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Adobe is updating Lightroom and Photoshop to make some previously-announced features widely available, and is teasing an AI filtering system for Lightroom that could make it much easier to cull collections of hundreds or thousands of photos.

Starting with what's available today, Adobe is bringing the Remove Reflections feature it added to Adobe Camera Raw last year to Lightroom and Lightroom Classic. It essentially does what it says on the tin: attempts to remove distracting reflections in photos taken of or through windows, without using generative AI.

Image: Adobe

Now that the feature is generally available and in Lightroom, it's a bit more flexible: you can use it on non-Raw image formats too, like JPEGs. Like with the ACR version, there's a strength slider so you don't have to completely eliminate a reflection if you just want it to be a little less prominent.

The company has also updated Lightroom's Generative Remove tool. Like Photoshop's Remove Distractions tool, it can now automatically identify people who aren't the subject of the photo and use AI image generation to paint over them. While you could've achieved the same result with the previous version, you would've had to manually select the people you wanted removed from the photo first.

Adobe is also making Quick Actions, which launched as a preview last year, generally available for Lightroom Mobile and Web users. The feature uses automatically-generated masks to separate different parts of your image and suggests changes you can make to them, such as making the sky pop or retouching a subject's face.

Image: Adobe

Perhaps the most exciting announcement, though, is a preview of an upcoming feature. The company says it's working on AI-powered filtering that will let you quickly sift through your photos. As examples, Adobe showed filters that would narrow down photos where the subject was in focus, photos where specifically the subject's eyes were in focus and photos where the subject's eyes were open. The filters can be combined, and even have sliders to control how sharp the photo has to be, or how open the subject's eyes have to be to show up.

Image: Adobe

The company also says it's working on a filter to hide technically flawed images, such as ones taken with the lens cap on or that are otherwise underexposed. It also showed an AI "stacking" feature that groups together burst photos. Again, the feature is customizable: you can choose how similar photos must be for inclusion in the group, and can adjust how close together the capture time has to be before the images belong in a separate group.

The company says the feature is "coming soon" to the desktop versions of Lightroom and Lightroom Classic; the inclusion of the latter suggests that you may not have to have your photos stored in Adobe's cloud storage for it to work, though the company hasn't said either way.

Photoshop's also getting an update that promises to improve the Select Subject and Remove Background features by offloading the processing to the cloud. The company says this will help speed up the process when working with subjects that have complex or detailed edges, such as hair.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Product Photos by Mitchell Clark

The OM System OM-5 II is a Micro Four Thirds mirrorless camera that uses the same stabilized 20MP sensor as its predecessor. It also features the same processor as the OM-5, so the list of new features is relatively subtle, but it gains some minor updates that make it feel a bit more modern.

Key Specifications

• 20MP Four Thirds CMOS sensor
• 50MP handheld high-res multi-shot mode
• Up to 7.5EV stabilization with Sync IS lenses
• Up to 30fps continuous shooting, configurable pre-capture
• 2.36M-dot 0.68x OLED viewfinder
• IP53 dust and water resistance rating
• USB-C for charging / data transfer
• Updated menu system

The OM-5 II will retail for $1199 body-only, the same as its predecessor, and will be available at "the end of June." It will come in black, silver and a "sand beige" tan.

Buy now:

Buy at AdoramaBuy at B&H Photo Index:

• What's new?
• How it compares
• Body and handling
• Initial Impressions
• Sample gallery
• Specifications
• Press release

What's New USB-C

When the OM-5 launched in 2022, its use of a micro USB port instead of a USB-C one felt like a huge omission, especially given that the European Union was already well on its way to mandating the more modern charging and communication standard. Thankfully, the OM-5 II doesn't repeat that mistake; it uses USB-C for charging and connecting to your computer, where it retains the ability to act as a webcam without any additional software or drivers via the UVC/UAC protocol.

This is mostly an upgrade to the charging experience. You'll still want to use an SD card reader for offloading photos, as the type C port still runs at USB 2.0, less than a tenth the speed of the 5Gbps "SuperSpeed" ports found on a majority of modern cameras.

Updated grip

While the OM-5 II's design is mostly unchanged from its predecessor's, OM System has made the grip a touch larger to help with ergonomics. Compared to the OM-5's, it fills out your hand just a bit more, which helps make it a touch more comfortable and easier to handle.

New menus The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work a lot like Canon's.

OM System has also brought over its updated menu system from the OM-1 and OM-3, with color-coded sections and tabs. Unlike its predecessor, the camera will try to give you an explanation for why certain items are unavailable instead of leaving you to guess what you need to change to access those features.

You can navigate through the sections using the front dial and switch pages using the rear one, which can be very quick once you get the hang of it. The four-way controller is required for changing your settings; you can use the touchscreen to switch tabs and sections but not to navigate through or adjust the settings themselves.

CP button

OM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on the OM-3. It gives you quick access to the camera's myriad computational photography modes; giving it a single press will activate your last-used mode, and if you press and hold it, you can use either command dial to scroll through the various modes and select the one you'd like to use.

The OM-5 II doesn't gain any new computational features compared to its predecessor, which is a bit of a shame since we've found the Live Graduated ND feature included in the higher-end models to be useful in some situations (though that may only be possible because of those cameras' Stacked sensors, which capture images faster, with less risk of rolling shutter). However, the OM-5 II still has a suite of useful computational modes:

OM-5 II OM-1 (II) / OM-3 Multi-shot high-res 50MP handheld / 80MP tripod 50MP handheld / 80MP tripod Live ND 1-4EV 1-6EV / 1-7EV for OM-1 II Live graduated ND — 1-3EV Focus stacking Yes, with select lenses Yes, with select lenses HDR Yes Yes Multiple exposure Yes Yes Live Bulb Yes Yes

All the multi-shot modes are processed in-camera, making them much more convenient to use compared to similar modes from other brands that have to be stitched with desktop software. However, that can take a while for some modes; the most taxing are the handheld high-res shots, which lock up the camera for over 15 seconds; even the progress bar won't move from the EVF to the display or vice versa if you move your eye to or away from the camera.

New color modes Standard Color Profile OM Cinema 1 OM Cinema 2

The OM-5 II includes the two "OM Cinema" color modes from the OM-3, which are made to capture the same level of highlight information as the Log mode but without the extremely low-contrast, low-saturation logic that requires grading. The company says the OM Cinema 1 mode is designed to highlight yellows in the bright parts of your image and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Light, camera, action

Speaking of video, the OM-5 II now features a red LED in the top right corner on the front of the camera, which acts as a tally light to make it obvious when you're recording video.

A little help

The OM-5 II adds two new assistance features: a night vision mode that boosts the live view's brightness, making it easier to focus and/or compose in dark environments and a handheld assist mode that shows you how stable you're keeping the camera during long exposures. It gives you a target that shows how much you've moved the camera since you started taking the picture. It makes it easier to tell whether your photo will come out blurry since you'll know whether you've moved more than the stabilization system can compensate for.

How it compares

The OM-5 II is mainly focused on people looking to capture their outdoor adventures, a niche that's often serviced by action video cameras. However, there's nothing about its design that precludes it from being a general-use stills camera. As such, we're comparing it to several comparably-priced APS-C cameras that are good for photos (no EVF-less, e-shutter only, single-dial cameras here) but that still include some decent video specs.

OM System OM-5 II Canon EOS R10 Fujifilm X-S20 Nikon Z50II MSRP $1199 $979 $1299 $909 Pixel Count / Sensor Size (Crop Factor) 20MP
Four Thirds (2.0x) 24MP
APS-C (1.6x) 26MP
APS-C (1.5x) 21MP
APS-C (1.5x) Image Stabilization 6.5EV
Up to 7.5EV w/ lens coordination Lens only Up to 7.0EV Lens only Max frame rate 6fps mech*
10fps elec with C-AF
30fps elec w/ focus and exposure lock 15fps mech
23fps elec 8fps mech
20fps elec
30fps w/1.25x crop 11fps mech
15fps elec
30fps JPEG-only Pre-burst recording? Yes Yes (Raw Burst mode) Yes Yes, JPEG-only Built-in flash? No Yes Yes Yes Weather sealing IP53 water/dust resistant certified No No Yes AF subject detection types Human / Eye Human / Eye
Animals
Vehicles Human / Eye
Animal
Bird
Cars
Motorcycle / Bike
Airplane
Train Auto
Human / Eye
Animal
Bird
Cars
Motorcycle / Bike
Airplane
Train 10-bit HDR Stills No PQ HEIF No HLG HEIF Viewfinder res. / mag. 2.36M dot
0.68x

2.36M dot
0.59x 2.36M dot
0.62x

2.36M dot
0.68x

Rear screen res. / type

3" 1.04M dot
Fully-articulating 3" 1.04M dot
Fully-articulating 3" 1.84M dot
Fully-articulating 3.2" 1.04M dot
Fully-articulating AF selection Touchscreen / 4-way controller Touchscreen / joystick Touchscreen / joystick Touchscreen / 4-way controller

Video

Full-width UHD/DCI 4K <30p UHD 4K 60p w/ 1.56x crop
Full-width UHD 4K <30p

Up to 6.2K/30p 3:2 (open gate)
UHD/DCI 4K 60p w/ 1.18x crop
Full-width UHD/DCI <30p

UHD 4K 60p w/ 1.5x crop
Full-width UHD 4K <30p 10-bit options OM-Log HDR PQ F-Log/F-Log 2
HLG

N-Raw
N-Log
HLG

Mic / headphone sockets? Yes / No Yes / No Yes / Yes Yes / Yes CIPA Battery rating (LCD/EVF) 310 / – 430 / 260 750 / 750 230 / 220 Weight 418g (14.7oz) 429g (15.1oz) 491g (17.3oz) 550g (19oz) Dimensions 125 x 85 x 52mm
(4.9 x 3.3 x 2.0") 123 x 88 x 83mm
(4.8 x 3.5 x 3.3") 128 x 85 x 65mm
(5.0 x 3.3 x 2.6") 127 x 97 x 67mm
(5 x 3.9 x 2.7")

* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.

