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Image: Laowa

Earlier this year Laowa introduced the 8-15mm F2.8, a fisheye zoom lens for a variety of full-frame mounts. Now, it's bringing the lens to medium format mounts, introducing a version of it for Fujifilm's GFX mount and Hasselblad's XCD.

The lens is a unique offering for creative shots. When it was first announced, the company pitched it as an option that would allow users to select between a circular image with black edges at the wide end, and a diagonal fisheye image that fills the entire rectangle of the image when zoomed to 15mm. It also offers a fast F2.8 aperture for low-light use.

Left: the GFX mount version of the lens at 8mm, shot using a Fujifilm GFX 50R. Right: the lens at 15mm.
Images: Laowa

However, it's a bit of a different story with the new medium format versions. While the mounts may fit on cameras with larger sensors, the optics are still designed for full-frame. As a result, it will not fully cover the image circle of the medium-format cameras. even when at 15mm. At 8mm, there is a lot of space around the circular fisheye image. At 15mm, where the full-frame versions fill the frame, the medium format versions will still have black corners.

Laowa says that the new mount versions are still compact and lightweight. Both versions weigh roughly 650g (1.4 lbs). The FFX model is 101.2mm (3.98") long, while the XCD version is 96.36mm (3.79") long.

The Laowa 8-15mm F2.8 FF Zoom Fisheye lens for GFX and XCD mounts are available for purchase for $699.

Buy now: Buy at Venus Optics

Press release:

Laowa Expands Compatibility: GFX and XCD Mounts Now Available for 8–15mm f/2.8 FF Zoom Fisheye

Anhui, China, August 26, 2025 – Laowa is thrilled to introduce GFX and XCD mount options for its 8–15mm f/2.8 full-frame zoom fisheye lens. Originally crafted for full-frame systems, this lens now brings its signature circular fisheye effect to Fujifilm GFX and Hasselblad XCD medium-format cameras. While the image doesn’t fully cover the larger sensor area, photographers can creatively crop to achieve their desired composition—unlocking fresh possibilities for imaginative framing and bold visual storytelling.

Overview of the Laowa 8–15mm f/2.8 FF Zoom Fisheye Lens

The Laowa 8–15mm f/2.8 FF Zoom Fisheye is a full-frame lens designed to deliver exceptional creative flexibility through its dual fisheye capabilities. Offering both a 180° circular fisheye and a diagonal fisheye effect, users can effortlessly switch between two distinct visual styles to suit their artistic vision. With a constant f/2.8 aperture throughout the zoom range, the lens performs brilliantly in low-light environments and enables faster shutter speeds—ideal for capturing dynamic scenes such as sports or action shots. Its close 16cm (6.3") minimum focusing distance empowers photographers and videographers to get up close and personal with their subjects, producing dramatic compositions with bold fisheye distortion and immersive visual impact.

Previously available in full-frame mounts including Sony E, Nikon Z, L mount, and Canon RF, the lens is now expanding its compatibility with the addition of GFX and XCD mount options for medium-format users. Despite the new mounts, the lens remains lightweight and compact, measuring 101.2mm × Ø76.4mm (GFX) and 96.36mm × Ø76.4mm (XCD), with a weight of approximately 650g.

Performance on Medium Format Cameras

When paired with medium-format systems like Fujifilm GFX or Hasselblad XCD, the Laowa 8–15mm f/2.8 FF Zoom Fisheye delivers a unique visual experience—producing a bold circular fisheye image at 8mm and a broader diagonal fisheye effect at 15mm. As the lens was originally designed for full-frame cameras, its image circle doesn't fully cover the larger medium-format sensor, resulting in a circular or partially cropped frame. Photographers can embrace this dramatic aesthetic or crop the image to suit their desired composition, unlocking fresh opportunities for playful framing and creative exploration on medium-format platforms.

The Laowa 8–15mm f/2.8 FF Zoom Fisheye delivers its most complete circular fisheye effect at 10mm.

Creative Cropping Possibilities

In addition to its distinctive fisheye rendering, the Laowa 8–15mm f/2.8 FF Zoom Fisheye opens up a world of creative cropping options for medium-format users. One standout choice is the XPan-style 65:24 panoramic crop, a favorite among GFX and XCD shooters for transforming circular fisheye images into cinematic, widescreen compositions. Photographers can also experiment with classic aspect ratios like 4:3, 1:1, and 16:9—each offering a unique interplay of scale, framing, and perspective.
Thanks to the high-resolution capabilities of modern medium-format sensors and the lens’s superb optical performance, these crops retain remarkable detail while inviting fresh interpretations of fisheye photography. Whether aiming for dramatic panoramas or balanced square frames, users can craft visuals that are both technically sharp and artistically bold.

Pricing & Availability

LAOWA 8-15mm f/2.8 FF Zoom Fisheye (GFX and XCD Mount) are available to purchase via Venus Optics official website (Home - LAOWA Camera Lenses) and authorized resellers from the 26th August, 2025.

The US price is $699. Pricing varies in different countries.

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Product Photos: Mitchell Clark

The Hasselblad XCD II 100C is a medium format mirrorless camera, built around a 44mm x 33mm, 100MP BSI CMOS sensor. It's designed to deliver a high-dynamic range image workflow, and gains continuous autofocus supported by Light Detection and Ranging (LiDAR) sensors and more effective image stabilization.

