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Images: Leica, SmallRig, Pelican

We've made it to another weekend, which means another edition of our accessory roundup. Today, we'll be looking at a few lights, some Leica gear, and some rugged accessories, but first, as always, let's check out what's on sale.

Sony Sales Photo: Richard Butler

The Sony a7R V, a camera with a whopping 61MP sensor that makes it great for landscape or product photography, is currently on sale for $400 off its MSRP.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Photo: Richard Butler

If you don't need that much resolution, the a7 IV is also on sale for $300 off its MSRP. It's an older model that doesn't include some of Sony's latest tech and refinements, but it's still a capable stills camera.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Tough travel backpacks Image: Pelican

Pelican is well known for its ultra-rugged hard cases, but the company has recently started making soft goods as well. The Trvl Aegis collection includes several types of bags, including backpacks, slings, duffel bags and rolling bags; some of them feature a "hybrid" construction, which Pelican says provides the "quality construction and protection of a hard case with the versatility of a soft case."

Aegis backpack

Buy at Amazon Buy at B&H

Aegis rolling duffel

Buy at Amazon Buy at B&H

The hybrid packs come in various shapes and sizes, so you've got options no matter how light or heavy you pack. If you want a bit more protection, the company has also introduced a new line of hard-sided luggage cases, which it calls Trvl ATX. They don't seem quite as burly as the company's classic Air cases but feature creature comforts such as 360-degree spinner wheels, compression straps, and dividing pockets.

The ATX series sits between the Aegis hybrid bags and the standard Pelican Air cases when it comes to durability.

Image: Pelican

Pelican ATX

Buy at B&H

The company has also introduced a variety of accessory "Modpaks" that let you add organization to your Trvl bags in the form of toiletry bags, extra pouches, and packing cubes.

Leica's birthday

The $625, limited edition teddy bears appear to have sold out, but there's plenty more Leica 100 gear available.

Image: Leica

Leica is celebrating its 100th year of business this year, and part of the "100 Years of Leica" event is selling a variety of products meant to mark the occasion. Perhaps the most notable are the teddy bears – there were two limited-edition models that have already sold out, designed to look like important members of the Leitz family, as well as a more standard bear holding a plush Leica.

The bear, as well as a variety of other Leica 100 products such as a leather bracelet, magnifier, "100"-emblazoned hotshoe cover and even cufflinks, won't be available until May. However, there are a few knickknacks currently listed for sale in Leica's online store: a set of color pencils that comes with a cut-out paper M camera that you can color however you want, a pin, and a 3D wood puzzle. The latter two are sold out but aren't listed as limited edition, so there's a possibility there'll be a restock.

A colorful spotlight Image: Nanlite

Nanlite's new COB light acts as an upgrade to its bi-color FC-120B spotlight. The FC-120C has many of the same features, such as the ability to accept USB-C power, Bluetooth app control, and dimming, but it swaps out the LEDs for ones capable of putting out full RGB color.

While this does come with a brightness penalty – the bi-color version can put out 17,450 lux when paired with the included 45° reflector, while the RGB version can only do 12,850 lux – it obviously gives you more options when it comes to what color you want to light a scene with.

The FC-120C uses a proprietary FM mount for light modifiers but comes with an adapter that lets you use accessories made for the industry-standard Bowens mount.

$295 at Amazon $295 at B&H Ultra-fast, ultra-rugged Photo: LaCie

LaCie, a Seagate-owned brand known for its rugged portable drives, has released a new rubber-coated SSD that's meant to withstand drops, dust, water, and even, according to the company, "pressure from a 2-ton vehicle." Appropriately named the Rugged SSD Pro5, it has an IP68 rating and comes in 2 and 4TB variations.

While the Pro5 is undeniably tough, it doesn't come at the cost of performance. The company says you can expect read speeds of up to 6700 MBps and write speeds of up to 5300 MBps and that you should have no issues editing 8K footage stored on the drive. Part of that is thanks to its Thunderbolt 5 interface, which allows for speeds up to 10,000 MBps. If you don't have one of the few computers with Thunderbolt 5 ports, it can be used with USB and Thunderbolt 4, though even the latter won't be capable of hitting those peak speeds.