In some ways, OM System sets itself apart at this price point by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. Fujifilm is the only other brand with the former in this range (you'd have to jump up to the $1499 EOS R7 from Canon or $1399 Sony a6700 to find another APS-C camera with it), and OM System is one of only two camera companies to offer a specific IP rating rather than a vague claim of "weather resistance." The other is Leica.

Like Fujifilm, there's a wide array of sensible lenses available you can pair with the OM-5 II, though Micro Four Thirds offers lighter and more compact options than even APS-C.

However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit stills that use an HDR response curve, a 60p video mode, and a wider array of AI-derived subject detection modes for its autofocus system. At this point, there are cameras well under $1000 that have these features, so they feel like a notable absence.

Body and Handling

Like its predecessor, the OM-5 II is very light, while still managing to remain well-balanced when paired with larger lenses like OM System's 40-150mm F4 Pro. The extra grip helps in this regard, filling out your palm and making the camera feel more substantial without adding much weight or bulk.

The OM-5 II has a selection of buttons and levers, and as is tradition for the brand, most of them can be customized to do pretty much anything you'd like. While the buttons around the four-way controller are fixed, you're free to do what you wish with the buttons on the top plate, including the two semi-circular ones atop the power lever. The settings are separate for stills and video modes.

It also has OM System's customary function lever, which is unfortunately much more limited; it can only be used to power the camera on or off (leaving the dedicated power lever to do nothing), turn the camera into video mode, or to switch between a small subset of dial functions or autofocus settings. It does not recognize the eye recognition mode, so you can't use it to switch between, say, tracking autofocus and continuous autofocus with eye recognition – unlike many other cameras, you can't have both human detection and tracking on at once.

It also features a locking mode dial, with settings for all the major exposure modes, along with video, scene and art filter modes. Its two top-plate command dials have relatively aggressive knurling, making them easy to manipulate even while wearing gloves.

Despite the revised menus, one of the OM-5 II's best features remains its "Super Control Panel," which is mapped to the OK button by default. It lets you easily access and control most of the camera's main shooting settings on a single touchscreen panel: drive mode, AF mode, face and eye detection, exposure and ISO control, etc.

EVF and Monitor

The OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (equiv.) magnification model found on its predecessor. While it's relatively small, it usually gets the job done, and it's good to have in bright conditions where the fully articulating 3" LCD – also unchanged – will get washed out.

Battery The OM-5's tripod mount is somewhat controversial – OM Systems tells us it's unchanged for the II.

The OM-5 II uses the same 8.5Wh BLS-50 battery as its predecessor, which the company says will last for around 310 shots based on CIPA test standards. While you can generally expect to get more shots than the rated number in real-world use, it's a useful indicator for comparing across cameras. In this case, it's relatively low; if you're going into the wilderness for a weekend, you may want to pack a spare battery or plan on topping it up with your USB-C power bank.

Initial Impressions

By Mitchell Clark

Let me start by saying that, despite the harsh headline, I still think there are people who should consider the OM-5 II. It fills a niche of cameras that are rugged, small and light but that still pack features you'd have to pay more to get in larger-sensor cameras. The OM-5 II still does all that while including some modern comforts.

However, it's hard to ignore that it's a version II seemingly separated from its predecessor by a single port, a few millimeters of rubber, a red LED and a software update. It also doesn't help that OM System had most of these pieces before the OM-5 even launched – the OM-1 debuted with the new menu system and USB-C months before that camera hit the market. To put it bluntly, it feels like OM System should've released this camera three years ago.

Even if we ignore that and take the OM-5 II on its own terms, parts of it still feel last-gen. Autofocus is the main one: it's been a while since I've used a new camera whose AF points didn't go all the way to the edge of the sensor (though admittedly, they cover as much as most people will probably need), and that didn't have AI-derived subject recognition. Even in my brief time with it, it's made me work much harder to focus on and track animals and birds than cheaper cameras from Canon, Nikon and even Fujifilm. That feels like a miss for an adventure camera made for the outdoors.

But again, that doesn't necessarily mean there's still no place for the OM-5 II. Those other cameras don't have stabilized sensors, IP water and dust resistance ratings or the arsenal of multi-shot modes that OM System brings to the table. They also use lenses that are heavier and bulkier than the OM-5 II's; the most sophisticated autofocusing in the world doesn't do you any good if you leave your camera at home because you can't be bothered to carry it.

It's nice to see a follow-up that isn't more expensive than its predecessor

It's also nice to see a follow-up that isn't more expensive than its predecessor these days. But I can't help but feel like the camera deserves more attention than it got from the company – a few autofocus improvements here, some more work on the controls there, and it might have been a standard-bearer for OM System and Micro Four Thirds as a whole, like some of its predecessors.

We'll need to spend more time shooting with and testing the OM-5 II before we can really say how well it competes in today's market. It could wind up being more than the sum of its parts. But at first glance, these are some pretty familiar parts.

Sample Gallery

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

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

Sigma has announced the 17-40mm F1.8 DC Art, a super-fast standard zoom for APS-C. It will be available in L, E, X and RF mounts.

The 17-40mm gives a 26-60mm equivalent field of view on most APS-C cameras (27-64mm on Canon R-series cameras). Its constant F1.8 aperture enables low-light photography and greater flexibility in terms of depth of field. It allows whole-image light capture closely comparable to an F2.8 lens on full-frame.

Buy now:

Buy RF mount at AdoramaBuy E mount at B&H Photo

The lens is a spiritual successor to the company's groundbreaking 2013 18-35mm F1.8 DC HSM Art lens for DSLRs, but extends a little wider and a little longer, further expanding its usability. That original lens was a significant addition to the then-current APS-C systems, but many DSLRs struggled to focus it consistently, especially when using off-center AF points. We've experienced no such challenges using the on-sensor focusing of mirrorless cameras with the new lens.

The 17-40mm features an internal zoom design, making it easier to offer a dust and moisture-resistant design, and uses linear motors to deliver fast focus. It's slightly shorter, slightly narrowed and, at 535g (oz) for the L-mount version, around 34% lighter than its DSLR predecessor.

The 17-40mm F1.8's (right) length doesn't change as you zoom, making it easier to balance on a gimbal. It ends up being shorter than the Fujifilm XF 16-55mm F2.8 II (left) at full extension.

Photo: Mitchell Clark

While the 18-35mm wasn't the easiest lens to autofocus for stills, it became a popular choice as a manual focus lens for video shooters, as it offered an aperture value that usually requires prime lenses, without the need to swap lenses. The new 17-40mm offers an even more versatile range and ends up being better balanced for mirrorless mounts, since you don't need an adapter. There's a small degree of focus breathing at the wide end of the zoom and it's even less apparent at the long end.

The 17-40mm becomes the company's first DC lens for mirrorless to feature a dedicated aperture ring: something we'd love to see extended the existing range of DC primes. The new lens has a switch to de-click the aperture ring and another that locks the lens in or out of the 'A' position that passes control of the aperture across to the camera body.

Version differences

The Canon RF version features a customizable control ring around the lens instead of an aperture ring, keeping its behavior in line with Canon's own lenses, presumably as part of the RF system specifications. This doesn't have f-stop markings, end stops, the lock or de-click switches, meaning it can function as something other than an aperture ring.

The X-mount version has an AF-L / AF switch, changing the function of the two lens buttons, whereas other mounts have an AF / MF switch.

Photo: Mitchell Clark

The Fujifilm X-mount version doesn't have an AF/MF switch, as this is controlled from the body. Instead, the switch changes the function of the lens buttons between AF On and AF Lock.

The other difference between versions for different mounts is that the L-mount version can be switched between linear and speed-sensitive focus ring response.

As with Sigma's 18-55mm F2.8 DC zoom, there's no version of the lens for Nikon's Z mount, which we can only assume comes down to Nikon restricting which lenses it will issue a license for, given Sigma has been given the green light to produce several of its other APS-C lenses for the system.

The 17-40mm lens will be availble from mid-July. In the US the 17-40mm F1.8 DC Art will sell for a recommended price of $919, excluding sales tax. In the UK the recommended price is £779 including VAT.

Buy now:

Buy RF mount at AdoramaBuy E mount at B&H Photo Sample gallery

We've had a chance to shoot with both the Fujifilm X-mount and Sony E-mount versions of the 17-40mm F1.8 and have put together a sample gallery from both systems.

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

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Press release:

Sigma Corporation Announces the Versatile, Professional-Grade 17-40mm F1.8 DC | Art Lens, Pushing the Boundaries for Both Photography and Video

Ronkonkoma, NY, June 17, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the 17-40mm F1.8 DC | Art, the first Art lens for APS-C format since 2016, and the very first made exclusively for crop sensor mirrorless cameras.

This remarkable new lens is the direct successor to the groundbreaking 18-35mm F1.8 DC HSM | Art for DSLR cameras, offering the user a wider angle of view as well as more versatility at the telephoto end. With an updated optical design, it delivers the image quality and brightness of a prime lens, along with the versatility of a zoom. This fast, flexible lens is also designed with video shooting in mind, featuring an inner zoom, high- speed and silent linear autofocus, and minimal focus breathing, as well as a dust and splash-resistant structure for use in virtually any environment.

