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Sigma has announced the 200mm F2 DG OS Sports, a fast telephoto prime aimed at sports and portrait photographers, available for L mount and Sony E mount. The company says it's the first of its kind for full-frame mirrorless cameras, though it harkens back to some classic pieces of glass that are still sought after today.

The lens is made from 19 elements in 14 groups, with two FLD and two SLD elements. It has an 11-blade aperture and a minimum focusing distance of 1.7m (5'6"). It can accept 105mm filters. The lens is dust and splash-resistant, and has a water and oil-repelling coating on the front element.

Autofocus duties are handled by a linear motor, and the lens has optical stabilization that the company says can provide 6.5EV of improvement. There are two optical stabilization modes, one for general use and one for panning shots, and it can also be turned off.

The 200mm F2 DG OS Sports has plenty of buttons and switches

As with many professional-grade lenses, the 200mm F2 DG OS Sports has plenty of buttons and switches for controlling it. There are three AF-L buttons, which should make them easy to reach no matter what orientation you're using the lens in, and two focus limiter settings. It also has two custom modes, which can be configured to control the lens' AF speed, focus limiter settings and OS mode using the optional Sigma USB dock.

The lens' aperture ring can also be locked, and toggled between clicked and declicked modes. The tripod foot is a new design too; it can be mounted directly to Arca-Swiss tripod heads, and has clicks at 90° increments. Sigma says it's also slightly longer than its other tripod feet, making it nicer to use as a carrying handle.

Sigma says the white paint on the lens is meant to minimize how much sunlight it absorbs, making it so the lens doesn't get hot, causing slight thermal expansion that could affect image quality.

This is currently the only full-frame 200mm F2 prime made by a major manufacturer

It's currently the only 200mm F2 prime lens being made by a major manufacturer for full-frame mounts, but we wouldn't be surprised if it becomes relatively popular among its target audience. Canon and Nikon both made 200mm F2 lenses for their respective DSLR mounts, which are still loved by certain types of shooters and fetch high prices on the used market to this day.

The Sigma 200mm F2 DG OS Sports will be available in early September, just in time for basketball season in the US. It will cost $3299.

Buy now:

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Press Release:

Sigma Announces World’s First 200mm F2 Telephoto Prime Lens for Full-Frame Mirrorless Cameras

Ronkonkoma, NY, August 19, 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 200mm F2 DG OS | Sports lens for full-frame mirrorless cameras, available in early September 2025. It is the world's first 200mm F2 telephoto prime lens designed for full-frame mirrorless.

The Sigma 200mm F2 DG OS | Sports is a large-aperture, telephoto prime lens ideal for shooting portraits and indoor sports. The F2 maximum aperture facilitates faster shutter speeds for capturing fast action, and it creates remarkable bokeh, the artistic effect that beautifully blurs backgrounds and foregrounds, drawing attention to the subject and creating a greater sense of depth. Sigma is renowned for its large-aperture lenses that combine these qualities with exceptional sharpness and high resolution. And as a part of Sigma’s Sports line, this new lens also features rugged build quality and weather resistance that lets users work in challenging environments without worrying about their equipment.

Outstanding edge-to-edge resolution is achieved, even at maximum aperture, by adopting an optical design of 19 elements in 14 groups, including 2 FLD and 2 SLD glass elements. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking. Plus, built-in optical stabilization utilizing Sigma’s OS2 algorithm makes it possible to shoot handheld and maintain sharpness, even in fast-moving sports scenes.

Additionally, the ultra-tough build quality of Sigma’s Sports line is evident with a dust and splash-resistant structure, a water and oil-repellant coating on the front element, thermal insulation paint, and a newly-designed tripod socket for mounting to Arca-Swiss type tripods.

The Sigma 200mm F2 DG OS | Sports lens will be available in early September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $3,299 USD.

