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Updated: 1 hour 49 min ago

Canon adds classic portrait lens to its F1.4 lineup

Tue, 09/09/2025 - 06:00

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Canon 85mm F1.4 L VCM

Image: Canon

Canon has announced the RF 85mm F1.4 L VCM, a prime lens offering a classic portrait focal length and fast maximum aperture.

The lens sits between the more expensive 85mm F1.2 lenses and the sharp but slow-to-focus 85mm F2.0 IS STM Macro. The new lens slots into the company's expanding range of F1.4 VCM primes, and is a very close match in terms of size and weight.

The design utilizes digital corrections but these can be disengaged, if you prefer, as they are not an essential part of the design of a moderate tele lens. The lens is built in the same 76.5 x 99.6mm body as the 20, 24, 35 and 50mm F1.4 L VCM models. It also uses the same 67mm filters.

Its 14 element / 10 group design uses one ultra-low dispersion (UD) element and one molded glass aspherical element. Two of its rear elements have Canon's 'Air Sphere' coating, to reduce flare and ghosting. Collectively these bring the weight of the lens to 636g, making it the heaviest lens in the set. Like its siblings, it features a aperture ring, along with dust and moisture resistant design and fluorine coatings to protect the front element from dirt and water.

The lens has a close-focus distance of 0.75m (29"), giving 0.12x maximum magnification.

The unified size and option to de-click the aperture ring (at cost, by a Canon service center) are designed to make it well suited to video, as well as stills. The lens also has relatively little focus breathing, which can be essentially eliminated on bodies that support the breathing correction function.

Buy now:

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Unlike the 24, 35 and 50mm lenses, the 85mm doesn't have a floating focus element so, like the 20mm, uses only a voice coil autofocus motor, rather than also utilizing a Nano USM motor.

The Canon RF 85mm F1.4 L VCM will be available from October at a recommended price of $1649.

Press release:

Canon U.S.A. Announces New EOS C50 7K Full-Frame CMOS Sensor Cinema Camera and RF-Mount RF85mm F1.4 L VCM Hybrid Lens

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

Buy now:

Buy at Adorama Buy at B&H Photo Buy at Canon Canon RF 85mm F1.4 L VCM specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length85 mmImage stabilizationNoLens mountCanon RF, Canon RF-SApertureMaximum apertureF1.4Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements14Groups10Special elements / coatings1 UD, 1 GMo AsphFocusMinimum focus0.75 m (29.53″)Maximum magnification0.12×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight636 g (1.40 lb)Diameter77 mm (3.03″)Length99 mm (3.9″)SealingYesFilter thread67 mmHood suppliedYesHood product codeET-73CTripod collarNo

Categories: Photo News

Canon updates a PowerShot with higher price and fewer features

Tue, 09/09/2025 - 06:00

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

Canon has announced the PowerShot Elph 360 HS A (IXUS 285 HS A outside the US) a minor revision to one of its compact cameras that loses a few features compared to its predecessor. At the same time, the price has crept up slightly.

From an imaging standpoint, the PowerShot 360 HS A is the same as the PowerShot 360 HS that Canon released in 2016. It has a 20.2MP Type 1/2.3 (6.17 x 4.55 mm) BSI CMOS sensor, paired with a 4.5-54mm (25–300 mm equiv) F3.6-7 lens, which provides a 10x optical zoom. It still uses the Digic 4+ processor and has a mini USB port just for data transfer; you'll have to charge the battery by taking it out of the camera and plugging it into a charging brick.

Image: Canon

There is one physical change, however: instead of a full-size SD card slot, it now takes microSD cards instead. There are some software differences too. Canon says you'll no longer be able to download images from the camera to a computer over Wi-Fi, nor will you be able to wirelessly send images from the camera to a PictBridge printer, though it can still connect to the company's smartphone app. The company also won't be producing a purple version of the camera this time around; the camera will only come in black or silver.

The PowerShot 360 HS A will retail for $379. That represents a $170 increase from the original's MSRP when it launched in 2016, though only a $20 premium over what the camera has been selling for recently. It will be available at the end of October.

Press release:

Canon U.S.A. Announces New EOS C50 7K Full-Frame CMOS Sensor Cinema Camera and RF-Mount RF85mm F1.4 L VCM Hybrid Lens

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

EOS C50 Camera Recording Options

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

New PowerShot ELPH 360 HS A

Pricing and Availability

* Specifications, availability and prices are subject to change without notice.

Canon PowerShot 360 HS A Specifications: PriceMSRP$379Body typeBody typeUltracompactSensorMax resolution5184 x 3888Image ratio w:h4:3Effective pixels20 megapixelsSensor photo detectors21 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSProcessorDIGIC 4+Color spacesRGBColor filter arrayPrimary color filterImageISOAuto, 80-3200White balance presets5Custom white balanceYesImage stabilizationOpticalUncompressed formatNoJPEG quality levelsSuperfine, fineFile format

JPEG (Exif v2.3)

Optics & FocusFocal length (equiv.)25–300 mmOptical zoom12×Maximum apertureF3.6–7Autofocus

Contrast Detect (sensor)
Multi-area
Center
Selective single-point
Single
Continuous
Face Detection
Live View

Autofocus assist lampYesDigital zoomYes (4X)Manual focusYesNormal focus range5 cm (1.97″)Macro focus range1 cm (0.39″)Screen / viewfinderArticulated LCDFixedScreen size3″Screen dots461,000Touch screenNoScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed15 secMaximum shutter speed1/2000 secExposure modes

Program
Hybrid Auto
Auto
Creative Shot

Scene modes

Portrait
Smile
Wink Self-Timer
Face Self-Timer
High-Speed Burst
Handheld Night Scene
Low Light
Fireworks
Long Shutter

Built-in flashYesFlash range4.00 m (at Auto ISO)External flashNoFlash modesAuto, on, slow synchro, offDrive modes

Single
Continuous
Self-timer (2 or 10 secs, custom)

Continuous drive2.5 fpsSelf-timerYes (2 or 10 secs, custom)Metering modes

Multi
Center-weighted
Spot

Exposure compensation±2 (at 1/3 EV steps)Videography featuresResolutions1920 x 1080 (30p), 1280 x 720 (30p), 640 x 480 (30p)FormatMPEG-4, H.264MicrophoneStereoSpeakerMonoStorageStorage typesmicroSD cardConnectivityUSB USB 2.0 (480 Mbit/sec)HDMIYes (micro-HDMI)Microphone portNoHeadphone portNoWirelessBuilt-InWireless notes802.11/b/g/n with NFCRemote controlYes (via smartphone)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery descriptionNB-11LH lithium-ion battery & chargerBattery Life (CIPA)180Weight (inc. batteries)147 g (0.32 lb / 5.19 oz)Dimensions100 x 58 x 23 mm (3.94 x 2.28 x 0.91″)Other featuresOrientation sensorYesTimelapse recordingNoGPSNone

Categories: Photo News

This Sigma lens may be the perfect full-frame travel companion

Tue, 09/09/2025 - 01:00

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

Sigma has announced the 20-200mm F3.5-6.3 DG Contemporary, a full-frame lens that packs a lot of range into a small space. Its size and weight could make it an interesting pick for those looking for a lens to document their travels.

The lens is made of 18 elements in 14 groups, with one FLD element, three SLD elements and four aspherical elements. It can accept 72mm filters.

At its shortest, the lens is 117.5mm (4.6"), though it extends to around 190.5mm (7.5") at its longest. Zooming in will also reduce your maximum aperture relatively quickly; it can only achieve F3.5 at its widest setting before dropping down to F4 until 28mm. At 35mm it's F4.5, which goes to F5.6 at 50mm before settling at F6.3 at 85mm. It weighs 540g (19oz).

It has an autofocus/manual focus switch and a zoom lock to keep it from extending while you're carrying it. The construction is splash and dust resistant.

The Sigma 20-200mm F3.5-6.3 DG Contemporary will cost $999, and is available for Sony E mount and L mount.

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Press release:

Sigma Announces World’s First 20-200mm 10x Zoom Lens for Full-Frame Mirrorless Cameras

Ronkonkoma, NY, September 9, 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 Sigma 20-200mm F3.5-6.3 DG | Contemporary lens for full-frame mirrorless cameras, available in late September 2025. It is the world's first 10x zoom lens to begin with an ultra-wide 20mm focal length designed for full-frame mirrorless.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is a unique all-in-one zoom lens covering ultra-wide to telephoto in a single compact lens. Given its compact size, it’s rare to have a focal range that allows the photographer to shoot quickly and easily between expansive landscapes and establishing scenes, to close-up details or action shots. This lens’s 20mm starting range is much wider than the average high-power zoom lens, and is a feat of engineering weighing in at only 550 grams* in a 4.5 inch body. Ideal for travel photography and everyday documentation of life’s moments, this lens is the perfect all-around lens for any photographer.

A maximum magnification ratio of 1:2 is achieved at a focal range of 28mm to 85mm. At 28mm, one can capture a broad background to emphasize depth, while at 85mm the background can be blurred extensively for a clean look. Even at the telephoto end of 200mm, a magnification ratio of 1:3.3 still enables close-up shooting.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking.

The optical design, which properly positions four aspherical lenses, one FLD glass element, and three SLD glass elements, combined with an internal mechanism that precisely maintains each zoom group, enables high performance across the entire zoom range despite the high zoom ratio. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $999 USD.

