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Some years ago, when I was relatively new to the camera industry, I wrote a post for DPReview's short-lived blog, suggesting it was high time someone re-thought the way camera interfaces work.

I used Apple as an example of a company making inroads into an established market by developing a completely different way to interact with a device. I had no idea, back then, just how much impact the iPhone would go on to have, of course. The iPhone 3G, the first to offer competitive communication speeds, had only been launched a few months earlier and it seemed impossible that the likes of Nokia would be swept away by a relatively small computer company.

I explicitly wasn't advocating for cameras to move to a smartphone-style touch interface, more for a blank-sheet reconsideration of what a camera needs to provide and how best to prioritize those things.

When I wrote a blog post in 2008 asking for an Apple-style re-think of the way cameras operate, I had no idea just how significant the iPhone would go on to become.

Rendering: Apple

Sixteen years later, no one's really attempted it. A lot of cameras still operate like film cameras with a dizzying array of digital functions clumsily added on top. Most manufacturers haven't significantly re-thought menu systems originally designed for 20-or-so options despite them now having to accommodate around 100. Arguably none of them work well at this point: the difference is in just how badly they cope.

The result is cameras that are only really usable by people who've spent quite a lot of time learning how to use them, which is why I quietly seethe every time I hear a camera being described as 'intuitive.' Photography's core elements are complex enough that there'll always be something of a learning curve, but there's probably a middle-ground between a smartphone that does everything from focus and exposure to adaptive processing for you and a camera that operates like a 1980s SLR with a text-based choose-you-own-adventure computer game glued to the back.

Small steps

There has been some innovation since then, of course: Pentax created the TAv (time and aperture priority) exposure mode that has now become commonplace in the form of allowing Auto ISO while in Manual exposure mode. And its Hyper Program mode where you could override its aperture or shutter speed decisions while retaining a high degree of automation.

Likewise, Canon introduced its Flexible Priority exposure mode (along with the disappointingly useless M-Fn swipe bar) on the EOS R, which let you select which of aperture value, shutter speed and ISO you controlled and which were automated, on-the-fly. I'll confess I never quite managed to get my head 'round using it quickly enough for it to be beneficial.

The Sigma BF is not the answer

With its dedicated settings screen, the Sigma BF represents a radical new approach to camera operation.

Photo: Richard Butler

The Sigma BF is one of the most radical attempts I've witnessed to re-think how a camera operates. That's why I've put so much time into making videos about it over the past few weeks: because it's so different to anything you might have used before that it's hard to appreciate without seeing it in action.

To be absolutely clear: it is not the future of photography. It's a fascinating, back-to-fundamentals way of controlling a camera that makes you really think about shutter speed, aperture and exposure compensation (and by extension, ISO), in a way I've found quite inspiring. However, it engenders (perhaps even enforces) a slow, contemplative way of shooting that wouldn't be appropriate for most photography or most photographers.

I'll admit when I first heard the underlying specs of the BF I was worried Sigma had somehow taken five years to make a more limited version of the fp, which would appear to be a complete waste of everyone's time. But when I got to actually use it, the interface turned out to make it one of the most interesting cameras I've used in years. Again, not as an all-round, do-anything camera: even if you added a mechanical shutter, it wouldn't be that. But as an attractive device for documenting the world, it's strangely compelling.

All about the detail

Whatever you might think about the BF, a little bit of time spent using it reveals just how much thought has gone into its interface. Learning to operate each function one at a time through the dedicated settings display, then using the main LCD solely for composition and focus, with no incomprehensible icons distracting you, is unexpectedly engaging.

Whereas on the single-dial Panasonic S9 I find myself constantly frustrated, pressing buttons, cursing and wishing for a second control dial, on the BF I've found myself intentionally passing the aperture control back to the camera's single dial. It's difficult to rationalize, and yet, it makes sense when the camera is in your hand.

There are two details that have jumped out at me. The first is that: when you half-press the shutter, just as you're about to take your shot, the BF switches the dial's function to exposure compensation. It's a lovely little touch: it assumes you've selected the aperture and/or shutter speed you want, creatively, but makes it easy to give it a little tweak at the last moment, if needed.

It just works

But the detail that really stood out to me is the way White Balance is handled. Not something you might usually notice or pay attention to, but the way it's handled on the BF is so clever that it makes you realize how much thought has gone into it.

When you first turn the camera on, the White Balance icons are arranged in order of color temperature, so that you can scroll from correcting too much orange light to correcting too much blue. That's standard enough.

Custom White Balance presets get saved along the white balance continuum in the menus. You can tap the trash icon to delete them.

