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

The much larger battery in the L10 takes up almost 1/3rd of the body's volume, so it's no surprise that the camera is larger than the LX100 models.

Photo: Mitchell Clark

The Panasonic L10 is appreciably larger than the LX100 models that came before it. This has caused some people to dismiss it as no longer making sense, once it's comparable to the size of the smallest ILCs and their retractable lenses.

It's also brought into question our use of the term "compact camera" which we've historically used for cameras with built-in lenses, but that's an issue for another day.

Handling the L10, it quickly becomes apparent why it's so much larger, with the new, much larger battery taking up approximately 1/3rd of the body space. This is because the L10 uses a battery with over twice the capacity of the one used in the LX100s: 15.8Wh, rather than 7.4.

The camera has also become a little deeper, because the screen is now articulated, rather than fixed (something we found frustrating on cameras with such a wide-angle lens). The L10 also has a separate door for its SD card, rather than it slotting in behind the battery, though sadly the door is so close to the tripod socket that this separation doesn't bring any particular benefit.

Having traveled with the camera for a while, I found myself appreciating those two changes more than I was put off by the loss of pocketability. With a wrist-strap, it's small enough to comfortably carry all day, but now with the battery life to sustain it over prolonged periods, and the ability to turn the rear screen in for protection, when stuffing it into a camera bag or carry-on luggage.

Does it have as much flexibility as an ILC? No, but its lens is brighter (in both absolute and equivalent terms) than ILC + kit lens pairings that come close to its size. And, like the Fujifilm X100 cameras, that are the same height and width as the L10, there's a certain appeal to a self-contained device that does one particular thing, rather than a camera that could, theoretically, do anything. If you don't see that appeal, then it's not the L10, or its size, you dislike, it's compact/fixed-lens cameras.

When you use DPReview links to buy products, the site may earn a commission. The key to the Canon RF 20-50mm F4 L IS USM PZ for photographers is the switch to go between power and manual zoom mode.

Alongside the EOS R6 V, Canon introduced the 20-50mm F4 L IS USM PZ. Like most power-zoom lenses, it's clearly mainly focused at video users who have access to a zoom toggle at their fingertips. But Canon made the unusual decision to take a hybrid approach; with the flick of a switch, you can control the zoom in the traditional manner by rotating a ring on the lens barrel between two fixed points.

We're in the process of testing the EOS R6 V, but thought it'd be worth taking the lens out to shoot a few photos, too, to see if it also makes a decent photo lens on a camera without that zoom lever.

To answer the most obvious question first: no, the manual zoom mode isn't mechanical. The lens's focal length is still controlled by the power zoom motors, and there is an ever-so-slight delay between you turning the ring and the lens arriving at its destination. The lens is pretty quick, so it's not too noticeable if you're just zooming in slightly, but you can definitely see (and maybe hear) it if you're going from 20mm to 50mm.

This somewhat breaks the illusion of direct control that the manual zoom portion of the lens is designed to add. It also doesn't help that the ring is just a bit too easy to turn. That both makes it easy to accidentally change your zoom level when you didn't mean to, and acts as another signal to your brain that you're actually remote-controlling something, rather than physically moving parts of the lens yourself.

The good news is that, unless you bump the zoom ring, the lens will retain its focal length setting when you turn the camera body off; unlike with a compact camera, you don't have to wait for it to move back through its range to 50mm when you turn your camera back on. However, if you move the zoom ring while the camera's off (accidentally or otherwise), you'll have to wait an extra moment or two for the lens's motors to change its focal length when you turn the camera back on, during which time you won't have any live view preview.

I also found the 20-50mm focal length to be quite enjoyable to shoot. I'm a fan of 50mm, so I don't mind it ending there if it means a smaller lens, and being able to go that bit wider came in handy quite often.

Canon EOS R5 II | Canon RF 20-50mm F4 L IS USM PZ @ 21mm | F8 | 1/250 sec | ISO 100 | Processed with Capture One

While I imagine some photographers may be disappointed reading the above, I'll also say this: after about an hour or two of shooting with the lens, I mostly stopped noticing the quirks. That's not something I can say about any of the other power zooms I've shot photos with, which were always that bit more annoying to use. Sure, the experience of using the 20-50mm isn't the same as using a mechanically zooming lens. But it's also much nicer for photography than a traditional power zoom that can only be controlled with a rocker or finicky on-lens control.

The W - T control on the lens isn't just a toggle. If you only push it a bit towards either end, it'll move through the range slowly. Push if further, and the zoom will happen faster.

For those who care about video, the story is more straightforward: this lens is really nice to use, especially if the camera it's on has a zoom toggle. Even if it doesn't, the power zoom control on the lens works well. With a bit of finesse, you can use it for slow, purposeful pushes or pulls, or for crash zooms, depending on how far you push it to the W or T side.

There are also times when it's nice to use it in the manual zoom mode, where how easy the ring is to turn becomes a feature, rather than a bug. I've always found it quite difficult to get smooth zoom pushes or pulls using a lens's traditional mechanical zoom ring, but with this lens, it's a breeze, while still offering a bit finer-grained control than the traditional power zoom control.

Buy now:

Buy at AdoramaBuy at B&H Photo Canon RF 20-50mm F4 L IS USM PZ specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length20–50 mmImage stabilizationYesCIPA Image stabilization rating6 stop(s)Lens mountCanon RF, Canon RF-SApertureMaximum apertureF4Minimum apertureF22Aperture ringNoNumber of diaphragm blades9OpticsElements13Groups11Special elements / coatings2 GMo aspheric, 3 UDFocusMinimum focus0.24 m (9.45″)Maximum magnification0.33×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight420 g (0.93 lb)Diameter80 mm (3.15″)Length98 mm (3.86″)SealingYesColourBlackZoom methodRotary (internal)Power zoomYesFilter thread67 mmHood suppliedYesTripod collarNo

From the Airport Fire in the Santa Ana Mountains in Southern California in September, 2024.

Fujifilm GFX100 II | GF 20-35mm F4 R WR | 25mm equiv. | F5/0 | 1/20 sec | ISO 800
Photo: Stuart Palley

When Stuart Palley began photographing California wildfires in 2013, the data already pointed toward more serious wildfire problems ahead. Over the next 13 years and nearly 200 fires, he watched that prediction come true. Fire seasons grew longer, fires burned faster and more aggressively, and January 2025 brought an inferno to the hills of Los Angeles at a time of year that usually felt like a safe time.

Through all of it, Palley has been there with a camera, building a visual record of the American West's fire crisis. I had the opportunity to chat with him about his journey capturing wildfires, the toll it takes and Terra Flamma, his current ongoing series dedicated to a fresh perspective.

Fire as light

From the Dragon Bravo Fire on the North Rim of the Grand Canyon in July 2025.

Nikon Z8 | Nikkor Z 70-200mm F2.8 VR S | 70mm | F2.8 | 30 sec | ISO 6400
Photo: Stuart Palley

While Palley is still very focused on the journalistic side of his photography, his Terra Flamma series blends the boundaries between documentary and fine art. The project involves using long exposures to photograph fires at night, and Palley was drawn to making these images in part because of the colors they allow.

Palley explained that he frequently thinks about a quote from Vincent van Gogh, who said, "I often think that the night is more alive and more richly colored than the day." Van Gogh's paintings, like "The Starry Night," were direct inspiration for Palley's fire-lit nightscapes. "That use of color and night scenes just always stuck with me from growing up, and I just loved access to the color palette that wasn't otherwise available," he said.

Fujifilm GFX100 II | GF 500mm F5.6 R LM OIS WR | F5.6 | 60 sec | ISCO 1600
Photo: Stuart Palley

The images grasp onto that idea, showcasing landscapes in a manner we don't often see. "Fire is its own light source, and it bathes everything in this warm light," Palley explained. "When you add in smoke and other geographic features, it can either be an enormous warm softbox, or it can paint everything in orange and red, and then contrast it against a more blue or purple night sky. So it creates this incredible color palette that is only available when the fires are happening."

Terra Flamma isn't just about color, though. The long exposures give you a different look at the fire's behavior, too. "You see what it's doing, you see where the smoke's going, and it sort of illuminates the scene," said Palley. The long exposures also showcase the landscape, providing a bigger view of the situation. "Ultimately, the goal of Terra Flamma is to take these landscape photos of fire and put them in the context of where they are," he said. "Is this happening in the mountains in the middle of nowhere? Is it happening near downtown LA?"

Palley doesn't only photograph wildfires. This was taken at the Lineage Logistics warehouse fire in Los Angeles, California, at the end of June 2026. He's also starting to capture drone footage (video and photo), which you can see on his YouTube channel.
Photo: Stuart Palley

Palley has also expanded the series to include stories beyond the fire itself, including firefighters, crews, communities, air quality, forestry management and more. "The fire has become part of a broader ecosystem when it comes to storytelling about climate and natural disasters here in the American West," he told me.

While Terra Flamma occupies the fine art end of his work, it represents only part of what Palley does at a fire. During the day, he's working as a photojournalist documenting firefighters, crews and affected communities with the same immediacy as any news photographer. The long-exposure landscapes come when the sun dips down.

Putting gear in the line of fire

Palley's longer exposures are typically shot from a safe distance from the fires, but sometimes, he's right in the mix. This image was handheld, so he could move more freely.

This image is from the Eaton fire in Altadena, California, in January 2025. You can see a video of the scene here.