* Measurements are for L-Mount.

An all-rounder that empowers limitless creativity. The world’s first* 10x zoom starting at an ultra-wide 20mm.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the world’s first high-power zoom lens for full-frame mirrorless cameras that achieves both 20mm at the wide end and a 10x zoom ratio. This versatile zoom lens covers everything from ultra-wide 20mm to telephoto 200mm, allowing photographers to capture subjects ranging from sweeping landscapes to fast-paced sports without being constrained by distance. Its flexibility makes it ideal for a wide variety of scenes, including close-ups with a maximum magnification ratio of 1:2. With its broad expressive capabilities, the lens truly shines in travel photography and everyday snapshots. The lens delivers a consistently comfortable shooting experience, with its thoroughly compact and lightweight design, as well as fast, accurate autofocus powered by a linear motor HLA (High-response Linear Actuator). The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the ultimate all-in-one zoom lens, offering all photographers unprecedented freedom and creativity.

* As of September 2025, by Sigma.

KEY FEATURES

The world’s first 20-200mm for unleashing creative freedom

Zoom versatility meets expressive ultra-wide 20mm – in one lens

The lens covers the ultra-wide angle of 20mm, which has been difficult to achieve with conventional high-power zoom lenses. Handling everything from majestic landscapes to sports, the lens perfectly captures both scenes unique to ultra-wide angles and applications that take advantage of its telephoto range. With a comprehensive zoom range of 20mm to 200mm, this ultimate all-in-one zoom lens delivers stunning details across a wide variety of shooting situations.

Maximum magnification ratio of 1:2 at the focal lengths of 28-85mm

The lens achieves a maximum magnification ratio of 1:2 at the focal lengths from 28mm to 85mm, enabling photographers to enjoy a broad range of half-macro photography with different angles of view, from wide macro shots that boldly incorporate the background by moving closer to the subject, to medium telephoto macro shots that highlight the subject at a natural distance.

Compact and lightweight design that delivers exceptional mobility

Thoroughly compact and lightweight design

This lens is the world's first to achieve a vast zoom range from ultra-wide 20mm to telephoto 200mm, while weighing only 550g and measuring just 115.5mm in length*. The zoom ring diameter is a very slim 70.4mm, making it highly portable. Without worrying about size or weight, the lens provides extensive creative flexibility in any situation, from everyday snapshots to travel photography.

* The figures are for L-mount

Optical and mechanical design realizing both compact size and high performance

Incorporating high-refractive-index glass materials reduces lens movement during zooming. This enables a simple internal structure and slim lens body. The optical design, which properly positions four double-sided aspherical lenses, one FLD glass, and three SLD glass elements, combined with an internal mechanism that maintains high precision in each zoom group, also delivers high performance across the entire zoom range.

High-speed autofocus and versatile features for effortless shooting

HLA-driven high-speed AF

To help photographers capture even the most fleeting moments, the lens uses an HLA (High-response Linear Actuator) to achieve high-speed autofocus functionality with excellent drive accuracy.

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

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

* The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Equipped with a zoom lock switch at the wide end

features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

LIST OF FEATURES

HLA (High-response Linear Actuator)
Water- and oil-repellent coating
Focus mode switch
Zoom lock switch
Dust- and splash- resistant structure
Mount Conversion Service available
Support for switching between linear and non-linear focus ring settings (for L-Mount only*)
Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
Every single lens undergoes Sigma’s proprietary MTF measuring system

* Only on supported cameras.

Sigma 20-200mm F3.5-6.3 DG Contemporary specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length20–200 mmImage stabilizationNoLens mountL-Mount, Sony E, Sony FEApertureMaximum apertureF3.5–22Minimum apertureF6.3–40Aperture ringNoNumber of diaphragm blades9OpticsElements18Groups14Special elements / coatings1 FLD, 3 SLD, four asphericFocusMinimum focus0.17 m (6.69″)Maximum magnification0.5×AutofocusYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight540 g (1.19 lb)Diameter77 mm (3.03″)Length118 mm (4.65″)ColourBlackZoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread72 mmHood suppliedYesHood product codeLH756-02

Categories: Photo News

Sigma's new telephoto is made for portrait work

Tue, 09/09/2025 - 01:00

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

Hot on the heels of the stabilized 200mm F2, Sigma is releasing another first for mirrorless systems: the 135mm F1.4 DG Art. While there have been a few similarly fast manual-focus only 135mm lenses, and several fully-featured 135mm F1.8s, this is the first to feature both an F1.4 aperture and autofocus capabilities.

The 135mm F1.4 DG Art has 17 elements in 13 groups, with four FLD elements and two aspheric lenses. It has a 13-blade aperture and a minimum focusing distance of 110cm (43.4").

The lens weighs 1420g (50.1oz) and accepts 105mm filters. It's also relatively short, coming in at 137.5mm (5.4") long, which is around the same size as Nikon's 135mm F1.8 'Plena' (though that lens is significantly lighter and narrower). It has a removable Arca-Swiss-style tripod collar with markings at 90° intervals.

The lens has several switches and buttons.
Image: Sigma

As with many of Sigma's primes, the 135mm F1.4 has an aperture ring, which can be set to clicked or declicked with a switch. There are also switches for focus mode and aperture lock, as well as an autofocus lock button.

The 135mm F1.4 DG Art will be available for Sony E and L mount, and will cost $1899.

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Press release:

Sigma Announces World’s First Autofocus 135mm F1.4 Prime Lens for Full-Frame Mirrorless Cameras

Ronkonkoma, NY, September 9, 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 Sigma 135mm F1.4 DG | Art lens for full-frame mirrorless cameras, available in late September 2025. It is the world's first autofocus 135mm F1.4 prime lens designed for full-frame mirrorless.

The Sigma 135mm F1.4 DG | Art is a large-aperture, medium telephoto lens with uncompromising resolution for a crystal-clear image and exceptional bokeh for a smooth, blurred background. As the longest focal length prime lens in the Art F1.4 series for full-frame mirrorless cameras, this lens is ideal for professional photographers specializing in wedding and fashion portraiture, and for photographers aiming to produce portraits of the highest overall quality. The fast F1.4 aperture is designed to create exceptionally smooth, beautiful bokeh, while the 135mm focal length will provide an immersive sense of depth. This compression effect, characteristic of telephoto lenses, enhances the composition by helping the subject stand out against the background, making this lens ideal for portrait photographers aiming to take their work to the next level.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking. Several features support a variety of shooting styles, such as an intuitive de-clickable aperture ring, and customizable AFL buttons located on the side and top of the lens.

Outstanding edge-to-edge resolution is achieved, even at maximum aperture, by adopting an optical design of 17 elements in 13 groups, including 4 FLD and 2 aspherical glass elements. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

Build quality is exceptional, as is characteristic of the Sigma Art line. The lens features a gasketed mounting surface, water and oil-repellent coating on the front element, and an overall dust and splash-resistant structure that helps maintain lens performance in challenging environments.

The Sigma 135mm F1.4 DG | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,899 USD.

Revolutionizing portraits with the world’s first* AF 135mm F1.4.

The Sigma 135mm F1.4 DG | Art is the world’s first 135mm autofocus lens to achieve a maximum aperture of F1.4, delivering exceptional expressive capabilities for portrait photography. Its unrivaled large bokeh and stunning resolution that renders every detail create an extraordinary sense of depth and dimensionality. The natural perspective and moderate shooting distance unique to 135mm, combined with the rich bokeh of the bright F1.4 aperture, make the subject stand out and render on an entirely different level compared to conventional 135mm F1.8 lenses. Built on extensive expertise gained from developing numerous F1.4 prime lenses, this new 135mm lens from Sigma sets a new standard in portrait photography.

* As of September 2025, by Sigma.

KEY FEATURES

Large bokeh for powerful visual expression

Unmatched large bokeh opens up new expressive possibilities

The most notable feature of the Sigma 135mm F1.4 DG | Art is its extremely large bokeh. The effective aperture diameter* of the 135mm F1.4 lens produces exceptional bokeh, which is larger than that of the Sigma 105mm F1.4 DG HSM | Art known as ”Bokeh Master,” and is comparable to that of the Sigma 200mm F2 DG OS | Sports. The natural perspective unique to 135mm, together with its overwhelming bokeh, highlights the subject and creates dimensional portraits achievable only with this lens.

* The effective aperture diameter is calculated by dividing the focal length by the F-number. It refers to the diameter of the light beam that forms an image at the center of the image sensor. A larger effective aperture results in a shallower depth of field and more pronounced bokeh.

Optical design optimized to produce natural bokeh

Thorough correction of chromatic aberration, which is common in telephoto lenses, achieves clear bokeh without color bleeding.The design also minimizes vignetting, rendering natural, near-circular bokeh even at the edges―fully utilizing the wide-open aperture

Sigma’s craftsmanship behind beautiful bokeh

A 13-blade diaphragm maintains a circular bokeh shape, while exceptional precision in aspherical lens processing further enhances its smoothness. This beautiful, natural bokeh is the result of Sigma’s know-how gained through development of F1.4 prime lenses over many years and the advanced manufacturing technology cultivated at its Aizu factory.