But what jumped out at me is what happens when you set a custom white balance. For this you have to bring up the 10-setting function menu to access the Custom WB option, but whatever value it records is then saved as a preset, in sequence along the color temperature spectrum.

So if you set a custom white balance that isn't quite as cooling as the Incandescent preset, that custom preset will now appear between the Incandescent and Fluorescent settings as you scroll through your white balance options. If you find you no longer need that preset, you can delete it.

Becuase the custom presets appear in sequence, they can be easily selected from the dedicated settings screen at the top corner of the camera. The two presets displayed in Kelvin are custom settings I've created.

Animation: Richard Butler

Manually defined white balance values are treated a little differently: they still appear in their relative position on the scale, but have to be selected from the function menu because, once selected, the rear dial adjusts their value, rather than jumping between presets. I was annoyed by this inconsistency at first, but it makes sense that you're more likely to want to constantly fine-tune a white balance value you've chosen yourself, rather than setting from a grey card.

Ultimately, the handling of white balance is a tiny little detail for a setting most people don't regularly interact with, but a detail that's redolent of the degree of consideration that's gone into ensuring the BF can be operated using a screen that displays a single parameter at a time.

There's still need for revolution

As I hope I've made clear, I'm not saying the Sigma BF is the iPhone of the camera industry: far from it. But sixteen or so years after asking for it, it's lovely to see someone willing to radically rethink how a camera could work. And I want to acknowledge Sigma and whoever designed the BF's White Balance system for doing so.

Image: Adobe

The National Association of Broadcasters (NAB) is still a few days away, but Adobe has announced updates coming for video users in anticipation of the annual trade show. Most of the changes are focused on Adobe Premiere Pro. The latest features, all of which have already been available in beta, aim to streamline the editing process even more with the help of various AI-based tools. Frame.io is also getting a few updates, making collaborating and controlling your files easier.

Adobe Premiere Pro updates Image: Adobe

One of the more exciting beta tools that is getting general availability is Generative Extend. Powered by Adobe Firefly, Generative Extend uses AI to create a few extra frames when clips are just a bit too short. Firefly essentially uses the audio and video from your clip as a prompt and adds a few frames. It's ideal for holding on to a character reaction for an extra beat, extending sound effects or cutting an awkward gesture or facial expression right at the end of a clip.

DPReview's Mitchell Clark tested Generative Extend when it was announced at Adobe Max last year and was quite impressed. At the time, there were quite a few limitations, but luckily, Adobe addressed those. Now that it's moving out of beta, it works with up to 4K video and also works on vertical videos. It also works in the background, so you can keep editing while it processes.

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Adobe says Generative Extend is safe for commercial use and that appropriate Content Credentials are embedded in the file. Adobe has also said that your content remains your own and is not used to train these AI models. The tool is free to use for now, though, after a "limited time" (Adobe didn't provide any more detail), Generative Extend will require Firefly generative credits. Pricing will vary based on the format, frame rate and resolution of your video.

Media Intelligence, an AI-powered search tool, is also coming out of beta. A search panel in the upper right-hand corner of Premiere Pro allows users to search for everything in one spot, with the AI recognizing the content of your clips, including objects, locations, camera angles and more. Adobe released the beta version of Media Intelligence and the AI-powered search panel in January, but now there will be full access to the feature.

Image: Adobe

Media Intelligence allows you to search using natural language, and it will find any matching visuals, spoken words or even embedded metadata. The AI recognition happens locally, so no internet is required. It promises to significantly speed up the editing workflow for those who need to pull from large libraries or are working on big projects.

Image: Adobe

Caption Translation, yet another January beta release, is also coming out of beta. This tool allows for AI-powered multilingual caption generation, saving users quite a bit of time when translating captions. It currently supports 27 languages and can be accessed in the Text Panel. You can even display multiple visible caption tracks simultaneously for greater flexibility.

Finally, a non-AI-based tool is also on the list of beta features going mainstream. Adobe's new Color Management feature allows users to transform Log and Raw from nearly any camera to SDR and HDR without LUTs. Adobe says it is a simple and approachable feature with six presets that any video editor can use, no matter their experience level. It also says it will be easier to match videos from different cameras and to define the look and feel of your videos.

All of the new Premiere Pro features are generally available today.

Adobe Frame.io updates

Frame.io is Adobe's take on collaborative media management. Last fall, Adobe added Lightroom integration for the platform, making it more usable for those who need access to more than just video work. Now, the company has added more tools for collaboration. Many of the tools are only available (or applicable) to larger teams, but there are some useful features even for smaller collaborations.