Key Specifications

• 100MP 44x33mm BSI CMOS sensor
• HDR output (HEIF or Ultra HDR JPEG) by default
• IBIS up to 10EV
• Continuous autofocus
• 3.6", 2.36M dot tilting rear OLED display w/ 1400 nit peak brightness
• 5.76M dot 0.79x EVF
• Human, animal and vehicle AF subject detection
• LiDAR for autofocus
• 1TB internal SSD + CFexpress Type B slot

Despite the significant upgrades, the X2D II 100C sees the body-only price fall to $7399 / €7200 / £6400, an $800 reduction, compared with the existing X2D 100C.

Index:

• What's new
• How it compares?
• Body and handling
• In use
• Initial impressions
• Sample gallery
• Specifications
• Press Release

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This image, captured as an Ultra HDR JPEG, makes the chrome of the car's wire wheels shine much more convincingly when viewed on an HDR display.

Hasselblad XCD 35-100mm F2.8-4.0 @ 60mm | F3.5 | 1/500 sec | ISO 100
Photo: Mitchell Clark

Hasselblad claims to be the first company to make a medium format camera with "end-to-end" HDR and has equipped the X2D II with a high-brightness viewfinder and rear screen, so that you can see some of the wider brightness range as you shoot. Its default output is in the HEIF format but it can also create 'Ultra HDR JPEGs' which have an embedded brightness map to let them convey a wider tonal range on compatible devices, while still maintaining backward compatibility. The company says this gives images with up to three additional stops of dynamic range compared to standard sRGB JPEGs, using a technique adopted by Google in its Pixel phones, and by Sigma in its BF Mirrorless camera.

The camera supports the P3 color gamut throughout the shooting and editing experience, in addition to making fuller use of the wide color range, as well as the wider tonal range, of its large sensor. It says it doesn't use either the HLG or PQ response curves used by other brands, and instead uses gain maps with linear response and a roll-off in the highlights to give a natural look. The system appears to be utilizing the highlight data that's usually clipped in the JPEG output, rather than reducing exposure to capture any additional highlight information.

HDR images are only captured in P, S or A modes, where the camera has some control over exposure. The company says it assumes people setting exposure manually may be trying to capture a very specific look that may not lend itself to HDR, so disengages the feature, rather than producing a potentially unnatural-looking image that the photographer didn't want.

Embedded in the above image is this 1/4 resolution brightness map, which tells compatible devices which parts of the image to display with addtional brightness.

The X2D II's rear display has also been substantially upgraded to support HDR, going from a TFT LCD to an OLED panel that can display up to 1400 nit peak brightness. That lets it provide the HDR experience when you're reviewing your images, giving you a better idea of what you've captured.

Hasselblad has also updated its Phocus Mobile 2 app to allow for editing the X2D II's HDR files, and even reprocessing Raws from some of its other cameras, such as the original X2D and the CFV 100C, into HDR output files.

Continuous autofocus

While the original X2D was limited to single autofocus and manual focus, the II gains continuous autofocus, making it easier to capture moving subjects. Like many modern cameras, the system also includes AI-derived subject recognition for humans, animals and vehicles, and support for tracking arbitrary subjects.

At first seven of the company's more recent lenses will support continuous autofocus, and each will require a firmware update before they can access the feature.

The supported lenses are the XCD 35-100mm F2.8-4.0E zoom, launched alongside the camera, along with the 25mm, 38mm, 55mm and 90mm V-series lenses, and the 28mm and 75mm P lenses.

Even more AF improvements

To feed the autofocus system with information, Hasselblad has not only increased the number of phase detect autofocus points – 425 versus 294 on the original X2D – but added an entirely new type of sensor as well. The X2D II also uses Light Distance and Ranging (LiDAR) to judge how far away a subject is, with this input fully integrated into the AF system.

It's reasonable to assume this technology comes from DJI, which owns a majority stake in Hasselblad, as the company already uses the technology in several of its cinema tools. The camera also now has an AF illuminator lamp on the front, which doubles as a self-timer countdown indicator.

Improved IBIS

The camera's in-body stabilization allows the capture of images at slow shutter speeds, and boosts the frequency with which you'll get the full resolution out of the camera.

Hasselblad XCD 35-100E @ 35mm | 0.3 sec | F8 | ISO 800
Photo: Richard Butler

The original X2D had an IBIS system rated for up to 7 stops of stabilization, but the X2D II takes it even further, with Hasselblad promising up to 10 stops. In real-world use, your results will depend on how still your subject is and how steady you can hold the camera, but in the right conditions, you can definitely use it to push your exposure times past where you'd be able to with an unstabilized system.

Updated controls

Hasselblad has updated the controls, adding a joystick that can be used for controlling the autofocus selection point or scrolling through menus and a customizable button on the back plate. Additionally, the front control dial can now be pressed in to access yet another custom function.

The camera also gains a vibration motor to provide haptic feedback for certain operations, such as confirming that the camera has acquired focus or that you have both your spirit levels centered.

How it compares

While medium format cameras are most often associated with high-end studio work (a task the X2D II is fully capable of), the X2D series has always clearly been designed to be taken outdoors and used in a wider variety of conditions. The company suggests that the addition of C-AF expands its audience to include subjects such as "landscapes, daily, portraits and street photography."