Precision optics for exquisite portrait detail

Clear subject detail even at maximum aperture

Four large FLD glass elements are positioned, along with strategically placed high-dispersion glass elements to thoroughly suppress axial chromatic aberration, which tends to be more pronounced in large-aperture telephoto lenses. As a result, the lens delivers crisp subject detail even when shot wide open, making full use of the exceptionally shallow depth of field unique to a 135mm F1.4

Floating focus system for consistent sharpness

A floating focus system moves the two focus lens groups independently, ensuring consistently high resolution across the entire focus range.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology and Sigma’s Super Multi-Layer Coating. High backlight resistance enables clear and sharp images under any lighting conditions.

Fast, accurate autofocus to capture fleeting expressions

Dual HLA for fast, precise autofocus

Each of the two focus groups is driven by its own HLA (High-response Linear Actuator), forming a dual HLA system. By incorporating two distinct types of HLAs, each optimized for the movement range of a focus group, the dual HLA system ensures both the high thrust needed for large-aperture telephoto lenses and fast, precise AF performance. This allows even fleeting expressions and fast-moving subjects to be captured with exceptional reliability.

A wealth of functions for professional use and excellent build quality

Various shooting assist functions

The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

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

Excellent build quality of Sigma’s Art line specifications

Metal components such as aluminum and magnesium alloys are combined with engineering plastics like TSC*, strategically placed throughout the construction. This balances the durability required to support the optical system of a large-diameter lens with the lightweight design necessary for comfortable handling. The Art line offers remarkable rigidity, durability, and build quality for long-term reliability as a tool of expression.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminium. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

Arca-Swiss compatible tripod socket for long studio shoots

The lens comes with a lightweight yet robust tripod socket made of magnesium alloy, compatible with Arca-Swiss clamps. It provides excellent stability during studio sessions and extended shooting, helping photographers stay focused on their creative expression. The tripod socket is also removable and can be replaced with the supplied protective cover.

Supplied hood with a button-type locking mechanism

The supplied hood is equipped with a button-type locking mechanism for secure attachment. It is constructed from CFRP, a polycarbonate material reinforced with carbon fiber, making it both lightweight and durable.

LIST OF FEATURES

HLA (High-response Linear Actuator)
Water- and oil-repellent coating
Aperture ring
Aperture ring lock switch
AFL button (2 locations) *1
Focus mode switch
Dust- and splash-resistant structure
Mount Conversion Service available
Support for switching between linear and non-linear focus ring settings (for L-Mount only*2)
Compatible with USB Dock UD-11 (sold separately / for L-Mount only)
Every single lens undergoes Sigma’s proprietary MTF measuring system

1. Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

2. Only on supported cameras.

Sigma 135mm F1.4 DG Art specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length135 mmLens mountL-Mount, Sony E, Sony FEApertureMaximum apertureF1.4Minimum apertureF16Aperture ringYesNumber of diaphragm blades13OpticsElements17Groups13Special elements / coatings4 FLD, 2 asphericFocusMinimum focus1.10 m (43.31″)Maximum magnification0.17×AutofocusYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1420 g (3.13 lb)Diameter112 mm (4.41″)Length138 mm (5.43″)ColourBlackFilter thread105 mmHood suppliedYesHood product codeLH1126-01Tripod collarYesOptional accessoriesTS-181

Categories: Photo News

Sigma has updated one of its classic primes with better optics and AF

Tue, 09/09/2025 - 01:00

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

Sigma has announced a second-generation version of its full-frame 35mm F1.2 'Art' lens, after teasing that it was coming earlier this year. The company says the 35mm F1.2 DG II Art, coming for Sony E and L mount, is smaller and lighter than its predecessor, while offering better optical and autofocus performance.

The lens has 17 elements in 13 groups, with four aspheric lenses and one SLD element. The original 35mm F1.2 DG DN Art, meanwhile, had 17 elements in 12 groups, with three SLD and aspherical elements. Sigma says the new optical formula will reduce color fringing and coma. The II's extra group is thanks to a floating focus design, where there are now two focusing groups that can move independently.

Sigma says it has less focus breathing, making it more useful for video shooters

Speaking of focus, the II now has dual linear autofocus motors, versus the original's ring-type ultrasonic design. The minimum focusing distance is ever so slightly improved, now at 28cm (11.1") instead of 30cm (11.8"). Additionally, Sigma says it has less focus breathing, making it more useful for video shooters.

The II is also substantially smaller than its predecessor, coming in at 20% shorter and 30% lighter. In fact, it's roughly the same length as Sigma's 35mm F1.4 lens, though it's still around 100g (3.5oz) heavier and has a 5mm (0.2") larger diameter. While older F1.2 took 82mm filters, the new version now uses 72mm ones, which can sometimes be significantly cheaper.

The lens keeps its predecessor's aperture ring, which can be set as clicked or de-clicked, and adds an aperture ring lock switch. It also retains an AF-L button.

The Sigma 35mm F1.2 DG II Art will cost $TK – TK from the $1499 MSRP of its predecessor – and will be available starting TK.

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Press release:

Sigma Announces 35mm F1.2 DG II | Art Lens, a New and Improved Successor to its High-Performance Prime

Ronkonkoma, NY, September 9, 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 Sigma 35mm F1.2 DG II | Art lens for full-frame mirrorless cameras, available in late September 2025. It is designed as the successor to the Sigma 35mm F1.2 DG DN | Art released in 2019, and follows in the footsteps of the ultra-fast, high-performance 50mm F1.2 DG DN | Art lens released last year.

The Sigma 35mm F1.2 DG II | Art, evolving from the original 35mm F1.2 and following the need for a more compact lens to pair with mirrorless cameras, now features a much smaller footprint, comparable in size to the 35mm F1.4 DG DN | Art. Autofocusing performance has been upgraded, and overall optical quality has also been improved. With its bright F1.2 aperture, the lens is ideal for nightscape photography in addition to portraiture, landscapes, street photography, and many other genres that embrace the 35mm focal length.

Thorough correction of axial chromatic aberration and sagittal coma flare contributes not only to the sharpness of the image plane, but also to the bokeh effect. The lens delivers beautiful bokeh without color fringing, double-line bokeh, or any other irregularities from its maximum aperture. The 11-blade rounded diaphragm maintains a circular bokeh shape even when the aperture is stopped down.

As a result of the optical and mechanical design incorporating the latest technology, the new 35mm F1.2 DG II | Art is significantly smaller and lighter than the previous model. The filter diameter has been reduced by two sizes from 82mm to 72mm; the overall length of the lens has been shortened by approximately 20%, and the weight has been reduced by approximately 30%.

Additionally, focusing performance surpasses that of the previous model by adopting a floating focus configuration that moves two focus groups independently. Adopting the dual HLA (High-response Linear Actuator) system, this lens has two focus groups that are each driven with individual linear motors. The floating focus system also minimizes focus breathing, making the lens suitable for video recording.

The Sigma 35mm F1.2 DG II | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,549 USD.

Great made better: the exceptional resolving power and beautiful bokeh of Sigma’s world-leading 35mm F1.2 in a smaller, lighter body

In 2019, Sigma released the 35mm F1.2 DG DN | Art, the world's first 35mm mirrorless camera lens with an F1.2 aperture. Six years later, Sigma is proud to introduce its successor, the 35mm F1.2 DG II | Art.

Designed and engineered with Sigma's latest technology, the 35mm F1.2 DG II | Art offers not only improved optical performance, but also greatly enhanced portability thanks to a significant size reduction of approximately 30%. With its improved design, the lens delivers unparalleled rendering power, high-resolution clarity and large, beautiful bokeh in a more portable form. Focus breathing is also effectively minimized, ensuring outstanding results not only in still photography, but also when shooting video.

The Sigma 35mm F1.2 DG II | Art is an exceptional, uncompromising lens that achieves the perfect balance of optical performance, brightness, compact size, light weight and ease of use.

KEY FEATURES

Unrivaled rendering power, beautiful bokeh and crystal clear images even at F1.2

Extreme suppression of chromatic aberration and sagittal coma flare

The Sigma 35mm F1.2 DG II | Art offers even better optical performance than its predecessor, with brilliant clarity throughout the image, even at the fully open F1.2 aperture. The use of SLD glass, highly refractive glass with high anomalous dispersion, and four glass-molded double-sided aspherical elements thoroughly corrects axial chromatic aberration and sagittal coma flare, while significantly reducing the lens size.

Brilliant sharpness and the large, beautiful bokeh of an F1.2 aperture

In designing the 35mm F1.2 DG II | Art, Sigma paid special attention to correcting the various optical aberrations that affect image quality. Thanks to these meticulous efforts, the lens delivers brilliant sharpness of the in-focus plane and beautiful bokeh that suppresses color bleeding and double line bokeh. Photographers will appreciate the rich, expressive rendering qualities and the beautiful interplay between the in-focus and out-of-focus areas, especially when shooting wide open at F1.2.

Designed to minimize focus breathing

Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. As a result, changes in field of view are effectively suppressed when the focusing distance is changed, making the lens an ideal choice for professional video use.