An example of the watermarking tool in Frame.io

Image: Adobe

Admins now have the option to create brand templates that any user can apply, making it easier for teams to create consistent content with a branded visual identity. It's also possible to protect work-in-progress content with custom watermarks, though you'll need a Pro, Team or Enterprise account to use those.

While you may want to share your files with collaborators, you don't necessarily need everyone to have editing or even commenting access. Adobe has added restricted folders, which allow you to keep things organized while protecting sensitive assets and discussions. These folders will allow you to set customizable permissions, changing who has access to view, comment or edit.

The Frame.io features are generally available today.

Image: Falcam

Working with lights can be challenging for many reasons, but partly because of the manual adjustments necessary as you dial in your setup or when changing your lighting. Accessory maker Falcam, a sub-brand of Ulanzi, aims to take some of that work out of the equation with its latest release, the Move LightGo.

The Move LightGo essentially adds a motorized head to your light stand, giving you remote access to angle adjustments. The device mounts to the light stand and attaches to the front of the light via Bowens mount. Unfortunately, lights with other mounts aren't compatible with the Move LightGo.

Image: Falcam

Once attached, you can control the Move LightGo with a wired remote (included), a wireless remote with up to 30m (98.4') of range (for purchase separately), or an app with up to 10m (32.8') of range. It supports dual-axis movement with 170 degrees of tilt and 450 degrees of panning. Having the option to rotate and tilt the light without having to physically be near it could save a lot of time. Perhaps even more helpful, though, is the option for remote adjustment when the light stand is extended and out of arm's reach.

Falcam explains that the Move LightGo even adds tilt capabilities. Most light setups can't adjust a full 170 degrees with certain lighting modifiers attached because the stand gets in the way. However, since the Move LightGo extends the light away from the stand, it allows for extra tilt when working with larger modifiers.

The MoveLight Go Wireless Remote.

Image: Falcam

The Move LightGo allows users to assign unique numbers to each unit, so if they have multiple, they can control each one individually. You can also save and recall preset light positions for even faster adjustments. It also features screw holes and Arri location holes for adding additional accessories.

The device requires power, but it is compatible with multiple power solutions. That includes AC power input with USB-C connection (a standard power cable is included), power-sharing modules or a V-mount battery or power bank. Falcam sells two power adapter modules – the Move LightGo Cannon 600 and DC 200 – both of which are available for purchase separately for $15. It can hold up to 6kg (13.2lbs) and weighs 1.68kg (3.7lbs).

The Move LightGo is available for purchase starting today for $249. It includes a wired controller, but from April 2nd to April 13th, Falcam is including a free wireless remote control with every Move LightGo order.

Buy now: Buy at Ulanzi Buy at B&H

GCCA Concrete in Life 2024/25 photography competition winners

Photo contests typically have some sort of central theme or guiding topic, but that isn't often centered around a building material. The Concrete in Life contest, however, does just that. Run by the Global Cement and Concrete Association (GCCA), the contest aims to highlight concrete's beauty and essentiality worldwide. The winners of the sixth annual running of the contest have been announced, having been selected from more than 20,000 entries.

"The stunning images highlight concrete’s positive impact on our lives right across the planet," said Thomas Guillot, GCCA Chief Executive who helped to judge this year’s competition. "Whether it’s the vital infrastructure such as bridges, railways and roads that we travel along or the homes, offices and schools we inhabit, concrete is a truly versatile material. Our competition gives anyone with a smartphone as well as professional photographers, the chance to show just how essential concrete is to our lives, as well as how beautiful it can be."

The contest is open to any type of camera, from smartphones to professional equipment. The contest awards an overall winner with a prize of $10,000. There are also four category winners – Urban Design and Use, Concrete Infrastructure, Concrete in Daily Life and Beauty and Design – with one winner per category winning $2,500. Finally, a People's Choice award winner receives $5,000.

You can see all of the shortlisted winners and learn more about the contest at the GCCA Concrete in Life website.

Concrete in Life Photo of the Year 2024/25: Henrik Hagerup

Photographer: Henrik Hagerup

Image title: Venice Beach Skating

Image location: Venice Beach, Los Angeles, USA

Description: A magical morning where the skaters work their magic on the concrete rink with the Pacific Ocean as a backdrop, the picture illustrates the professional skater and the little boy who dreams big dreams.

Statement: I am truly honored, overjoyed, and deeply humbled that you have chosen my image as the Overall Winner of the Concrete in Life 2024/25 Competition.