Fujifilm targets a very similar audience with the GFX 100S II, which uses a very similar sensor and also comes complete with IBIS and continuous autofocus. (The higher-end GFX 100 II is also comparable, but has faster burst rates, more video features and nicer ergonomics.) We've also included the Sony a7R V, since its full-frame sensor uses the same 3.8µm pixels, just fewer of them.

Hasselblad X2D II Fujifilm GFX 100S II Sony a7R V MSRP $7399 / €7200 $5499 / £4999 / €5499 $4199 / £3999 / €4500 Sensor size Medium format
(44 x 33 mm) Medium format
(44 x 33 mm) Full-frame
(36 x 24 mm) Pixel count 102MP 102MP 60MP Stabilization 10EV 8EV 8EV Flash sync speed Dependent on lens (Typically 1/2000 - 1/4000 sec) 1/125 sec 1/250 sec HDR output HEIF
Ultra HDR JPEG N/A (Shoots SDR HEIF or HDR video) HLG HEIF* Burst rate 3fps 7fps 10fps (compressed Raw) Viewfinder res / mag 5.76M dot
1.0x 5.76M dot
0.84x 9.44M dot
0.9x Rear screen
Size / Res / movement 3.6"
2.36M dot
Tilting OLED 3.2"
2.36M dot
Tilting 3.2"
2.1M dot
Fully-articulated/Tilting Storage 1TB SSD
1x CFexpress Type B 2x UHS-II SD 2x UHS-II SD / CFexpress Type A Battery (CIPA rating) 327 shots 530 shots 440 shots EVF
530 shots LCD Dimensions 149 x 106 x 75mm 150 x 104 x 87mm 131 x 97 x 82mm Weight 840g 883g 723g

*Cannot shoot Raw and HLG HEIFs simultaneously

Fujifilm and Sony don't have the same focus on HDR that Hasselblad does; while the a7R V can shoot HDR HEIFs, doing so comes at the cost of your ability to save Raw files, which is a serious downside for high-end work. The Fujifilm can shoot HEIF images and HLG video, but can't combine the two to offer HDR stills.

Another big difference is that the GFX 100S II and a7R V both have focal plane shutters, while the X2D II uses leaf shutters built into each lens. This comes with the benefit of being able to sync flash at any speed, but means that Hasselblad lenses will be significantly more complex and expensive than similarly-speced counterparts from Fujifilm and Sony. Another side effect: if you want to use a third-party lens with the X2D II, you'll be stuck with the very slow electronic shutter.

While high-resolution cameras have always been more suited to stills, the GFX100S II and a7R V both have relatively complete suites of video features as well, with Log profiles, 10 bit video and headphone and microphone jacks. By contrast, the X2D II doesn't shoot video at all; something to consider if your work ever requires motion pictures.

Body and Handling

The X2D II feels extremely sturdy and well-crafted in the hand, and the grip instills confidence, even when you're using a relatively large zoom lens. The controls are laid out well, with the essential buttons and dials within easy reach.

The camera has two top plate control dials and several customizable buttons. Two – one on the back and one on the front – are unlabeled, while another two can be accessed by pressing down on the joystick and the front dial. The top-plate M and WB/ISO buttons can also be resigned if you choose, with a choice of 35 options.

The joystick is a four-direction control and can be used for moving your autofocus point (though we found it somewhat slow, and often significantly quicker to just tap on the screen) and to navigate through the menus. Both tasks can also be achieved directly using the touchscreen, which has its own selection of buttons for controlling playback and accessing the menu.

Viewfinder and Screens The camera's rear screen tilts out, and there's a sensor to ensure the camera doesn't switch to using the viewfinder when the screen is extended.

The X2D II's viewfinder is large, bright and responsive, providing an excellent preview for composing and exposure. The low-profile rubber eyecup doesn't do the best job of sealing out light, but it'll be sufficient in most cases, and less likely to snag when you're taking it in and out of a bag than some other designs.

While the screen's 1400-nit peak brightness allows it to properly display HDR images, you won't get the full effect until after you've taken a photo and the camera has generated your HDR output file. It is, however, still very effective for composing your images and is easy to see, even in direct sunlight. Its hinge allows you to pull it out and position it at a 90° angle for waist-level shooting unobstructed by the viewfinder.

While shooting, the screen provides plenty of resolution for the camera's excellent punch-in manual focusing experience.

The X2D II also has a 1" color display on the top plate, which shows your battery life, exposure settings, and a light meter when the camera is on. It's typically blank while the camera is turned off, though a quick tap of the power button will get it to display your remaining charge.

Ports

The X2D II's minimal selection of ports is hidden behind magnetically latching doors, which feel great to open and close. It has a 10Gbps USB-C port for charging and offloading data, and a 3.5mm for use with Hasselblad's somewhat eccentric cable shutter release.

It also has an CFexpress Type B slot, which can be used for backup or as an overflow, should you fill the internal storage. It's worth noting that the internal storage has capacity for over 4000 16-bit Raw and JPEG/HEIF pairs.

Battery

The battery is rated as delivering 327 shots per charge, if tested to CIPA's standards. This can be increased, depending on the camera's configuration. These numbers tend to underestimate how many shots you'll actually get, with double the rated figure not being unusual, depending on how you shoot.