Designed to minimize flare and ghosting

Significantly reduced size and weight

Better performance, smaller size and lighter weight thanks to the floating focus system

The Sigma 35mm F1.2 DG II | Art achieves even better optical performance than its predecessor while being approximately 30% lighter and 20% shorter. A key factor behind this is the adoption of a floating focus design: by allowing the lens groups to move independently of each other, the weight of each lens group has been significantly reduced while simultaneously enhancing optical performance. Additionally, the improved optical design features four aspherical lens elements, high refractive index glass, and thinner lens elements, further contributing to its exceptional performance.

Fast and quiet autofocusing with dual HLA system

The dual HLA (High-response Linear Actuator) system drives each of the two focus groups by an individual linear motor. In addition, the use of multiple magnets in each motor allows for a compact focus unit design without sacrificing high thrust. Compared to conventional cam-driven systems, the dual HLA system is not only significantly lighter, but also guarantees fast, reliable and quiet autofocusing.

Designed and engineered for professional use

A long-lasting, reliable tool for photographic expression

Manufactured and assembled in Aizu, Japan, using high-precision parts made of aluminum, TSC*1 and other materials, the 35mm F1.2 DG II | Art is a sophisticated and durable photographic tool designed according to Sigma’s Art line specifications.

1. TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

A wealth of shooting assist functions

The lens features an AFL button that can be assigned a variety of functions on compatible cameras. In addition, the aperture ring can be locked with the dedicated lock switch and changed from clicked to declicked with the dedicated click switch.

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

2. The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Petal-type hood with locking mechanism

The Sigma 35mm F1.2 DG II | Art comes with a dedicated petal-type hood that shields the front element from stray light to reduce the chance of unwanted flare. The hood attaches securely to the lens with a locking mechanism.

LIST OF FEATURES

HLA (High-response Linear Actuator)
HLA (High-response Linear Actuator)
Water- and oil-repellent coating
Aperture ring
Aperture ring click switch
Aperture ring lock switch
AFL button (1 location)*1
Focus Mode switch
Dust- and splash- resistant structure
Mount Conversion Service available
Support for switching between linear and non-linear focus ring settings (for L-Mount only*2)
Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
Every single lens undergoes Sigma’s proprietary MTF measuring system

1. Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

2. Only cameras that are compatible with the system are allowed to use the system.

Sigma 35mm F1.2 DG II Art specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length35 mmLens mountL-Mount, Sony E, Sony FEApertureMaximum apertureF1.2Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements17Groups13Special elements / coatings1 SLD, 4 asphericFocusMinimum focus0.28 m (11.02″)Maximum magnification0.19×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight745 g (1.64 lb)Diameter81 mm (3.19″)Length113 mm (4.45″)SealingYesFilter thread72 mmHood suppliedYesHood product codeLH782-04

Categories: Photo News

Sigma's first autofocus cinema lens is coming soon

Tue, 09/09/2025 - 01:00

Image: Sigma

Sigma has announced pricing and availability for the AF Cine Line 28-45mm T2 FF, its first autofocus cinema lens for full-frame cameras, which it teased earlier this year. The lens is based on the company's mirrorless 28-45mm F1.8 DG DN Art lens, but Sigma says it has "completely redesigned electrical and mechanical parts to provide the focus and aperture drive features required for use with cinema cameras."

The company says the lens has a clickless aperture ring and standard gears for use with follow-focus systems. Its autofocus system is driven by a linear motor, the same one found in the mirrorless version. Sigma says the E mount version will be compatible with Sony's Direct Manual Focus and AF Assist features, and with L mount cameras' AF+MF system.

Despite the much chunkier housing and gears, the cinema lens only weighs 60g more than the Art model.

The Sigma AF Cine Line 28-45mm T2 FF will be available in early November and will retail for $3399, a roughly $1900 premium over the mirrorless version.

Sigma Announces Pricing and Availability of First Lens in New AF Cine Line: 28-45mm T2 FF

Ronkonkoma, NY, September 9, 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 Sigma AF Cine Line 28-45mm T2 FF, the first lens in the AF Cine Line and first Sigma Cine lens to feature autofocus capabilities.

Based on the optical formula of the 28-45mm F1.8 DG DN | Art lens, the 28-45mm T2 FF is designed to support full-frame camera sensors with completely redesigned electrical and mechanical parts to provide the focus and aperture drive features required for use with cinema cameras. In addition, the appearance and build quality are representative of a premium cinema lens, with exceptional dust- and splash-resistant performance for use in varied environments.

Similar to the 28-45mm F1.8 DG DN | Art, the autofocus of the 28-45mm T2 FF is driven by a High-response Linear Actuator (HLA) motor. For manual focus operation, this lens features a focus ring with a distance scale and fixed rotation range. It is compatible with DMF (Direct Manual Focus) and AF Assist on Sony E-mount, as well as the AF+MF function on L-Mount.

Weighing in at 960g*, the 28-45mm T2 FF is only 60g heavier than the 28-45mm F1.8 DG DN | Art, and both lenses are the same length. The 28-45mm T2 FF is also compatible with 82mm front filters, as well as commercially available matte boxes with the addition of the optional clamp-on ring (sold separately).

The Sigma AF Cine 28-45mm T2 FF lens will be available in early November at authorized Sigma Cine Lens dealers in the US for Sony E-mount and L-Mount for a retail price of $3,399 USD.

* Measurements are for L-Mount

AF Cine Line 28-45mm T2 FF

Advanced optical design and outstanding rendering performance
Professional-grade mechanical design and operability
AF system with excellent tracking capability and near-silent operation

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Front Cap LCF-82 IV, Rear Cap LCR III, Lens Support Foot SF-91

Launch: November 6, 2025

* Product appearance and specifications are subject to change.

* L-Mount is a registered trademark of Leica Camera AG.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

Revolutionizing cinema with the autofocus cine line

As the first AF-compatible Cine Lens series from Sigma, the Sigma AF Cine Line brings innovation to the film production scene.

Building on the optical system of Sigma’s Art lenses, the AF Cine Line offers exceptional rendering performance, along with high-precision autofocus with excellent tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses.

The AF Cine Line, which embodies Sigma’s latest technology, expands the possibilities of visual expression and brings new possibilities to future film production.

KEY FEATURES

Advanced optical design and outstanding rendering performance

The optical systems of the Sigma 28-45mm T2 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting.

Professional-grade mechanical design and operability

Inheriting the rendering performance and reliability of Sigma’s Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands.

AF system with excellent tracking capability and near-silent operation

Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various situations.

Categories: Photo News

Sony E mount gains fast standard zoom option from two companies you might not expect

Mon, 09/08/2025 - 11:08

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The LK Samyang / Schneider Kreuznach AF 24-60mm F2.8 FE

Photo: LK Samyang / nullnullphotos

LK Samyang has announced an autofocus 24-60mm F2.8 full-frame zoom for Sony's E-mount. It's the second lens co-developed with German lensmaker Schneider Kreuznach.

The AF 24-60mm F2.8 joins the 14-24mm F2.8, announced earlier this year. A mockup of the 24-60mm was shown at the CP+ trade show in Japan, in February.

The company hasn't provided full specifications of the lens, but the product images show it to be relatively compact, presumably helped by its shorter-than-usual reach, at its long end. At 102mm long and 500g, it sits directly between Sony's larger, heavier 24-70mm F2.8 GM II and its smaller, lighter 24-50mm F2.8 lenses.

The lens will be formally unveiled at the International Broadcasting Convention in Amsterdam, The Netherlands on September 12th. We'll add more details as they become available.

Press release:

LK Samyang to Unveil Second Co-Developed Zoom Lens with Schneider-Kreuznach – AF 24-60mm F2.8 FE at IBC 2025 

5th IBC Participation Marks Strengthened Compact High-Performance Zoom Lineup

Seoul, 12 September 2025 – LK Samyang, formerly known as Samyang Optics, is Korea’s only optical company that designs, manufactures, and markets interchangeable lenses under its own brand. With over 50 years of Korean optical heritage, LK Samyang has built a trusted reputation for delivering innovative and high-quality lenses worldwide.

Alongside its photographic lens business, the company also operates XEEN, a dedicated cinema lens brand that celebrates its 10th anniversary this year. Together, the two brands embody the vision: 

“LK Samyang & XEEN – Trusted Technology, Empowering Creators Worldwide.”

At IBC 2025 in Amsterdam (September 12–16), one of the world’s leading exhibitions for broadcasting and film equipment, LK Samyang will officially unveil its latest innovation: the AF 24-60mm F2.8 FE. Co-developed with Germany’s renowned optical manufacturer Schneider-Kreuznach, this release marks the company’s second collaborative zoom lens and highlights LK Samyang’s 5th participation at IBC, demonstrating its commitment to advancing optical solutions for photographers and creators worldwide.

Earlier this year, LK Samyang and Schneider-Kreuznach launched the AF 14-24mm F2.8 FE, the world’s first front-filter-compatible super-wide zoom lens for Sony E mount, which gained strong global recognition. Building on this success, the new AF 24-60mm F2.8 FE extends the lineup to the standard zoom range, offering uncompromised optical quality in a compact and lightweight design tailored for both photography and video creation.

Key Features of AF 24-60mm F2.8 FE 

Versatile Standard Zoom: Covers the essential 24–60mm range 
Constant F2.8 Aperture: Delivers exceptional low-light performance and creative depth of field 
Compact & Lightweight: Designed for portability without sacrificing professional performance 
Creator-Centric Design: Perfect for photography, videography, vlogging, and versatile content creation

Together with the AF 14-24mm F2.8 FE, the new AF 24-60mm F2.8 FE embodies LK Samyang’s philosophy of delivering “Compact High-Performance Zooms,” completing a strengthened zoom lens lineup that empowers photographers and creators to explore new perspectives and storytelling possibilities.