I captured my picture at Venice Beach in Los Angeles, a vibrant destination where people from all over the world come to enjoy the sun, the ocean and not least, the iconic skate park, this vibrant space is a magnet for creativity, where something exciting is always unfolding. When in L.A. I often spend hours here, camera in hand, patiently waiting for the perfect moment to emerge. 

From the very start, I noticed a young boy who I instinctively knew could become an essential part of my story. Through this image, I aimed to illustrate how concrete shapes the lives of those who play, dream, and push the limits of possibility. The experienced skater, who has mastered the smooth surface through dedication and skill, stands as an inspiration to the child, whose hopes and ambitions are just beginning to take form.  

My image is a tribute to the way concrete, when embraced by creativity and passion, fosters connection, dreams, and boundless potential not just in skate parks, but in communities across the world.

Urban Design and Use winner: Anvar Sadath TA

Photographer: Anvar Sadath TA

Image title: Urban Flow

Image location: Dubai, UAE

Description: The iconic Burj Khalifa rises above the futuristic skyline, framed by surrounding architectural marvels and concrete curves, all mirrored in the shimmering waters of the city.

Statement: I am honored to be the winner of the Concrete in Life 2025 competition in the Urban Concrete category! My winning photograph captures the dynamic relationship between concrete structures and the vibrant cityscape, reflecting how concrete shapes our urban experiences.  

This recognition reinforces my passion for storytelling through photography, and I hope my image inspires others to find beauty in the everyday structures that define our cities. My heartfelt thanks to the GCCA for this incredible honor. I also extend my sincere gratitude to the judges and the entire GCCA team for supporting photographers and celebrating visual storytelling.

Concrete Infrastructure winner: Wentao Guo

Photographer: Wentao Guo

Image title: Structure as Aesthetics

Image location: Washington D.C. USA

Description: In Harry Weese’s Washington subway station, concrete transcends time and function: its light and shadow align precisely with the motion of countless trains passing through; its rectangular division aesthetically resonates with the sense of security and austerity of the mass transportation station in the United States’ capital city.

Statement: I took this photo at one of the Washington DC subway stations designed by Harry Weese. I was captivated by the moment when the transience of transportation runs into the permanence of concrete. Its obscurity becomes its greatest presence: its functionality, its aesthetic and its enduringness. Concrete is such an essential part of our lives and it constructs so many characters of our built environment. I am very honored to be a winner of the Concrete in Life 2425 competition, having a valuable opportunity to reveal the essence of concrete in our built environment through my lens.”

Concrete in Daily Life winner: Wellington Kuswanto

Photographer: Wellington Kuswanto

Image title: Daily Life in Bedok Jetty

Image location: Bedok Jetty, Singapore

Description: Bedok Jetty serves as an urban public space in Singapore, offering people a serene retreat for fishing, sport & leisure activities, and scenic waterfront view. Urban public space like this is vital for fostering community engagement, social interaction, and a sense of belonging among people.

Statement: I’m truly thrilled that the judges selected my photo as the winner in the daily life category. 

Bedok Jetty holds a special place for me, as I cycle and hang out there every weekend. It inspired me to submit the image of this particular place for the competition, as it showcases a public space made of concrete structure that is actively used by many people engaging in various activities as part of their daily lives

Beauty and Design winner: Artemio Layno

Photographer: Artemio Layno

Image title: Broken Building

Image location: Amsterdam, Netherlands

Description: Valley is a residential and office tower on the Zuidas in Amsterdam. The three towers are respectively 100 metres (north), 66 metres (west) and 76 metres (south) high. The 75,000-square-metre building, which was recently declared the world’s best new skyscraper by the Emporis Awards, stands out in Amsterdam. The construction of Valley took four years, with the first residents and entrepreneurs moving into the building at the end of 2021.

Statement: I am really happy and grateful that my photo is chosen to be a winner of the Concrete in Life 2425 competition. I took the photo at Amsterdam, Netherlands and I was amazed how creative and modern the design of the building is, it looks like it was cut-out and separated in the middle of the main structure, the design is created by a large number of terraces. Concrete is not just used as a necessity in creating structures but it can also be used to showcase artistic works that are amazingly beautiful.

People's Choice winner: Mohamed Rafi

Photographer: Mohamed Rafi

Image title: Fluttering Through Life

Image location: Pondicherry, India

Description: When I saw this wall near Pondicherry Beach, I waited for someone to enter the frame. I captured a few casual shots, then this elderly woman walked in. Dressed in a floral outfit with a black shawl, she moved with quiet grace. I clicked my shutter as much as possible, not wanting to miss the moment. For me, it was a powerful intersection of reality and art, symbolizing unseen strength and the beauty of everyday life.