Fujifilm GFX100 II | GF 55mm F1.7 R WR | F1.7 | 1/35 sec | ISO 3200
Photo: Stuart Palley

Of course, long exposures create logistical challenges that daytime images don't. Fires are dynamic and can change rapidly, and setting up for a long exposure requires time. Thankfully, most of his long exposures give him the benefit of distance as a safety buffer. "A lot of times when I'm doing these longer landscape exposures, it's from further back, looking at the fire in context across a canyon or down a hill," he said. "So, I typically have some space built in that gives me both geographic safety and the time to make these images."

That's not always the case, though. Palley remembered one image in particular where he was much closer to the fire, with a 30-second exposure capturing embers swirling around him. "I had to stand there holding my camera in the wind, getting pelted by embers," Palley said. "I've got like a hood, a helmet, goggles and all this stuff. So, I was fine. But I decided at that point that it was worth making that picture because it showed the ember cast in such a wild way that it was worth sitting there for the 30-second exposure."

From the Eaton fire in Altadena, California, in January 2025.

Fujifilm GFX100 II | GF 80mm F1.7 R WR | F7.1 | 1/160 sec | ISO 800
Photo: Stuart Palley

Thankfully, fires haven't been the direct cause of damage to Palley's gear. "I've certainly damaged and destroyed multiple cameras at these fires, but it's not necessarily from negligence," he said. He recalled one time in 2015 when he dropped his camera after getting attacked by a displaced beehive because they were attracted to his yellow Nomex suit. Another time, he melted a lens hood because it fell into burning grass.

The most common issue, he says, is smoke. "The cameras smell like ashtrays," he said. "You get smoke and ashes on it, but you get alcohol wipes, and you wipe the cameras down every day to reduce smoke exposure and things like that." He also sends them off yearly for a cleaning to maintain his gear. "But ultimately, it's a tool and tools used in challenging conditions just often need more maintenance," he explained.

Training is key A Cal Fire Boeing 747 air tanker drops flame retardant to slow the El Dorado fire in California in 2020.
Photo: Stuart Palley

While Palley, of course, wants to create incredible photographs, he draws a clear line. "The key thing here is no photo is worth me getting hurt or getting in the way of firefighters," he said. He's always putting his safety and the job of firefighters first.

That focus on safety has only increased over the years, too, as fires have become more intense. "I've always been safety oriented, but I'm very, very conservative now on how I approach these fires because the fire behavior is so extreme," he said. "From having been at almost 200 wildfires at this point, the fire behavior continues to surprise me with how aggressive and rapid it is."

A Cal Fire engine crew member sprays hotspots at the Tenaja Fire in Murrieta, California, in 2019.
Photo: Stuart Palley

Palley's safety record is no accident. Since early on in his career, he has devoted a lot of time to making sure he is well-trained, knowledgeable about fires and has the right gear. "When I first started photographing fires, I had basic Nomex PPE, but the boots didn't quite fit right. I didn't have the right fire shelter," he told me. "So within the first year, I went to a private wildland fire school for a week to get my general wildland firefighter training."

"When I'm at fires, I want to be there to tell the story, not become part of it"

He's also careful to continually update his gear so that it meets current standards. For example, he recently purchased a $3000 radio because many agencies have updated their radios, and he needs an easy way to listen to what's going on to stay safe and out of firefighters' way. "When I'm at fires, I want to be there to tell the story, not become part of it," he said.

A home covered in fire retardant after an aircraft drop was a few hundred feet off at the Tenaja Fire in Riverside County, CA, in 2019.
Photo: Stuart Palley

Palley has also started sharing his knowledge with others. He recently led a two-day wildfire media safety course for 20 Reuters staffers and freelancers. "It's a blend of some very general wildland fire behavior and training that's standardized for firefighters, but it's sort of customized in a curriculum I just developed to teach journalists," he explained. That information can then help other journalists stay safe, while producing informative coverage of these events.

That directness extends to how he talks about irresponsible coverage more broadly. Palley is a genuine believer in the democratization of media and is all for more people covering these events. But he has little patience for journalists or creators who treat dangerous situations carelessly. "When I've seen so many extreme fires, fatality fires, homes burn down, I don't have time to sugarcoat these explanations," he said. "Sometimes you have to just be direct and tell people to get their shit together. This is serious stuff happening. It needs to be taken seriously."

Building trust and the ethics of wildfire photojournalism

From the Woolsey Fire in Los Angeles and Ventura Counties in California, in November 2018.
Photo: Stuart Palley

Trust is also a factor when photographing these fires. Palley is often working in the vicinity of firefighters, and they need to know that he's not a liability and that they can trust him to be responsible and safe. "If you're a journalist there, to a wildland firefighter, you're the X-factor," he said. "Trust is one of the biggest things, and that's the reason why I'm big on having the right gear and the training and knowing how to use it."

Trust extends beyond wildland firefighters and safety crews, too. Palley often photographs communities when people return to their homes after fires, a traumatic and emotional experience. "When you're photographing people on the worst day of their lives or the most stressful day of their lives, sometimes they don't want that to be photographed," he described.

"I want to respect the dignity that people deserve in these situations."

"I want to respect the dignity that people deserve in these situations and build that trust," Palley said. Because of that, he gives people space when requested, moving on to other areas and photographs. "To me, that's more important than making that picture," he told me.

The cost of the work Smoke from the Dixie Fire in August 2024 fills the sky over the drought-impacted Lake Oroville in northern California.
Photo: Stuart Palley

Palley considered conflict photography early in his career before deciding against it, in part because of the mental health toll he knew it could take. The irony is that wildfire photography has its own cost.

"Journalists deal with vicarious trauma, and if it's not treated, it essentially develops into PTSD," he said. He's clear about what the work actually demands. "When these fires happen, you're working 16, 18-hour days on assignment. It's just very intense," he said. "The human body and mind are not designed for that level of stimulation for that amount of time."

There's been a growing movement in both journalism and the firefighting world to acknowledge this, and Palley learned it firsthand. In 2023, he was feeling the burnout and stepped back from photographing fires for about a year.

Palley documenting the Palisades fire in Los Angeles County, California, in January 2025.
Photo: Chiara Dollak

Recovery, for him, has meant therapy, stepping away from social media during intense fire periods and making space to decompress. "When it's been a really intense fire reporting period, just kind of be present, literally touch grass, rest, get away from the digital screen," he said.

The cost of this work is real, but so is Palley's commitment to it. He returned to the fire line when the LA fires broke out in January 2025 and hasn't stepped back since. For those looking to stay informed, he recommends Watch Duty, a free nonprofit app he volunteers for that sends real-time alerts about fires and evacuations across the United States.

His parting advice, after 13 years and nearly 200 fires, is straightforward: "If you're worried about a fire and you haven't gotten an evacuation order, you don't have to wait for an evacuation order to leave. You can always leave."

You can follow along with Palley's work on his Instagram, YouTube channel and website.

Mirrorless cameras have largely taken over from DSLRs. That transition has lead to a different kind of engineering taking the lead role.

Photo: DPReview

I have an admission: there's just something I don't love about shooting with the Nikon Z8. Pressing the shutter and hearing the speaker go "click" just isn't the same experience as hearing and, more importantly, feeling, a mechanical shutter fly open and slam closed at 1/200th of a second.

There are absolutely benefits to this approach: the e-shutter won't wear out, no matter how many times it's used, you don't have to worry about shutter shock* and the sensor never being blocked means the EVF has a constant feed of what's happening in front of the lens. Were the Z8 the only camera I shot with, I'm certain I'd grow used to it and, in time, probably come to love the experience of an e-shutter-only life.

I think, though, that this mild dissatisfaction has less to do with the Z8 specifically, and a... let's not call it an issue, but perhaps a quirk of mirrorless cameras in general and how they interact with my specific experience. They are, unquestionably, technological marvels, better in almost every way than what came before. But they aren't mechanical wonders.

None of this is meant to pick on the Z8 specifically, I've just been shooting with it a lot. While most other mirrorless cameras still have a mechanical shutter, their most ambitious modes don't use it, and they're still mechanically much more simple than even basic DSLRs.

Photo: Richard Butler

I'm approaching 30 years old, which means my entire life has taken place after the digital revolution, both in cameras and the world at large. There is no Before Computers for me; some of my earliest memories are messing around with the settings of the family desktop when I was four.

As I grew older, I turned that interest into a job, building and fixing computers and, eventually, programming them and writing about technology. As a result, I understand how they work at a pretty fundamental level. While I might describe a mirrorless camera's autofocusing and subject recognition capabilities as "magical," I know they're not. I'm familiar with how machine learning works, and could explain it in excruciating detail. I can recognize great software engineering, but I'm not astounded by it.

This isn't the case for DSLRs. While I have a decent understanding of how they do what they do, I still find it incredible that it's all possible at all. What do you mean you can use a system of mirrors, optical splitters and custom-made line sensors to let you look through the lens and autofocus at the same time? And the mirror and shutter coordinate to flip up and fire at precisely the right time to expose the sensor? 10 times a second? And they figured this out in the 90s?

A diagram of the autofocus sensor assembly for the Canon EOS 5D II. If you want to get an idea of how mechanically complex that camera is, go check out all the technical diagrams in our review.
Image: Canon

It's even truer for film, where you have a similar level of SLR complexity, but the computer part – the stuff I understand – is replaced by a strip of chemicals that physically change when exposed to light. Again, I have some knowledge of what's actually going on. I've done the reading. But every time I pull developed film out of the tank and look at the negative, it just feels like witchcraft. How could pressing a button on a mirrorless camera and kicking off the take picture function in its computer ever compare?