Mr. Piet Thiele, Head of Photo / Cine at Schneider-Kreuznach, stated: “

At the beginning of the year, we laid the successful foundation for our partnership with LK Samyang with the AF 14-24mm F2.8 FE. With the new AF 24-60mm F2.8 FE, we are now following up quickly on our collaboration and taking the next step: a versatile zoom lens that gives creative minds even more freedom to realize their ideas and discover new perspectives.”

Mr. Bonwook Koo, CEO of LK Samyang, commented: 

“The AF 24-60mm F2.8 FE is the second zoom lens co-developed with Schneider-Kreuznach and represents a significant milestone in completing our zoom lens portfolio. By combining over 50 years of optical expertise with the proven experience from our collaboration with Schneider, we continue to deliver innovative solutions that inspire creators worldwide. We are proud to present this lens at our 5th IBC participation and look forward to the excitement it will bring.”

The AF 24-60mm F2.8 FE will be officially unveiled on September 12, 2025 at IBC Amsterdam, and will be made available to global markets following the exhibition.

Categories: Photo News

Hasselblad X2D II studio scene: so many pixels to peep

Mon, 09/08/2025 - 10:00

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If you've been following closely at this point, you've already seen plenty of sample images from the Hasselblad X2D II, and probably have a pretty good idea of how well it performs. Of course, we've also put it in front of our studio scene to make it easier to directly compare its image quality to that of other cameras.

As a note: the out-of-camera JPEGs were shot using the camera's Ultra HDR JPEG mode, which adds a gain map on top of a standard JPEG. The comparison tool doesn't support dipslaying them in a way that highlights the bright areas of the image, but you can view them by downloading the original file, and opening it on a device with an HDR display.

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

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Unsurprisingly, the X2D II's Raws provide superb amounts of detail at low ISOs, besting the single-shot performance of the a7R V's 61MP sensor and matching the GFX 100S II. At its base ISO of 50, it provides the cleanest image of the bunch; the GFX 100S II has slightly more noise, but still outperforms the a7R V thanks to its larger sensor.

Its JPEGs, however, don't seem to quite do that level of detail capture justice, with the finest parts of the image looking a little softer than they do with the GFX 100S II. The details are generally still present in the JPEG, but they don't stand out as much, at least when viewed 1:1 (though that's likely to be a very unusual use-case for images taken on this camera).

The X2D II's Raws continue to look good even at higher ISOs, though its chroma noise is more noticeable than Fujifilm's. And while the JPEG engine doesn't reduce noise as aggressively, that means it does a better job at preserving details.

We had no issues capturing vibrant colors with the X2D II.

Click here to view the original file, which will display in HDR if you have a compatible device.

Hasselblad XCD 35-100mm E | 60mm | F3.5 | 1/500 sec | ISO 100

Back at lower ISOs, the Hasselblad's colors are generally less saturated than Fujifilm's or Sony's, though in our use outside the studio, we found that it still produced pleasing skin tones for portrait work. We also didn't have any issues with getting images that popped with vibrant colors, especially with HDR switched on.

Dynamic Range

As we've come to expect from this sensor, the X2D II has excellent dynamic range at its base ISO, with very little read noise. This means you won't face much penalty for taking an image at ISO 50 to get the maximum DR, then boosting it in post, compared to taking an image at a higher ISO to achieve your desired lightness.

Its files also hold up well when you're boosting shadows, which is helpful if you're shooting at lower ISOs to protect your highlights with plans to brighten the image in post.

Exposure Latitude | ISO Invariance

Categories: Photo News

How to safely delete files from your memory cards

Mon, 09/08/2025 - 06:00

Photo: Mitchell Clark

Many photographers rarely consider memory card care. We tend to use and abuse our cards, with little thought about how to keep them working at their best. And while memory cards are quite robust and durable these days, there are some best practices to keep in mind to prevent corrupt files or data loss.

Is deleting files on-camera okay?

Most of us have been there: You're out taking photos and your memory card is full, but you don't have another with you. Or perhaps you took some photos that you know you don't want. Deleting a handful of files from the camera can be tempting, but is that a smart move?

With modern cameras and cards, the biggest risk with deleting files in-camera is accidentally getting rid of files you actually want. After all, the displays on cameras are small, so it's hard to tell the difference between images. It's also challenging to see fine details that may help you determine if an image is a keeper. You're better off uploading your photos to a computer and selecting which ones you want to keep, then.

While card manufacturers used to caution against deleting photos straight from your camera, citing concerns about their competence with managing a file system, that's less of a risk with modern cameras. If you only ever manage your photos through the camera's UI, you may eventually run into issues, so do so sparingly if you're extra cautious. But deleting the occasional batch of photos from your camera in between formats should be fine.

How should you delete files from a memory card? Format your cards in-camera, not on a computer.
Photo: Mitchell Clark

Instead of deleting files one by one using the delete button on your camera, you're better off formatting your memory card. You can do so by finding the 'Format' option in your camera's menu. Formatting your card resets the file structure and reduces fragmentation. It essentially restores the card to a clean, original state for new data, which helps prevent any file system errors. Keep in mind, though, that formatting a memory card will wipe all data. Only format your card after you have safely backed up your files.

It's also important to format the card only in the camera you'll be using it in, not on a computer or a different camera. Formatting a memory card in the camera rewrites the file structure and prepares it for files from that specific device. Using a card formatted by a different device can risk file system corruption or card errors. It may also cause compatibility issues, resulting in the camera not writing files at all.

If you have a card that's acting up, or you want a truly clean slate, you may want to do a deep rather than a quick format. A deep format irretrievably deletes all the data, but puts more wear on your SD card. There's not much reason to do it unless it's a last-ditch effort to save a card that's having issues after a regular format, or to make sure sensitive images are gone for good.

How often should you format your card?

It's smart to format your card after each shoot (or each time you transfer files) simply to make sure you don't accidentally delete photos that you haven't backed up. There's no worse feeling than going to transfer images you thought were on the card, only to realize you formatted it before copying the files to the computer. Formatting regularly can help minimize the risk of errors, but the bigger benefit is helping you keep track of all of your images.

Categories: Photo News

7artisans announces a new budget 35mm F1.8 for full-frame

Sun, 09/07/2025 - 07:00

When you use DPReview links to buy products, the site may earn a commission. Image: 7artisans

7artisans has announced the AF 35mm F1.8, a wide-angle full-frame prime for Sony E mount. While it's not the cheapest or smallest autofocus lens of its type for the system, it's reasonably priced and has some nice quality-of-life features that more budget options don't.

The lens is made of 11 elements in 8 groups, with two aspherical lenses, two high-refractive elements and one ED element. It has an 11-bladed aperture, and a minimum focusing distance of 0.4m (15.7").

Its body is made of metal, which likely contributes to it being relatively heavy at 426g. The lens can take 62mm filters, and is 94mm (3.7") long. Its autofocus system is driven by a stepper motor.

As for the features, it has a clickless aperture ring, an auto/manual focus switch and a customizable function button. There's also a USB-C port on the bottom for firmware updates.

The lens costs $299 and is available now.

Buy Now:

Buy at 7artisans Buy at Amazon

Categories: Photo News

The theme for our September Editors' photo challenge is "Pixels in Your Pocket"

Sun, 09/07/2025 - 06:00

Pedestrians explore the Pavilion at Riverfront Park in Spokane, Washington, built for the Expo '74 world's fair.

iPhone 11 Pro | F1.8 | 1/25 sec. | ISO 640
Photo: Dale Baskin

Our September Editors' photo challenge theme is "Pixels in Your Pocket."

This month, we’re celebrating the camera that’s always with you: the smartphone. As we all know, sometimes the best camera is the one you have with you. Wow us with the best images captured on a phone or tablet, and show us how small sensors can tell big stories, anywhere, anytime.

Photos can be submitted between Sunday, September 7, and Saturday, September 13 (GMT). The challenge is open to photos captured at any time.

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

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

Visit the challenge page to see all the rules

Categories: Photo News

Point-and-shoot, DSLR or mirrorless: how to choose between camera types

Sat, 09/06/2025 - 06:00

Camera images: Ricoh, Sony and Nikon

Whether you're looking to capture daily life, start a new hobby or hoping to build a professional career, choosing the right camera is an important first step. Cameras come in various sizes and formats, but compacts, DSLRs and mirrorless cameras are three of the most common options. Those choices can feel confusing if you're relatively new to the photography world, though.

Each type of camera provides a different balance between convenience, image quality and creative control. Understanding those differences will help you narrow down which device might best match your needs.

Compact cameras Compact cameras are very small.
Photo: Richard Butler

As the name suggests, compact cameras (or compacts) are small, easy-to-carry devices. They feature integrated lenses that can't be changed out, saving you from spending additional money on lenses. Some compacts offer a zoom lens, whereas others use a fixed focal length with no zoom capabilities.

Compact cameras are often called point-and-shoots, too. This is because many are designed to be very simple to use with fully automated settings. However, there are also more premium, advanced compact models that still offer some creative control, so not all are meant for casual users.