In practice, a rating of over 300 shots per charge will let you shoot for a good period of time, especially if you're shooting occasional, considered shots, rather than rattling off hundreds of snaps at a time. We suspect it's few enough to start to be of concern for professional wedding shooters, who'll definitely want to develop a system for ensuring they have spare batteries charged and ready to go. But with the option to charge over USB-C, the X2D II should be relatively comfortable, away from the studio.

In Use

The X2D II can seem a little daunting at first, with four buttons marked with potentially unfamiliar glyphs down the right-hand side of the screen, Playstation style. Their functions turn out to be pretty self-evident once you start using the camera: Play, Ok, Cancel/Delete and Menu.

Most other functions can be assigned to one of four customizable buttons (one of the front of the camera, one on the rear and the Mode and WB/ISO buttons on the top plate), or to a press of the front command dial, rear command dial or press of the AF joystick.

Press the Menu button once and you are presented with a settings panel. Some settings, including drive mode, AF mode and ISO can be set by tapping on the screen your using the joystick. Some exposure parameters can be changed from this screen, but not exposure comp, which tells you to use the dial instead.

The camera offers Auto ISO, including in manual exposure mode. You can set the threshold shutter speed that the system will try to maintain, either by selecting a specific shutter speed or by choosing a relationship to the current focal length, with the choice of: 4f, 3f, 2f, 1.5f, f or f/2, if you're very steady.

Press the Menu button a second time, or swipe your finger left across the screen and you reach the main menus. It's a simple and well-arranged system with eleven named icons arrayed around the screen. Within each category (exposure, focus, connection...) are a handful of settings, often with explanatory text if their function isn't obvious. Swipe upward from this menu page or the settings page and you'll find yourself back in live view, ready to shoot.

It's a quick and easy-to-learn system that lets you just get on and shoot.

Our experience of the autofocus has left us impressed. There are occasions where it would erroneously confirm focus, but most of the time it focused quickly and accurately, with eye detection in particular giving us a level of performance we'd associate with some of the better mass-market cameras. Combined with the up-rated image stabilization, the X2D II is one of the easiest-to-shoot medium format cameras we've encountered.

Initial impressions

By Richard Butler

The X2D II 100C in many ways still looks a lot like the original X1D launched back in 2016, but the reality of using the two cameras couldn't be more different. The original camera looked great, and was capable of delivering excellent images, but its short battery life and lack of responsiveness meant that it wasn't nearly as comfortable untethered from the studio as its small body would imply.

It's worth noting, though, that the original X1D was launched just a few months after DJI first took a stake in the company, so its development would have started long before. The X2D II can perhaps be seen as what happens when a well-established photography company and an ambitious, advanced tech company come together. The X2D may still resemble the original camera but it's worlds away in terms of performance and usability.

The introduction of LiDAR (already used in products such as the Ronin 4D gimbal camera) is the most overt sign of input from DJI, but it's hard to imagine Hasselblad's cameras would have developed so far, so fast, without DJI's contributions. Continuous autofocus with highly effective eye detection autofocus was not on the cards for the contrast-detect X1D, yet here, and in conjunction with in-body image stabilization it allows you to use medium format like it was a point-and-shoot.

The X2D II will shoot HDR unless you go out of your way to stop it

Then there's the decision to lean into HDR photography, something that's becoming increasingly common in modern cameras but poorly supported and even more poorly communicated or promoted to photographers. Most modern mirrorless cameras can capture HDR HEIFs that can make use of the wide dynamic range and wide color gamut of modern displays, but very few cameras give you a good preview of its impact or make much effort to encourage its use. The X2D II will shoot HDR unless you go out of your way to stop it.

The X2D II has an excellent screen that can give an impression of how much more vibrant and lifelike your images can look. And, in addition to HEIF files, which can still be awkward to share and view reliably, the Hasselblad can capture JPEGs with brightness map embedded in them: giving full backward compatibility with just about every viewing device imaginable, but giving HDR vibrancy on devices that support it.

In the right conditions, HDR can make it feel less like you're looking at a photo, and more like you're looking through a window to the world, with much more realistic representation of the way light reflects from objects. To get the effect, open the photo in a supported browser.

Hasselblad XCD 35-100mm F2.8-4 E @ 100mm | F10 | 1/160 sec | ISO 50
Photo: Richard Butler

By letting you see the benefits of well-judged HDR as you shoot the images, the X2D II encourages you to make use of the capability and start thinking about how to ensure your customers and viewers are able to see those results. We regularly found ourselves as impressed by the way the camera uses its greater DR output as we were by the stunning amounts of detail it captures.

What's all the more impressive is that Hasselblad is launching the X2D II 100C at a lower price than the previous model. In fact, it's at a lower price in money terms than the original X1D 50c, despite the vast improvements that have been made in the intervening nine years. The XCD lenses, with their leaf-shutter designs, tend to be more expensive, and often slower, than the rival Fujifilm system, but the X2D II 100c brings a level of performance and usability that makes the system as a whole look more competitive than it's ever been.

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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.

All out-of-camera JPEGs in this gallery are Ultra HDR JPEGs: please click "Original" link on the right of the preview to download the original file, if you're viewing on an HDR-capable device.

