessly connect to compatible devices utilizing the Hands-Free Profile (HFP) v1.9 with Super Wideband (SWB) Speech, for high-fidelity wireless audio.
• Category-Leading 50 Megapixel Photo Resolution and Image Quality thanks to the combination of the new 50MP 1” sensor and new GP3 processor’s combined capabilities. Capture in RAW or leverage advanced scene detection and machine learning for category-leading HDR photos in the convenient SuperPhoto mode. With up to 14 stops of dynamic range at the sensor and GP3’s next-gen image processing—including the ability to burst capture at up to 60 photos per second—the MISSION 1 Series pushes the boundaries of compact camera photo capture in the same manner it does video.
• Updated Design Increases Waterproofness to 66ft (20m): MISSION 1 and MISSION 1 PRO are waterproof to 66ft (20m) right out of the box without the need for housing, making them the best imaging solution for divers.
• New Lens Design, Bigger Rear Display and Redesigned Buttons make the MISSION 1 Series easier to use in all use cases. Design improvements include an updated lens design with a category-widest 159° native field of view (FOV); a new OLED rear display which is 14% larger than previous flagship GoPro cameras; taller, chunkier raised buttons for easier use with gloves on; and a removable lens hood to reduce glare and lens flare for clearer images.
• GoPro Labs Compatibility: Extend the capability of your MISSION 1 Series camera with over 1,000 custom features, settings and controls tailored for advanced users looking for maximum control. Learn more about GoPro Labs at GoPro.com.

MISSION 1 Series Lineup

• MISSION 1 PRO: The flagship. Featuring a new, cutting-edge 50MP 1” sensor, incredible low-light performance, 8K60 / 4K240 / 1080p960 16:9 video capture, 8K30 and 4K120 Open Gate 4:3 video capture, 50MP RAW photo capture, all powered by a new, ultra-power-efficient GP3 processor that enables category-leading image quality, battery life and thermal performance for mission-critical reliability in extreme use cases.
• MISSION 1 PRO Grip Edition: The flagship camera bundled with an innovative versatile grip that transforms the camera into an even more rugged, ultra-capable feeling point-and-shoot camera designed for run-and-gun style capture. The grip functions as a 2-in-1 solution—as a lightweight, ergonomic grip for easy, one-handed on-the-move shots, or as a rugged, mountable metal cage for added protection with the option to mount vertically. Added features include cold shoe mounts, 1/4-20, magnetic latch mounting, and mounting fingers. Perfect for street photography, cinematography, travel and everyday convenience.
• MISSION 1 PRO Creator Edition: The flagship camera bundled with the new MISSION 1 Series Media Mod for I/O port expansion and built-in microphone, the new Volta 2 Battery Grip for all-day power, and the new Wireless Mic Complete Kit for professional wireless audio. Perfect for vloggers and creators who want an ultra-capable and complete professional camera system that’s ready for any mission.
• MISSION 1 PRO Ultimate Creator Edition: For creators looking for the best of everything and maximum flexibility, this is the flagship camera bundled with GoPro’s Fluid Pro AI gimbal for advanced stabilization in even the lowest light conditions as well as AI-driven subject tracking, the new Wireless Mic Complete Kit for a comprehensive professional audio solution, Light Mod 2 for compact, ultra-portable lighting and the new MISSION 1 Series Media Mod for I/O port expansion, enabling the addition of displays, microphones, headphones, lighting, batteries, and more.
• MISSION 1 PRO ILS: The same 50MP 1” Sensor and GP3 processor as MISSION 1 PRO, but in a mirrorless form with an interchangeable lens mount that supports compatibility with the vast universe of Micro Four Thirds (MFT) lenses and adapters that allows a virtually limitless range of lenses to be paired with the camera. MISSION 1 PRO ILS also supports in-camera HyperSmooth video stabilization with any rectilinear, prime focal length lens. This versatility, combined with its video stabilization, weatherproof design and trademark GoPro durability, makes MISSION 1 PRO ILS the world’s smallest, most rugged and versatile high-speed cinema camera at a fraction of the cost (and size) of comparable cameras. With more creative options than ever before—including telephoto, zoom, macro, and more—the possibilities are limitless, whatever your mission.
• MISSION 1: The same as the flagship in every way but limited to 4K120 Open Gate video capture and 8K30, 4K120, 1080p240 16:9 video capture. 50MP photo capture is the same as in the flagship model. MISSION 1 is perfect for the creator who doesn’t require the higher Open Gate resolutions and category-leading frame rates of the flagship model but still wants the outstanding low-light and image quality benefits of the new 50MP 1” sensor and ultra-power-efficient GP3 processor.