Sigma 200m F2 DG OS Sports Specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length200 mmImage stabilizationYesLens mountL-Mount, Sony E, Sony FEApertureMaximum apertureF2Minimum apertureF22Aperture ringYesNumber of diaphragm blades11Aperture notesRounded diaphragmOpticsElements19Groups14Special elements / coatings2 FLD, 2 SLD, water and oil-repelent coatingFocusMinimum focus1.70 m (66.93″)Maximum magnification0.13×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter1.7-3m, 3m - infinityPhysicalWeight1800 g (3.97 lb)Diameter119 mm (4.69″)Length203 mm (7.99″)SealingYesColourWhitePower zoomNoFilter thread105 mmHood suppliedYesHood product codeLH1139-01Tripod collarYes

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Sigma has announced the 12mm F1.4 DC, an APS-C prime for Sony E, Fujifilm X and Canon RF mount. Its 18mm equiv. (19mm equiv on Canon) focal length makes it the widest APS-C prime the company offers, and it not only features the company's sharp new branding, but a few other features that are new to its lineup of APS-C primes.

The lens is made up of 14 elements in 12 groups, with two SLD elements and three aspherical elements. It has nine aperture blades and a minimum focusing distance of 0.17m (6.8").

It can accept 62mm filters, and the Sony version weighs 225g (7.9oz). Sigma says that makes it the lightest lens in its Contemporary prime lens lineup, and also says it was able to make it even shorter than its 16mm DC prime, despite its wider focal length.

It's the first dust and moisture resistant prime in Sigma's DC series

It's also the first prime in the series to gain dust and moisture resistance. Perhaps more excitingly, it's the first of Sigma's APS-C primes to have an aperture ring on the E and X mount versions, which is replaced by a multi-function control ring on the RF version.

These improvements make us wonder if there's room for Sigma to make second-generation versions of the rest of the primes in its APS-C lineup. The 16, 23, 30 and 56mm F1.4s are still quite good lenses, but it's hard not to wish for lighter, more compact versions with aperture rings and weather sealing now that we know it's possible.

The Sigma 12mm F1.4 DC will be available in early September at an MSRP of $629.

Buy now:

Buy at B&H Photo 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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Press Release:

Sigma Announces Compact, Ultra-Wide 12mm F1.4 DC | Contemporary Lens for APS-C Format Mirrorless Cameras

Ronkonkoma, NY, August 19, 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 12mm F1.4 DC | Contemporary lens for APS-C format mirrorless cameras, available in early September 2025.

The 12mm F1.4 is the smallest and lightest of Sigma’s five DC Contemporary prime lenses, weighing in at only 7.9 ounces, ideal for travel and everyday use for both photography and video. The ultra-wide angle of view is perfect for landscape and night sky photography, as well as video and vlogging where it’s necessary to record yourself and your surroundings at the same time. The large F1.4 aperture provides great performance in low light, and also helps blur backgrounds to eliminate distracting elements while making the subject pop. As part of Sigma’s Contemporary line, this portable powerhouse combines simple operation with outstanding image quality, plus the latest in technical innovations to keep the lens as compact as possible. All of the photographic notes are hit with this lens.

In fact, this lens features the widest angle of view of any F1.4 lens designed for APS-C cameras, and offers exceptional optical performance across the entire frame, even wide open, making it an excellent choice for low-light situations. With three double-sided aspherical lenses and two SLD glass elements, sagittal coma flare is well-corrected, ensuring crisp, clear images when photographing starry skies.

In addition, the 12mm F1.4 DC | Contemporary is a great choice for video, with minimal focus breathing, a manual aperture ring (control ring on Canon RF Mount), and smooth, responsive autofocus, ideal for tracking moving subjects. Its compact size makes it perfect for handheld or gimbal use, particularly vlogging, streaming, and other settings where a wide angle of view is essential.

Furthermore, the lens features a dust and splash-resistant structure, plus a water and oil-repellant coating on the front element, to ensure high performance in virtually any conditions.

The Sigma 12mm F1.4 DC | Contemporary lens will be available in early September at authorized Sigma dealers in the US for Sony E-mount, Fujifilm X Mount, and Canon RF Mount for a retail price of $629 USD.