Buy at B&H A splash of color Image: SmallRig

We've covered quite a few SmallRig video lights in the accessory roundup, but none as small and portable as the RF 10C. It's a 10W light that's around the size of a flashlight, that the company pitches as being perfect for "backlighting and background light for smartphone video shooting." It can cast light in four colors, depending on what your scene calls for: "sunset orange," blue, white and red.

The RF 10C has a built-in battery, rechargeable by USB-C, and comes with 20 gobos that let you cast light in the shape of a heart, window, semi-circle, and more. The light has two standard 1/4"-20 mounting threads, and the extending barrel gives you the option of having a diffuse or narrow beam.

$53 at Amazon $53 at B&H

Read last week's roundup

We've been thrilled with the response to our DPReview pop-up store, which opened before the holidays and features limited edition items from our 25th Anniversary collection of DPReview swag. If you've been planning to place an order but haven't done so yet, act soon: the pop-up store will disappear on January 31.

What’s in the store? You'll find the DPReview logo on apparel like t-shirts, sweatshirts and baseball caps. Of course, to honor DPReview’s early history, many items are designed in dark mode with a black background.

Visit the DPReview pop-up store

If you’re a camera nerd, head over and take a look.

If you’re not feeling nerdy enough to want DPReview-branded swag, we've also designed products with photo-friendly slogans like ‘Say Cheese’, ‘Photo Department’, and ‘I ♥ Bokeh’.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Products from our 25th Anniversary pop-up store. Why a pop-up store?

Readers have been asking us about DPReview merchandise for years, so we decided to do something about it. So, if you’re one of those who’s emailed or messaged us asking where to find things like DPReview shirts, now is your chance.

Of course, when you buy our gear, you support DPReview and our mission to bring you the best online information and reviews about digital cameras.

Additional details

All items in the DPReview pop-up store include free worldwide shipping.

If you have specific questions about products or ordering, you can contact store@gearpatrol.com for help.

In the 1860s, two brothers, Nelson and Roswell Moore, photographers from Connecticut, got the idea to use the then-nascent technology of photography to preserve images of the last veterans of the American Revolution.

Photos: Nelson and Roswell Moore

As a photographer with a strong interest in history, I often find myself captivated when the two worlds collide. Looking at pictures of historical events, even seemingly mundane ones, sparks my imagination and transports me back in time.

More than the historical events themselves, I’m drawn to the people in these photos. I try to envision their lives, their experiences and the world they inhabited. I remind myself that they aren’t just historical figures frozen in time but real people who led lives as complex as you or me, and I often wonder about their experiences, the people they knew, and the eras that shaped them.

Perhaps this is because old photographs serve as a reminder of our own mortality. Historical photos whisper to us that our time on Earth is finite and that one day, we, too, will become subjects of historical curiosity.

Photo: Nelson and Roswell Moore

This fascination with the past, coupled with my interest in photography, is probably why a recent video by the BBC caught my attention, telling the story behind portraits taken of some of the last survivors of the American Revolutionary War.

The Revolutionary War was fought between Great Britain and her American colonies from 1775 to 1783 over Americans' desire for independence. Ultimately, the colonial forces prevailed, and, as we all know today, the United States became an independent nation.

"Historical photos whisper to us that our time on Earth is finite and that one day, we, too, will become subjects of historical curiosity."

Fast forward about eight decades, and the US found itself embroiled in yet another conflict: the American Civil War. It was around this time that two brothers, Nelson and Roswell Moore, photographers from Connecticut, got the idea to use the then-nascent technology of photography to preserve images of the last surviving veterans of the American Revolution.

According to the BBC, newspapers at the time would publish details of the United States federal budget. This included lists of Revolutionary War veterans who were still receiving government pensions. Don Hagist, author of The Revolution's Last Men: The Soldiers Behind the Photographs and editor of the Journal of the American Revolution, told the BBC that by the 1860s, it was becoming apparent that very few Revolutionary War veterans remained. This realization spurred the Moore brothers to track down what they believed to be the last six living veterans to capture their portraits.