Statement: I am truly honoured to win the People’s Vote Category of the Concrete in Life 2024/25 competition. This photograph, taken in Pondicherry India, captures an everyday moment transformed by art: an elderly woman walking past a mural, unknowingly aligning with its butterfly wings painted in a wall. To me, it symbolizes resilience, unseen beauty, and how our surroundings shape us in ways we don’t always realise. Street photography is about finding meaning in fleeting moments, and I’m thrilled that this image resonated with so many people.

Shortlist: Febina Nabeel

Photographer: Febina Nabeel

Category: Beauty and Design

Title: Where Nature and Architecture come together!

Image location: Abrahamic Family House, Abu Dhabi, UAE

Description: Abrahamic Family House combines the three Houses of Worship - Eminence Ahmed El-Tayeb Mosque, St.Francis Church and Moses Ben Maimon Synagogue.

The olive tree representing peace and friendship.

Shortlist: Edwin Loyola

Photographer: Edwin Loyola

Category: Beauty and Design

Title: The Oculus

Image location: New York City, USA

Description: The World Trade Center’s Oculus, designed by the visionary Spanish architect Santiago Calatrava, is a triumphant transportation hub that embodies the unbreakable spirit of New York City. Situated in the heart of Manhattan, the Oculus serves as a vibrant gateway to the city, seamlessly connecting millions of people to 12 NYC Transit subway lines, while also offering an unparalleled shopping and dining experience.

Shortlist: Jason Balaba

Photographer: Jason Balaba

Category: Beauty and Design

Title: Futuristic Ithra Library

Image location: Dhahran, Saudia Arabia

Description: The futuristic design of Ithra Library is inspired by natural, organic shapes, and the building as a whole feels like it is in constant transformation, symbolizing progress and cultural growth.

Shortlist: Ee Long Tan

Photographer: Ee Long Tan

Category: Concrete in Daily Life

Title: Colorful Stairs

Image location: Batu Caves,Selangor, Malaysia

Description: The most striking thing in the photo is the bright colors of the stairs,red,orange,yellow,green,blue,and purple,with distinct layers,as if a rainbow fell from the sky. These colors not only make the stairs more beautiful,but also give it deeper cultural and religious significance.

Shortlist:

Photographer: Ricardo Funari

Category: Concrete in Daily Life

Title: Maracanã

Image location: Outside Maracanã stadium, Rio de Janeiro, Brazil

Description: My eyes were attracted by the curious and funny shadow of the boy playing with his soccer ball projected by the mid-afternoon sun on the concrete floor surrounded by palm trees at Maracanã stadium in Rio de Janeiro.

Shortlist: Shibasish Saha

Photographer: Shibasish Saha

Category: Concrete in Daily Life

Title: Drying incense sticks

Image location: Hanoi, Vietnam

Description: Quang Phu Cau Incense Village is a picturesque place where vibrant red incense sticks are laid out under the golden sun, creating a surreal scene. The air is filled with a calming aroma as friendly artisans dye and dry the incense with skilled, rhythmic movements. The village buzzes with quiet activity, children's laughter, and the warmth of a timeless Vietnamese tradition. It's a beautiful, unforgettable experience.

Shortlist: Ian Payne

Photographer: Ian Payne

Category: Concrete Infrastructure

Title: Hyperboloid

Image location: Slough, UK

Description: A beautiful summer's day with the temperature around 30°C, I did what any sensible person would do, walk around an industrial estate to photograph newly painted concrete cooling towers. The heat shimmered off the tarmac, but the towers stood out, sharp and clean against the sky. Worth the sweat? Absolutely.

Shortlist: Serdar Aydin

Photographer: Serdar Aydin

Category: Concrete Infrastructure

Title: Varyant

Image location: Izmir, Turkey

Description: In İzmir, Türkiye, buses navigate a winding road called Varyant. This uniquely shaped route, made of concrete and asphalt, might be an uncomfortable ride for passengers, but from above, it offers a stunning view.

Shortlist: Anna Kropf

Photographer: Anna Kropf

Category: Urban Concrete

Title: Arch_ES_Valencia

Image location: Designed by Santiago Calatrava and Félix Candela. Museu de les Ciències Príncipe Felipe (2000) – an interactive museum of science that resembles the skeleton of a whale.

Description: The City of Arts and Sciences (Valencian: Ciutat de les Arts i les Ciències, Spanish: Ciudad de las Artes y las Ciencias)[a] is a cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia and one of the 12 Treasures of Spain.