The MISSION 1 Series Accessory Ecosystem

• Wireless Mic System: Capture crisp, professional sound anywhere with the Wireless Mic System. Designed for easy pairing with the MISSION 1 Series, GoPro HERO Black cameras, 3rd party DSLRs and phones, this compact, professional wireless audio system delivers crystal-clear 24-bit/48kHz audio and Dynamic Noise Reduction, keeping voices front-and-center in any setting. The ultra-small and light 10g transmitters are magnetic and can be clipped to clothes or objects. Adjustable gain and a Safety Track mode (recording a backup track at -6dB) ensure balanced, reliable sound no matter how dynamic your shoot gets. With 6.5 hours of runtime per mic plus a charging case offering two additional full charges, and up to 150 meters of wireless range, you’re ready for any creative mission.
• Media Mod for MISSION 1 Series: The new Media Mod for the MISSION 1 Series has been redesigned from the ground up with a built-in multi-pattern mic and expanded I/O capability of your camera for production. Match the width of your stereo audio capture to the FOV of your video with eight different pickup pattern options. Three 3.5mm ports include an external microphone port, a line-in port for timecode sync, and a headset port for live audio level monitoring. A micro-HDMI port enables up to 4K60 video output for use with external monitors, video recorders, or live output for broadcasting. The Media Mod also features its own mounting system, so you can quickly insert or remove the camera when desired.
• Point-and-Shoot Grip: Transform your GoPro into an ultra-capable point-and-shoot camera with this ergonomic, lightweight grip. Perfect for street, travel, and urban shooting, the grip’s versatile design features cold shoe mounts for lights and mics, a 1/4-20 thread for tripods, vertical mounting and pass-through access to the camera’s integrated fingers and magnetic mounting system. For added flexibility, the grip converts into a rugged metal cage for your camera, providing added durability and vertical mounting versatility.
• Enduro 2 Battery: The 2150mAh Enduro 2 Battery delivers longer runtimes, fast-charging and a wider range of thermal performance compared to previous GoPro batteries. It’s also compatible with HERO13 Black. The MISSION 1 Series cameras can also work with the older HERO13 Black Enduro battery (albeit for shorter runtimes).
• M-Series ND Filters: The ND Filter 4-pack (ND8, ND16, ND32, ND64) delivers cinematic motion blur and exposure control for MISSION 1 PRO and MISSION 1. The MISSION Series cameras auto-detect which filter you’re using and auto-adjust the shutter speed for the desired blur and exposure effect. You can also manually control motion blur and exposure.
• Protective Housing: When your mission calls for it, the protective housing will keep your MISSION 1 or MISSION 1 PRO camera waterproof down to 196ft (60m). The built-in mounting fingers allow you to capture content both horizontally and vertically. MISSION 1 and MISSION 1 PRO are waterproof to 66ft (20m) without a housing, while MISSION 1 PRO ILS is weatherproof.
• Volta 2: The premium Volta 2 powered battery grip, tripod, and remote features a built-in 5800mAh battery, integrated camera control, and ¼-20 mounting for up to 9 hours of 4K30 recording time3.
• Light Mod 2: Add compact yet powerful LED lighting to your adventure or studio setup with Light Mod 2’s 200 lumen brightness, 33% increased battery capacity, and up to 100% longer runtimes4. Light Mod 2 includes an optimized diffuser design and versatile mounting for cold-shoe integration on Media Mod and Point-and-Shoot Grip or standalone light use.
• Dual Battery Charger for Enduro 2: The fastest way to charge your MISSION 1 Series Enduro 2 camera batteries. Charge two batteries at once and easily check battery levels and charging status, even when the charger is unplugged. Comes with a high-performance Enduro 2 battery and is compatible with HERO13 Black Enduro Batteries.
• Vertical Mount Adapter: Use this adapter to easily capture social media-friendly footage with three convenient vertical mounting options: built-in mounting fingers, ¼-20 mounting threads, and Magnetic Latch Mount compatibility.

The entire suite of MISSION 1 Series accessories will be available on a rolling basis beginning May 2026 through Q3 2026. GoPro will announce on-shelf availability as each accessory becomes available.

GoPro Quik App & GoPro Subscription

The MISSION 1 Series of cameras is compatible with the Quik app and associated GoPro Subscriber benefits:

• Highlight Videos Automatically Sent to Your Phone: Available with or without a subscription, simply plug in your GoPro when connected to your home Wi-Fi. While it’s charging, your footage is automatically uploaded to the cloud and used to make a highlight video complete with beat-synced music and effects. Videos are automatically sent to your phone and ready to share.
• Edit Your Shots with the Quik App: Tap into an array of easy-to-use tools that let you edit your footage like a pro. You can tweak the highlight videos created by the app or make your own videos from scratch. You can also zoom in, crop, add filters and data overlays, and more with your footage.
• Easy Transferring + Unlimited Cloud Backup: Transferring photos and videos to your phone via the Quik app is a snap with wireless upload. There’s also unlimited cloud storage with hassle-free auto-upload. Just plug in your camera when connected to your home Wi-Fi and your GoPro does the rest.