Until you look at the pictures and realize that the Z8 can track a subject from the very edge of the frame, and have it in focus the entire time. And that it can capture it at 20fps, with no viewfinder blackout. And sync with flash at 1/250 of a second, without a mechanical shutter. It's old news today, but versus any (D)SLR, it's revolutionary.

SLRs and their digital counterparts are like mechanical watches, full of complex moving parts. Mirrorless cameras are like a smartwatch; still a feat of engineering, but of a completely different kind.

Photo: Richard Butler

This effect extends beyond cameras, too, in our increasingly computerized world. I've pretty much exclusively worn digital watches of some form, but my coworker Richard says the obvious point of comparison is intricately made and fully mechanical watches versus computer-powered smartwatches. The silicon models are simpler, easier to understand, and more accurate than a mechanical model could ever be. But where's the soul?

For me, the more obvious point of comparison is one more familiar to me (but no less clichéd): internal combustion engine vehicles versus electric ones.** Like with mirrorless systems, I understand at a fundamental level how EVs work. And no matter how many truly excellent explainers I watch, and even how often I work on my own cars, I still can't really wrap my mind around how a combustion engine does what it does. (You expect me to believe all these precise operations can be synchronized by a belt or a chain?) But like with cameras, that complexity, beautiful as it is, comes with a cost: I know some prefer the traditional experience, but driving an EV, it's hard not to see it as the future.

I still can't really wrap my mind around how a combustion engine does what it does

With all this said, there are still mechanical wonders around; both the kinds you'd expect, and ones that are a bit easier to overlook. As an example of the former, take Leica's M-series cameras; the rangefinder mechanisms are intricate and precise, the kind of thing an unskilled technician could take apart, but not put back together. And while the company was, at one point, only producing a few hundred of its film rangefinders a year, they've seen a surge in popularity again, indicating a demand for that mechanical, analog experience.

There's plenty of complex physical engineering to be found in the mirrorless world, too. Stabilization systems, both in-camera and in-lens, are an impressive dance between gyroscopic sensors, software and actuation mechanisms, and become even more so when coordinating together. And gimbals take this to an even higher level; seeing one in action can be so mesmerizing that you'd be forgiven for forgetting that the device that you're watching corrects for the movement it's detecting in real-time and moving a who-knows-how-heavy camera setup to match only costs $300.

I also fully realize that there will be those for whom the wonder is flipped; a mechanical engineer might be more awestruck by complex algorithms than mechanical linkages, no matter how delicate or ingenious. And some folks may be completely flummoxed by cameras new and old, alike. But whichever makes most sense with your brain, it's worth stopping to remember that cameras aren't just technology. They are, of course, impressive pieces of tech. But they're also doing something special, whether we understand how it's happening or not.

* - Which becomes an increasing concern as sensor resolution increases; there's a reason the Sony a7R series use electronic front curtain, which avoids shutter shock, by default.

** - Apologies for choosing three particularly contentious examples.

View this post on Instagram

A post shared by Sony | Alpha (@sonyalpha)

Sony is set to announce a new model of its RX10 enthusiast long zoom compact next week, according to a teaser video. Captioned "The wait is over. A new RX10 is coming 7/9/2026," it shows off a silhouette of what appears to be the camera's lens and body.

The reference to a wait is apt. The RX10 IV, which featured a 20MP Type 1 sensor (116mm²) and a 24–600mm equiv. lens, was released in late 2017, and hasn't been available to buy new for a while now. That absence has been felt even stronger because of the lack of other cameras in this class. Panasonic's FZ1000 II was one of its closest competitors, but is also now unavailable.

Other bridge cameras, like the Nikon P1100 or Panasonic ZS300, fill similar roles of offering a ton of zoom range, but with different sets of trade-offs. The P1100 offers a massive 24–3000 mm zoom range, but uses a Type 1/2.3 (28mm²) sensor that makes even the RX10 IV's look massive by comparison. And while the ZS300 also uses a Type 1 sensor, its 24–360mm is decidedly less ambitious with an aperture range of F3.3–6.4, compared to the RX10 IV's F2.4-4 (equivalent to F9-17.4 and F6.5-10.9, respectively).

Sony's teaser has essentially no other information on what upgrades it has made to the RX10 IV's formula in the near decade since it launched, but we don't have long before we find out. According to the video, the announcement will be at 07:00 Pacific / 15:00 BST on July 9th.

Canon EOS 5D | F8 | 3 sec | ISO 250
Photo: Rishi Sanyal

This weekend, people and cities across the US will be celebrating the Fourth of July with the traditional large firework displays. If you're trying to capture those, there are a few things you'll want to keep in mind if you want to get pictures that truly sparkle.

We've outlined the most important ones in a video, which you can watch below:

View this post on Instagram

A post shared by Digital Photography Review (@dpreview)

If you're looking for a more in-depth look at how to shoot fireworks, including tips from someone who's done it professionally, we have a few articles you can dive into, too. Stay safe, have fun, and get some great shots!

Read: a tutorial from the official photographer for the London New Year fireworks

PS: not American? These tips will work just as well on November 5th, December 31st or any other day with big fireworks displays. It's never too early to start planning!

Slideshow: Fireworks 101

Photo: Fujifilm

Fujifilm is celebrating the 40th birthday of the QuickSnap series of single-use 35mm film cameras. To mark the occasion, the company has announced two new additions: the QuickSnap Black and White and Active.

The QuickSnap Black and White is Fujifilm's first one-time-use camera that uses monochrome film. That perhaps isn't too surprising; while Fujifilm has produced black and white film under its Neopan brand since 1952, the line has been whittled down over the years to just a single stock, Neopan 100 Acros II.

The simply named QuickSnap Black and White is the company's first monochrome single-use film camera in the lineup.
Image: Fujifilm

The new disposable camera uses 400 speed film, but Fujifilm hasn't specified an emulsion. Given that Fujifilm's only black and white film in production right now is 100 speed, it isn't that. But it isn't clear if this is a proprietary emulsion made for the camera, or if it's sourced from a third party like Ilford. Either way, Fujifilm says the film stock is "designed to capture rich contrasts, tones and textured grains."

The black and white camera uses a 1/140 sec shutter speed and a plastic, 32mm lens with fixed focus and F10 aperture, as is typical on single-use film cameras. It features a built-in flash with a range of roughly 3 meters (10'), and a switch to turn the flash on and off. It offers 27 exposures and can be developed with C-41 chemistry.

The QuickSnap Active replaces the QuickSnap Waterproof, though it is functionally the exact same.
Image: Fujifilm

The QuickSnap Active replaces the previous waterproof QuickSnap. It's designed to withstand rain and underwater adventures up to 10 meters (33'), thanks to an integrated waterproof housing. It also uses a 32mm plastic lens with F10 aperture and fixed focus, though a slightly slower 1/125 sec shutter speed.

The Active uses an 800 speed color negative film. The previous waterproof camera likely used Superia X-TRA 800, but it isn't clear yet if that continues in the new Active. Unlike the black and white offering, the Active does not feature a flash. It is capable of 27 exposures and can be developed with C-41 chemistry.

The Fujifilm QuickSnap Active and Black and White will be available for purchase in early September for $25 and $23, respectively.

Press release:

FUJIFILM QuickSnap™ One-Time Use Cameras Celebrate 40 years with New Product Announcements

New Black and White Variety and an Updated Waterproof Camera Introduced

VALHALLA, N.Y., June 30, 2026 — FUJIFILM North America Corporation, Imaging Division, is celebrating the 40th anniversary of the introduction of its QuickSnap™ one-time use camera line with the introduction of two new varieties of its popular portable camera lineup – QuickSnap Black and White™, and QuickSnap Active™, which replaces the current waterproof QuickSnap™ camera.

"For 40 years, FUJIFILM QuickSnap™ cameras have been trusted companions for people making images on the go," said Bing Liem, division president, Imaging Division, FUJIFILM North America Corporation. "In the age of endless smartphone imagery, one-time use cameras have always offered something unique – intentionality. A dedicated device in your hand solely used for image-making – a departure from the constant beeping, buzzing, or alerts from our electronic devices. QuickSnap™ reminds us to take a breath, be authentic, and capture a raw moment, filter-free. These latest new varieties take that intentionality a step further, bringing users the artistic flair of black and white photography, or the go-anywhere capability of a durable all weather camera."

Key features of QuickSnap Black and White™:

• Designed to capture rich contrasts, tones, and textured grains with its integrated ISO 400 135 Black and White negative film
• Built-in flash with a range of approximately 10 feet
• Switch for flash
• 27 exposures
• 35mm film (film processing not included)
• Developed with C-41 chemistry for easy developing

Key features of QuickSnap Active™:

• Designed for unpredictable, all-weather, all-terrain adventures with a protective housing and wrist strap
• ISO 800 135 Color negative film
• No flash
• 27 exposures
• 35mm film (film processing not included)
• Developed with C-41 chemistry for easy developing
• Waterproof up to 35 feet

Pricing and Availability

FUJIFILM QuickSnap Black and White™ is expected to be available early September 2026 at a Manufacturer’s Suggested Retail Price of $22.90 USD and $34.99 CAD. FUJIFILM QuickSnap Active™ is expected to be available early September 2026 at a Manufacturer’s Suggested Retail Price of $24.75 USD and $36.99 CAD.