Shortlist: Jacob Surland

Photographer: Jacob Surland

Category: Urban Concrete

Title: Door to the Unknown

Image location: Aalborg, Denmark

Description: I shot this photo in February 2024. It is of a side door to the old power plant Nordkraft (North Power). It is now a recreational and cultural center including a cinema and concert hall. When I was a child, it was the new Power Plant and it was a Monument of the city and the first thing you would see, when driving towards Aalborg. It was a sign that told you, that you were soon home.

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

TTArtisan is no stranger to making L-mount lenses, but those have always been manual focus options. That's no longer the case, though, as the budget third-party lens maker has released an autofocus lens for L-mount cameras. TTArtisan originally released the AF 75mm F2 prime lens in September 2024 for Sony E and Nikon Z-mount.

The L-mount version of the AF 75mm F2 weighs 329g (11.6oz), which is slightly less than the Z-mount model. Aside from the weight difference, the L-mount version shares the same specifications as the other mounts. It uses a stepper motor for autofocus, which TTArtisan says is fast, quiet and accurate. The lens supports eye, animal and vehicle AF detection as well, and it can focus as close as 0.75m (2.5').

Image: TTArtisan

The lens features ten elements in seven groups, including one extra-low dispersion (ED) element and four high index elements, promising to reduce chromatic aberration and improve overall image quality. It has nine diaphragm blades and an aperture range of F2 to F16.

TTArtisan's AF 75mm F2 offers a clicked aperture ring, with no option to de-click it for silent operation. It uses all-metal construction for better durability, and a USB-C port allows for firmware updates.

The TTArtisan AF 75mm F2 lens is available for purchase today for $178.

Buy now: $178 at TTArtisan

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

We've been using the Panasonic Lumix DC-S1RII in a range of circumstances, shooting galleries, covering trade shows and photographing weddings, in addition to our standard tests. We take a look at how it works, what it does well and where it worries us.

Autofocus operation

The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.

The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.

There's a twist, though: the S1RII can either be set to use its focus tracking system or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.

This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.

AF interface

The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.

When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them.
Photo: Mitchell Clark

If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.

Autofocus performance

Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.

In our standard tracking test we found the S1RII had a tricky time of following the subject – it lost track of the subject on half of the runs we performed. The camera would typically lose the subject as the rate of approach changed as the target turns a corner.

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Human detection did a better job but could still be prone to losing the subject mid-run (it did so in one of the four runs we conducted). This is consistent with our other usage of the camera: it can be very sticky once it's found a subject, but it doesn't always successfully find subjects, and it can lose track of them as you're shooting. The camera also appears to have struggled to judge subject distance consistently, resulting in some softness when the subject's approach speed varies.

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Perhaps the most concerning behavior, though, was one we've seen in other recent Panasonic cameras, where tracking AF will fail to find something to focus on at all and will simply present a red flashing box and make no further attempt to focus. This is offputting enough to undermine our faith in the reliability of the camera, probably out of proportion to how often it occurs. Just knowing that the camera will sometimes fail to focus and make you wait a few moments is an unpleasant thought to have lingering in the back of your mind and not something we're used to encountering on a modern camera.

This month, we're looking for pictures that feature a red, green and blue color palette. This photo was taken on a hike with friends in Glacier National Park while I was testing the Sigma 28-105 F2.8. Unintentionally, they happened to color-coordinate their backpacks to fit this theme
Photo: Mitchell Clark

The theme for our April's Editor's challenge is 'RGB,' or red, green and blue.

We're looking for photos featuring a red, green, and blue color palette. Think an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time.

You can submit photos to the competition starting Sunday, April 6th. The last day for entry will be Saturday, April 12th (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know 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

Photos: SmallRig, CineStill, Tamron

We're back with another accessory roundup. This week, we're taking a look at memory cards, memory cards, and more cards! Oh, and some other stuff, too, but we'll get to that right after we discuss the deals.

On sale this week

Photo: Brendan Nystedt

If you're looking for an entry-level full-frame camera, Canon's EOS R8 is one of the cheapest ever released. That's especially true now that it's on sale for $200 off, putting it at only $1300. It doesn't have all the whizz-bang features of more expensive models – IBIS is a particularly notable omission – but for the price, it's hard to complain.

Buy now:

$1499 at Amazon.com$1499 at Adorama$1499 at B&H Photo

If you've got $2000 to spend on a mirrorless camera, there are a lot of great options. But if you're feeling nostalgic, you're in luck – the Nikon D850 is currently on sale for $400 off. It may be a camera destined for the history books, but that doesn't mean there's no reason to use one today.