GoPro customers can unlock the above with the Premium or Premium+ GoPro subscriptions, available in the Quik app or at GoPro.com.

To learn more about the new MISSION 1 Series camera lineup and ecosystem, download the GoPro Quik App or purchase a GoPro Subscription, visit GoPro.com.

MISSION 1 PRO, MISSION 1 PRO Grip Edition, and MISSION 1 will be available for preorder beginning May 21st, with global on-shelf availability starting May 28th. MISSION 1 PRO ILS, MISSION 1 PRO Creator Edition, and MISSION 1 PRO Ultimate Creator Edition will be available beginning Q3 2026. Sign up to be notified of product availability at GoPro.com.

1 In Endurance Mode

2 Though Enduro for HERO13 Black batteries are compatible with MISSION 1 PRO, they will not give you the extended runtimes and fast-charging capabilities of Enduro 2 for MISSION 1 PRO batteries. Only authentic HERO13 Black Enduro batteries are compatible.

3 Total recording time based on recording 4K footage (average of 5.97 hours total) at 30 frames per second with Bluetooth® on and using the combined power of a fully charged MISSION 1 Series camera with an Enduro 2 battery and Volta 2 battery grip at 77°F (25°C). Recording times may vary with HERO13 Black, HERO12 Black, camera settings and environmental conditions.

4 Measured in Level 3 Brightness Mode. Battery life may vary based on usage and other external conditions.

Image: BlackMagic Design

Adobe Lightroom is getting a new competitor from a surprising place. BlackMagic has added what looks to be a shockingly complete set of photo editing tools to the latest version of its Davinci Resolve software, which has traditionally been designed primarily for video editing, color work, and sound design.

Resolve 21 gains a new "Photo" mode, which lets you organize a collection of stills into albums, apply ratings and labels and even search through all your images with an AI-powered tool that you can use to find photos of certain kinds of subjects. The company says it "worked closely" with camera manufacturers to support Raw stills from Canon, Sony, Nikon, Fujifilm and Apple, but you can also use it to edit JPEGs and HEIC files. There's even a tethering mode for certain Sony and Canon cameras.

Node-based editing will take some getting used to, but can be a powerful tool, depending on how you edit.

The company's main pitch for Resolve as a photo editor centers around its color tools. They're extremely robust, as they're designed for editing movies, but offer a lot of flexibility for stills too. The editor uses what's known as a node-based approach, which lets you add adjustments as independent effects that can either chain together or not affect each other. For example, if you select part of your image using Resolve's "Magic Mask" feature, you can have your base color adjustments apply to the entire image, but have certain edits only applied to the masked area.

While nodes can take a little bit of practice to wrap your head around, they can be a powerful and flexible way to edit. Using them isn't absolutely required, though; the software also has built-in "Film Looks" presets that you can customize, and supports applying Look Up Tables, or LUTs, to your photos. And if you just want to edit basics like lightness, color temperature, saturation, etc., you can use more traditional sliders. Resolve also includes basic crop and rotation tools, too.

Resolve's Raw editing tools will be more familiar than its color editing ones.

BlackMagic also says that edits and adjustments can be accelerated by your computer's GPU, which it claims allows Resolve to process photos "dramatically faster than conventional photo applications."

During a livestream announcing the update, BlackMagic's CEO said that the Photos mode will probably receive a lot of tweaks and improvements over time. But if it provides anything like the capabilities that BlackMagic has promised, it could be a viable competitor to more established programs like Adobe Lightroom and Capture One Studio right off the bat.

That's especially true given the price. Davinici Resolve is available for free, though to get all of its features, you'll have to pay $300 for the "Studio" version*. It's currently unclear what, if any, of the photo features will be gated behind that paywall, though on the video side, you'll need to upgrade if you want to export at resolutions above 4K, which many photos are.

Davinici Resolve 21 is being released in beta today, though it's worth taking that label seriously. We weren't able to successfully export a photo while testing to see if there were any obvious limitations, with the software just giving us an error message about not being able to decode it, so it seems like there's still definitely some work to be done.

The company also announced plenty of features for video editors, too, which largely center around AI. The software now has a suite of built-in AI-powered effects, such as voice generation, "CineFocus," which lets you add customizable blur to your video, actor aging/deaging tools, blemish removal and more. Many of those, and the software's other video-focused tools, such as AI-upscaling and noise reduction, can also be used when editing stills.

* - Currently, that's a one-time fee, with Studio owners getting free upgrades to each subsequent version. However, during the livestream, BlackMagic's CEO mentioned that the company may need to start charging for upgrades someday.