Sigma 12mm F1.4 DC specifications: Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length12 mmImage stabilizationNoLens mountCanon RF-S, Fujifilm X, Sony EApertureMaximum apertureF1.4Minimum apertureF16Aperture ringYesNumber of diaphragm blades9OpticsElements14Groups12Special elements / coatings2 SLD, 3 asph.FocusMinimum focus0.17 m (6.69″)Maximum magnification0.12×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight225 g (0.50 lb)Diameter68 mm (2.68″)Length69 mm (2.72″)ColourBlackFilter thread62 mmHood suppliedYesTripod collarNo

Image: MirageC / Moment via Getty Images

Last week, we kicked off a new series in the DPReview forums to spark conversation and get people thinking. The Question of the week series will ask a new question in the Open Talk forum most Wednesdays, covering a wide range of photography-related topics.

Our inaugural query asked what five questions you should ask yourself when buying a new camera. We were excited to see how many of you responded, providing lots of responses and things to think about when purchasing your next camera. In fact, we initially planned on highlighting five responses from the community, but decided to showcase 10 because of all the great responses.

There were some general trends, with most of you highlighting the importance of knowing your budget, what genre(s) you would like to photograph and what size you'd prefer. Here are some of the other questions that popped up.

Does it work with the lenses you need?

Many of you pointed out the importance of lens selection. Whether you're choosing a first camera or an upgrade, knowing what lenses you'll be able to use is important. For example, NiVoak said, "Should my new camera be compatible with my current lenses, or will I need to upgrade my lenses too?" Needing to upgrade lenses can add a significant cost, so that's a great reminder to folks.

Do you actually need a new camera?

Most of you also suggested asking yourself whether you truly need the new camera or if you are suffering from Gear Acquisition Syndrome (GAS). For example, user danijel973 suggested, "Is something really wrong with my current camera, or am I just having gear acquisition syndrome?" In that same vein, many of you pointed out that it's essential to ask yourself if a new camera would address issues with your current one or offer anything new. Gato Amarillo asked, "What specific advantage(s) do I gain? Stress on 'specific' - list it or them."

Is it for fun or for business?

Some of you differentiated between professionals and enthusiasts, which is a worthwhile consideration. For pros, Bobapingu suggested that there needs to be a "cost/benefit analysis (by numbers) to ensure the investment will benefit the business and pay for itself." Others pointed out that enjoyment is also an important thing to consider. For example, hampshirejohn only had one question: "Will it increase my enjoyment of photography, either in the process of taking photos or in improved images, to an extent that justifies the cost?"

What else could you do with the money?

We also enjoyed that some of you considered what else the money could be spent on instead of that new camera. TXforester suggested asking yourself, "What could I do if I spent that money another way? Such as take a trip to photograph something on my bucket list." If your current camera is largely meeting your needs, spending that money on a trip or a new lens may be the better move.

Less common questions

We also appreciated the less common responses. For example, motormatic had the unique suggestion to consider support after your purchase: "How well is the new camera supported by local dealers and repair shops?" Some of you also pointed out that there will likely be more than five questions to ask. Maoby listed five questions with instructions to answer without lying and followed up with this advice: "If you honestly answered these five questions, you are ready for the next five."

Of course, there were some entertaining responses, too. Horshack asked, "Do I have any kidneys left to sell?" We all feel the high prices of cameras, so this one made us chuckle. There is also BobsYourUncle's single question: "Does this camera look almost the same as my 25 others so my wife won't notice?" Lastly, Myles Baker had a very important consideration: "Will I get torched in the DPR comments sections for buying the 'wrong' camera?"

The thread is still open if you haven't had a chance to share your questions yet but would still like to participate. Thank you to everyone who chimed in, and we can't wait to hear your responses to this week's question come Wednesday.

Click here to answer the Question of the week

Image: Fujifilm

Just over two weeks after retailers announced price increases for many of Fujifilm's products in the US, it's happening again. The news comes directly from the company itself this time, which put out a statement saying it will "further adjust prices" in light of "volatile market conditions."

The new pricing will go into effect on August 30th. Fujifilm hasn't said how many products will be impacted, though it tells DPReview that it will affect most of its lineup, with two notable exceptions. The recently released X half and X-E5 will keep their respective launch prices, with the rest of the company's lineup moving around them.