For more information on FUJIFILM QuickSnap Black and White™, please visit https://quicksnap.fujifilm.com/en/lineup/black-white/.

For more information on FUJIFILM QuickSnap Active™, please visit https://quicksnap.fujifilm.com/en/lineup/active/.

Back in April, we shared some big news: for the first time since DPReview went live in 1998, we've been rebuilding the entire site from the ground up. This isn't just a cosmetic update or a new coat of paint, but a rebuilding of the entire codebase and migration to a modern web platform we can support for years to come.

After months of work, we're ready to make the switch. This has been a massive undertaking. Beyond building everything that's new, we've had to migrate more than 25 years of content, product databases, widgets, and more to an entirely new system.

It took a little longer to wrap up than we expected, and that was deliberate: we wanted certain things working properly out of the gate rather than rushed. A good example is our Image Comparison Tool, the widget that lets you compare studio scene images between cameras. We haven't just rewritten it for the new site; we've redesigned it to work well on phones and tablets, too.

Here's what to expect over the next few days, and how the change might affect your use of the site.

What to expect

The migration begins tomorrow, Friday, July 3. You can keep using the site as usual during this period, with a couple of limitations:

• Comments on articles will be frozen so we can migrate them to the new system.
• Creation of new DPReview accounts (including forum accounts) will be temporarily unavailable.

On Wednesday, July 8, we plan to flip the switch and turn on the new site. From that point, you'll see the new DPReview website in place of the current one.

The forums will not be directly impacted by the migration. If you're already a registered forum user, you can carry on as normal.

Once the new site goes live

Launch day is the start, not the finish line. As with any project of this scale, some things will take some additional time to wrap up. We'll make sure to share a list of work still in progress, along with FAQs covering the new site and how to get support.

We will also set up a dedicated forum thread to log known issues and provide a place to report bugs and ask questions. Some bugs will inevitably slip through, and we appreciate your patience as we track them down and fix them.

In the meantime, we're re-sharing the FAQ we published a few weeks ago, in case anything comes up before launch. Once the new site is live, we'll add more FAQs to cover additional questions we know you'll have.

None of this would have been possible without you. Your feedback over the years – including all comments, direct messages, emails, and the occasional rant – helped shape the new site. We're looking forward to sharing the results and building the next phase of DPReview alongside you.

FAQs Is the current site broken? If not, why change?

Not broken, but overdue. The site has been running on the same aging codebase for over 25 years, and maintaining it has become increasingly costly and limiting. Moving DPReview onto a modern shared platform with our sister site Gear Patrol means we can invest in new features and improvements far more efficiently than we could on legacy infrastructure while keeping DPReview's editorial identity fully intact. The old system was a ceiling. This removes it.

Will this affect DPReview's editorial content?

Our editorial mandate isn't changing. We'll continue to bring you the same authoritative, unbiased coverage of cameras and photography you've come to depend on, written by the same people.

When can I see what the new site looks like?

We hope to share some sneak peeks in the weeks leading up to launch. You'll be able to see the full site on launch day.

Will the new site be faster?

Yes, the new site will be faster and more reliable for most things. That said, some functions are limited by factors outside our control. Downloading a large sample image, for example, still depends on your connection speed. We can make the site faster, but we can't speed up the entire internet :)

Will the review archive and the camera and lens databases be available at launch?

Yes. We are migrating all our existing content, including articles, reviews and the camera and lens databases.

Will the site still be optimized for desktop users with large monitors?

Absolutely. While mobile is an important part of the new design, we have no intention of short-changing desktop users. We love big, beautiful photos, and if you're on a large monitor, we want you to get the full benefit of that experience.

Will my saved bookmarks still work?

Yes, existing bookmarks will continue to work.

Why do you need to freeze the Challenges system?

The current Challenges system will not be carried over to the new site – we're building a new one that will launch after the site goes live. To avoid any challenges starting under the old system that can't be completed during the transition, we're freezing new challenge creation on April 25th. Any challenges already underway will complete normally before the switchover.

Will this affect the forums?

The new website will not change how our forums work. There may be minor cosmetic updates to align with the new site design, but the forum experience will remain fundamentally the same.

Will the new site have ads?

Yes. Advertising is one of the ways we fund DPReview's operations, and that won't change with the new site.

Will my account and post history be preserved?

Yes. Your account, comments, forum posts, and history will all carry over to the new site.

Will there be further updates after launch?

This is the beginning, not the end. We'll continue to make improvements after launch, and the new codebase will make it significantly easier to introduce new tools and features going forward.

How can I provide feedback?

You can leave a comment below or reach us at community@dpreview.com. Once the new site is live, we'll have a dedicated area of our forums where you can ask questions, discuss the changes, and share feedback.

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

Rainbow Lorikeet eating a fig

Nikon Coolpix P950 | 714mm (2000mm equiv.) | F6.5 | 1/400 sec | ISO 450
Photo: Kathie Thomas

Community member, Kathie Thomas, loves birds. She greatly enjoys getting that shot that shows off a bird's unique color palette and physique, and fortunately lives in an area with hundreds of beautiful bird species.

"Birds are my #1 genre – I just love them. I'm always trying to get that better shot, and when I get a really good one, it's not long before I'm trying to do even better. I am blessed to live in a region with many bird species year-round. Some live here, some are seasonal and some are just passing through. I keep a daily eBird record of the birds I've seen and heard, and of course, a photo with it."

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.

Male Zebra Finch

Nikon D7100 | AF-S Nikkor 200-500mm F5.6E ED VR @ 500mm | F5.6 | 1/1250 sec | ISO 320
Photo: Kathie Thomas

Meet Kathie Thomas

Home base: Dandenong Ranges, Victoria, Australia

"My uncle was a wedding and portrait photographer and often shared with me what he'd been doing when I was in my early teens. My parents bought me my first camera for my 14th birthday. It's been a journey ever since! My uncle is long gone now, but my aunt tells me that he always wanted to do the type of photography I do, which is nature photography – he never got around to it, sadly."

What's in Kathie's bag Kathie's camera bag

Photo: Kathie Thomas

Favorite camera: "Nikon is the brand I've been using for over 20 years now. In fact, my husband gave me my first digital camera in the early 2000s, a Nikon, of course. I later upgraded to a D90, which I wore out after about 6 years, having taken almost 100,000 images with it. I've been a Nikon girl a long time now! I currently have a Nikon D7000, D7100, Coolpix P950 and a variety of lenses. The P950 is my favorite – it's lightweight, and I get excellent bird shots with it."

• Support gear: Kathie typically carries spare batteries for her P950, as its battery life can be limited during long birding sessions, along with a water bottle and a few snacks for time spent out in the bush or along the coast.

• Camera bags: "I use a simple, colorful backpack with a zippered compartment against my back, so no one can open it while I'm wearing it. It's big enough to carry my camera, although that's usually hanging at my hip on a shoulder strap."

Barking Owl in flight

Nikon D7100 | AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR @ 300mm | F8 | 1/2000 sec | ISO 800
Photo: Kathie Thomas

How has your photography changed since you started?

"It's improved heaps – I understand so much more about it now. I chose to do a Diploma of Photography Course back in 2014, just for the sake of doing it, so I could learn more. But it's the regular usage and learning from other photographers that have really helped me improve. I also belong to a local photography club."

"I learned from a professional nature photographer some years ago, that when tracking a bird, don't look it in the eye, look around elsewhere, move slowly towards it, take a shot now and then, and keep moving slowly without eye contact. It often has helped to get the shots I've wanted – especially before I got my P950."

What trip memories come to mind where you discovered a new bird?

"Many! Before we retired, we used to take overseas trips by plane and by cruise ship, visiting many places. But since retiring, my husband and I have invested in a campervan (motorhome) and have begun traveling around our own country, Australia, and exploring a bit more consistently. My goal is to record as many different species of birds as I can."

Australasian Darter

Nikon D7100 | AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR @ 18mm | F6.3 | 1/1600 sec | ISO 500
Photo: Kathie Thomas

"Don't underestimate your abilities and work at surprising yourself. Move out of your comfort zone and try different things. A friend thought she wasn't very good, but she recently got a Highly Commended in our photography club exhibition. I could tell she was really choked up about it and thrilled. I told her I always thought she did well."

Kathie really enjoyed participating in this spotlight article and would be grateful if you could join her in the forums.

Kathie's work

You can check out her other work on Instagram. Thanks, Kathie, 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: Capture One / Hasselblad

Capture One and Hasselblad are partnering up: a new update is adding support for editing Raw files from some of the camera-maker's medium format models.

At launch, Capture One will support Raw files from the X2D II 100C, the X2D 100C and the CFV 100C digital back. Support for tethering is coming later in 2026 as well.

Capture One long declined to support Hasselblad Raw files, and the company was fairly candid about why. The roots of the tension trace back to Capture One's origins as part of Phase One, a direct Hasselblad competitor in the medium format space, before the two were split into separate companies by private equity firm Axcel in 2019.

In an official support article, CEO Rafael Orta said that the decision came down to both technical considerations and "the nature of our relationship with the manufacturer." He went on to say that "the relationship between Phase One and Hasselblad was notoriously antagonistic, and as I’m sure you’ll know from life experience, it takes a second to blow up a bridge and a very long time to rebuild it."

Image: Capture One / Hasselblad

It seems that the bridge has now been rebuilt, and the relationship is strong enough for a partnership. While the tension between the two companies may have eased since Capture One became its own entity, it wasn't a simple step to add support for Hasselblad Raw files. In an interview with Orta ahead of the partnership announcement, he told DPReview that it "takes quite a bit of work to support super-capable cameras, especially the latest generations."