Significantly lighter than its predecessor, the 17-40mm F1.8 DC | Art lens weighs only 535g (18.9 oz.) and is stacked with features that will appeal to photographers, filmmakers and content creators alike, no matter what camera system it is paired with.

The Sigma 17-40mm F1.8 DC | Art lens will be available in mid-July at authorized Sigma dealers for Sony E- mount, L-Mount, Fujifilm X Mount, and Canon RF Mount for a retail price of $919 USD.

ART 17–40mm F1.8 DC

• Standard zoom lens with a large aperture and rendering capability comparable to a prime lens
• Highly portable and versatile for any situation
• Functions to support video production

The Sigma 17-40mm F1.8 DC | Art builds upon the groundbreaking innovations of the Sigma 18-35mm F1.8 DC HSM | Art, which earned high acclaim as the world’s first F1.8 zoom lens in the photography and video industry. Thirteen years after its debut, this next-generation lens achieves not only superior optical performance but also a wider focal length of 17-40mm while reducing its weight by over 30%. This dramatically enhances the versatility of a large aperture standard zoom lens.

In addition to the fast and quiet autofocus driven by the HLA (High-response Linear Actuator), the lens incorporates an inner zoom mechanism and minimal focus breathing, ensuring outstanding performance for both still photography and video production. Sigma, the pioneer that stunned the world with the first-ever F1.8 zoom lens, has once again revolutionized the history of large aperture zoom lenses.

KEY FEATURES Standard zoom lens with a large aperture and descriptive power comparable to a prime lens Constant maximum aperture of F1.8

The Sigma 17-40mm F1.8 DC | Art has the convenience of a zoom with a constant aperture of F1.8 throughout the zoom range. Taking advantage of a large aperture comparable to a prime lens, the lens is suitable for low- light environments such as indoor and night scenes, as well as for expression using large bokeh.

Excellent optical performance

The optical design, realized through the latest design and processing technologies, including the use of high- precision aspherical lenses, achieves excellent optical performance.

By emphasizing the correction of axial chromatic aberration and sagittal coma flare, the lens achieves high resolution even at the wide-open F1.8 aperture, rendering textures and fine details with stunning clarity.

Flexible framing made possible

The range of the Sigma 17-40mm F1.8 DC | Art has been expanded from its predecessor the Sigma 18-35mm F1.8 DC HSM | Art, covering 25.5-60mm in 35mm format*. From wide-angle tabletop photography to portraits that fully utilize the telephoto angle of view, users can take full advantage of the expressive power of the large F1.8 aperture while freely framing their shots without the need to change lenses.

Designed to minimize flare and ghosting

Using advanced simulation technology and Sigma’s Super Multi-Layer Coating, flare and ghosting have been largely eliminated, ensuring that the lens renders rich, high-contrast results in all conditions.

Highly portable and versatile for any situation Practical and stable inner zoom

Employing an inner zoom mechanism, the overall length of the lens remains constant when the focal length or focus distance changes. This means the lens is easy to use and highly stable when shooting hand-held, on a tripod or gimbal, and even more resistant to dust and water contamination.

Enhanced mobility with a compact and lightweight design

The Sigma 17-40mm F1.8 DC | Art is over 30% lighter and has a filter diameter of 67mm, which is one size smaller than its predecessor the Sigma 18-35mm F1.8 DC HSM | Art. Despite being a large aperture zoom lens, it is surprisingly portable. The expressive power of F1.8 can be used with a compact APS-C system, making it ideal for travel and everyday photography, as well as video production, where mobility is key.

Dust- and splash-resistant structure*2 / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil- repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.

Equipped with two AFL buttons*3, two that can be assigned any function from the camera menu. By placing them on the side and top, users can easily operate the buttons in either landscape or portrait positioning.

Functions that support video production HLA-driven high-speed AF

The adoption of HLA (High-response Linear Actuator) enables quiet, high-speed, high-precision autofocus. The smooth, stable autofocus is perfect not only for still photography, but also for single-operator shooting with a gimbal or vlogging.

Minimal focus breathing

The focus breathing is suppressed, minimizing changes in the angle of view caused by focus shift and enabling smooth, natural-looking focus pulls when recording video.

Aperture ring with various functions

Equipped with an aperture ring*4 for intuitive control of the aperture. When shooting video, users can turn off the click switch for smooth, quiet aperture control. It also has an aperture ring lock switch*5 to prevent accidental changes to the aperture during shooting.

* Approximately 27.2-64mm for the Canon RF Mount version.
*2 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.
*3 Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used. The FUJIFILM X Mount version has an AF function button that can be used to select AF lock/AF operation via lens switch.
*4 The Canon RF Mount version has a control ring instead of an aperture ring. It does not have an aperture ring click switch or lock switch.
*5 If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.

Sigma 17-40mm F1.8 DC | Art specifications Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length17–40 mmImage stabilizationNoLens mountCanon RF-S, Fujifilm X, L-Mount, Sony EApertureMaximum apertureF1.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements17Groups11Special elements / coatings4 SLD elements, 4 asphericalFocusAutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight535 g (1.18 lb)Diameter73 mm (2.87″)Length116 mm (4.57″)SealingYesZoom methodRotary (internal)Power zoomNoZoom lockNoFilter thread67 mmHood suppliedYesHood product codeLH728-02

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

Viltrox has officially announced the AF 85mm F1.4 Pro FE lens for Sony E-mount, which it showed off at CP+ earlier this year. It marks the company's first full-frame autofocus lens in the Pro Series, the lineup that is just below the flagship Lab Series. The full-frame autofocus lens offers a classic portrait focal length and promises a lot for its budget-friendly price.

The Viltrox AF 85mm F1.4 Pro FE lens features an optical design with 15 elements and 11 groups, including 9 HR lenses, 3 ED lenses and 1 UA lens. Viltrox says it delivers "exceptional sharpness and excellent control of coma aberration" with minimized distortion. It also features Viltrox's nano-coating to minimize ghosting and flare. An 11-blade aperture diaphragm promises excellent bokeh.

Image: Viltrox

The lens uses Viltrox's HyperVCM autofocus motor, promising fast and quiet autofocus. Viltrox also says the autofocus is smooth and precise enough for video applications. It's compatible with real-time eye and face detection, and the lens body offers a dedicated AF/MF switch. It can focus as close as 0.79 meters (2.6').

In addition to the focus switch, there is also a customizable function button, an aperture ring and a switch to click or de-click the aperture ring. Viltrox included dust and splash resistance on its new 85mm offering, along with a water-repellent coating on the front element.

Viltrox's new lens features lots of lens controls for the price.

Image: Viltrox

The new lens is Viltrox's fourth 85mm for Sony E-mount cameras, though it is the first with an F1.4 maximum aperture. It's also the largest yet, and it is pretty hefty. At 800g (1.76lbs), it is a fair amount heavier than Sony's FE 85mm f/1.4 GM II (642g or 1.4lbs). It uses the same 77mm filter thread as the second iteration of Sony's classic portrait lens, though, and at 108.5mm (4.2") is nearly the same length.

Despite offering a fair number of premium features, the Viltrox lens is just $598, or nearly exactly a third of the price of the Sony FE 85mm f/1.4 GM II. It's also less than half the price of Sigma's 85mm F1.4 DG DN Art.

The Viltrox AF 85mm F1.4 Pro FE is available for purchase as of today for $598 / €669 / £569.

Buy now: Buy at B&H Buy at Amazon

Press release:

Viltrox’s AF 85mm F1.4 Pro FE: Affordable Pro-level Full Frame Portrait Lens

The portrait master: astonishing imaging and control, high-precision optics, all-weather reliability

Shenzhen, China, June 16th, 2025 - Viltrox is pleased to announce the AF 85mm F1.4 Pro FE, a new full-frame autofocus lens for Sony E-mount cameras. This is Viltrox’s first full frame lens in the company’s acclaimed Pro Series. It is precision-tailored to meet the exacting demands of advanced enthusiasts and working professionals who will only accept reliable, high-performance optics for portraiture and general photography.

An 85mm focal length has long been preferred by portrait photographers for its natural perspective and ability to isolate subjects while still providing a degree of versatility – from close-ups to full body shots. The Viltrox AF 85mm F1.4 Pro FE adds to this by combining a wide F1.4 aperture with advanced optical design that maintains sharpness and clarity across the frame – even at its widest aperture.

The result is close to perfection in its class: a lens that offers both creative flexibility, with stunning bokeh effects, and dependable performance in a wide range of environments.

The Definitive 85mm Portrait Lens

As the definitive focal length for portrait artistry, the AF 85mm F1.4 Pro masterfully adapts to every owner’s creative vision – whether capturing intimate half-frame portraits, dynamic full-body compositions, or fleeting emotional nuances. Elevating Viltrox’s Pro series with its first full-frame lens, it features an advanced optical design including 15 elements and 11 groups, delivering exceptional sharpness and excellent control of coma aberration.

The Viltrox AF 85mm F1.4 Pro FE leverages an ultra-large, precision aspherical lens. This achieves peak aberration control and onion ring control even at 1.4 aperture, delivering consistent sharpness from center to edge. The lens also includes three low-dispersion ED elements to minimize chromatic aberration, and nine high-refractive index elements that maintain clarity. Viltrox’s advanced nano-coating minimizes ghosting and flare, even in challenging lighting such as backlit scenes.

At F1.4 the lens produces the ideal shallow depth of field for portraiture: sharp and clear where focus is needed; soft, dreamy bokeh in out-focus areas; and smooth transitions between focal zones. This allows subjects to be cleanly separated from backgrounds without introducing distracting artifacts, while still delivering beautiful bokeh. The wide aperture also benefits low-light shooting, offering higher shutter speeds and lower ISO settings for clean, noise-free images in dimly lit conditions.