Unfortunately, compact cameras aren't as prevalent as they used to be, as smartphones have largely replaced them. As a result, there are limited new models available. There have been some releases in the past year, but they are typically quite pricey for casual users. Many of the newer models are designed for vlogging with more video-centric features that aren't great for pure photographers. Alternatively, you can still find older compacts second-hand, though there are some risks with buying aging cameras.

Who are compact cameras best for?

Because of their simple operation and limited need for additional accessories, compact cameras are great for casual photographers who want something other than their phone to make photographs. The small size also makes them ideal for travel use, since you can easily fit them in a jacket pocket or small purse.

However, compact cameras aren’t just for beginners. A basic point-and-shoot can be a fun outlet for those who already have advanced, technical gear. Plus, there are premium compact models, including a medium-format camera with a larger sensor. Experienced photographers who simply like the idea of a convenient camera with an integrated lens may also enjoy these compact devices.

DSLRs Image: Nikon

Digital single-lens reflex cameras (DSLRs) are probably the most widely recognized digital interchangeable lens cameras (ILC). Unlike compact cameras, DSLRs don't use an integrated lens, so you'll need to buy one separately (or as a kit with the camera). This adds cost, but also adds flexibility and creative control, as you can choose the lens(es) that allow you to achieve the look you're after.

The other key component of DSLRs is a mirror that directs light from the lens into an optical viewfinder. That style of viewfinder gives you a real-time, direct through-the-lens view. It also results in longer battery life since the viewfinder isn't a display that uses up power. The mirror mechanism adds bulk, however.

While DSLRs are still widely used, they are past their heyday. For the last five years, major brands have been entirely focused on mirrorless technology for both cameras and lenses. Canon and Nikon last released DSLRs in 2020. Additionally, Sigma hasn't released a new lens for DSLRs since 2018 and recently changed its lens naming strategy to ditch the label that was used to identify its mirrorless lenses. Only Pentax remains committed to the DSLR format at this time.

Who are DSLR cameras best for?

Because DSLRs represent older technology, they are available at relatively affordable prices. The same is true for DSLR lenses. As a result, they are a popular choice for beginners looking to buy their first dedicated camera. Some professionals also opt for DSLRs because you can get a lot of image quality for the price at this point.

Investing in a DSLR today will leave you with outdated technology right out of the gate.

However, it would be wise to consider carefully if you want to invest in a DSLR system right now because they are end-of-life systems. They are well supported for now, but investing in a DSLR today will leave you with outdated technology right out of the gate. After all, even entry-level mirrorless cameras offer much more reliable autofocus and advanced features. New features, firmware updates and compatible accessories will also be increasingly rare for DSLRs.

Additionally, it's important to remember that you're also investing in lenses. While there are adapters that allow you to use DSLR lenses on mirrorless bodies, this adds additional bulk and can reduce the functionality of some lenses. Plus, mirrorless lenses are significantly improved over DSLR lenses, so you'll also be missing out on the latest advancements in lens technology as well.

Mirrorless cameras Photo: Richard Butler

Mirrorless cameras are the more modern take on the interchangeable lens format. They ditch the bulky mirror mechanism found in DSLRs, allowing for a more compact, lighter body. The sacrifice, for some, is that they use an electronic viewfinder (EVF), instead of an optical one. EVFs consume more power, and there may also be a subtle lag in low light conditions (though it's rare for that to be noticeable for most users).

Since mirrorless cameras are newer than DSLRs, they offer more recent technology. That includes faster and more advanced autofocus with subject detection and tracking, faster burst shooting rates and real-time exposure simulation. They also provide better video capabilities.

Who are mirrorless cameras best for?

Mirrorless cameras are available for just about every need and preference. There are entry-level beginner models, video-centric options and high-end, professional-grade mirrorless cameras. In short, mirrorless cameras are best for anyone who wants an interchangeable lens camera for the flexibility and creative control. They are also ideal for those who need relatively compact camera bodies, advanced autofocus or greater video capabilities.

The best camera is the one that fits your needs

When shopping for a new camera, you'll hear a lot about what the best cameras are. At the end of the day, though, the best camera for you is entirely dependent on your particular needs and how you plan to use it. Each of the formats above has pros and cons and is suitable for different situations. Be sure to consider what you want to get out of the camera and what the most important features are before narrowing in on one particular device.

Categories: Photo News

Nikon temporarily suspends its Z6III Content Credential program

Fri, 09/05/2025 - 10:25

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

Nikon has temporarily suspended its Nikon Authenticity Service program, which provided Z6III owners with the ability to sign their images with C2PA Content Credentials. In a notification, the company says it "confirmed that an issue has been identified in the Nikon Authenticity Service," and that "the service has been temporarily suspended while we work diligently to resolve the issue."

While the company didn't specify what the issue was, it seems likely it's related to a discovery made by DPReview forum member Horshack, who got the camera to sign an image it hadn't exactly taken by using the Multiple Exposure function. Yesterday, Nikon told DPReview it was investigating that issue.

The Z6III's ability to create these Content Credentials, which theoretically help prove that a photo was authentically taken with a camera and keep a record of edits made to it, was a headline feature of the Z6III's v2.0 firmware update. However, the company did tell users that it was being released as a beta, so it's not necessarily surprising that there have been a few bugs.

In its news post, Nikon promises to provide an update "as soon as the corrective measures are complete," and apologizes for any inconvenience.

Special thanks to Horshack for alerting us to Nikon's news post.

Categories: Photo News

How one photographer created a music video with 2100 hand printed cyanotypes

Fri, 09/05/2025 - 06:00

It takes a lot these days to make a music video or visualizer stand out, but that's exactly what Deftones and UK-based artist and researcher Edd Carr were able to do. The video for Cut Hands, seen above, was created with more than 2100 hand-printed cyanotypes, an analog process that required a massive undertaking by Carr. We were curious how Carr tackled this project and what led him to use an analog process for the video, and he was gracious enough to chat with us about his work.

Carr began by photographing landscapes with a DSLR and editing them extensively in Lightroom, but eventually realized something was missing. "I would go out, focus on the live view screen to get a perfect composition, then come back, and focus on the digital edit in Lightroom," he explained. That process left him feeling completely disconnected from the natural world he was trying to document.

Around the same time, Carr started reading about radical ecology and was drawn to the idea of using analog processes to feel more connected to the physical world. Since then, Carr has been deeply involved in analog photography, including alternative processes like cyanotypes, because of the feeling of connection that he gets from the tactile.

Cyanotype is a photographic printing process that results in striking blue-toned images. The technique involves coating paper with a light-sensitive solution of potassium ferricyanide and ferric ammonium citrate, which is yellowish green when initially brushed on. To make an image, you expose the coated paper to UV light (typically sunlight) and rinse it to reveal the final image. It's a very hands-on process that aligns closely with Carr’s desire for a physical connection to his art.

Image: Edd Carr

As an artist who focuses on nature, working in analog adds another layer of connection as well. "From an ecological perspective, analog processes allow me to incorporate natural elements into my work, and connect the living landscape to the themes of my pieces," Carr explained. To that end, sometimes he develops his film in plants or buries it in soil. "I try to give voice to the land through my work," he said.

While analog is central to Carr's work, digital is also a significant component. For the music video and his other animation work, the projects begin as digital cuts based on stock footage. They are then translated to analog to create the imagery, and back to digital for the final animation.

Carr explained that creating the imagery for the Deftones project was a painstaking process. Sourcing the stock footage was just step one. "Then [I] compile it in a way to create a narrative, and also for the visuals to flow through techniques such as match cutting (matching similar shapes, such as the snake’s eyes and the eclipse), or matching movements," he said. "It is sort of like making a sculpture from found objects."

Image: Edd Carr

Once Carr makes the digital video, he splits it into individual frames, usually at 12 frames per second. "This means I end up with a stream of digital still images, comprising the entire video – in this case over 2,100 images," he explained.

After establishing the narrative digitally, Carr begins the process of transforming each frame into a cyanotype. For some of Carr's work, he uses a DLP projector to expose the cyanotype. The bulb has a trace amount of UV, and it allows him to project the image onto the paper without first printing a digital negative. However, exposures take a lot longer, so it isn't feasible for animation projects with lots of prints.

For high-volume projects like the Deftones video, Carr first creates digital negatives for each frame. Since he was dealing with so many images, he opted to make contact sheets with between 9 and 16 images per A4 sheet. Each sheet then produces roughly one second of footage.

Image: Edd Carr

Once the negatives are ready and paper is coated, he uses an artificial UV LED light to expose the prints. The artificial light allows him to fully control exposure, which enables more consistent prints. "If they aren’t consistent, you get a lot of flashing, due to the variance in exposure," he explained. "Indeed, you can see some in this Deftones video, even with controlled UV."

The sheer number of prints in an animation project like the Deftones video makes the process daunting. "The volume of prints is always a challenge, especially in a commercial context, as you often have tight deadlines to meet," Carr explained. For the Deftones video, he was making 100 prints a day, which he says was incredibly intense. He explained that he would coat the cyanotypes in batches of eight, print two rounds, wash and dry and then print again. He said it resulted in printing for 12 hours a day, which was a very physical process.