Orta explained that Capture One only adds support for cameras after the team has had a chance to use them and create thousands of images. He said they work to develop a deep understanding of how individual image sensors, file formats, and each brand's color science work.

The process involves very close collaboration with the partner companies, and adding support for Hasselblad Raw files was no different. "Every camera and every manufacturer is special," said Orta. "Each one has its own take on color science and how they process sensor data inside its cameras. We're very dedicated to making sure that when you open that file, you're seeing colors that are true to our standards."

Photo: Capture One / Hasselblad

"The way we see it, it's a labor of love, to be honest," Orta said. "We give each individual device the same process, but we also understand that each device has its own technology."

"Tomorrow is the start line, and we're excited to see where photographers take this"

The new Raw support and upcoming tethering won't be the extent of Capture One's partnership with Hasselblad, according to Orta. "Tomorrow is the start line, and we're excited to see where photographers take this," he said.

Raw support for the X2D II 100C, the X2D 100C and the CFV 100C digital back is available starting today. Users will need version 16.8.3 of the desktop app and version 3.3.4 for the mobile app. A free seven-day trial is available from the Capture One website.

Press release:

HASSELBLAD AND CAPTURE ONE PARTNER TO BRING NATIVE HASSELBLAD RAW SUPPORT

Photographers can now develop their Hasselblad medium format RAW files natively in Capture One. Tethered capture support follows later in 2026.

GOTHENBURG, Sweden, and COPENHAGEN, Denmark — July 2, 2026 — Hasselblad and Capture One today announced a partnership that brings native support for Hasselblad medium format cameras to Capture One. Photographers can now import, organize, and develop their Hasselblad RAW files (.3FR) directly in Capture One, with the full toolset of layers, masks, color editing, and precision adjustments. Support spans three of Hasselblad’s 100-megapixel models from day one: the X2D II 100C, the X2D 100C, and the CFV 100C digital back.

Tethered capture will follow later in 2026.

A native workflow, years in the asking

Native Hasselblad support has been one of the most frequently requested additions to Capture One for years, raised by photographers across community forums, feature-request boards, and social channels.

Until now, bringing those files into Capture One meant conversions and workarounds that cost photographers color fidelity and editing latitude. That step is gone – Hasselblad images now open natively, ready to develop with the same tools photographers use for the rest of their work.

"Since the beginning, Hasselblad has been driven by a passion for photography and a commitment to giving photographers the tools they need to realize their creative vision. We are excited to make Hasselblad technology accessible to a wider audience. Together, we are empowering more creatives with best-in-class tools to bring their vision to life and create exceptional photography."

Bronius Rudnickas, Global Marketing Manager, Hasselblad

Built specifically for Hasselblad

Hasselblad cameras are known for their image quality, and the integration is built to preserve it.

The support is bespoke, not generic: dedicated color profiles were created for each model, so Hasselblad files render with the same true-to-life color Capture One users know and love, while dedicated lens profiles for Hasselblad XCD lenses correct distortion, chromatic
aberration, and light falloff.

"Photographers have asked us to bring Hasselblad’s image quality into Capture One’s platform for years. This partnership delivers exactly that, empowering even more photographers with everything they need, from initial inspiration to final image. It’s a collaboration the photography community has wanted for a long time, and we’re glad it’s finally here."

Rafael Orta, CEO, Capture One

Tethered capture to follow later in 2026

At launch, the partnership covers native RAW file support, so photographers can develop both existing and new Hasselblad images in Capture One. Tethered capture, which connects a Hasselblad camera directly to Capture One for live, on-set shooting, is planned
for later in 2026. [Exact timing to be confirmed.]

A step for both companies

For Capture One, the partnership continues a long commitment to supporting the professional camera systems photographers rely on, now welcoming Hasselblad alongside the many brands already supported in the software. It reflects a shared priority: giving photographers the freedom to pair the cameras they love with the software they trust.

Availability

Native support for Hasselblad RAW files is available today in Capture One from version 16.8.3 and Mobile version 3.3.4. for the three supported models. Tethered capture is planned for later in 2026. A free 7-day trial of Capture One is available here.

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

When we wrote our review of the Panasonic L10, we tried to make sure we put the studio comparison into context. For mirrorless cameras and DSLRs we use good prime lenses, stopped-down to the point that their performance is reliably excellent: zoom lenses and, in particular, the downsized, retractable zoom lenses in compact cameras, can't match up to this standard. As a result, compacts don't look quite as impressive.

Our test scene lets you compare images in incredibly fine detail, revealing differences that you wouldn't see in most real-world situations: they exist but that doesn't mean they matter. That's exactly why we also post a gallery of real-world sample images so that you can relate the things you see in the studio scene to their photographic impact.

We'd gone through our usual processes for compact cameras: carefully align, shoot a series of images, compare to cameras we'd expect to perform similarly, then do it again at a different focal length, to make sure we were representing the camera fairly.

However, we still saw some concerns expressed that we were testing a "faulty" or sub-standard copy. Just to be certain, we requested another L10, to see whether we'd get a significantly different result.

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

It didn't. With the first copy, we found that the 75mm setting looked better than the 50mm we'd used on the LX100 cameras. The difference was much smaller on the second copy. Both copies could be a touch sharper at the center at 75mm whereas 50mm equiv was less sharp at the center, more consistent out to the corners, which is presumably why we chose it for the LX100s.

Multiple focus attempts, using both manual focus and autofocus, appear to suggest that a lot of the softness in the corners is a result of curvature of field: a non-flat focus field, meaning it's not possible to get the whole of the chart in focus at the same time. The images with the sharpest center focus had worse looking corners than the images with slightly miss-focused center.

Ultimately we were able to shoot some images that are sharper at the center than the ones displayed in our image comparison tool, but they have visibly less sharp corners. The second copy of the camera also appears less consistent, with what appears to be slight decentering sometimes affecting the top left corner.

The images between the two cameras are similar enough (decentering aside) that we don't think we can get consistently better images from the second copy than the ones already in the scene. Those images already exhibit aliasing – a sign that the lens is resolving detail beyond the level the sensor's resolution can accurately capture – suggesting the lens is doing a good job. You just need to consider the context of how finely you're scrutinizing them and how impossibly the high the standards set by good, prime lenses are.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Was it worth the effort?

We re-tested the L10 because we want to make sure our image comparison tool shows all the cameras in it in as fair a light as possible. And if that means re-doing some of the work and re-checking our assumptions to ensure our standards are maintained, then it's worth doing.

See how the L10 looks in the real world

Photo from a Question of the week entry that didn't make it into the original article. This is a photo of community member, Blufftonian's memorable camera collection.

Photo: Blufftonian

A ton of great content and related photography is created by the DPReview community in our forums: lively discussions, sharing of gear and photography in spotlight articles, collaborative photo events and more. In this "What you missed" roundup for June, we highlight community forum activity from the past month, including some of the photography that didn't make it into articles.

Scroll down to the section of interest as previewed in this list:

• Article of the month: Joining a local photography group
• 'What's in your bag?' community member spotlights
• Question of the week
• Join our collaborative photo chain
• Discussion of the month: Why is it so difficult to buy a first camera today?

Article of the month: Joining a local photography group

"A group shot (excluding me) of that first meetup that I attended."

Photo: Abby Ferguson

DPReview's Features Editor, Abby Ferguson, wrote a great piece about the benefits of joining local photography groups. As a community manager, I naturally found this article fascinating and the kind of advice I feel all of you would find a great insight into photographers outside our forums. After reading her article, I even took it upon myself to look up some photography groups in my local corner of Texas, United States.

"Despite my reluctance, I knew meeting other photographers would only be a good thing. Plus, as this is a place my husband and I will be for the long term, I wanted to set down some roots and finally make some connections here. And so, last fall, I finally put aside my reservations and attended a meetup." - Abby

What's in your bag? A community member spotlight

Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series highlights a reader's favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.

"Soot-blackened steam traction engine driver – the youngest in the country. Seen at the Pickering
traction engine rally in the north of England."

Photo: Mark Lamb

Mark Lamb shared his portrait photography in celebration of our week of portrait-themed community content. Below is an interesting excerpt from Mark's story about his fondness for portrait photography in Britain. The photo above is a new one he provided us that we couldn't fit into the article.

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

Check out this month's other reader spotlights:

• Brian Ach: From Prince to NYC streets: A photographer's life in two worlds
• Giacomo Farabegoli: This DPReview reader backpacks with a Sony a7R IV in the mountains
• Alberto Tanikawa: Knives, whiskey, and RGB light: Inside one photographer's obsessive still-life work

See all 'What's in your bag?' spotlights

Question of the week: we ask, you tell

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

Here is a newly revealed reader's photo and excerpt of their story from the latest question.

What camera is your most memorable? Photo: thorstenwulff

Featured quote: "My first love was the F3. In the summer of 1987, she went to New York with me and a box of T-Max 400. Paired with a 24mm F2.8 lens, it was my perfect combo for street photography, even if you had to get a bit closer. The other lens was the 105mm F2.5. In early May this year, I took them back to Manhattan, but was put off a bit by the flood of gimbal-toting influencers everywhere Instagram deems worthy of a shot. This couple is one of my favorite pictures from 39 years ago. I love the tenderness between them." - thorstenwulff

See what other questions we ask

Participate in community-led photo initiatives

Seattle boat parade

Photo: Dale Baskin

Every week, new community-created photo discussions and mini-challenges pop up across the forums. Usually, these start as a discussion about a particular camera brand or type of photography. For the month of June, we wanted to highlight Alan WF's invitation to take fresh photos with your adapted lens cameras.