HyperVCM: Viltrox’s patented fast, quiet and smooth autofocus motor

Viltrox's patented HyperVCM autofocus motor delivers exceptionally fast, quiet, and smooth focusing. In the AF 85mm F1.4 Pro FE, the dual HyperVCM motor outperforms traditional STM motors, offering significantly faster focus speed, lower focus noise, and superior precision. This translates to a 150% boost in focusing speed, enabling near-to-far focus shifts in just 100ms. With micrometer-level positioning accuracy, the lens achieves reliable focus even under extremely shallow depth of field conditions. Combined with real-time eye and face detection (compatible with a wide range of cameras), it maintains accurate focus on moving subjects. Crucially, the motor's quiet operation and smooth, precise focus transitions ensure highly reliable video performance. When manual control is preferred, users can instantly switch via the dedicated AF/MF switch.

Easy to use, but flexible and tough

This lens is built for durability, without compromising handling. The full-metal body is robust at about 800 grams – but still provides balance and maneuverability to capture shots. Dust and splash resistance – via strategic seals and water-repellent coating on the front element – make it suitable for outdoor use in difficult conditions.

Professional handling features always improve workflow. In Viltrox’s AF 85mm F1.4 Pro FE, these features include the customizable focus function button; an aperture ring click switch, switchable between stepped and stepless, which is ideal for hybrid photo and video use; and compatibility with the easy-to-use Viltrox App for firmware updates and function customization via USB C. The lens supports EXIF data transmission with compatible cameras, and accepts standard 77mm filters.

For photographers seeking a fast, high-resolution portrait lens with dependable autofocus, rugged construction, and full-frame optical integrity, the AF 85mm F1.4 Pro FE offers a compelling balance of precision, versatility, and value. It’s available now.

More details and how to buy

For more information, please visit: https://geni.us/8514fe_pr
Amazon Store:
US: https://www.amazon.com/dp/B0F8QLT3L9
EU: https://www.amazon.de/dp/B0F8QLT3L9

MSRP: US$598 / EU: €669 / UK: £569

Viltrox AF 85mm F1.4 Pro FE Specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length85 mmLens mountSony E, Sony FEApertureAperture ringYesNumber of diaphragm blades11OpticsElements15Groups11Special elements / coatings9 HR, 3 ED, 1 UA, nano multi-coatFocusMinimum focus0.79 m (31.1″)AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight800 g (1.76 lb)Diameter85 mm (3.33″)Length109 mm (4.27″)MaterialsMetalSealingYesColourBlackFilter thread77 mmHood suppliedYesTripod collarNo

When you use DPReview links to buy products, the site may earn a commission. Fujifilm X-H2 | Fujifilm XF 23mm F2.8 R WR | F5.6 | 1/500sec | ISO 125
Photo: Mitchell Clark

This week, Fujifilm announced the XF 23mm F2.8 R WR, a pancake lens that provides the 35mm equiv. field of view loved by street photographers without a ton of bulk. It's being launched alongside the X-E5 as a kit lens (and our sample gallery for that camera also includes several photos taken with it), but it'll be for sale separately later this year.

We got to spend some time with a pre-production copy, and the samples should provide an idea of how it performs. The images shown in the gallery were processed using our standard Capture One workflow.

See the sample gallery

Buy now:

Buy at AdoramaBuy at B&H Photo

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

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Fujifilm X-E5 | Fujifilm XF 23mm F2.8 R WR | F2.8 | 1/3200 sec | ISO 250 | Astia
Photo: Richard Butler

This week, Fujifilm announced the X-E5, a rangefinder-style mirrorless camera aimed at enthusiasts. At this point, the tech at its heart is pretty well-known. The stabilized 40MP APS-C sensor has been kicking around in cameras like the X-H2, X-T5, and X-T50, so we're not expecting any surprises when it comes to image quality; this is a system that Fujifilm's spent a lot of time dialing in.

What is new is the introduction of the company's (in?)famous film simulation dial to an enthusiast-class camera. It's sporting a new retro look, sure, but its goal remains the same: to get you to play around with the different color modes that Fujifilm is well-known for. It even builds on the concept by allowing you to fill the custom slots with film "recipes," which are groups of settings that the community has put together to get certain looks out of their JPEGs.

We spent some time using the camera and, yes, the film simulation dial to get a feel for how it performs in a variety of situations. Feel free to browse through the photos to see how it did.

See the sample gallery

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

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

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This week, Fujifilm announced a new rangefinder-style camera aimed at enthusiasts: the X-E5. It sparked a lot of discussion about what features a camera of this class should have, what the X-E line going back upmarket means for Fujifilm's lineup as a whole and especially about its pricing, which is substantially different in the US than in the rest of the world.

Some of DPReview's staff sat down to talk about the X-E5 and the community's reaction to it. You can catch our thoughts in the video below.

On July 16, 1945, the United States conducted the world's first test of a nuclear bomb. The Trinity test sent fallout well beyond the desert of New Mexico, though, and an unlikely source discovered it. A video from YouTuber Veritasium details that incident, explaining how famous film company Kodak accidentally discovered radiation on its X-ray film. It's not a new video, and it's a story that may be familiar to some, but it's too fascinating not to share again.

As the video explains, in 1945, Eastman Kodak Company noticed fogging on its X-ray film. The company began testing and discovered unusual radioactive contamination on the strawboard material used for packaging its photo-sensitive films. The board was produced at a mill in Vincennes, Indiana on August 6, 1945, not long after the nuclear test and, coincidentally, the same day Hiroshima was bombed.

After further testing between September and December 1945, Kodak noticed the boards showed fairly strong beta-activity, which ruled out naturally radioactive materials. Eventually, Kodak determined that this radiation was consistent with the isotope Cerium-141. A paper published in Physical Review in 1949 reports Kodak's findings: "The most likely explanation seems to be that it was a wind-borne fission product derived from the atom-bomb detonation in New Mexico on July 16, 1945."

In January 1951, Kodak noticed continued problems. The company complained to the US government and threatened to sue, so the "Atomic Energy Commission agreed to give the company 'advance information on future tests,' including 'expected distribution of radioactive material in order to anticipate local contamination,'" explains the Institute for Energy and Environmental Research.

This isn't the only weird story about Kodak, either. For years, the company's film production wing was owned by the UK government's pension fund. Both are intriguing situations that are just part of Kodak's interesting history.

Image: Sony

We've made it to Friday, folks. That means it's time to share some firmware news. We already shared the most significant firmware news of the week: a massive update for Nikon Z8 cameras. It introduces multiple new features, but it isn't yet available for download. Nikon also released a more modest update for the Z5, though, which is available for download now. Plus, Sony is offering an update for the a6700, which brings some worthy quality-of-life updates. Let's get into it.

Sony a6700 Ver. 2.00 Image: Sony

Download page for firmware Ver. 2.00

Sony's latest firmware for the a6700 brings some helpful changes, many of which are related to file transfers. The a6700 will now let you continue shooting even when transferring files to a phone or tablet, which is especially useful when photographing events or working in fast-paced environments. Also helpful is the ability to resume transfers if they are interrupted, instead of needing to start the process over again. Plus, the update allows you to only transfer data that hasn't already been sent, preventing duplicates.

The update promises improved image quality when using LUTs, though Sony doesn't say exactly what that means. Here's all you can expect from firmware Ver. 2.00:

• Increases the maximum number of images that can be recorded in one folder to 9,999
• Improves image quality when applying user LUTs
• Displays the Wi-Fi signal strength when the Wi-Fi function is On
• Allows notifications to be displayed when the latest software is available for your camera
• You can now continue shooting while transferring captured photos and videos to a smartphone or tablet
  • Note: Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• Transfers to smartphones and tablets can now be resumed if they are interrupted
  • Note: Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• You can now transfer only the data that hasn't yet been sent to your smartphone or tablet, or add videos to be transferred during the transfer process
  • Note: Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• Allows you to upload camera images directly to the Creators' Cloud
  • Notes: Settings must be adjusted in the Creators' App in advance. For more information, please visit the Creators' App support website.
  • Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• WPA and WEP functionalities are no longer supported. You will no longer be able to select
• WPA or WEP when connecting to Wi-Fi. Please use the more secure WPA2 or WPA3 security setting moving forward
• Improves the operational stability of the camera

Nikon Z5 Ver. 1.50 Image: Nikon

Download page for firmware Ver. 1.50

Nikon's update for the Z5 is much more subtle than its Z8 firmware announcement. Most notable is the added support for power zoom functionality, which the company added to the Z6 II and Z7 II last week. Here are all of the updates for the Nikon Z5:

• Added support for the power zoom feature on power zoom lenses.
• [русский (RU)] has been added to the languages available via the [Language] item in the [SETUP MENU] for Z 5 cameras sold in the Middle East.
• Fixed the following issues:
  • When an SB-500 flash unit was mounted, changing from spot metering to another metering mode did not change the i-TTL flash control from standard i-TTL fill-flash to i-TTL balanced fill-flash.
  • Viewing other pictures in playback zoom display would fail after zooming out a "tall" picture with a pinch gesture.

Photo: Abby Ferguson

There's a common saying in the photography world: The best camera is the one you have with you. After all, it doesn't matter how fancy of a camera you own if you don't have it when something worthy of photographs appears. These days, nearly everyone constantly has a camera with them in the form of a smartphone. If you'd like to maximize image quality from your pocket-sized camera, here are some settings you may want to adjust.

Stick to the main camera Your phone's main camera will give you the best image quality.

Most smartphones feature two or three different cameras on the back and one on the front, each equipped with sensors of varying sizes. The main camera uses the largest sensor, offering the highest resolution and best light-gathering abilities. So, when image quality is crucial, you're better off using the main camera instead of the other options.