Photo: Nelson and Roswell Moore

The Moore brothers' portraits were unveiled in 1864 and subsequently published that same year in the book The Last Men of the American Revolution by Reverend E.B. Hillard. The book also included biographies of each veteran, based on interviews conducted by Hillard, although, according to Hagist, Hillard likely employed some creative license in his biographical accounts.

Fortunately, these invaluable photographs are not confined to the BBC's archives. They’re preserved and freely available for download from the Library of Congress, an exceptional resource for historical imagery of all kinds.

As it turned out, the six men photographed by the Moore brothers weren't the only remaining Revolutionary War veterans. Following the publication of their photos and Hillard's book, other veterans came forward. However, the images captured by the Moore brothers remain invaluable historical artifacts, preserving the likenesses of men who fought for America's independence. Gazing into their eyes, I’m struck by the realization that these men could have met George Washington in person.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Photos: Nelson and Roswell Moore

One of photography's enduring truths is that we often can’t predict which images will hold significance for future generations. History will ultimately be the judge. However, as photographers, we possess the ability to capture and preserve these visual records, even if their immediate importance is not readily apparent.

Next time you see an old historical photo, pause for a moment to think about the person or people in that photo. Who were they? What were their lives like? And reflect on the fact that, someday, far in the future, someone may be looking at a picture of you, wondering the same thing.

Finally, have you had the opportunity to capture any photos of historical significance or photograph something important before it disappeared forever? If so, I'd love to hear about it in the comments.

Image: Panasonic

Panasonic has made it clear: the torch has passed from its Lumix Sync app to the Lumix Lab app. If you own one of the company's modern phase detect autofocus cameras – that's the S5 II, S5 IIX, G9 II, GH7 and S9 – Lumix Lab can now do pretty much everything that Sync could do, alongside all the new features it brings to the table.

When Lumix Lab originally launched alongside the S9 in May, Panasonic was clear that it wasn't ready to fully replace Lumix Sync for its older cameras; it didn't support critical features such as remote shooting, remote shutter control, image transfer, or live streaming.

That's changed this week, though. Panasonic released firmware updates yesterday, as well as an update to Lumix Lab, which work together to let you fully control and sync your camera from your phone.

Enter the LUT lab Lumix Lab lets you download LUTS made by creators and gives you a library to manage those LUTs alongside the ones you create yourself.

Beyond the functions that already existed with Lumix Sync, Lumix Lab adds several features around Look Up Tables, or LUTs, which are essentially color presets that you can apply to your photos and videos. It has a section that lets you download ready-made LUTs from creators, and you can even create custom LUTs using the app's photo editor. You can then use those LUTs in Lumix Lab, applying them to photos you've synced over from your camera, or send them to your camera, where you can use them with the Real Time LUT that can automatically apply them to your JPEGs and videos.

Lumix Lab also has fairly robust editing features for both photos and videos. You can use it to adjust colors, exposure, sharpening, and more and to apply effects like grain and vignetting. Continuing the LUT focus of the app, if you like the adjustments you've made, you're able to save them as a LUT for later use. Lumix Lab also lets you apply a variety of pre-set crops to stills and videos, making it easy to share them on platforms with a specific aspect ratio, and you can trim videos if you only want to use a small portion of them. Finally, you can share your edited photos and videos straight from the app.

Lumix Lab has a relatively full-featured set of photo and video editing tools, and lets you save your adjustments as custom LUTs. The future of Sync

At the moment, it doesn't seem like the Lumix Sync app is going anywhere – owners of the S1, S1R, the newly released G97, and other older cameras will still need to use it to sync photos to their phones, after all.

However, if you haven't given Lumix Lab a shot yet, and have one of the cameras it works with, it's probably worth a try. It can now not only do the things Lumix Sync could, but much more, making the experience of shooting with your camera and sharing with your phone that much nicer. Even if those don't interest you, it's also worth noting that the latest updates to the S5 II, S5 IIX, GH7, and G9 II could make it more annoying to use with Panasonic's older app, as a camera-to-phone Wi-Fi connection will now require password authentication – the ability to use the app without inputting a Wi-Fi password has been removed.

Lumix Lab is a free download from the Apple App Store and the Google Play Store.