Visit our Community photo threads index for the latest opportunities to share a photo from your collection. We would also love for you to participate in DPReview's own initiatives: Weekly photo exhibitions and the new Collaborative photo chain.

Discussion of the month: Why is it so difficult to buy a first camera today? Photo: FrancoD

Community member, BernardoSC, asked a great question in the forums that has gained quite a bit of traction. He asked everyone, "Why is it so difficult to buy a first camera today?" This is an excellent question, BernardoSC! I have asked this question of myself recently about various purchase interests, from cameras to computer equipment.

Here is a peek at what others had to say:

JT26: It's hard as there are so many options now. New cameras and new versions of the above are using new tech and are not sold in millions like they used to be, so they are naturally more expensive.

ahaslett: The optical viewfinder is what limits your choice. Apart from retro designs, cameras these days are nearly all mirrorless. There isn’t much between a phone and a camera for £1,000, given how fast phones have improved.

Plankowner110: In the 1960s, you simply adjusted aperture, shutter speed, and focus ring, and it didn't matter if you were using an inexpensive Sears Tower (camera) or a rugged pro-body Nikon F. The major variable was selecting which film to use. Cameras all operated basically the same way, and one could easily pick up any brand of camera and begin shooting. We didn't have to peruse a myriad of menu settings or press tiny re-programmable buttons all over the camera body.

Discuss buying a first camera today

What community content did you enjoy reading, and what more would you like to see in these regular updates? Let us know in the comments below.

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

Editor's note: Future editions of this article may include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.

Hasselblad Masters 2026 winners Photo: Kevin Boyle

Hasselblad has announced the winners of the Hasselblad Masters 2026 photography competition. The contest awarded 7 photographers from 70 finalists, chosen from more than 108,000 submissions across 160 countries.

Winners were selected across seven categories: Landscape, Architecture, Portrait, Art, Street, Wildlife, and Project//21. The winning photographers were selected by the Hasselblad Masters Grand Jury, which included representatives from National Geographic, Magnum Photos, Aperture Magazine, Getty Images, Foam, The Metropolitan Museum of Art and the Three Shadows Photography Art Centre. Images were chosen based on their conceptual strength, originality, creativity and technical excellence.

The competition drew some attention earlier this year when Hasselblad confirmed it had disqualified one shortlisted photographer for including AI-generated elements in violation of competition rules, replacing them with a new finalist. It's worth noting that the finalists were selected through an internal selection process at Hasselblad, not by the acclaimed photographers on the Grand Jury. A representative has confirmed that all of the winning images were "thoroughly vetted, and EXIF data was confirmed," and that they are all authentic photographs.

Each winner receives the title of Hasselblad Master, a Hasselblad medium format camera, two XCD lenses, and a €5,000 creative fund. Their work will also be featured in the commemorative Hasselblad Masters book.

We're showing one image per winner below, but you can view all three selected images for each photographer on the Hasselblad Masters website. Traditional captions and EXIF data were not available, and the descriptions and jury quotes accompanying each image are taken directly from Hasselblad's competition materials.

Art winner: Yudha Kusuma Putera

Yudha Kusuma Putera | Waste Colonialism (Sapi-Sapi Piyungan) | Indonesia

Rooted in everyday life and inspired by its complexity, Yudha Kusuma Putera turns a keen eye toward the social issues that hide in plain sight, exploring the tensions between humans, nature, and the systems we build around us.

The winning images are part of a project examining how developed nations export their waste to developing countries, where labor and costs are lower. This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Yogyakarta's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill.

'He photographed the backs of these cows stacked together, with their forms mirroring the landscape of trash around them. The work does not seek to assign blame, but to invite collective reflection on the waste we produce, and the futures we are building from it.

"On the surface, the images appear direct and unambiguous, and yet they consistently resist easy reading, generating a sense of visual uncertainty that keeps the viewer engaged and questioning. The images do not announce themselves loudly, but reward sustained attention with a slow-building sense of strangeness that is both intellectually stimulating and visually striking," says Kalle Sanner, Executive Director at the Hasselblad Foundation.

Architecture winner: Kevin Boyle

Kevin Boyle | DaySleeper | Movieland | Canada

Kevin Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear. For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.

The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal 'portrait' of once important gathering places. Through his lens, these forgotten spaces become vibrant, glowing symbols of community heritage and shared human connection.

"The composition, and the fact that the images are empty of people, triggers our imaginations, taking us back to a time when these buildings would have thrived with the community meeting for evening entertainment. By making this series, the photographer invites us to consider the myriad of small venues that make up the social fabric of small communities," says Sonia Jeunet, Photography Consultant and Education at Magnum Photos.

Portrait winner: Svetlana Jovanovic

Svetlana Jovanovic | Otherness | The Netherlands

With a psychology background, Svetlana Jovanovic's portraiture is driven by a deep curiosity about identity – how we experience the world, construct our sense of self, and see ourselves through the eyes of others. Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning.

The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work. Each portrait is a collaboration, shaped as much by the relationship between the twins as by the photographer's own vision, inviting viewers to reflect on how we define ourselves both apart from, and through, one another.

"Through precise use of light and composition, this portrait series explores the themes of mirroring and duality. Whether capturing two sides of the same face or the closeness of two kindred souls, the images reveal subtle layers of emotion with quiet precision," says RongRong, Co-founder and Artistic Director at The Three Shadows Photography Art Center.

Landscape winner: Rohan Reilly

Rohan Reilly | Ephemeral Visions | Ireland

Rooted in the discipline of a composer, Rohan Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness. His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation. The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned.

This winning series captures a row of poplar trees planted along the banks of the River Po in Italy, which are natural guardians against flooding, now standing immersed in perfectly still water beneath soft, diffused light. What was once a purely functional landscape transforms into something surreal and dreamlike. In this quietly breathtaking scene, the photographer's vision can find its fullest expression: nature distilled to its core, and time momentarily held still.

"A forest of birch trees could be a monotonous subject. But these photographs are hypnotic objects of meditation, creating something expansive through repetition and ostensible sameness," says Zack Hatfield, Managing Editor at Aperture Magazine.

Project//21 winner: Panitbhand Paribatra Na Ayudhya

Panitbhand Paribatra Na Ayudhya | Dwellers of the Night | Thailand

Panitbhand Paribatra Na Ayudhya is a young underwater photographer and scuba diver from Thailand. His work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

His winning series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness. Using slow shutter speeds to capture the elegant motion of his subjects, and carefully chosen coloured lighting to reveal their form and beauty, he illuminates a world rarely seen. For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject – crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating. There’s a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction," says Alex Pollack, Director of Photography at National Geographic.'

Street winner: Gosse Bouma

Gosse Bouma | Morning Ritual | The Netherlands

Gosse Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather. Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.

His winning series, taken across the Netherlands, turns to the street market as its subject, a space where people of all ages and backgrounds meet, exchange a few words, share warmth, and move on. In capturing these small, unhurried encounters, Bouma preserves something increasingly rare in contemporary life: a genuine sense of togetherness.

"The photographer understands atmosphere, scale and timing. The small lit kiosks within the vast blue urban emptiness create images that feel both intimate and monumental. Here, genuine photographic tension emerges. The series uses color structurally, not decoratively. Mist, artificial light and architecture form one coherent world," says Aya Musa, Senior Curator at Foam.

Wildlife winner: Alfred Minnaar

Alfred Minnaar | The Forest I Roam | South Africa

Alfred Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behavior, environment, and relationship with the surrounding ecosystem. Over a decade of global exploration, his fine-art philosophy has evolved from a traveler's passion into a powerful voice for conservation, capturing fleeting deep-sea and wildlife narratives to inspire the preservation of our planet.

The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer. Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.

"The vibrancy of the palette immediately draws you in, and the way the small fish are framed against their environments creates a sense of scale that almost reads as landscape. There’s a nice balance here between detail and composition, with the micro subjects holding their own within a larger, almost abstracted environment," says Alex Pollack, Director of Photography at National Geographic.

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

When I reviewed the Panasonic S1II, one of my biggest complaints about it was the price. It's a very capable camera, but it was also competing against other very capable cameras that were several hundred dollars cheaper, and which didn't ask you to give up much in return.

Now, though, things have changed a bit. Instead of selling for $3200 in the US, it's currently listed as $2900, an approximately 9% reduction. That makes it the same price as the Sony a7 V, and only $100 more than the Canon EOS R6 III. While Panasonic's website lists this as a sale, there's no clear indication of an end date. B&H's website, meanwhile, implies that this is just the new price, and, indeed, price tracking site CamelCamelCamel reports that it's been selling at this price for about a month.

The same has happened to the S1II's higher-resolution sibling, the S1RII. When that camera launched in February 2025, a few months before the S1II, it was listed at $3300. It's now an even $3000, putting more distance between it and cameras like the Nikon Z8 and Canon EOS R5 II (though those cameras' benefits over the S1RII are more obvious than with the S1II's competitors).

Cameras frequently get cheaper as they age

In some ways, this isn't unusual. The S1II and S1RII are over a year old now, and cameras frequently get cheaper as they age. The Nikon Z6 III is a perfect example; it launched at $2500, and is currently available for just under $2000 (which, despite its few minor flaws, is a screaming deal). This will happen to the EOS R6 III and a7 V, too, and at that time the S1II may go back to seeming like not as great a value, unless you specifically need the relatively niche features it offers that the others don't.