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

Hasselblad has announced the XCD 35-100mm F2.8-4 E, a medium format zoom lens with a range roughly equivalent to a full-frame 28-76mm. Its range and speed make it similar to the popular 24-70mm "standard zooms" on full-frame systems, making it a versatile option for the system.

The lens is made of 16 elements in 13 groups, with three aspherical lenses and five extra-low dispersion elements. It has a minimum focusing distance of 0.4m (15.7") at the wide end, and 0.5m (19.7") at the long end.

Hasselblad says the 35-100mm F2.8-4 is the second entry to its 'E' series, which it says "perform exceptionally well across all focal lengths." It follows the wide-angle 20-35mm zoom the company released last year.

The lens supports the continuous autofocus mode of the X2D II 100C it's launching alongside

It has a stepper motor for autofocus, and supports the continuous autofocus capabilities of the X2D II 100C that it's launching alongside. Its built-in leaf shutter can shoot and sync with flash at up to 1/4000 sec. It has a control ring for changing your aperture setting, along with its zoom and focus rings.

At 894g (31.5oz), the 35-100mm isn't ultra-lightweight, especially if you compare it to the latest-generation full-frame 24-70mm F2.8s from the likes of Sony and Nikon. However, given that it covers a larger image circle and provides depth of field equivalent to a faster lens at the short end (2.2 - 3.2), its weight is surprisingly similar to those companies' first-gen mirrorless standard zooms. It's a similar story when it comes to its physical size, too.

Weight Length (retracted) Diameter Hasselblad XCD 35-100mm F2.8-4 E 894g 138mm 90mm Nikon Z 24-70mm F2.8 S / II 805g / 675g 126mm / 150mm* 89mm / 90mm Sony FE 24-70mm F2.8 GM / II 886g / 695g 136mm / 120mm 88mm / 88mm Canon RF 24-70mm F2.8L IS USM 900g 126mm 89mm

The XCD 35-100mm F2.8-4 E will retail for $4599 in the US. It will cost around €4800 in Europe, including tax, and £ 4100 in the UK.

* - The Nikon Z 24-70mm F2.8 S II features an internal zoom design, rather than the extending one used by the rest of the lenses in this comparison.

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Press Release:

XCD 2,8–4/35–100E: A COMPACT STANDARD ZOOM LENS WITH FLAGSHIP PERFORMANCE

The new XCD 2,8–4/35–100E is a versatile standard zoom lens that seamlessly bridges wide-angle to medium telephoto focal lengths. With approximately 3× optical zoom, it delivers a 28–76 mm full-frame equivalent focal length and an aperture range of f/2,8 to f/4. Effectively combining the range of seven Hasselblad prime lenses into one, it excels in capturing sweeping landscapes, intimate portraits, dynamic street photography, and spontaneous travel moments with confidence.

At its widest aperture of f/2,8, the lens delivers exceptional low light performance, while producing smooth, creamy bokeh and distinct background separation.

The “E” in XCD 2,8–4/35–100E stands for “Exclusive” and represents the top-tier optical performance, delivering the same edge-to-edge image quality as Hasselblad’s XCD prime lenses. Its advanced optical design comprises 16 elements in 13 groups, including three aspherical and five ED elements, ensuring sharp resolution and authentic colour that meet the demands of a 100-megapixel sensor.

The XCD 2,8–4/35–100E is powered by the fastest stepping motor in the XCD lens lineup. This compact internal focusing group, paired with optimised control algorithms, enables smooth and accurate autofocus. When paired with the X2D II 100C’s AF-C system, it confidently tracks moving subjects and ensures precise focus in action shots.

The integrated leaf shutter offers full flash synchronisation from 1/4000 second to 68 minutes, allowing photographers to balance fill flash in bright light or shoot wide open without compromise.

Despite its bright aperture and extended zoom range, the lens remains remarkably compact, measuring just 138 mm in length and weighing just 894 grams. It features the highly praised control rings from XCD V Series lenses, allowing quick adjustments to shutter speed, aperture, ISO, exposure compensation, and subject switching. The engraved “H” logos and subtle “V” insignia on the control rings reflect Hasselblad’s commitment to minimalist design and enduring quality, creating a lens that performs as elegantly as it appears.

AVAILABILITY AND PRICING

The Hasselblad X2D II 100C is priced at $7,399 / €7 200.
The XCD 2,8–4/35–100E lens is priced at $4,599 / €4 800.
The Vandra Backpack is priced at $469 / €429.
The UV 86mm Filter is priced at $299 / €259.
The ND8 86mm Filter is priced at $329 / €289.
The CPL 86mm Filter is priced at $559 / €469.

Please consult your nearest Hasselblad Flagship Store, authorised dealer, or the Hasselblad online store for purchasing details. For more information, visit www.hasselblad.com.