The company set the X half and X-E5 prices to avoid nasty surprises

While those cameras may have appeared relatively expensive at launch, it seems like Fujifilm left room for precisely this kind of situation. Victor Ha, the Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America, explained that the company set the prices of those two cameras to ensure there wouldn't be any nasty surprises for customers who had pre-ordered them. "New camera day is awesome, we get that. It can be such a rare and exciting occasion, we don't want anything to spoil that enjoyment, so that their first thought is to run outside and take a picture."

Those with the infamously difficult-to-get X100 VI on backorder may not be as lucky. That camera will be affected by the price changes, so retailers will have to decide how they handle people who placed their order prior to the price increases but haven't received it yet.

X-100 VI hopefuls may not be so lucky

As with the increases we saw earlier this month, the changes likely won't be the same for each camera, though we're told its general pricing scheme should stay the same. That makes sense, given the ever-changing nature of the current US tariffs and Fujifilm's recent tactic of moving manufacturing for some of its US-bound cameras back to Japan.

The company doesn't directly lay blame on those tariffs, though, and we were told the current round of increases factored in other manufacturing circumstances and is meant to be a long-term solution to various uncertainties. Hopefully, this will avoid another scenario where the company has to make two pricing increases in quick succession.

We'll be sure to keep you updated when we get the new pricing details, and we'll keep an eye out for any other companies following suit in the coming weeks and months.

Fujifilm press release:

The global marketplace continues to present business challenges, driven by the volatile market conditions facing manufacturers, retailers, and consumers alike. With these changes and the instability of the marketplace, we have made the business decision to further adjust prices to accommodate for these global changes. As we navigate the current market situation, Fujifilm is doing all we can to work with our retailers and consumers to weather this storm together. We appreciate your continued support.

Image: Lensrentals

If you've been around the online world of cameras for any appreciable time, you've undoubtedly run across one of our favorite things on the web: a Lensrentals camera teardown on the Lensrentals Blog.

And recently, we got a happy surprise. To celebrate Lensrentals' 19th birthday, company founder Roger Cicala came out of retirement to do another one. Were we excited? To quote Lewis Carroll, "O frabjous day! Callooh! Callay!” He chortled in his joy."

He's joined in the teardown by his partner in crime, Lensrentals' Aaron Closz; together, the two have torn apart many a camera and lens. But before jumping into the teardown, Roger gives us a quick update on his retirement, acknowledging that, "While not working much was frustrating at first, well, with some practice, I've gotten really good at it."

This particular teardown dives into the guts of a Sony PTZ camera, which, according to Roger, breaks fairly often. While maybe a little different than the cameras we cover here on DPReview, it's still a fascinating tour inside a camera, especially for those of you who would tear one apart yourself out of sheer curiosity if you had the luxury of potentially bricking a $6000 piece of hardware. (You know who you are.)

"By the time he's done, you get a pretty good sense of why Sony's approach to repairing this particular camera is often just to replace it."

The teardown is every bit as detailed and entertaining as we would expect from Roger. You'll get to see things like an internal counterweight that weighs more than the rest of the camera combined, shims under the sensor assembly to properly align it with the lens mount, gearing for internal neutral density filters and the "Cable of Immense Cost."

By the time he's done, you get a pretty good sense of why Sony's approach to repairing this particular camera is often just to replace it.

In conclusion, he observes that he had forgotten how much fun these teardowns are, and that he might do "another one or two." Here's hoping he sticks to that prediction.

If you love a good camera teardown, we recommend heading over to the Lensrentals blog to give it a read.

See Roger Cicala's latest camera teardown

When you use DPReview links to buy products, the site may earn a commission. Nikon Z5II | Nikkor Z 24-70mm F2.8 S | 70mm | 1/80 sec | F5 | ISO 500 | Raw reprocessed in-camera: WB warmed, D-lighting Normal
Photo: Richard Butler

This week, we published our full review of the Nikon Z5II, naming it one of the best value cameras available for under $2000. As always, our review process involved getting out with a production sample of the camera and taking a bunch of pictures to see how it performs in a variety of settings.