This is why we typically base our pricing analysis around MSRPs; it's not because the street price of the camera won't change over its life, but that they typically tend to change by around the same amount, relative to the camera's launch price and age. Still, it means that if you need to buy a camera right this moment and aren't currently wedded to a system, the S1II makes a lot more sense than it did before. And if this truly is a change to its MSRP, and it'll at some point go on sale even further, that could make it a very interesting option indeed.

Read our Panasonic S1II review

Panasonic S1II

Buy now:

$0 at Amazon.com Panasonic S1RII

Buy now:

$0 at Amazon.com

Photo: Leonp

Happy World Camera Day! In honor of the day, we are sharing your responses to last week's Question of the week. We asked you which camera was (or is) your most memorable, and to share a photo of the camera and an interesting story about it. This is a spin-off of another question asked a couple of months ago about which camera brand was your favorite, but this time, it may not have been your favorite camera brand that took the spotlight.

Several of you, as expected, mentioned more prominent brands like Canon, Nikon and Sony, but others made unique selections dating back to brands that no longer exist. While the technology of those cameras is now dated, dusty and rusty, the photographs and the memories they conjure up are forever, as they say. With our community over 25 years old and its members' collective experience spanning well beyond that, there were plenty of memories shared.

Keep reading to see which cameras our readers chose as their most memorable.

Your most memorable camera

Leonp: "In the late 1970s, my nephew bought a Pentax camera. My father was jealous, so he bought one for himself, too. My father wasn’t really into high-tech stuff and never made it through the manual, so I must have sneaked into his bedroom to take the above photo in the mirror using a diving lamp as a light source, which, if you look closely, is also a selfie of me. It took years for it to become my camera, and it changed the way I looked at the world forever."

Daithi: "The Nikon D850. It was a troubling time for the birth of mirrorless cameras. They were all basically the ugly litter of the well-established DSLR world. For me, this camera kept on truckin' for many years. The D850 had peerless resolution/image quality, and still does to a large degree."

GruberSrb: "Minolta Dynax 9xi (with booster). It was hated in photography circles, but its tech and fabulous design remind me of a ballerina in 'Swan Lake'. It still works flawlessly with a carbon shutter 1/12000sec like new, despite very heavy usage over the last 30 years in some of the worst conditions on Earth, from Patagonia to Kamchatka."

Thorstenwulff: "My first love was the F3. In the summer of 1987 she went to New York with me, and a box of T-Max 400. Paired with the 24/2,8 it was my perfect combo for street photography, even if you had to get a bit closer. The other Lens was the 105/2,5."

Photo: lonewolf1983

lonewolf1983: "I present you the Sony A850. I had been shooting with the Sony APS-C SLT cameras (A57/A77/A77ii) and picked up the A850 to complement them and check out what the full-frame thing was all about. I took it soon after on a trip to New Zealand, and captured some amazing images with its 24mp sensor, rock solid build quality, amazing OVF and IBIS, clicking that shutter and hearing the mirror/shutter was just glorious."

LJ - Eljot: "Canon G3: My first digital camera. Introduced in 2003, a 4MP digital compact. This one was aimed at enthusiasts and featured RAW images. Unusual at that time. Base ISO is 50, and it is basically unusable at the max ISO of 400. It takes about a full second to take a picture after pressing the shutter button. A terrible camera, but I learned to love the tilt-screen. And at ISO 50, the images look quite good, actually. Good macro capability as well. And a hot shoe with full flash compatibility."

fatplanediaries: "The Sony a6300. It overheated like crazy and had rolling shutter only comparable to the most wobbly of jelly, but it was the camera where I honed my photography and learned videography. I shot my film school application film with it on a homemade gimbal."

GeoffRG: "The Olympus OM1: I bought it in 1979, and it traveled with me to Seattle, Tanzania, Trinidad, and Australia. I sold it in 1990, along with my OM2n, a pair of OM4s, and a pile of lenses and accessories. I still don't understand why Olympus discontinued the motor drive system."

wood_gnome: "The Certo SL 110, because it was my very first camera. I bought it secretly and conspiratorially from pocket money when I was 9 (!) in March 1980."

Photo: Gato Amarillo

Gato Amarillo: "Always my favorite, my Deardorff. The above is a 5x7 model, but I used it with a 4x5 back. The lens is a Schneider Symmar 180mm, a longish normal for 4x5. Contrary to what most might expect, I used it mostly as a portrait camera. The camera was a basket case when I got it. My partner said it looked like something that had fallen off a truck on the freeway. You may notice a couple of odd knobs - I was never able to get together a full matching set."

Don Sata: "I loved my X-Pro1 to the point that I sold a Sony full frame prize camera from the Sony World Photography awards to get this gem with three primes (18, 27 and 60 mm). In this picture, the camera is posing with a set of Zeiss lenses lent to me for a month. I shot the camera, banged it on rocks, got it splashed, scratched and dented until the shutter died."

Otto Union: "Without a doubt, my long-gone Leitz Minolta CL with 40/2 Rokkor and 90/4 Elmar lenses. I bought these with tax refund money in April 1978. It was my first real camera and a real gem. It was extremely pocketable and accompanied me to many concerts in the late 70s / early 80s. It was stolen from my residence in 1983, and I'm still gutted about it."

cbf_si: "I was introduced to photography at 17 during the era of the first AF film cameras in the second half of the 1980s. My classmates were enthusiastic about cameras like the Canon EOS 650 and the Minolta Dynax 7000, but the Minolta X-700 caught my eye. I only got a used one when I got a job in 1998. Like many others, I initially equipped myself with the classic three focal lengths, 28 mm, 50 mm, and 135 mm. Today, I have lenses with focal lengths from 7.5 mm to 250 mm."

Photo: RLHN

RLHN: My most memorable (and first serious) film camera was the Petri 7S, a rangefinder film camera with a selenium cell meter that required no batteries and used "match needle" metering, which made it trivial to tweak exposure. I bought it "used" at a local camera store with my high school graduation gift funds, after someone traded it in because it was "too complicated". It was barely used, if at all. I took many great photos with it for years, until the photo cell sadly died.

BobKo: I've had many cameras, but the camera I remember most fondly is a Panasonic Lumix GH5. I primarily shoot video, and the GH5 was just a video beast. It made shooting really high-quality video a pleasure, and it really upped the quality of my YouTube uploads. Suddenly, my videos looked as good as the big boys. I got my GH5 in 2018, and it still works fine today -- I use it for a back-up camera and to shoot time lapses. What a great camera!

Gramar: The one stand out camera from the many I've owned over the past 50 + years has to be the original Sony RX100. I bought mine new in 2016 four years after they were launched. I found it ticked every box and was always my go to camera until I sold it in 2024 for almost what I paid for it new. It went everywhere with me despite owning a number of other camera during those times.

So many other stories we couldn't fit in this article are shared in the forums. Thanks to everyone who took the time to explain what your most memorable cameras are and why.

Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums. We can't wait to read and share your stories!

Share your most memorable camera!

Photo: Mykim Dang

After teasing the Osmo Pocket 4P at the Cannes Film Festival in May and giving media and influencers hands-on time with the device at the beginning of June, DJI has finally fully unveiled its higher-end camera gimbal via its Chinese and Southeast Asia platforms.

DJI has yet to give Western media a clear timeline when full details can be published; we were told we could only post hands-on photos of the device, without any information about it. This is particularly unusual, since outlets in China have already been allowed to post their reviews, and it's available for purchase in China and Southeast Asia, making much of the information we're not allowed to share – specs, pricing information, test footage, etc. – public.

Like the Osmo Pocket 4, the 4P features a 20mm equiv. camera with a Type 1 (116mm²) CMOS sensor and F2.0 aperture. In addition to that is a dedicated 60mm equiv. telephoto camera, allowing for greater flexibility than a single camera (contentiously, it's not the only gimbal camera to offer this). The telephoto camera uses a Type 1/1.28 (75mm²) sensor (only 35% smaller than the main sensor) and a slightly faster F1.8 aperture.

Photo: Mykim Dang

The camera supports up to 12x digital zoom for video and 9x for stills. The company's subject tracking (ActiveTrack 8.0) is compatible with the 12x zoom range as well, helping to keep subjects centered in the frame even when fully zoomed in.

As usual with DR claims, we'd take that figure with a massive grain of salt.

DJI claims the 4P's main camera provides 17 stops of dynamic range, which is 3 stops more than the Osmo Pocket 4. As usual with DR claims, we'd take that figure with a massive grain of salt; 17 stops would be exceptional even for a much larger sensor. The company has developed a new, flatter Log curve, D-Log2, which can encode a wider dynamic range, explaining the increased claim, compared to the Osmo Pocket 4, despite its use of the same camera. It's important to note that D-Log2 is only available with the main camera.

The camera can shoot at up to 4K 240p, enabling dramatic slow motion footage. It also offers a "Pro" mode that gives users control of the shutter speed from 1/16,000 sec to 1/4 sec, allowing for more creative control. As a gimbal camera, it benefits from three-axis mechanical stabilization for smooth footage even when you're moving. It also supports gesture control to start tracking and recording, and the ability to rotate the touchscreen to power the camera on and start recording.