Most cameras will open the main camera by default when you launch the camera app. If you aren't sure, make sure the 1x focal length is selected. If you do want a different field of view (how much you see of a scene), stick to the preset options, such as 0.5x or 2x. Pinching to zoom relies on digital cropping and enlargement, reducing quality.

Shoot in Raw or HEIC Shooting Raw will give you more flexibility when editing your images.

Some phones will allow you to use Raw file types. While most phones' Raws are still stitched together from multiple exposures, they typically preserve more image data and may apply less processing, giving you greater flexibility when editing. If you know you want to edit your phone photos before sharing them, using the Raw file type will give you more control and help you get more out of your files.

Use Manual/Pro Modes Even if your phone doesn't have a manual mode, it may provide quick controls for brightness, shadows and white balance. The Pixel 9a, for example, allows you to put those controls on the side of the app.

While phones usually do a pretty good job of handling exposure, they sometimes miss the mark or don't produce what you envision. Most will offer quick exposure compensation or brightness adjustments without getting into individual settings, but that may not be enough. Many phones offer some variety of manual or Pro mode. Those modes allow you to change settings like ISO, shutter speed and white balance, giving you more creative control over your images.

ISO is a particularly useful setting to adjust, as it can significantly impact image quality. Prioritizing a low ISO when you're working with enough light will help you get a cleaner image with minimal noise, thus improving overall image quality. Just be aware that you'll need higher ISOs in low-light situations.

Explore third-party camera apps Even the ProCam X Lite app (a free version of ProCam X) offers more control over settings than most default apps provide.

Lastly, some phones either don't offer manual controls at all, or they may be far too basic and limiting. Likewise, you may want to bypass the automatic image processing from your phone's native camera app. If that's the case, a third-party camera app may be helpful. There are lots of options out there, including ProCamX, OpenCamera, ProShot, ProCamera, Halide Mark II and more.

Choose the full aspect ratio

Choosing a 4:3 aspect ratio will help you capture the full image without automatic cropping. The Google Pixel 9a, like many phones, defaults to that.

Phone sensors generally use a 4:3 aspect ratio, but your phone's camera app likely provides other options, such as 16:9. Those ratios result from cropping, though. Sticking with 4:3 allows you to use the full sensor, giving you more flexibility to crop after the fact and helping you get as much as you can from that small sensor.

Trust the default resolution The Nothing Phone 3a offers a 50MP setting, but it defaults to 12MP.

Some smartphone companies flaunt their high-resolution cameras, but their phones don't use those resolutions unless you change the settings. The Samsung Galaxy S23 Ultra, for example, is capable of 200MP photos. But the camera app isn't usually set to that maximum resolution by default.

While switching to that higher resolution may be tempting when trying to maximize quality, it's not always the best idea. After all, the default resolution is set that way for a reason, and you may not get better image quality from those higher resolutions. That's because most maximum megapixel modes won't benefit from the pixel binning that helps reduce noise in the lower-resolution modes, so you may not actually end up with more detail.

Final thoughts

Even though phone cameras have become quite good, they still won't match the quality of most dedicated cameras, especially in low-light situations. However, by adjusting the settings above, you may be able to tease out more quality, helping you to get the most out of your on-hand camera. Just don't forget that general photography principles apply as well.

Image: Leica

Leica has announced the Vario-Elmarit-SL 28–70mm F2.8 ASPH lens. The new lens is the lightest and most compact standard zoom yet in the company's SL lineup for L-mount cameras.

The Leica 28–70mm F2.8 comprises 16 elements in 12 groups, including 3 aspherical elements. It can focus as close as 0.19m (7.48") at the wide end and 0.38m (15") at 70mm. The optical design is remarkably similar to the Sigma Contemporary 28-70mm F2.8 DG DN lens. However, given that the MFT charts are substantially different, the two lenses seem to perform differently.

Image: Leica

The new Leica lens is also heavier than the Sigma offering, highlighting at least a difference in external construction. That said, it's still quite compact and lightweight. It's lighter than the Vario-Elmarit-SL 24–70mm F2.8 ASPH, albeit with slightly less reach at the wide end. It's also much more compact than the Leica 24-70mm, though it shares dimensions with the Sigma 28-70mm lens.

Leica 28–70mm F2.8 Leica 24-70mm F2.8 Sigma 28-70mm F2.8 (L-mount) Weight 572g (1.2lbs) 856g (1.89lbs) 470g (1.0lbs) Length 102mm (4.02") 123mm (4.8") 101.5mm (4") Diameter 72mm (2.8") 88mm (3.5") 72mm (2.8")

The extra weight of the Leica 28-70mm compared to the Sigma lens is likely due to its metal housing. Leica says the metal construction shields the internal components "from external elements, such as dust and splash water." Sigma's Contemporary lens only offers weather sealing at the mount, not throughout the lens.

Leica's latest lens uses a 67mm filter thread, the same as its SL APO prime lenses. Leica promises quiet and fast autofocus and "cutting-edge coatings" for ideal color rendition and contrast while minimizing reflections.

The Leica Vario-Elmarit-SL 28–70 F2.8 ASPH is available for purchase as of today for $1890. It can also be purchased as a kit with the SL3-S for $6495.

Buy now: Buy at Leica Buy at B&H

Press release:

The most compact and lightweight standard zoom lens for the Leica SL-System.

With over 150 years of expertise, Leica has built a legacy in developing precision optical instruments. Leica Camera AG introduces the new Leica Vario-Elmarit-SL 28–70 f/2.8 ASPH., setting a new standard as the most compact and lightweight zoom lens for the SL-System. It seamlessly blends versatility with exceptional imaging performance, enriching the L-Mount portfolio with a premium, fast standard zoom lens designed for everyday use.

The innovative optical design and incorporation of aspherical elements enable the new SL-Lens to deliver exceptional performance while maintaining a constant f/2.8 aperture across its entire focal-length range. Thanks to its constant aperture throughout the zoom range, this lens is an ideal choice for both photography and videography. Featuring Leica’s globally renowned craftsmanship, the new Vario-Elmarit-SL is a premium lens that meets the exacting standards of ambitious photographers, providing them with the support they need to bring their creative visions to life.

The focal length spanning from 28 to 70 mm allows the lens to transition from wide angle to slight telephoto, making it particularly well-suited for capturing landscapes, travel scenes and portraits. The fast autofocus system consistently delivers precise and reliable focus. Cutting-edge coatings on the lenses ensure optimal colour rendition and contrast. These optimise light transmission while effectively minimising reflections. The sophisticated optical construction, comprising 16 lenses arranged in 12 groups, delivers exceptional performance. Three of these lenses feature aspherical surfaces on both sides, enhancing image quality and precision.

The advanced internal technology is securely shielded from external elements, such as dust and splash water, thanks to its durable metal housing. Despite this metal housing, the lens remains lightweight at just 572 g. Its compact dimensions – 102 mm in length with a maximum diameter of 72 mm – ensure excellent portability and versatility for both photography and videography.

The Leica Vario-Elmarit-SL 28–70 f/2.8 ASPH. will be available worldwide in Leica Stores, in the Leica Online Store, and from authorised dealers from 12 June 2025. It can be purchased individually or as part of an attractive kit with the SL3-S. The recommended retail price for the lens is EUR 1,950.00 incl. VAT. The recommended retail price for the SL3-S Vario Kit 28–70 is EUR 6,500.00 incl. VAT.

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The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusaist-friendly outlook of the original X-E models and gains image stabiliation along the way.

Key specifications

• 40MP BSI CMOS APS-C sensor
• Image stabilization rated to 7.0EV
• Twin clickable command dials
• Film simulation dial with 'recipe' option
• 2.36M dot EVF
• 1.04M dot rear up/down tilt LCD
• Video up to 6.2K//30 (with 1.23x crop)
• Continuous shooting up to 8fps, 13fps with e-shutter
• Mic socket, headphones via USB

The Fujfilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. The body-only price represents a $300 premium over the launch price of the similarly-specced X-T50. This difference doesn't exist outside North America. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at.

Index:

• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Press release
• Fujifilm X-E5 specifications

Buy now:

Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo What's new Film simulation dial

Slightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...

Film simulation recipes You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe.

The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.

Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.

Image stabilization

Another thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.

'Self-timer' switch

The X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.

Classic viewfinder mode The X-E5's classic viewfinder mode

One of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display.

In this mode the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. It's almost impossible to interpret with any accuracy, at anything other than the centered position, but it's visually in keeping with the rest of the camera's looks. Charming or ridiculous: you decide.

Other functions

In most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.

How it compares:

The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.

If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.

The high price (in North America, at least) puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9 but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. Outside North America you can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.