The Z5II uses a familiar sensor, so there aren't many surprises when it comes to image quality, though that's frankly part of the appeal. It produces remarkably good results for a fully-featured camera at this price point.

You can see the sample gallery below, and download the Raws to see how they fare with your editing workflow.

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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If you're somehow feeling nostalgic for rainy winter days, you can also check out the samples we took during our time with a pre-production copy of the Z5II.

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Image: Viltrox

If you use your camera, you will eventually need to clean it and your lens(es). That's especially true if you are traveling with your camera or spend a lot of time in the outdoors. Viltrox aims to make keeping your gear clean a little bit easier with its affordable, all-in-one lens cleaning kit. The kit is aimed at those on the go, with all components stored inside a carrying case.

The cleaning kit includes essentials like a bulb blower, lens cleaning spray, microfiber cloths and a lens pen.

Images: Viltrox

The Viltrox Camera Lens Cleaning Travel Kit comes with all the essentials to keep your lens free of debris and smudges. The silicone bulb blower is perfect for gently blowing away dust. It's one of the cleaning tools we recommend for all photographers, and is useful for cleaning lenses, your camera body and safely removing dust from a sensor.

The kit also features a dual-ended carbon lens pen, another useful tool for cleaning your gear because of its versatility. The brush side helps softly brush away materials, while the carbon side lets you remove smudges without damaging your glass. The kit also includes 10 microfiber lens cloths and alcohol-free lens cleaning fluid for more stubborn spots. Finally, there are eight individually wrapped cleaning swabs with non-shedding tips for hard-to-reach spots.

Image: Viltrox

All of the items come in a hard carrying case to keep the tools together. The hard-sided design also keeps the materials protected and clean, preventing you from making things worse. Additionally, the case features a carabiner for clipping it onto your pack so that you have it on hand when you need it. It's not as small as other cleaning kits, nor as a DIY kit could be, but it is a convenient option.

At $13, the Viltrox lens cleaning kit is also very affordable. It doesn't come with any sensor cleaning items, but that's not something you should typically be doing in the field, anyway.

Buy now: Buy at Viltrox

2025 iPhone Photography Awards

The iPhone Photography Awards (IPPAWARDS) has announced the winners of its 18th annual photo competition, showcasing photos shot entirely on iPhones. This year's contest received submissions from more than 140 countries, and winners were selected across 14 categories, ranging from people to cityscapes, in addition to the overall Grand Prize and 1st, 2nd, and 3rd Prize winners. We're sharing the overall contest winners and the 1st Prize winners of each category, but you can see the complete portfolio of winners, including 522 Honorable Mentions, on the contest's website.

The iPhone Photography Awards, founded in 2007, is the world's 1st and longest-running iPhone photography competition.

Photographer of the Year: Grand Prize

Photographer: Jarod Peraza (USA)

Title: Viajero Nocturno

Equipment: iPhone 16 Pro Max

Location: Villa de Leyva, Colombia

© IPPAWARDS - Jarod Peraza

Photographer of the Year: 1st place

Photographer: Carol Addassi (USA)

Title: Passage

Equipment: iPhone XS

Location: Central Park in Manhattan, New York City

© IPPAWARDS - Carol Addassi

Photographer of the Year: 2nd place

Photographer: Thiago Bernardes de Souza (Brazil)

Title: Moto Cães

Equipment: iPhone 15 Pro Max

Location: Brasília, Distrito Federal

© IPPAWARDS - Thiago Bernardes de Souza

Photographer of the Year: 3rd place

Photographer: Martha Nance (USA)

Title: Foggy morning on the Corrotoman

Equipment: iPhone 15 Pro

Location: Merry Point, Virginia

© IPPAWARDS - Martha Nance

Abstract: 1st place

Photographer: Sunny Hsiao-Mei Cheng (Taiwan)

Title: Liminal

Equipment: iPhone 12 Pro

Location: San Francisco, California

© IPPAWARDS - Sunny Hsiao-Mei Cheng

Animals: 1st place

Photographer: Jayne Parker (New Zealand)

Title: Close Encounter

Equipment: iPhone 15 Pro

Location: Vava’u Island group of Tonga

© IPPAWARDS - Jayne Parker

Architecture: 1st place

Photographer: Aleksandra Debiczak (United Kingdom)