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After the cyanotypes are created, Carr scans each frame back in, does some editing and drops them back into the video editor. He said that, in theory, it should play smoothly, but there are often one or two frames missing or out of order. Finding those frames and getting them back into place is a time-consuming process. He says he spent more than 12 hours a day editing, and said it was "a bit brain melting."

Carr says he wanted to channel the rock music video aesthetic he grew up with in the '90s, both in subject matter and the visual effects. The look that results from the cyanotype animation leans into that grunge look, thanks to scratches, folds, paper texture and other imperfections coming through. Carr said the unpredictability is one of the things he enjoys most about analog processes. "It is one of the reasons I love analogue; a thumbprint of mine may make its way into the animation unexpectedly, or a certain scratch or fold in the paper may give an additional exciting texture to an otherwise typical image," he said. "I can’t imagine losing this in digital, or artificially adding it with AI."

You can see more of Carr's work at his website or on Instagram.

Categories: Photo News

Adobe is bringing its Premiere video editing platform to iPhone for free

Thu, 09/04/2025 - 08:15

Image: Adobe

Thanks to Adobe, content creators and video editors will soon have access to another editing app on their phones. The company has announced that it is bringing Premiere, its computer-based video editing software, to iPhones for free.

Premiere Pro is a widely used video editing platform that offers an extensive list of advanced features suitable for professionals. Adobe says it reimagined Premiere for mobile, promising pro-level control without pro-level complexity. It describes the app as "intuitive and uncluttered." As an added benefit, unlike many other popular mobile-based video editing apps, Premiere for iPhone won't add watermarks or feature ads.

Adobe says the app allows users to start an edit on their phone and finish on the desktop version of Premiere Pro. Alternatively, it supports export directly to TikTok, YouTube Shorts, Instagram and more. It can even automatically resize videos for each specific platform, promising to keep the main content in the frame.

Despite the streamlined UI, Premiere on iPhone will still offer familiar features for those who use the desktop version. That includes a multi-track timeline and dynamic audio waveforms. It also supports automatic captions with stylized subtitles, unlimited layers, support for 4K HDR and more.

Additionally, the Premiere iPhone app offers Generative Sound Effects, which allows users to create sound effects using a text prompt and their own voice. The app also features an AI-powered tool to record voiceovers that Adobe promises will be clear even when recording in noisy environments.

Images: Adobe

Adobe Firefly is built into the app for AI-generated assets, and users will also have access to millions of free Adobe Stock assets. The app will also enable Adobe Fonts and Lightroom presets. Creatives will be able to easily find, create and add music, sound effects, photos, text, graphics and videos to their content.

Adobe stated that the Premiere iPhone app is free. Users will only need to pay if they want to use generative credits or cloud storage.

The Adobe Premiere iPhone app will be available at the end of September, but you can pre-order it now in the App Store. The Android version is in development, so hopefully Android users don't have long to wait for access.

Categories: Photo News

Further adventures: high ISO images added to Hasselblad gallery

Thu, 09/04/2025 - 07:00

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We're working on the studio test scene of the Hasselblad X2D II 100C and will be working towards a full review in the coming weeks. But, in the meantime, thought we'd add a couple of high ISO and low-light images shot after the camera's launch to our sample gallery.

As before all the JPEGs include a brightness map that allows more convincing rendering of bright tones and highlights on HDR displays. The versions presented in our gallery system have had the brightness maps discarded, so you'll need to download the JPEG listed next to the word "Original" on the right of the page, and view on a compatible device.

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.

Categories: Photo News

Testing Pro Res Zoom on the Google Pixel 10 Pro: does it live up to the hype?

Thu, 09/04/2025 - 06:00

Not all of the Pro Res Zoom results are terrible. This image was taken at 52.7x zoom.
Photo: Abby Ferguson

When Google announced the Google Pixel 10 series last month, it highlighted the 'Pro Res Zoom' feature. While the capabilities it offers certainly sound nice on paper, and Google has shown a few impressive results, we had to put it to the test to see what it's actually capable of.

What is Pro Res Zoom?

Traditionally, phones have used a process of cropping and enlarging an image when the user chooses to zoom in past its maximum optical setting. However, digital zoom typically results in images that are very low quality, with little in the way of detail. That's especially the case when trying to photograph something far away, as the more you crop in (and the less of the sensor you use), the worse the quality gets.

Google's latest Pro Res Zoom tool also uses cropping and enlarging, but combines it with generative AI; the first use of the tech in the company's camera app. Google says Pro Res Zoom will retain detail by generating information to fill in the gaps.

The standard Pixel 10 offers Pro Res Zoom up to 20x, while the 10 Pro and 10 Pro XL allow up to 100x. On the two Pro models, Pro Res Zoom doesn't kick in until 30x. Anything below that uses the more traditional method of digital zoom, while anything above 30x gets the AI treatment.

Real-world Pro Res Zoom tests

We've all seen botched AI image generation plenty at this point. So when Google said that the Pixel 10 models would be using generative AI for the Pro Res Zoom feature and that it enabled 100x zoom, I was a bit reluctant. I've spent some time testing the feature, and it can be a bit of a mixed bag.

When you take a photography using Pro Res Zoom, Google gives you the unprocessed file along with the AI processed image. You will see both versions in the examples below, illustrating what changes the AI is making.

This image was taken with 32x zoom, so the bird wasn't terribly far from me. On the left is the unprocessed image, and on the right is the Pro Res Zoom processed image.
Photo: Abby Ferguson

I tried out Pro Res Zoom on quite a few birds, as that seems like a natural use case for the feature. It handled things okay at the lower zoom levels, such as in the example above. Details remained fairly natural-looking, and it indeed appeared to be higher quality than the version that wasn't processed with AI. However, as I zoomed in more, things started to fall apart.

The original, unprocessed image, 100x zoom. The first attempt at Pro Res Zoom at 100x. The second attempt at Pro Res Zoom at 100x. You can see the bird in question as a tiny white spec in this image taken with the main camera.

In the examples above, I zoomed in to 100X. As you can see, the results leave quite a bit to be desired. The top right image is the result of my struggling to hold the phone steady while zoomed in so far, which could be the reason for the intense ghosting and three legs. The bottom left image was a second attempt at holding still, and it at least turned out better, though detail is still lacking on the bird's body.

At times, I found that Pro Res Zoom resulted in some classic generative AI results, including misshapen animals or missing parts. For example, in the duck photo below, the duck now has feathers on its beak. Pro Res Zoom handled the rest of the image fairly well, but struggled with that area.

The unprocessed image on the left, and Pro Res Zoom image on the right.
Photo: Abby Ferguson

When Google presented Pro Res Zoom it clarified that it is meant for landscapes and landmarks. However, Google said that special tuning is applied when people are in the frame to prevent odd images. Naturally, I tried it on a person at 100x to see what would happen, and at least the result was rather entertaining.

The unprocessed image on the left, and Pro Res Zoom processed image on the right.
Photo: Abby Ferguson

Accurately creating text in images has historically been a difficult task for generative AI, so I set out to take some images of signs during my testing as well. On text that was relatively readable when zoomed in without processing, Pro Res Zoom did a decent job of keeping things that way. However, if the text was challenging to read beforehand, the AI processing didn't improve things at all.

The unprocessed image on the left, and Pro Res Zoom processed image on the right.
Photo: Abby Ferguson Final thoughts When an image is created with Pro Res Zoom, the Content Credentials will specify that AI tools were used.

Overall, the lower the level of zoom, the better the Pro Res Zoom results. That's not surprising, given that the same is true of basic digital zoom; the greater the crop, the less actual image data there is to work with. But regardless of quality, there are some additional factors to consider here. First, it's challenging to take a photo when zoomed to 20x, and remarkably difficult at 100x. Framing a shot successfully at such magnification is no easy task, and likely isn't practical for most situations.

Perhaps more importantly, in many of the images above, it's very clear that generative AI was used. Google added Content Credentials to the Pixel 10 phones, so images processed with Pro Res Zoom are tagged as using AI tools, but it still feels like less of a photograph and more of a graphic because of just how much of the detail in the image is generated, rather than captured. Of course, everyone will have their own thoughts on that front, but it is worth considering.

Categories: Photo News

The Nikon Z f's design just got even more retro

Wed, 09/03/2025 - 21:01

When you use DPReview links to buy products, the site may earn a commission. The Nikon Zf is now available in even more colors.
Photo: Nikon

The Nikon Zf is known for its retro design, but now there's even more ways to get one that looks like a camera of yore. Nikon has announced a silver edition, which features – no points for guessing – a silver top and bottom plate instead of a black one.

Nikon designed the Zf silver edition to resemble the chrome plating on cameras like the Nikon F. The true retro-nod comes in the silver and black model, which offers the same textured black leatherette found on the existing all-black version.

If you prefer something a little flashier, you can get the silver finish version wrapped in some of the existing colors from the black version, including Moss Green, Stone Gray and Sepia Brown. The silver also ushers in three new "premium" color options, which will also be available for the black-bodied version of the Zf as well. The Cognac Brown is a lighter brown than the existing Sepia option. Similarly, the Teal Blue is a brighter, more colorful blue than the existing Indigo. Finally, Mauve Pink is a lighter red.

The colored leatherette extends to the top of the cameras as well.
Photo: Nikon

The total number of Zf color variations will vary by region. For example, the black Zf has been available in four colors in the US, but seven in the UK.