Photo: Mykim Dang

While primarily meant for video use, the Osmo Pocket 4P does provide some photo features, too. It is capable of 37MP photos and can take images in 1:1 or 16:9. It also features a Live Photo mode, recording 1.5-second clips for every photo.

The Osmo Pocket 4P offers 103GB of integrated storage and supports microSD cards up to 1TB. It promises 210 minutes of runtime on a charge and is compatible with the existing Osmo lineup of accessories. It will be available in white and black

Unfortunately, there's still confusion about the timing of the full release of the DJI Osmo Pocket 4P. It is available in China as of today for ¥3799 (roughly $559), but full global availability – and whether it will come to the US – is still unclear.

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

The Tamron 17-70mm F2.8 Di III-A VC RXD is a versatile, fast lens that's great for activities like family vacations.

Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/2000 sec | ISO 160
Photo: Dale Baskin

Last week, Tamron announced new versions of its 17-70mm F2.8 Di III-A VC RXD zoom for Canon RF and Nikon Z mount APS-C cameras. While the lens has been around for several years in E-mount and X-mount versions, this news brings an exciting new zoom option to Canon and Nikon shooters.

The 17-70mm F2.8 delivers a 26-105mm equiv. range on Nikon APS-C cameras, and 28-112mm equiv. range on Canon's APS-C bodies. Most other F2.8 zooms for APS-C cameras in this range top out around 50-55mm, making the Tamron a distinctive option for those who want extra zoom reach with a constant F2.8 aperture.

That range makes it a great walk-around or travel lens, but the extra reach to 105mm equiv. also makes it well-suited to events, portraits, and street photography in ways the shorter 50-55mm competitors aren't.

Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/100 sec | ISO 320
Photo: Dale Baskin

We had a chance to borrow the RF-mount version of the lens, which we shot on a Canon EOS R7. Build quality and handling are pretty typical of Tamron's product line; the lens is relatively light for its size, and the zoom ring is well-balanced and easy to turn. There's no zoom lock, but I experienced virtually no lens creep during my use.

Notably, the RF-mount version of the lens gains two hardware controls not found on the other versions: manual switches to turn autofocus and optical image stabilization on or off – a nice touch, in our opinion.

Optically, the Tamron 17-70mm F2.8 delivers solid performance throughout its range. While it doesn't deliver the same level of sharpness as the most premium zooms on the market, it doesn't command a premium price, either, making it accessible to a lot of people.

To learn more about this lens, see our detailed launch coverage. In addition to the gallery below,you can also check out our earlier sample gallery, captured when the lens was launched for E-mount.

Buy now:

$0 at Amazon.com

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.

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

Looking for an original take in a scene set up by Pat Domingo, I asked the model if she could get into the driving seat of the car on the set. I wanted to see how much of the huge strobe outside would make it through the narrow windscreen. I asked her to look forward, as if driving, then turn to her right, as if something had caught her attention. This is the moment she did.

Leica SL3-P | Summilux-SL 50mm F1.4 | F5.6 | 1/200 sec | ISO 64
Photo: Richard Butler

The launch event for the Leica SL3-P included not only the chance to get trackside at the famous Nürburgring motor racing circuit and a studio setup by fashion photographer Pat Domingo but also the presence of famed photographer Steve McCurry.

This meant I found myself in the frankly ridiculous position of asking to shoot a portrait of one of the world's most famous portrait photographers, as well as the more familiar challenge of trying to find a unique shot in a pre-staged studio scenario.

Included in the gallery are a handful of shots taken with the new 50mm F1.4 and 100mm F2.8 Macro lenses.

Here's Leica SL3-P (and I) got on:

Leica SL3-P sample gallery

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

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

Since it was released two months ago, Olivia Rodrigo's music video for the song "drop dead" has already garnered 42 million views. There are probably a lot of reasons it's been so popular: it's the lead single for a very popular artist's new album, was shot on location in Versailles and clips from it have been popular on social media sites like Instagram. But the aesthetic of the video probably helps too; it has a dreamy, old-school look to it that taps directly into 90s VHS nostalgia.

While that's well-trodden ground for modern music videos, the effect is very convincing... because it's real. A recent video from the YouTube channel Frame Set goes deep on how the video, directed by Petra Collins, was shot, in a wide-ranging interview with its cinematographer, Todd Banhazl.

The interview also covers how the team captured the dreamy, undercranked effect used in the striking opening scene.

The video obviously covers the mix of cameras used, going into why the crew chose to use BetaCam, VHS and MiniDV, and the different situations where they needed to go with one over the other. There are plenty of interesting details in it for camera nerds, but it also doesn't slack on discussing craft; a lot of the video is focused on the interesting lighting setups needed to film in a historic building with limited control while using cameras with very low sensitivity.

It also touches on other technical aspects, like the difficulties of editing interlaced footage that will eventually be shown using a platform designed for progressive video, and deeper topics like the rise of the lo-fi aesthetic in the age of AI-generated imagery. Even if you're not into music videos or Olivia Rodrigo's brand of pop-rock singer-songwriting, the interview is well worth a watch just to see a clearly talented creative talk about their process.

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

Earlier this year, Nikon introduced a new version of one of its professional workhorse lenses: the Nikkor Z 70-200 F2.8 VR S II. We've now had the chance to spend some time with it, shooting portraits, firefighting aircraft and more. You can jump straight to the gallery to see the results for yourself, or read on to see what we thought about how it feels to use and the images it produces.

In Use Three of the Z 70-200mm F2.8 VR S II's states. Left: its smallest and lightest configuration (998g / 35oz). Middle: the lens with the cosmetic bayonet cover (1028g / 36.3oz). Right: the lens with its foot and hood (1248g / 44oz).

The big (or rather, not so big) selling point of this lens is its size and weight. Without the tripod foot and cosmetic sleeve installed, it's only 998g (35.2oz); the lightest full-frame 70-200mm F2.8 for a mirrorless system. With that said, I typically preferred to use it with the tripod foot; it's Arca-Swiss compatible, making it very easy to mount to a tripod, and the lens isn't quite light enough that I feel terribly comfortable toting it around without a solid handle to remind me that I'm carrying a camera attached to a lens, not the other way around.

Even with the foot, the lens’s weight is competitive with that of its lightest competitors, and is a substantial improvement over the original. The lens's center of gravity is also remarkably consistent as you move through its zoom range, so you don't have to shift your grip as you change focal lengths.

The tripod foot and decorative bayonet collar are toollessly removable using a button and a bit of a tug.

In terms of features and controls, this lens has most everything you could want, with the exception of the top-display from the previous generation that some – though not I – may miss. And as someone who has long disliked clickless control rings, it's good to see Nikon providing the option to click or declick the one on this lens, even if I’d still personally prefer a dedicated aperture ring.

I also appreciate the ample number of function buttons, which are available no matter what orientation you're holding the lens in. The manual focus and zoom rings are also satisfying to turn, and the latter is a relatively short throw, letting you move through the range quickly if need be. While the pattern on them provides plenty of grip, I do wish they were just a bit softer, but not enough that I'd be willing to accept any trade-off in durability.

The tripod collar can be freely rotated, making it easy to switch from portrait to landscape, even when mounted on a tripod. I do wish it had detents or clicks at 90° intervals, though, as those make it easier to tell when you're perfectly aligned.

Nikon says the lens has an upgraded autofocus system, and I found it always kept up with the camera, snapping into focus very quickly. It never felt like the lens’s autofocusing motors were bottlenecking the body, or like I would have gotten a shot if only it had moved a bit faster.

When working in concert with a stabilized sensor, this lens's optical stabilization is among the most impressive that I've used in a full-frame zoom. It's so effective, in fact, that it can occasionally be a bit difficult to precisely recompose your image with it on, though I only really noticed that in a few situations.

Optics

With the lens wide open at F2.8, there's noticeable vignetting at the corners throughout its focal range (though it's most noticeable at the long end). It mostly clears up by F4, though you'll see further improvements going to F5.6. While this can easily be corrected using the lens's profile, this will come at the cost of having fractionally more noise visible in the corners of the image.

You can gain a small sharpness advantage in the corners by stopping down, too, but in our experience, this lens is very sharp corner-to-corner no matter what focal length or aperture you're shooting at.

70mm F2.8 F4 F5.6 F8.0 200mm F2.8 F4 F5.6 F8.0

I find the lens's bokeh to be very pleasing, rendering even busy backgrounds relatively smoothly. The specular highlights are also quite clean, without distracting aberrations, which is exactly what we'd want to see in a professional lens destined to shoot a lot of weddings with trendy lighting.

Nikon's latest coatings are also quite impressive. There was one time when I was shooting pretty much directly into the afternoon sun, which produced a somewhat washed-out image, but things improved as soon as I was shooting even a little off-axis.

1 2 3 Even with the sun directly outside of, or even in the frame, the lens was able to hold onto a fair amount of color and contrast.

Nikon Z8 | Nikon Z 70-200mm F2.8 VR S II | 200mm | F8 | ISO 64 | Processed in Capture One

The lens makes use of minor software corrections for geometric distortion – there's a very mild amount of pincushion distortion at the long end and barrel distortion on the short end – but we wouldn't consider using them mandatory. And, indeed, neither does Nikon; with the 70-200mm F2.8 VR S II attached, the camera allows you to turn off Auto Distortion Control, which isn't the case with every Z mount lens, such as the Nikon 24-120 F4 S.

Sample Gallery

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

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

Thank you to Nikon for the loan of a Nikon Z8 to capture this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting.

Buy now:

Buy at AdoramaBuy at B&H Photo