Buy now:

$1996 at Amazon.comBuy at B&H Photo A deck of cards Image: Pergear

It's a big week for CFexpress cards – we've seen several new options hit the market. The first two are from Pergear and Novachips, and are aimed at budget-conscious shooters. The former company is offering CFexpress Type A cards starting at just $129 for a 256GB model. Type A cards have always been more expensive than Type B or SD models, likely partly because they're far less common – Sony is the only major manufacturer whose cameras use the standard.

Novachips, meanwhile, is selling both Type A and Type B cards. You can get a 330GB Type A card for $238, and a 256GB Type B card for just $125.

Meanwhile, Delkin has updated its lineup of CFexpress Type B cards, making them even faster and adding more storage options. Unlike the other cards we've covered today, these ones aren't particularly cheap. But if you need the utmost performance, they may be the way to go.

A do-it-all reader Image: SmallRig

If you end up buying one of those CFexpress cards, you'll probably want a way to offload data from it to your computer. SmallRig has you covered. Its new 9-in-1 docking stations offer either a CFexpress Type A or Type B reader, along with myriad other I/O options.

Despite costing less than some dedicated CFexpress card readers, the docks also include SD and Micro SD readers, two 5Gbps USB-A ports, two USB-C ports, one of which can accept 100W of power to pass along to your computer, HDMI and gigabit Ethernet ports. It also includes a cable that lets you connect it to your computer and transfer data at up to 10Gbps, though its CFexpress read speeds are limited to a (still quite fast) 6Gbps. The one downside is that you'll have to decide whether you want a dock with a Type A reader or a Type B reader; there isn't one that does both.

Buy at B&H Buy at Amazon A bright idea Image: SmallRig

SmallRig is also becoming a major player in the budget lighting space, to the point where it's releasing add-on products for its COB lights. This week, the company introduced the SP-mini, a spotlight attachment for its lights with the RCmini mount, including the RC60B/C and RC100B/C.

It does pretty much what it says on the tin, allowing you to focus your light on a narrow area, highlighting your subject. It also comes with 10 gobos to help you shape the light, creating interesting patterns in shadow.

The SP-mini is available now for $149.

Buy at SmallRig The ProPack

If you're a medium-format shooter and a fan of CineStill's 400D film, we've got great news: you can now buy a "ProPack" with five rolls of the 120 film. You won't save much by doing so – it's only around $3 cheaper than buying five individual roles – but at least you'll know you've got enough on hand for whatever you want to photograph.

Buy at CineStill Save on a lens

The Tamron 28-75mm F2.8 DI III VXD G2 is currently available for $200 off.

Image: Tamron

Tamron hasn't announced any new lenses, but it is having a spring sales event from now until April 20th. That means you can pick up some of its best glass for up to $200 off. The sales are available on Tamron's site and through retailers like B&H and Amazon. You can see which lenses are on sale and how much off you can expect on the company's website.

Read last week's roundup

Sinna Nasseri's photographs are distinctively his, with a unique style that draws upon mistakes and happenstance. Despite being relatively new to photography, he has photographed countless famous and influential people. His work is frequently featured in publications like Vogue, The New York Times and others. In a recent video interview with YouTuber and photographer Willem Verbeeck, Nasseri talks about his photographic path and how important mistakes are to his work.

Nasseri, formerly a corporate lawyer in New York City, recognized that 2020 would be a pivotal year. After just two years of photography, he quit his job and embarked on a journey of living in his car and traveling across the country to capture images. That same year, Vogue hired him to photograph the Democratic National Convention. Reflecting on this experience, Nasseri admits he wasn't fully prepared at the time, lacking the skills and a clear personal vision or style.

Now, though, his images have a very distinctive style, and it's pretty easy to tell photographs are his before seeing his name. "I think like my guiding principle is really to kind of try to not make things that have been made before, which is really hard to do," says Nasseri. One of the keys to his process is to embrace uncertainty, chaos and errors. He notes that some of his best photos are those that resulted from mistakes. "It's fun to make photography that doesn't look like normal life. We see normal life all the time," Nasseri says.

The video provides interesting insight into Nasseri's unique work, process and journey and is well worth a watch. You can see more of Nasseri's photographs on his Instagram.

SkyPixel, the aerial photography and videography community, has announced the winners of its 10th annual contest. The contest this year drew thousands of participants, who submitted over 140,000 entries from around the world. While the contest has traditionally been exclusively open to aerial photos and videos, a handheld video category was added this year, opening submissions to more than just aerial shots.