Taking the retro-viber further, Nikon also announced an upcoming firmware update for the Zf that will add a Film Grain feature. As the name implies, the feature will allow users to add grain to photos and videos. It's a customizable option, with three grain size options and six grain strength levels. The feature can be combined with presets created by Nikon and creators and Picture Control color modes. Nikon didn't provide a specific date for the firmware update, but said it will be out sometime in 2025.

The Nikon Zf Silver Edition will be available in late September for $2200. The three premium colors – Cognac Brown, Teal Blue and Muave Pink – will cost $2300.

Press release:

NIKON RELEASES A NEW SILVER EDITION OF THE Z F FULL-FRAME MIRRORLESS CAMERA

Introducing a New Color for the Z f that Combines a Heritage Design with the Performance of a Full-Frame Camera

MELVILLE, NY (September 4, 2025) -- Nikon Inc. is pleased to announce the release of a new silver edition of the full-frame/FX-format Nikon Z f mirrorless camera. The Nikon Z f combines a timeless design inspired by an iconic Nikon film camera with the superior performance of a full-frame mirrorless camera.

Three new Premium Exterior* color options will also be available, providing more choices for users to customize the color of their Z f camera body*. Additionally, the Z f will support a new Film Grain feature that adds grain to photos and videos, further expanding creative possibilities.

Designed to resemble the silver plating on film-era cameras like the Nikon F, the metallic texture creates an authentic feel suited to the premium, full-frame retro design. Three new Premium Exteriors color options have been added: Cognac Brown, Teal Blue, and Mauve Pink – all with an embossed texture. These are subtle, yet elegant tones that complement the silver body, providing more options for customizing the exterior of the camera than ever before. In addition to the three colors, Moss Green, Stone Gray, Sepia Brown are available–allowing for six color variations in total. Additionally, the sophisticated design will help inspire users every time they pick up the camera.

A Film Grain Feature for Film-Like Expression

A future firmware update for the Nikon Z f will offer the new Film Grain feature, which adds grain to photos and videos. Users will be able to achieve more creative imaging expression in accordance with the scene and their intent by adjusting grain size (3 options) and strength (6 options). By combining this feature with Imaging Recipes, (downloadable imaging presets created by Nikon and creators) and Picture Controls, users will enjoy film-like expression tailored to their personal and creative style. This update is scheduled for release within 2025.

Price and Availability

The new Nikon Z f Silver Edition will be available in late September for a suggested retail price (SRP) of $2,199.95, or $2,299.95* for the new premium exterior options. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

*See the following web page for further information on Premium Exteriors: Nikonusa.com/Z f

Categories: Photo News

Overlay oversight: forum member exposes weakness in Nikon's Content Credentials

Wed, 09/03/2025 - 17:40

When you use DPReview links to buy products, the site may earn a commission. Images: Nikon, C2PA

Last week, Nikon released firmware v2.0 for the Z6III, which brought support for C2PA Content Credentials alongside several other features. Theoretically, the cryptographic signature should prove that an image was authentically captured with the camera, and that it hasn't been tampered with since its creation. However, DPReview forum user Horshack has found a way to get the camera to sign an image that it didn't actually take.

You should check out the thread for Horshack's (well-written, as per usual) explanation of how he did it. The summary is that it works by using the Z6III's Multiple Exposure feature. Nikon lets you select a photo as your base, and then stack multiple exposures on top of it. Horshack selected a Raw image taken by another Z6III without the content credentials feature enabled.

This image, created inauthentically, has Content Credentials that claim it was taken with a Z6III. Because it was... but only kind of.
Image: Horshack

He then took a multiple exposure picture with the lens cap closed. The result: the previously unsigned image, now with a Content Credential attached. If you put the JPEG into Adobe's Content Credential Inspect tool, it appears to be a perfectly normal image, signed as authentic by the Z6III.

Horshack theorizes this trick would work even with a Z6III Raw file that had been modified to include, say, an AI-generated image. Stuffing another image into a Raw file isn't necessarily something you can do with standard software, but Horshack believes it could be done, thereby removing the need to take an authentic image in order to get a signed file.

The capture details section doesn't contain any information that the image was created by taking multiple exposures.

The trick isn't completely bulletproof. The image's EXIF data reports that it was created using multiple exposures, though Horshack also discovered that you may be able to edit an image's metadata fields without invalidating the content credential. A few fields, such as the camera's serial number, are stored within the credential itself, but most are not.

We attempted to edit a few metadata fields using exiftool, but each test we did resulted in Adobe's Content Credentials Inspect tool showing that it no longer had credentials.

I assumed Nikon wouldn't sign images taken with the feature

Horshack says he discovered the issue after trying to come up with ways the Content Credentials feature might fail. "When I thought of it I assumed Nikon wouldn't sign images taken with the feature, to prevent the outcome I achieved," he said.

When Nikon announced the Content Credentials feature for the Z6III, it classified it as a beta, so there were bound to be bugs. (In fact, Horshack also seems to have figured out why some users had to wait several hours before their cameras started signing images.) However, being able to use it to sign images taken under different conditions is a pretty big issue, one we hope that Nikon will iron out as soon as possible.

We've reached out to Nikon for comment, and will update this story if we get a response.

Categories: Photo News

What is the 3-2-1 rule in photography and why do photographers need it?

Wed, 09/03/2025 - 06:32

Photo: boonchai wedmakawand / Moment via Getty Images

As photographers, one of our worst fears is discovering a failed hard drive or dead computer, resulting in losing countless photographs. Unfortunately, backing up images is an afterthought for many, putting those files at risk. If you fall in that camp, it may be time to consider how to revamp your backup process to protect your images.

The 3-2-1 rule has become the gold standard for photo backup, offering a safe method for keeping your work safe. Here's what you need to know about this method of backup.

What is the 3-2-1 rule?

Photographer Peter Krogh is typically attributed with coming up with the 3-2-1 rule nearly two decades ago. He wrote about his method in his 2009 book The DAM Book: Digital Asset Management for Photographers. While digital storage has changed drastically since then, the general principle remains relevant.

The backup method explains that you should have three copies of your files. Files should be stored on two different types of media, and one copy should be kept offsite. Following that process helps to protect your files from hardware failure and physical disasters like fire or theft.

Components of the 3-2-1 rule

Each number of the 3-2-1 rule refers to a separate component in the backup process. Here are the different parts you should be aware of.

Three copies You should have three copies of your files for the utmost protection, though they shouldn't all be on the same media type.
Photo: Mitchell Clark

The first number of the rule says that you should have three copies of your data. It's important to have three copies so that if something happens to your main storage, you have additional backups. While it isn't likely that two backup sources are damaged, it is possible, and a third gives you an extra layer of protection.

Your primary computer can count as one copy, which may work when you first start out. However, you will likely eventually have far too much to store on a computer, so you'll need another backup option at some point.

Two types of media

Of your three copies, you should use at least two different types of media instead of two separate devices of the same kind. Using different media diversifies the risk, thus lowering the chances of failure for both options.

There are many different types of media at our disposal these days. You could opt for one copy on hard drives and one in the cloud, or you could opt for a Network Attached Storage (NAS) system and portable SSDs. The important thing is to have two distinct systems that you keep updated.

One offsite Image: Andriy Onufriyenko / Moment via Getty Images

Finally, one copy of your files should be stored offsite. Storing a backup of your work in a different location from your other two helps protect against risks like theft or natural disasters. After all, if all of your backups are stored in your home and a fire comes through, all of your work will be gone, no matter how many physical copies you have on hand.

When thinking about an offsite version, it's useful to understand the difference between an offsite copy and an offsite backup. A proper backup is a structured, versioned process that allows for data recovery of the original files. It protects against loss, corruption, accidental deletion and more and allows you to essentially go back in time. DPReview editor Mitchell Clark once had his extensive library of photos saved because he had them all backed up to Backblaze, a cloud backup service he often recommends to friends and family.

"A proper backup is a structured, versioned process that allows for data recovery."

On the other hand, a copy is simply a duplicate saved elsewhere that lacks a version history. Cloud services like Google Drive and Dropbox aren't considered proper backups because they only sync files rather than providing a robust, versioned archive. Those platforms are still vulnerable to ransomware, accidental file deletion or overwriting with the wrong versions. They are fine in a pinch and as a temporary solution, but be aware that they are not intended to serve as true backups.

You may also be tempted to use a hard drive kept at a separate location as your offsite copy. This could work as a limited short-term solution, but shouldn't be used long-term. It's very common to plug a hard drive in only to find that it's dead, as I learned the hard way years ago. There are optical media options, such as M-Disc, which are designed to last a really long time and can hold up to 100GB each, but standard hard disk drives are not considered safe for long-term backup.

Protect your files Photo: Mitchell Clark

The 3-2-1 rule certainly sounds simple on paper, but implementing a robust backup system can be time-consuming and overwhelming. However, the earlier you put this method into practice, the easier it will be, and the less you'll have to worry about losing your hard work. And if you can find ways to automate it to reduce the risk of human error, all the better.

Categories: Photo News

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Testing Pro Res Zoom on the Google Pixel 10 Pro: does it live up to the hype?

The Nikon Z f's design just got even more retro

Overlay oversight: forum member exposes weakness in Nikon's Content Credentials

What is the 3-2-1 rule in photography and why do photographers need it?

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