XCD 35-100 F2.8-4 E Specifications: Principal specificationsLens typeZoom lensMax Format sizeMedium Format (44x33mm)Focal length35–100 mmImage stabilizationNoLens mountHasselblad XApertureMaximum apertureF2.8–32Minimum apertureF4–32Aperture ringNoOpticsElements16Groups13Special elements / coatings3 asph., 5 extra-low dispersionFocusMinimum focus0.40 m (15.75″)Maximum magnification0.25×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight894 g (1.97 lb)Diameter90 mm (3.54″)Length138 mm (5.43″)MaterialsMetalColourBlackZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread86 mmHood suppliedYes

Photo: DPReview

Less than a week ago, Ricoh announced the GR IV, the next iteration of its highly popular compact line. Now, six years after its launch, Ricoh has discontinued the predecessor, the GR III.

The move shouldn't come as much of a surprise, since when Ricoh initially teased the GR IV earlier this spring, it also said that production of the GR III would end in July 2025. That's now official, as the Ricoh GR III is listed as discontinued on the Ricoh Japan website as well as at B&H. The Ricoh US site and other retailers still have the camera marked as backordered at the time of writing, however.

Even though Ricoh had announced its plans, it still may be a disappointment to those hoping to pick up the GR III at a discounted price. That is, after all, what happened with the last changing of the guard: when Ricoh launched the GR III in 2019, the GR II got a price cut. At that time, the company was likely selling through existing stock, though. The GR III, on the other hand, has been backordered since roughly the beginning of 2024, suggesting there is much less stock available.

The GR IIIx is still available, as there is currently no replacement for it. Ricoh also said in its May teaser that it will continue to produce and market the GR IIIx for now. Unfortunately, that device is also listed as out of stock, so while it isn't discontinued, getting your hands on one may not be straightforward. Likewise, Adorama has the GR III Street Edition listed, though also on backorder.

Image: Canon

Retro compact cameras are a hot ticket item at the moment. Some of these pocketable devices have gone viral on social media, driving up interest and demand, leading to steep prices. Many used to sell for $5 at garage sales, but now have seen prices of $500 or more on the secondhand market. While they have their appeal, most retro point-and-shoots are running on borrowed time.

Cameras have limited lifespans Many things can break on older cameras, especially if they aren't stored or cared for properly. In this case, the battery compartment of this compact film camera is corroded.
Image: delihayat / iStock / Getty Images Plus via Getty Images

Every electronic device has a limited lifespan, and cameras are no different. Electronic components do eventually fail. Capacitors, flexible flat cables and LCD screens are common points of failure on compact cameras. The LCD may go dim, lose segments or flat out stop working. Flex cables like those used for moving lens assemblies can crack and disconnect. Additionally, moving components like sliding lens covers, pop-up flashes, or even shutter buttons can all develop issues and break with repeated use.

Most compact cameras were designed to last between 3 and 7 years. Some are able to reach 10 years with gentle use. The issue here is that many of the popular models came out in the early 2000s or 2010s, meaning they are now well beyond their expected service life. Making matters worse, if you're buying a used camera on eBay, you have no clue how it was handled before you get your hands on it. It may not have had the careful treatment that would allow it to have a longer lifespan.

Many compacts aren't repairable Photo: vavlt / iStock / Getty Images Plus via Getty Images

You may think that a broken camera is just something that could be repaired. Unfortunately, it's rare for manufacturers to provide service or spare parts for devices that are more than 5 to 10 years old (and that's even assuming the company that made the camera is still around). That's even more true for consumer-level devices like point-and-shoot cameras. That means you can't send the camera to the brand for repairs, and repair businesses won't have spare parts.

Beyond being outside their service window, compact cameras are, as the name suggests, designed to be very small. To do that, companies created densely packed and non-modular builds. Replacing an LCD screen, then, isn't as simple as just popping the old one off and replacing it. It generally involves a complete disassembly. Such a repair job requires highly specialized skills, lots of time and parts that were not meant to be serviced by a consumer or general repair tech.

As an example, I was at a local camera repair shop recently and saw someone bring in two point-and-shoots that weren't working. One would turn on but the LCD didn't work, and the other wouldn't turn on despite the person replacing the AA batteries. The repair tech looked at both cameras, but pretty quickly said that they weren't repairable and were essentially paperweights. Once the customer left, they told me that people looking for compact camera repairs is a very common occurrence these days, but that most of the time, they can't be fixed.

Don't forget obsolete accessories Older memory cards, like the MMC on the left, can be hard to find.
Image: Multicherry, CC BY-SA 4.0, via Wikimedia Commons

Even if you picked up a camera in fantastic working order, you also need to consider that some accessories may be obsolete. For example, some older point-and-shoots may use obscure memory card formats that are difficult or impossible to find. Finding a card reader for them could be just as tough. Likewise, it may be challenging or impossible to source batteries or battery chargers.

Without those items, your camera won't be functional. As a result, it's important to look at what batteries, chargers, memory cards or other accessories are necessary to use the camera.

Keep in mind longevity when buying

Old compact cameras can be a nice change of pace from today's highly technical and precise cameras or the overly processed images from smartphones. However, they can also be a risky purchase for the above reasons. If you're picking one up for $5 to $20, that's a lot different than $500, of course. But you may not want to pay a significant bit of money for a device that is already long past its predicted lifespan and could be nothing more than an artifact in a short amount of time.

The August Editors' photo challenge

The theme for our August Editors' photo challenge was "Road Trip," and we asked you to share your favorite moments on the open highway or road trip adventure.