Satoshi Maetaki (left) and Yutaka Nakamura (right) holding the Canon RF 14mm F1.4 L VCM and RF 7-14mm F2.8-3.5 L Fisheye STM, respectively.
Photo: Mitchell Clark

Last year, we had the opportunity to tour Canon's lens factory in Utsunomiya, to get a look at how the company produces its optics. This year at CP+, we had the chance to talk to some of the people who play a part in designing the lenses made there: Satoshi Maetaki, general manager of the Optics Technology R&D Center and Yutaka Nakamura, assistant manager at the IMG Products Planning Center.

Our conversation largely centered around two of the company's latest releases, the RF 14mm F1.4 L VCM and the RF 7-14mm F2.8-3.5 L Fisheye STM, but we also got to talk about some of the things the engineers consider when designing a lens, some of the tools and tech that helps them with that process and how they decide which lenses to work on.

Considering what lenses to make next

Nakamura says the process for deciding what lens to make next is a holistic one, based on several factors. "We always consider: 'what is the ideal lens lineup?' That’s always in our mind," he says. "It’s not just the market environment or the user’s feedback. We also have to consider the possible future advancement of our core technologies, and how consumers’ shooting styles will change."

"We always consider: 'what is the ideal lens lineup?'"

While many of Canon's recent lenses have been full-frame designs, in our interview with Canon's top executives, Go Tokura, Executive Vice President and Head of Canon's Imaging Group, said the company is still interested in crop systems. "We won't stop exploring the field of APS-C lenses," he says. "Our principle is both full-frame and APS-C. We will continue to explore."

Advanced materials, corrections and simulations

Once they determine what lens to make, the engineers and planners have to figure out how to actually build it. According to Maetaki, the decision on whether to use digital distortion correction is made at the very beginning of the process, as was the case for the 14mm F1.4 L VCM. "We developed this lens under the precondition that distortion correction is to be done on the camera side," he says. "Because some of the correction can be done by the body, the lens can be smaller."

"We developed this lens under the precondition that distortion correction is to be done on the camera side"

As with many other lens makers we've talked to, Maetaki said special elements like Canon's BR and fluorite lenses are especially important when it comes to making a high-performance lens that's still relatively compact.

He also says that Canon is taking advantage of recent advancements in simulation tech for lens designs. "At the time of development, we have a better idea of how it’s going to be post-correction. Thanks to the development of the simulation technology, we can select the optimal design." As the company designs the lens, it can run simulations in tandem with the physical design work it's doing.

AF motors

For modern mirrorless lenses, choosing which kind of actuator to use for the autofocus is also an essential part of the process. According to Maetaki, the decision is made on a case-by-case basis; sometimes the company will choose an autofocus technology based on the optical design, other times the type of autofocus actuator may influence the lens' construction.

"Simply put, we select the motor depending on the concept of each lens," says Nakamura. "Is it for professionals, for high-end amateurs, entry-level? Or is it specialized for still images, or a hybrid between stills and video? Also, price range is important for us to consider. And focal length, the maximum aperture… Based on all these elements, we’ll decide which motor or actuator is most suitable."

In the case of the 14mm F1.4 L VCM, the company went with the namesake voice coil motors because of their ability to move the lens's relatively large and heavy elements. And even though the RF 7-14mm F2.8-3.5 L Fisheye STM is a modern version of the DSLR-era EF 8-15mm F4L Fisheye USM, Canon decided not to go with the ring-type USM motor again. According to Nakamura, this was a lesson it applied from a previous lens, the RF 10-20mm F4 L IS STM, from 2023.

"That was an ultra-wide lens that had the STM as well," he says. "That let it be compact with quiet, speedy, smooth autofocus. We took that lesson and applied it to this model."

Making a line of lenses the same size

The lenses in Canon's VCM lineup have very similar dimensions to make it easier to swap between them if you're using a gimbal or other video setup.
Image: Canon

One notable aspect of Canon's F1.4 VCM lineup is how all the lenses are all very similarly-sized, from 14mm to 85mm. Nakamura says this is so video shooters can use all the same accessories, such as ND filters, follow focus units and rigs, even when switching between lenses. "That’s why we stick with the same barrel size or diameter, so those accessory changes don’t become a burden. So this is one of the determining factors when we’re deciding to add a lens to the lineup. We have to consider all this, including the shooting styles of our users."

According to Maetaki, achieving this isn't actually as difficult an engineering challenge as it might seem. "With current focal lengths, it’s not much of a problem," he says. "If the focal length becomes even longer, the difficulty level goes way up. Because when that happens, the diameter of the glass becomes larger, so it’s harder to fit." He says that from 14mm to 85mm it's fine, but perhaps that means we shouldn't hold our breath for something like a 100mm entry in the F1.4 VCM lineup.

This article is based on an interview by Mitchell Clark at CP+ 2026. It has been edited for clarity and flow. You can read our interview covering Canon's camera business by clicking the link below.

Canon interview from CP+ 2026