Fujifilm X-E5 Sony a6700 Nikon Z5 II Fujifilm X-T5

MSRP US
/ RRP UK

$1699
£1299 $1399
£1429 $1699
£1599 $1699
£1699 Sensor res,
type, size

40MP BSI CMOS
APS-C

26MP BSI CMOS
APS-C 24MP BSI CMOS
Full-frame 40MP BSI CMOS
APS-C Stabilization 7.0EV 5.0EV 7.5EV 7.0EV Viewfinder 2.36M dot OLED
0.62x mag 2.36M dot OLED
0.70x mag 3.69M dot
OLED
0.8x mag 3.69M dot OLED
0.8x mag Rear screen 3.0" 1.04M dot
tilt up/down 3.0" 1.04M dot
fully-articulating 3.2" 2.10M dot
fully-articulated 3.0" 1.84M dot
two-axis tilt Cont. shooting 8fps Mech
13fps Elec. 11fps Mech
11fps Elec. 9.4fps EFCS
10fps Elec* 15fps Mech
13fps Elec. Video options 6.2K/30 w/ 1.23x crop
4K/60 w/ 1.14x crop
4K/30 full width 4K/120 w/1.58x crop
4K/60 oversampled 4K/60 w/1.5x crop
4K/30 oversampled 6.2K/30 w/ 1.23x crop
4K/60 w/ 1.14x crop
4K/30 full width Mic/'phones Yes / Via USB Yes / Yes Yes / Yes Yes / Yes 4ch audio Via optional adapter Via optional adapter No Via optional adapter Media slots 1x UHS-II SD 1x UHS-II SD 2x UHS-II SD 2x UHS-II SD Battery life LCD / EVF 310 / – 570 / 550 350 / 330 580 x 590 Weight 445g (15.7oz) 493g (17.4oz) 700g (24.7oz) 557g (19.6 oz) Dimensions 125 x 73 x 38mm 122 x 69 x 64mm 134 x 101 x 72mm 130 x 91 x 64mm

*30fps in 12-bit readout, JPEG-only mode

The X-E5's high price in North America pits it against some impossible competition, including the X-T5, which with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup. It'll be interesting to see whether its price has to rise in the coming weeks.

There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.

It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned-out by the noise of trade concerns.

Body and handling

The X-E5 is a very solid feeling camera. At 445g, almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.

Control points

The X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.

In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).

Grip

The X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.

As with previous X-Es, this is a camera you're mostly likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.

Viewfinder

There's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.

It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.

The rear screen is the same tilt up/down 1.04M dot (720 x 480px) touchscreen as on the X-M5.

Battery

The X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. This powers the X-E5. Fujifilm has not provided a battery life figure for the camera but we would expect it to be very similar to the 305 shot/charge rating of the X-T50, with which it shares the majority of its components.

CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.

Initial impressions By Richard Butler

We found it interesting to compare the X-E5 to the hypothetical one we wrote about, last October. We correctly guessed that it would have a stabilized 40MP sensor but didn't think it would have a film simulation dial. We were also right when said we thought there was room below the X-T5 to fit an enthusiast model, and that the X-E5 could fill that gap by regaining its second command dial.

And while we said we didn't expect it to be the case, we're delighted that the X-E5 has taken a step back towards being the photographer-friendly camera the series started out as. In the process of doing so it's gained more or a premium feel to its design and build than previous models.

The X-E5, right, regains a number of control points missing from the X-E4, left. These include a second clickable dial on the back of the camera, along with the 'self-timer' style switch on the front, that can accommodate up to five functions, a focus mode switch on the side and the film simulation dial on the top plate.

Personally I would have preferred two non-clickable dials, as it gives a more solid feeling to the control points and avoids any risk of you accidentally clicking while you're trying to turn the dial. I tend to find two command dials are sufficient to control all the key parameters on a camera that also has a dedicated exposure comp dial. I accept that it gives greater freedom of choice and that the ability to press something directly under your thumb to punch in for check focus in manual focus mode is convenient, but I think it would be more in keeping with the sense of well-built solidity that other parts of the design imply.

I also found, as on the X100VI, the long-press of the self-timer switch takes far too long to register: you have to hold the switch for over two seconds to access the second function assigned to that directional press. This is far longer than necessary to prevent accidental access, and means you don't really have particularly quick access to whatever function you've assigned.

Paired with the new 23mm F2.8R WR, the X-E5 is perhaps the closest you can get to an interchangeable lens X100VI. It's likely an updated X-Pro would be larger and more expensive.

Not that I've found myself trying to configure every possible control on the X-E5. It's a camera stuffed to the brim with features (Film recipes, DR modes, face and eye detection separate from its other subject recognition modes...) and yet there are very few of them I need such quick access to that I require two multi-function dials, nine customizable buttons and switches, and four directional swipes on the screen. But they're there if you need them.

But, to a large extent, this is the same thing I felt about the recent X100 models, which in itself is telling. The X-E5, especially with the 23mm F2.8 being launched alongside it, is perhaps the closest we've yet got to an interchangeable lens X100.

We're impressed to see Fujifilm pay attention to its users by providing a simple way to build the 'recipes' that have become a popular way to get the most out of the film simulation system.

But it's impossible to assess the launch of a new Fujifilm model without having to address price and availability. Fujifilm tells us "units are being manufactured in accordance with demand forecasts," and that cameras for the US market will be made in Japan. Notably the 23mm F2.8R WR lens isn't being offered to other customers until "late 2025," prioritising production for X-E5 kits, so there's some reason for optimism.

The price is undeniably high, though: the X-E series had become progressively less expensive as they were made simpler, so this more ambitious model was always going to be a step above its predecessor. The subsequent pricing of the X-T50 and X-M5 also hints at the contribution of inflation in four and a half years since the X-E4's launch. Collectively, these might have explained a launch price that matched the X-T50, as is the case outside North America. Unfortunately, that's not the version of the world we live in.

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

Fujifilm has announced the XF 23mm F2.8 R WR lens, a wide-angle, 35mm equiv. pancake lens for its APS-C cameras. It's a similar focal length to the lens used by the much-coveted X100-series and has similar dimensons, though its maximum aperture is a stop slower.

The lens is very light and compact; its 23mm (0.9") long and weighs in at 90g (3.2oz). Despite that, it has a fair number of features: it has a clicking aperture ring that can be locked into the auto position, its manual focus ring has a "high frequency position" detector to make it easier to focus despite its short throw, and it's water and dust resistant. The silver version of the lens even has a matched grey gasket on the back, rather than a black one.

The X-E5 paired with this lens makes a pretty compelling X100VI alternative.
Photo: Mitchell Clark

Optically, the lens is made up of 8 elements in six groups with two aspherical lenses. It has an 11-blade aperture.

The lens will come in black or silver, and will retail for $499. Fujifilm says it won't be available on its own until December, though it'll start making its way into customers hands as a kit lens for the X-E5 later this summer.

See the sample gallery

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Press Release:

Fujifilm Introduces the Versatile, Ultra-Compact, Lightweight FUJINON XF23mmF2.8 R WR Lens

VALHALLA, N.Y. - June 12, 2025 – FUJIFILM North America Corporation, Electronic Imaging
Division, announces the launch of its FUJINON XF23mmF2.8 R WR (XF23mmF2.8 R WR) lens.
Designed with portability in mind, XF23mmF2.8 R WR was developed to be thin and unobtrusive while delivering powerful resolution and autofocus (AF) performance.

“The first word that comes to mind when thinking of XF23mmF2.8 R WR is ‘versatility’,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “The lens is adaptable to handle standard, wide-angle, close-up image making with ease, while at the same time offering an ultra-compact form factor and user-friendly functionality. From street photography and travel/landscape, where the big picture tells the story, all the way to tabletop photography, where close up, intricate details are critical, XF23mmF2.8 R WR is the ideal everyday carry, designed to work with you on the move.”

Main Features:

Ultra-compact and lightweight design with high resolution performance

XF23mmF2.8 R WR is designed to deliver high resolution performance compatible with the FUJIFILM X Series’ approximately 40.2 megapixel X-Trans™ CMOS 5 HR1 sensor.

• By adopting 8-elements in 6 groups, including two aspherical lenses, XF23mmF2.8 R WR minimizes aberrations from the center to the periphery.
• The lens has been made optically compact through Fujifilm’s latest lens development which reduces size by increasing the number of metal components to make parts thinner while maintaining durability.
• XF23mmF2.8 R WR features a focal length of 23mm (equivalent to 35mm in 35mm format), an overall length of only 23mm2 and a weight of approximately 90g (3 ounces). The lens’s 11- blade aperture diaphragm also delivers smooth, circular bokeh for excellent subject separation, most notably at wider apertures.

Close-up photography and high-precision, high-speed autofocus (AF)

• XF23mmF2.8 R WR excels at close-ups, down to the minimum object distance of 20 cm (7.9 inches) from the sensor.
• The lens uses a full-group focusing system, which suppresses aberration variation depending on the focus position, enabling high image quality photography even at close range.
• A powerful direct-current (DC) motor is integrated into the lens to achieve high-speed AF.

Stylish yet durable user-friendly design

• Knurling at the base of the lens allows for a secure grip when changing lenses.
• The manual focus (MF) ring is equipped with high frequency position detection for high precision manual focus with minimum rotation angle.
• A fixed spacer between the manual focus and aperture rings makes for easier adjustment of either setting when composing through the viewfinder.
• With 9 sealing points, the lens is dust and moisture resistant to temperatures as low as -10 degrees Celsius (14 degrees Fahrenheit) and can be used safely in light rain, cold, or dusty environments.

The FUJINON XF23mmF2.8 R WR lens will be available late 2025 at a Manufacturer’s Suggested Retail Price of $499.95 USD and $559.99 CAD. For more information, visit https://www.fujifilm-x.com/en-us/products/lenses/xf23mmf28-r-wr/.

1 X-Trans is a registered trademark or trademark of Fujifilm Corporation.

2 Equivalent in size to XF27mmF2.8 R WR.

Fujifilm XF 23mm F2.8 R WR Specifications Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length23 mmLens mountFujifilm XApertureMaximum apertureF2.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements8Groups6Special elements / coatings2 asphFocusMinimum focus0.20 m (7.87″)Maximum magnification0.15×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodUnitDistance scaleNoDoF scaleNoPhysicalWeight90 g (0.20 lb)Diameter62 mm (2.44″)Length23 mm (0.91″)MaterialsAluminiumSealingYesColourBlack, SilverFilter thread39 mmHood suppliedYesTripod collarNo

Image: Rollei

Rollei has just announced its first-ever mirrorless lens. The Rollei AF 85 mm F/1.8 is available for Nikon Z and Sony E mounts. However, like the Rollei 35 AF release last year, it's likely only Rollei-related in name.