You took us on a wild ride, with photos from across the globe, ranging from the vast expanse of the Arabian Peninsula to a frozen Mongolian lake. Each image is a testament to the spirit of adventure that fueled your journeys. As usual, we were overwhelmed with great photos – many more than we can present here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you want to participate in other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Avenue de Baobab in Madagascar

Photographer: Kjeld Olesen

Photographer's statement: Traveling around Madagascar, most people make a stop at Avenue de Baobab to take in the scenery of majestic baobabs lining the dirt road between Morondava and Tsingy De Bemaraha National Park.

Going in 2001, this was our first trip with a digital SLR camera, the Canon D30, with its 3 megapixel sensor, which was considered fantastic at the time, along with a voluminous IBM 340 MB Micro CF drive and a Minds@Work 6 GB DigitalWallet, allowing for some 2000 images to be stored – comparable to the usual 1800 images from 50 rolls of Kodachome. It is fun to see how much more detail and clarity can be extracted from those old Raw files using modern software.

Equipment: Canon EOS D30 + Canon EF 28-105mm f/3.5-4.5 II USM

Heading into the storm

Photographer: LokeshS

Photographer's statement: Storm clouds brew overhead as the straight road to Leh, India, stretches across the wind-swept, barren land and disappears into the horizon. This picture was taken a few kilometers before the confluence of the Indus and Zanskar rivers. Rain had stopped, though angry clouds gathered overhead for another assault on the land. Having seen numerous pictures of the Leh highway with an empty road stretching into the horizon, I too was inclined to take one. I purposely kept the BRO tents in the frame to highlight their presence amidst the tough conditions and desolation of the landscape.

Equipment: Canon PowerShot G1 X Mark II

Making his own road

Photographer: Nilesh Trivedi

Photographer's statement: An intrepid explorer gamely finding his way through the majestic dunes of the Rub Al Khali (or The Empty Quarter), one of the most desolate places on the planet.

Equipment: Canon EOS 70D + Sigma 18-250mm F3.5-6.3 DC OS HSM

Driving on frozen Lake Khovsgol

Photographer: SemK

Photographer's statement: In 2012, I traveled to the Northern part of Mongolia, to Khovsgol Lake, to see the Mongolia Winter festival. Crossing the lake was very strange because it was a very silent drive, and wherever we looked, all we saw was ice, snow and no signs or anything to read. This picture was taken when we stopped for a break while crossing the lake.

Equipment: Pentax K-5 + Pentax smc DA 18-250mm F3.5-6.3

Driving the S-bend

Photographer: Jill Hancock

Photographer's statement: We were on a road and rail trip through China and visited the Rainbow Mountains, where you get around by bus. Here we were looking down on the road as it wound its way around the mountains as a bus drove along.

Road dogs, Hot Springs, SD

Photographer: jaberg

Photographer's statement: Gigi and I waiting for pack member JP. She’s provisioning. Dinner will be thick steaks cooked over the fire, but we have another hour to our destination and camp yet to make. Day ten or so of this trip. I’m loving it, but it’s taking its toll.

Equipment: Apple iPhone 5s

Equipment: Canon EOS R6 Mark II

High Atlas road trip

Photographer: Mark B Willey

Photographer's statement: The windy road up and over the High Atlas Mountains in Morocco, this stitch panorama was taken on the day of the disastrous 2023 earthquake and near its epicenter. Fortunately, we were out in the Sahara Desert when it hit just before midnight!

Equipment: Nikon D500 + Nikon AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR

The storm

Photographer: Andreas Glindemann

Photographer's statement: On a road trip close to Jasper Forest National Park in Arizona, we saw this pick-up perfectly fitting the landscape. Will the road guide it away from the storm? Probably.

Equipment: Olympus OM-D E-M1 + Olympus M.Zuiko Digital ED 12mm 1:2

Togwotee Pass highway

Photographer: McFrost69

Photographer's statement: A mid-October 2023 morning view of the Grand Teton as seen from just below the Togwotee Pass Lodge on US Highway 26-287 between Dubois and Moran, Wyoming. It was the beginning of my road trip down to Utah to see the annular eclipse of the Sun that month.

Equipment: Canon EOS 90D + Canon EF 70-200mm F4L USM

Scotland backroads

Photographer: poppyjk

Photographer's statement: My wife and I did a 24-day road trip through Ireland, Scotland and England. Poignant because her ancestors immigrated to the US from Scotland, and mine from Ireland. Both of us felt deep-rooted emotional connections. Close to Glencoe in Scotland, this flock of Scottish Blackface sheep delayed our driving for 45 minutes. Two Border Collies were tending the flock, but had no urgency to herd them off the road.

Equipment: Canon EOS 30D + Canon RF 24-105mm F4L IS USM

Where the pavement ends

Photographer: Star Geezer

Photographer's statement: One of a dozen glacial lakes my wife and I canoed and tent camped during a 5700-mile road trip covering over 20 states. This lake, about 10 miles from the Canadian Border, was one of over 30 lakes and a dozen rivers we paddled. This road trip celebrated our 43rd wedding anniversary in 2014. At the time, we were both in our late 60s, and one of dozens we took together over 50 years. Life's too short, go out and do something!