OM System is working to build excitement for a launch happening on February 6. The company released a short teaser video, offering brief glimpses of an unreleased OM System camera. This video follows up on a post from the OM System CEO at the beginning of the month announcing that the company is working on a new camera and lenses. That statement, combined with the content of the video, makes it safe to assume that the focus of this announcement is indeed a camera.

The dedicated teaser webpage poses the question, "Are you born to create?" It also promises "something exciting" coming soon and encourages people to tune in to "discover what’s next in the world of creative photography."

The video, naturally, doesn't show much. It does, however, highlight a front dial, which must be a focus of the new camera. That dial shows four options, named Mono, Color, Art and CRT. We've seen such a dial before on the remarkably popular Olympus PEN-F. Based on the limited information in the video, it doesn't appear to be a follow-up to the PEN-F, as the teaser shows a more traditional SLR-style EVF in the center of the camera, as opposed to the left-corner EVF found on the PEN-F.

Luckily, February 6 isn't too far off, so full details will be coming soon. You can sign up to receive notifications for the launch on the teaser webpage and keep re-watching the 15-second video to attempt to glean more information.

Image: SmallRig

SmallRig has announced it is expanding its lineup with a new cage for the Sony a9 III and a1 II. Like SmallRig's existing offerings, the new cage aims to add additional protection for the camera. Perhaps more importantly, it also offers expansion options, making it easier to attach additional gear like phone mounts, monitors, microphones and more. It offers what SmallRig calls a "brand-new streamlined design with precision-fit protection and unobstructed button access." It's available for purchase now for $99.

Image: SmallRig

SmallRig's latest full cage features a leather grip that fully wraps around the grip of the camera. The leather design allows it to blend in a bit more to the camera, and results in a more polished look worthy of the flagship cameras.

The cage features a three-point locking installation to keep it securely attached to the camera, but doesn't require removing the D-rings. It uses an integrated bottom Arca-Swiss quick release plate for seamless use on a wide range of tripods and gimbals. It comes with a magnetic wrench on the bottom of the plate for easier attachment or removal.

Buy now:

$99 at SmallRig Image: SmallRig

Of course, one of the main benefits to a cage is all the extra attachment points for gear, of which this new offering has plenty. It features 1/4"-20 threaded holes, 1/4"-20 locating holes, ARRI 3/8"-16 locating holes, cold shoe mounts, strap slots and QD socket. All of those attachment points make it feasible to add on a long list of handles, microphones, lights, monitors, straps and more. Plus, the HawkLock H21 NATO rail allows you to quickly add or remove handles.

Image: SmallRig

In addition to the full cage, SmallRig also released an L-Shaped Mount Plate for the Sony a1 II and a9 III. The plate is still marked as "coming soon," and details are sparse in comparison to the full cage. SmallRig did specify that it will offer unobstructed access to switching orientation and feature an integrated bottom Arca-Swiss quick release plate. Perhaps most interesting, though, is the AirTag compartment, helping users keep track of their cameras.

Image: Canon

Canon has developed a 410MP full-frame sensor, which it says is primarily designed for markets such as surveillance, medicine and industrial applications.

Canon doesn't typically disclose details of sensors it plans to use in its cameras prior to those cameras being announced, which is another strong hint that this won't be the basis of the next R-series model. Still, it gives and insight into where Canon's sensor design and technology has got to.

The 410MP chip is a Stacked CMOS design with some signal processing circuitry built into one of the layers of that stack. This design allows it to read all its pixels at a rate of 3,280 megapixels per second. This is sufficient to let it deliver 24K 'video' at up to eight frames per second.

Alternatively, Canon says a monochrome version of the chip can bin the output of four neighboring pixels to deliver "100MP" video at up to 24 fps. These numbers suggest the company is talking about full-sensor, 'open-gate' 12K footage from the full 3:2 sensor region. Given this is its maximum output rate, it's reasonable to assume it would have a rolling shutter rate not much quicker than 1/24 sec (ie: around 40ms), which wouldn't be optimal as the basis of a cinema camera.

Thiose frame rates suggest a sensor that would be well-suited to machine-vision tasks that prioritize resolution over speed, such as checking detailed circuit boards during production, rather than on high-speed production lines where global shutter's ability to freeze movement might be more valued.