The Rollei name is associated with iconic film cameras like the Rolleiflex twin-lens reflex and the original Rollei 35, but the actual company that made those products is long gone. The brand is currently owned by Rollei GmbH & Co. KG, which is based in Germany. Like Kodak, Rollei is more in the business of licensing its name these days. In January 2024, Mint Camera was granted a license to use the Rollei name for the Rollei 35AF, a film camera with autofocus capabilities. Now, it seems as though a lens manufacturer may also have been granted a license to the Rollei name.

On the left is the lens design and MFT chart for the Rollei AF 85mm F1.8. On the right is the same information for the 7Artisans AF 85mm F1.8.

Images: Rollei and 7Artisans

The new lens uses the same design and shares specs with the 7Artisans AF 85mm F1.8. That includes an optical design with 10 elements in 7 groups, with two ED and two HR elements. It also features 11 aperture blades and the same F1.8 maximum aperture. Both can focus as close as 0.85m (2.8') and offer autofocus via a stepping motor that supports face and eye tracking.

The exterior of the 7Artisan lens and Rollei lenses also shares similarities. Both offer a 62mm filter thread, metal construction and a USB-C firmware port. They each offer a custom function button.

The E-mount Rollei 85mm (left) offers an aperture ring, while the Z-mount model (right) does not.

Images: Rollei

The lenses look fairly different from the outside, though. The Rollei version looks a bit more burly, with more aggressive knurling. Also, while both the Nikon and Sony versions of the 7Artisan lens feature an aperture ring, only the E-mount Rollei lens offers the same; the Nikon model lacks an aperture ring. Of course, the most obvious difference is the massive Rollei label.

The Rollei lens is available for pre-order now for €299 (RRP €349), with full availability coming on July 9. Rollei says pre-ordered lenses will be delivered by July 7. Those in the US are out of luck, though, as it doesn't appear the lens will be available here.

Press release (machine translated from German):

The first Rollei lens: AF 85 mm F/1.8 for Sony FE and Nikon Z

Norderstedt, June 11, 2025. Rollei is writing a new chapter in its rich history and presenting its first proprietary lens: the Rollei AF 85 mm F/1.8 , available for Sony FE and Nikon Z mounts . With the introduction of the VAF (Full-Frame Autofocus) series, the company is expanding its product portfolio with its first proprietary lenses specifically developed for modern mirrorless full-frame cameras . The 85-millimeter portrait lens combines proven Rollei quality with state-of-the-art technology and sets new standards in image quality and user-friendliness.

The 85-millimeter focal length is ideal for portrait photography , delivering natural proportions without distortion. The Rollei AF 85 mm F/1.8 makes optimal use of this classic focal length and, thanks to its F/1.8 aperture, delivers razor-sharp results even at wide open aperture . The 11 aperture blades create a creamy, perfectly round bokeh that elegantly separates the main subject from the background and enables professional portraits with impressive depth of field.

The innovative HFT-X (High Fidelity Transfer) coating significantly reduces ghosting and flare while preserving natural contrast. Combined with the high-quality glass selection of 10 elements in 7 groups, including two ED and two HR lenses , the lens ensures high edge sharpness and minimizes chromatic aberrations for brilliant image quality right to the corners .

The precise STM (stepping motor) autofocus operates quickly and virtually silently , which is particularly beneficial for video recording. Face and eye tracking are fully supported , making the lens an ideal choice for both photography and videography. The minimum focusing distance of 0.85 meters at a maximum magnification of 0.12× also enables detailed close-up shots.

Despite its weight, the Rollei AF 85 mm F/1.8 weighs just 477 grams and sits perfectly balanced in the hand. Intuitive operation is ensured by a high-quality metal aperture ring (Sony FE version only), an AF/MF switch , and a freely assignable FN button . The linear aperture ring on the Sony version enables smooth, silent aperture adjustments for professional video recordings.

Both lenses feature a precise metal mount (E-mount and Z-mount, respectively) with full EXIF ​​data transfer and a USB-C firmware port for fast updates in just 30 seconds. The 62mm filter thread is compatible with all common filters from the company.

The Rollei AF 85 mm F/1.8 for Sony FE and Nikon Z is now available for pre-order for €299 (RRP €349) at www.rollei.de/rollei-objektiv . The official sales launch is July 9, 2025. Delivery of pre-ordered lenses will begin no later than July 7, 2025, ensuring pre-orderers receive the new lens before its market launch.

Last week, Fujifilm released a short teaser video hinting at a new rangefinder-style camera. That video focused on a camera obscured in shadows, as expected for a teaser. Now, though, the brand is back with another video that doesn't make much of an attempt to hide things ahead of the June 12 announcement.

The new video is just as short, but it shows off more specifics than the last. It starts with what looks like a newly designed film simulation dial. That's followed by a brief view of additional controls on the top of the camera, including a shutter speed dial and exposure compensation dial. The only shadowy part of the video where things aren't as clear is a cut to a low-profile lens. Even that shows an F2.8 aperture marking, though.

The launch is set for tomorrow, June 12th, at 6 AM ET, so we don't have long to wait for full details. The announcement will take place at Fujifilm's Shanghai event, the company's second X Summit of the year.

Nikon has announced a massive firmware update for its Z8 camera. Firmware 3.0 introduces an extensive list of new features and performance enhancements. It offers upgrades for both video users and photographers of multiple types, including a new ultra-high resolution tool, improved autofocus, improved VIew Assist for N-Log and more.

The most significant update is the ability to create files up to 180MP by combining Pixel Shift (Nikon's high-resolution feature) with focus shift or AE bracketing, which Nikon says is the world's first camera to do so. This tool allows for greater depth of field, resolution and dynamic range, which is ideal for commercial, fine art and architectural photography.

The Pixel Shift plus focus shift or AE bracketing feature unlocks the ability to combine high-resolution images with focus shifting or exposure bracketing.

Image: Nikon

To use the new focus stacking features, users will need to merge the Pixel Shift structures in NX Studio on a computer, and then they can use their preferred software for focus stacking. With AE bracketing, Nikon says the Z8 creates a Pixel Shift cluster at every exposure bracket, which you can then merge for a higher resolution with enhanced dynamic range. Neither one can be completed in-camera.

Autofocus has also been improved in many ways. Nikon added an in-camera focus limiter, allowing users to define near and far focus ranges for faster and more precise autofocus. The custom Wide-Area AF feature now enables users to set the focus area at the edge of the frame with smaller increments for more precise control over the size of the custom area. Nikon added a 400% magnification option, making it possible to dial in focus to a highly precise degree. Subject Detection was also added to manual focus and Hi-Res Zoom.

Users can now set near and far focus limits for faster autofocus.

Image: Nikon

On a creative front, users now have the ability to create custom Flexible Picture Controls using NX Studio. These can be saved to the camera via a memory card, allowing users to apply custom looks in real-time. N-log View Assist was also updated, offering enhanced highlights, contrast and details for a more accurate waveform exposure. Nikon says it provides a look very similar to its Rec. 709 LUT.

Image: Nikon

Photojournalists and professional sports photographers also get some specific updates. The Z8 now allows users to record voice memos using an external mic, providing better quality for voice notes on the go. The camera is now fully compatible with NX Field, allowing users to control and monitor up to 10 cameras with an iPhone or iPad and transfer files automatically to an FTP server.

Nikon also added a Maximum Aperture Live View feature, which switches the lens to its widest aperture no matter what is selected. This switch gathers more light for Live View purposes and enables faster autofocus. It then switches back to the selected aperture when taking the shot.

Nikon hasn't announced a release date for the Z8 Ver. 3.0 firmware update, only stating it will be available soon. Most of these are not currently available on the Z9, but it is reasonable to expect that a firmware update for Nikon's flagship camera could be coming as well. You can see all of the coming upgrades and monitor availability at Nikon's website and firmware download page.

When you use DPReview links to buy products, the site may earn a commission.Nikon Z5II vs Zf: same hearts, different bodies

The Nikon Z5II and Zf are Nikon's two most affordable full-frame cameras. They use the same processor and stabilized 24MP BSI sensor, so they have the same autofocusing systems and support for features like high-resolution multi-shot, JPEG-only pre-capture and 4K 60p video with a crop.

However, even at a glance, it's clear that the Z5II and Zf are aimed at very different audiences despite their essentially identical sets of features. We'll break down the sometimes subtle things that set the cameras apart from each other, and help you figure out which one is right for you.

Design

The Z5II is styled as modern mirrorless camera with a design that could be described as utilitarian. It has a rubberized grip, is adorned with buttons, dials and ports and has a mode dial on the top.

The Zf, meanwhile, has a retro aesthetic that throws back to Nikon's early 1980s film cameras. The front is covered in a leatherette – which comes in seven colors – and has only the slightest of built-in grips, though the back and sides look a bit more modern with an array of buttons and ports. It's also covered in chrome accents and has a wide variety of dials, which we'll discuss in just a moment.

Handling - Z5II

The Z5II has two programmable command dials, whose functions can change depending on what mode you're shooting in. It also has a joystick on the back for choosing your autofocus point and a prominent front grip that makes it easy to hold onto it even when you've got a large lens attached.

It also has a few extra buttons absent from the Zf: there's a second custom button on the front plate, and the top plate has buttons for controlling ISO, white balance and your "Picture Control" color mode. However, it makes sense that the Zf doesn't have some of those buttons because...

Handling – Zf

... the Zf has dedicated locking dials for ISO and shutter speed and an exposure compensation control on its top plate in addition to its two contemporary programmable command dials. Also found there: a small LCD panel that displays your aperture setting.