Equipment: Nikon D800 + Nikon AF-S Nikkor 14-24mm f/2.8G ED

Box of rain

Photographer: MCHammer

Photographer's statement: I was heading home across the Snake River Plain in Idaho when this rainbow appeared across the road. I couldn't get the entire scene into one frame, so I took six shots and merged them as a panorama in Photoshop. I also corrected the perspective as much as I was able.

Equipment: Canon PowerShot G7

Heading home after a long day

Photographer: WSmith_798

Photographer's statement: My husband and I were visiting Yellowstone National Park. At the end of one day, we were heading back to our campsite in stop-and-go traffic when a bison cut in line in front of us with such ease we wondered if it was his routine. Captured through the windshield with my first DSLR, a Canon 70D, and a Canon EF-S 15-85mm lens.

Equipment: Canon EOS 70D + Canon EF-S 15-85mm f/3.5-5.6 IS USM

Mongolia

Photographer: JeffryzPhoto

Photographer's statement: While stopping to hit the outhouse, we saw this car out of gas at a tiny gas station in the middle of nowhere in Western Mongolia. (Everything seems to be in the middle of nowhere outside the capital city of Ulanbaatar, where half the population resides.) They were waiting to fill up, and the car wouldn't start when the one in front of it pulled away.

Equipment: iPhone 15 Pro Max

Driving through the highlands

Photographer: JohnnyBE

Photographer's statement: This photograph was taken around 1:00 AM during an all-night road trip through the Highlands of Iceland. Experiencing and photographing such a remote place with no one else around was truly unforgettable.

This photo was taken from a drone, with the main challenge being to find the right composition to capture this epic location, while at the same time including my car for scale and perspective. The blue light worked beautifully with my exposure settings, allowing me to convey the mood of the moment, from the dark volcanoes to the distant blue sky.

Equipment: Hasselblad L3D-100C

On our way to Monument Valley

Photographer: IFRPilot

Photographer's statement: This is the first time we visited Monument Valley. Even before arriving at the park, we saw impressive formations of rocks. It was also nice to meet some of the local people there.

Equipment: Sony a7R + Sony FE 24-70mm F4 ZA OSS Carl Zeiss Vario Tessar T*

On Iceland's ring road

Photographer: Phantogram

Photographer's statement: In spring this year, I was chasing the northern lights in Iceland. When the weather was not promising, I was hitting the road for a better location. However, bad weather often gives the nicest shots. This picture was made close to Djupivogur, a small town in the east fjords, with blistering winds and between rainstorms.

Equipment: Sony a7 III + Sony FE 24-105mm F4 G OSS

Way up to the Col du Lautaret

Photographer: alexolph

Photographer's statement: Beautiful scenery in the French Alps with the majestic Ecrins massif in the background. Bicycle trip with a dear friend heading to Col du Galibier. Panorama composed of six single images using ptGUI and Lightroom post-processing.

Equipment: Ricoh GR III

Nepal van Java

Photographer: Myles Baker

Photographer's statement: Every year, my wife's extended family goes on a road trip somewhere in Indonesia. I hadn't been able to go for the last two years due to work, but I was able to make this trip. We rented a bus (complete with mini-bar & karaoke, because, why not) and headed from Jakarta to Yogyakarta, taking in sites like Borobudur & Prambanan. This photo of a few of the cousins was taken on a side trip to Nepal van Java, a small mountain village near Magelang, Jawa Timur.

Equipment: Canon EOS R8 + Canon RF 24-105mm F4L IS USM

On cue, a red convertible

Photographer: Ranger 9

Photographer's statement: It was a hot, hazy August day, and I had driven up the old Lincoln Highway route through Harrison County, Iowa, to climb the steep, grassy trail up the bluffs to the Murray Hill Scenic Overlook. At the top, it was quiet except for the wind; I was possibly the only human within half a mile. The panorama of the Missouri River valley spread out at my feet, fields dappled by clouds, a winding asphalt road directly below me.

Looking down at the scene, I thought: "This is almost too perfect. All it needs is a red convertible." I was pondering the scene when I heard the hum of tires, looked down, and saw... a red convertible. The brake lights blinked on for an instant as it slowed for the sharp left-hand curve. I had just enough time to drag the camera to my eye and make one shot.

Equipment: Panasonic Lumix DMC-G1 + Olympus M.Zuiko Digital 45mm F1.8

When you use DPReview links to buy products, the site may earn a commission. Canon EOS R7 | Sigma 12mm F1.4 DC | F1.4 | 1/2000 sec | ISO 100

Earlier this week, Sigma announced the 12mm F1.4 DC, an ultra-wide prime lens for APS-C systems. We were able to spend some time with it pre-launch to get some sample images in a variety of situations.

One note about these images: while we typically process our lens sample galleries in Capture One to get maximum control over lens corrections, we had to process the samples for this lens using Adobe Camera Raw to apply the distortion correction profile. We've taken care to match the settings as closely as possible.

See the sample gallery

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

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

This week, Ricoh announced the GR IV, the latest in its lineup of photographers' compact cameras with an 18.3mm (28mm equiv) lens and APS-C sensor. The company seems to have made an attempt at addressing several concerns raised by GR III users, including the camera's proclivity to get dust on its sensor, its battery life, lack of flash and control setup.

Dale Baskin, Mitchell Clark and Mykim Dang sat down to talk about the camera in more depth than we could fit into our initial impressions video. You can watch the discussion below.