Equipment: iPhone 13 Pro

Location: Burano, Italy

© IPPAWARDS - Aleksandra Debiczak

Children: 1st place

Photographer: Julia Zyrina (The Netherlands)

Title: When the chestnut trees bloom

Equipment: iPhone 11

Location: Blitterswijck, the Netherlands

© IPPAWARDS - Julia Zyrina

Cityscape: 1st place

Photographer: Adrian Beasley (United Kingdom)

Title: The Timeless Tyne Bridge

Equipment: iPhone 13 Pro

Location: Newcastle upon Tyne

© IPPAWARDS - Adrian Beasley

Landscape: 1st place

Photographer: Jens Petersen (Germany)

Title: Lübeck Amazonas

Equipment: iPhone 15 Pro

Location: Trave River, Lübeck

© IPPAWARDS - Jens Petersen

Lifestyle: 1st place

Photographer: Leo Huang (Taiwan)

Title: Who lost the elephant balloon?

Equipment: iPhone 14 Pro

Location: Yilan, China

© IPPAWARDS - Leo Huang

Nature: 1st place

Photographer: Mark Sarmiento (Australia)

Title: Winter Bamboos

Equipment: iPhone 14 Pro

Location: Japan

© IPPAWARDS - Mark Sarmiento

People: 1st place

Photographer: Karolina Zielony (United Kingdom)

Title: Vibrant Colours of The Neighbourhood

Equipment: iPhone 14 Pro Max

Location: La Boca, Buenos Aires, Argentina

© IPPAWARDS - Karolina Zielon

Portrait: 1st place

Photographer: Valeria Cammareri (Italy)

Title: I am the King

Equipment: iPhone 12 Pro

Location: La Boca, Buenos Aires, Argentina

© IPPAWARDS - Valeria Cammareri

Series: 1st place

Photographer: Dominic Dähncke (Spain)

Title: Puzzle

Equipment: iPhone XS

Location: La Palma, Canary Islands

© IPPAWARDS - Dominic Dähncke

Other: 1st place

Photographer: André Skagervik (Sweden)

Title: Winter Lines

Equipment: iPhone 12

Location: Norrköping, Sweden

© IPPAWARDS - André Skagervik

Last week, we shared that a company is creating a new folding instant camera inspired by the iconic Polaroid SX-70. It's quite nice timing, then, that shortly after we saw that news, we stumbled on Mr. Polaroid, a Public Broadcasting Service (PBS) documentary about Polaroid and its creator, Edwin Land.

The documentary provides a fascinating look into Land's background, the history of Polaroid and the cultural importance of instant photography. It touches on how Land enrolled in Harvard at 17 but dropped out after only one semester. He moved to New York City in 1927, and soon after, developed polarizing filters intended to reduce headlight glare – though they were never used for that purpose.

Those polarizing filters were of significant importance to the military during WWII, which led to success for Polaroid. But Land knew he would need something new when the war effort was over. Photography became his new focus, and he dreamed of a camera that could give people a printed photograph on the spot, instantly. So, in 1943, he launched a secret project nicknamed SX-70. However, it wasn't until 1969 that the prototype of what we now know as the SX-70 was created because of the project's complexity.

Edwin H. Land, founder, Polaroid Corp.

Photo: Library of Congress, Prints & Photographs Division, photograph by Bernard Gotfryd, [Reproduction number e.g., LC-USZ62-12345]

The documentary takes us through the company's history, including the public reveal of the first instant photograph (taken with an 8x10 view camera) and the camera models that came with further development. It was interesting to learn a little about Meroë Morse, a pioneering chemist at Polaroid, and how Polaroid was hiring women at a time when there weren't many jobs available for women. It was also fascinating to learn that Land was closely involved with the CIA and the US military during the Cold War.

There's a lot of information packed into the hour-long documentary, including where the Polaroid shake came from and some of the science behind instant photography. It doesn't shy away from some of the controversy surrounding Land and Polaroid, either. It's well worth a watch for instant photography fans and history buffs alike.