The contest features both photo and video categories, with two Best Video Prize winners –one for aerial and one for handheld – and one Best Photo Prize winner. Additionally, the SkyPixel contest selects the top 10 video and photo winners. There is also a "Nominated Entries" category (a people's choice award) with five video and five photo winners.

You can learn more about the contest and see all of the winning images and videos on the SkyPixel Contest website.

2025 Annual Best Video Prize (Aerial): The War - My Transformation Journey by Bashir Abu Shakra

Directed by Bashir Abu Shakra, The War - My Transformation Journey uses stunning aerial shots to tell his story of battling loneliness, leading to self-discovery. The project was filmed over the course of five years across eight countries, including China, Venezuela, Italy and more. Shakra purposefully chose each landscape to fit with the song's lyrics, aiming to use the contrast between the song and visuals to show how nature helped him overcome his struggles.

Judge comments: "The opening shot is truly captivating, marked by its elongated duration, graceful camera movements, and the serene beauty of the time of day. The composition stands out as particularly noteworthy. It’s one of my favorites, and the overall quality is exceptional," said Claudio Miranda.

"The War is an admirable film. Landscape photography is never a simple record, and every shot taken by this cinematographer is refined, precise, and captivating. The angles, the light all show his persistence and perseverance. It is a film where technique and the creator's inner vision are highly aligned. I really liked the ending," said Chenyu Jin.

2025 Annual Best Video Prize (Handheld): Japan Travel Cinematic by Henry Yue Image: Henry Yue

The new handheld category of the SkyPixel contest celebrates videography created with handheld or stabilized cameras. The inaugural winner, Henry Yue, showcased popular and iconic destinations across Japan in Travel Cinematic. The video uses cinematic camera angles and transitions with creative compositions. You can view the video on the SkyPixel website.

Judge comments: "The sound design and use of movement in this film were second to none, absolutely capturing the essence of Japan in the most stunning way. This was one of my favorites, and I felt immersed from the moment I hit play. Keep up the incredible work—this was truly something else," said Sam Newton.

"Japan Travel is a work rich in visual elements, combining both motion and stillness without causing any sense of chaos. Henry expertly controlled the pace of the film, with clean tones and precise, appropriate exposure control that perfectly integrates all elements. It is a highly refined and cohesive piece," said Chenyu Jin.

2025 Annual Best Photo Prize: Gangerqia Photo: Gangerqia

Photographer: Gangerqia

Caption (machine translated): A red-crowned crane accidentally fell down when it landed, leaving a phoenix-like shadow on the snow-covered ice. The photographer used the dark spring as a guide point to capture this beautiful moment.

Judge comments: "This aerial photo works beautifully because it almost tricks you at first glance—like you're looking at a drawing rather than a real landscape. There's a frozen pond shaped like an eye that immediately grabs your attention, and the neat line of footprints from the bird adds a playful sense of movement. It’s simple, clean, and has a bit of mystery to it. The minimal colors and subtle textures make the whole thing feel calming but intriguing at the same time," said Luke Stackpoole.

Selection of Annual Top 10 Photo Winners

Photographer: AB Gusai

Image title: Mud bath bliss

Caption: In the heart of the Indian countryside, a buffalo finds its own unique way to beat the heat. This aerial view captures the animal fully immersed in a vibrant pond, reveling in a luxurious mud bath. The deep, rich mud clings to its skin, providing a natural sunscreen and a soothing relief from the scorching sun. The buffalo seems to sigh contentedly, its eyes half-closed as it luxuriates in the cool, wet embrace of the mud. This image is a reminder of the simple pleasures in life, the joy of a good mud bath, and the resilience of nature's creatures in adapting to their environment.

Photographer: Fadah

Image title: Sailing through the ice

Caption: None

Photographer: hanifi

Image title: bulgurcu

Caption: Wheat harvested in the Gaziantep province of Turkey is turned into bulgur after various processes. The resulting bulgur is laid out in the sun to dry. Bulgur needs to be stirred frequently to ensure it dries quickly. The different geometric shapes that emerge during this process are preserved.

Photographer: Joanna Steidle

Image title: Another World

Caption: This is a top-down drone capture of a fever of cownose rays mixing their way through a school of menhaden fish. Taken just off the coast of the Hamptons, Southampton, New York , USA . On this day the sky was clear, and the sea was calm, allowing the sunlight to enhance the depth and bursting sand clouds.

Photographer: qb.pixels

Image title: Alien made symbol

Caption: The crest of Buri in Sicily is likely a rocky ridge with Mediterranean vegetation, offering scenic views and possibly historical ruins from Sicily’s rich past.