When we reviewed the Zf we found some odd quirks where the dedicated dials didn't always fit with the rest of the camera's more modern control logic but Nikon has attempted to address some of these concerns in firmware 2.0, making the camera's handling of functions like Auto ISO a little more coherent.

The camera also doesn't have a focus point joystick, so you'll have to use the four-way controller or touchscreen to pick your focus point.

The Zf's squared-off design also isn't the easiest to hold when paired with larger, heavier lenses, but it helps with the retro aesthetic.

Viewfinders

The Nikon Z5II and Zf's viewfinders have the same resolution and magnification, but the one on the Z5II can get noticeably brighter. At its highest setting, it can put out up to 3000 nits, though it's hard to directly compare that to the Zfs, as Nikon doesn't provide a peak brightness rating for its viewfinder.

Card slots and connectivity

The Z5II has two full-size UHS-II SD card slots, which makes it easy to set it up for redundant recording if what you're shooting is absolutely critical. The Zf, meanwhile has one full-size UHS-II SD slot, and one UHS-I microSD slot. While you can still use it to back up your shots, it's less convenient to do so give the slower speeds of the microSD slot, and the fact that you'll need to buy two types of cards.

For videographers, the Z5II also has a headphone socket for monitoring audio, which the Zf lacks. Both cameras have a 3.5mm microphone input.

Kit lenses

Nikon sells the Zf in a kit with the Nikkor Z 24-70mm F4 S lens or the Nikkor Z 40mm F2 SE lens. The latter is one of two lenses designed to match the retro aesthetic of the camera body (the other is a 28mm F2.8). However, it, like the rest of Nikon's Z-mount offerings, doesn't have the dedicated aperture ring that would really complete the look and control logic of a film camera. Some of Nikon's other lenses have a programmable control ring, and while that does help with the shooting experience, it doesn't do much to complete the look.

The Z5II is available with either the Nikkor Z 24-200mm F4-6.3 or Nikkor Z 24-50mm F4-6.3. The latter is a collapsible lens that won't take up a ton of room, while the former offers much more reach on the long end. Neither are quite as nice as the 24-70mm F4 S, which is arguably a better fit for the Z5II than the Zf.

Price

The Z5II is Nikon's budget full-frame offering, and comes in at $1699 body-only. At MSRP, the Zf is more expensive at $2000. However, at the time of writing the Z5II is a relatively new camera while the Zf has been around for a while, so the Z5II is still selling for around its list price, whereas the Zf's price has softened. Over time we'd expect a gap to widen back up again.

Conclusion

Unless you have very specific needs, the choice between the Z5II and Zf is largely going to come down to how you want your camera to look and feel.

The Z5II's handling and control logic benefits from decades of refinement since those of the cameras the Zf is modeled on. But the Zf's looks have definite appeal.

If you prefer a more modern design, or aren't all that particular about how your camera looks, the Z5II's larger grip, AF joystick, brighter viewfinder and full-fat dual card slots are all compelling reasons to pick it; the lower price is just the cherry on top.

Nikon Z5II

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However, if you're really into the retro aesthetic, or like the thought of the thought of shooting with dedicated shutter speed and ISO dials, the Zf may be the way to go. Either way, you'll be getting the same image quality and a very similar set of features.

Nikon Zf

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Image: Profoto

Lighting equipment company Profoto has announced its latest portable flash units, the B20 and B30. The new battery-powered monolights build on the company's B10-series, promising improved performance, greater durability and more features.

The B20 offers 250Ws of power, while the B30 offers 500Ws, which is consistent with the B10X and B10X Plus, the predecessors of the new lights. However, the latest models provide more power from the bi-colored LED for continuous light, delivering 50% more output. The B20 and B30 promise up to 5000 lumens with a 2800 to 7000K color temperature range. They offer a CRI greater than 94 for accurate color reproduction as well. Overall, the B20 and B30 are more ideal for hybrid creators than the previous models were.

The B20 and B30 also offer faster performance. The company says they recycle 13% faster than the B10X, resulting in a recycling time as quick as 0.01 seconds for both lights. The lights also offer an eleven f-stop power range, one stop greater than their predecessor.

Image: Profoto

Profoto built the B20 and B30 for demanding use in a range of locations and situations. They feature a rubberized exterior for better handling and durability. There's also an optional handle, which makes it easier to adjust lights even when working with large modifiers. Both are compatible with more than 120 light shaping tools, giving creatives more control.

The flash tubes in Profoto's newest lights are now user-replaceable, allowing users to quickly swap out the tubes on set to keep working. Both lights offer a new Eco mode, which Profoto says "protects internal components, reduces thermal stress and extends your gear's lifespan." There is also a Boost mode, for added power, and Freeze mode for the shortest flash duration needed for freezing motion. The company also says there's no risk of overheating or misfires.

The B20 and B30 feature a dedicated 3.5mm sync port for when wired triggering is necessary. They can also be controlled wirelessly through Profoto's AirX technology.

Image: Profoto

Both models are relatively compact and lightweight, making them ideal for on-location shoots. The B30 is a bit larger, though, as it offers more power. The B20 weighs 1.9 kg (4.3 lbs), while the B30 weighs 2.1 kg (4.7 lbs). Likewise, battery life differs between the two. The B20 promises 400 full-power flashes, while the B30 only promises 220 flashes at full power.

The Profoto B20 and B30 are available for purchase now. The B20 costs $1995, while the B30 costs $2395.

Buy now: Profoto B20 at B&H Profoto B30 at B&H

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

As part of our upcoming review of the Fujifilm GFX100RF, we put the medium format 'compact' in front of our test scene to help evaluate its image quality.

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

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Unsurprisingly, the GFX100RF's Raws capture noticeably more detail than the 61MP full-frame sensor used in the Q3, Leica's high-end large sensor compact, and substantially more than the Fujifilm X100VI's 40MP APS-C sensor. The camera's JPEG engine does a good job of preserving those details.

The lens can't match the $2700 dedicated Macro lens we used for the GFX100 but the JPEG processing does its best to make up for the difference.

Those trends continue in low-light, and looking at high-ISO Raws noise performance follows sensor size. The JPEG engine does a decent job of not blurring away details when applying noise reduction.

Dynamic Range

The GFX100RF has excellent dynamic range performance at its base ISO of 80; it adds very little read noise to the image, meaning there's little difference in images shot at the same exposure but different ISOs, and then brightened to match each other in post. Its files also provide plenty of room to raise shadows, which will help if you want to shoot at a lower exposure to protect highlights.

The PDAF banding we saw in our original DR tests for the GFX 100 doesn't appear in our tests for the GFX100RF: there are reports it was also fixed on the GFX 100 via software update.

Lens Performance

Our studio test scene isn't designed to test lenses, but it can still tell us something about some aspects of performance. The 28mm equiv lens on the GFX100RF has be be shot quite close-up, but it's still around 30x the focal length away from the chart, so should be reasonable representative of real-world performance. Our tests are shot at F5.6 to maintain a reasonable depth-of-field and across-frame-consistency, but the F4/F5.6 comparisons we've shot show little difference in corner performance (it's vignetting, rather than sharpness differences that has more of an impact).

With all of that said, the lens performs well under these conditions. It's quite sharp in the center. It performs reasonably well out to the corners, where there's some light falloff visible in the Raws (which the JPEG engine does a good job of correcting). While the original GFX100, paired with Fujifilm's 120mm F4 macro, renders our scene more uniformly and sharply, that lens alone weighs more than an entire GFX100RF.

At F5.6, chromatic aberration also seems well-controlled compared to the X100VI's lens.

Image: Apple

Apple kicked off its Worldwide Developers Conference (WWDC) today. During the keynote to mark the event's start, the company revealed that it is completely redesigning the iPhone’s camera app in the next version of its mobile operating system, iOS 26*. The company says the design will be “more intuitive” and “elevate the two capture modes you use most: photo and video.”

The iPhone’s camera app has looked largely the same since the last big iOS redesign, 2013’s iOS 7. However, the company has added dozens of new features and modes since then, making the app feel cluttered to some users. For example, if you want to take a panorama, you have to swipe through the portrait and spatial photo modes first.

Different modes will be broken into subcategories for both photo and video, making it easier to find what you want.

Image: Apple

By default, the new interface will present you with the modes for shooting standard photos and videos. You can access other modes, like “cinematic” video or portrait photos, through a series of swipes. The different modes are now sub-categories for photos and videos, which should make it much easier to switch between stills and motion pictures.

The app also follows Apple's “Liquid Glass” design language, which will be applied to the rest of iOS 26. This means that settings and controls will be displayed as semi-transparent windows over the photo preview; the current version of the app has a few settings panes, which appear on black bars beside the preview.

Apple is bringing tabs to its Photos app.

Image: Apple

The Photos app, which was subject to a relatively controversial redesign last year, is also getting a fresh coat of “Liquid Glass” paint. Beyond the purely aesthetic changes, your photo library and collections of albums and photo types will now live in different tabs, which should make them easier to differentiate; in the iOS 18 version, they were presented together on one scrolling screen.

Finally, Apple is also updating its AirPod wireless earbuds by adding camera remote functionality. Users will be able to press and hold the AirPods stem to take a photo or start recording a video. A press-and-hold will end the recording. Apple says this function will work with its native camera app, as well as "compatible third-party camera apps on iPhone or iPad."

Apple says iOS 26 will be available "this fall," and it'll run on iPhone 11 and later; Apple is dropping support for the iPhone XS and XR, which can run iOS 18.

Developing. Please check back later for updates.

* The current release is known as iOS 18, but Apple has changed its naming scheme; it will now follow a model year format similar to cars. Eg., iOS 26 will presumably release in late 2025.