The use of the 3:2, 36x24mm 'full-frame' format means the sensor could be used with the vast range of lenses designed for that format, rather than having to specify something custom or very low-volume, by adopting a larger, medium-format size.

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

Canon has announced the RF 16-28mm F2.8 IS STM, a fast wide-angle full-frame zoom that's meant to be a more budget-friendly option for people looking to shoot photos and videos. The lens is lightweight and compact, coming in at a very similar size and weight as its sibling, the RF 28-70mm F2.8 IS STM.

The 16-28mm is explicitly designed to pair with that lens for enthusiasts wanting constant F2.8 capability on a budget.

The lens' optical formula includes 16 elements in 13 groups, with 2 aspherical lenses and 4 UD elements. Like many of Canon's RF lenses – including its higher-end L-series models – the 16-28mm uses of digital corrections as part of its design. At its long end, it has a minimum focusing distance of 0.2m (7.9"). The lens is weather sealed to provide some protection against dust and moisture, though there aren't gaskets on all of its various buttons, switches and rings.

Canon

As its name implies, the 16-28mm F2.8 IS STM uses a lead-screw type stepper motor for focusing, which the company says will provide "fast and accurate" focusing. It also features optical image stabilization, rated for 5.5 stops of compensation at the center of the lens, which gets bumped up to 8 stops when paired with a camera body that can coordinate its sensor stabilization with the lens'.

The lens weighs around 445g (15.7oz) and is 91mm (3.6") long when retracted. It uses 67mm filters and can be paired with an EW-73E lens hood, though it is sold separately.

The 16-28mm F2.8 becomes Canon's fourth wide-angle zoom lens, sitting between the $550 RF 15-30mm F4.5-6.3 IS STM and the $1400 RF 14-35mm F4 L IS USM. The new lens has better weather-sealing than the variable aperture zoom but, is less well-sealed than the slower-but-wider F4 'L' series lens. Above all of these sits the $2400 15-35mm F2.8 L IS USM.

The RF 16-28mm F2.8 IS STM will retail for $1149 and starts shipping on February 11th.

Buy now:

Buy at B&H PhotoBuy at Canon Canon RF 16-28MM F2.8 IS STM Specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length16–28 mmImage stabilizationYesCIPA Image stabilization rating5.5 stop(s)Lens mountCanon RF, Canon RF-SApertureMaximum apertureF2.8Minimum apertureF16Aperture ringNoNumber of diaphragm blades9OpticsElements16Groups13Special elements / coatings2 aspherical, 4UDFocusMinimum focus0.20 m (7.87″)Maximum magnification0.26×AutofocusYesMotor typeStepper motorDistance scaleNoDoF scaleNoPhysicalWeight445 g (0.98 lb)Diameter77 mm (3.03″)Length91 mm (3.58″)SealingYesColourBlackPower zoomNoZoom lockNoFilter thread67 mmHood suppliedNoHood product codeEW-73ETripod collarNo

Photo: Brendan Nystedt

Panasonic has announced a suite of updates for its latest cameras, designed to make sure the S5 II, S5 IIX, GH7, and G9 II are all on level playing field with each other and the S9 in terms of what features they support.

All four cameras will now be able to display multiple frame guide markers at once, which can help if you're trying to frame a shot that will eventually be edited into multiple aspect ratios. The markers are heavily customizable – you can choose different colors for each aspect ratio and position and resize the lines on your screen.

The ability to have multiple frame guides debuted on the S9's v1.1 firmware but is now available across Panasonic's modern lineup.

The updates also add support for Panasonic's "MP4 Lite" codec, which records 3.8K open-gate footage at a lower bitrate, making it easier and faster to transfer to a phone via Wi-Fi. For the S5 II and S5 IIX, the video will be in the same 3:2 aspect ratio as the S9, but for the Four Thirds cameras it'll be in a taller 4:3 aspect ratio.

Speaking of transferring footage to your phone, Panasonic is also bringing full support for its new Lumix Lab app to all the cameras. That means you'll be able to use it, instead of Lumix Sync, to remotely control shooting, transfer images to your phone, and more.

The S5 II, S5 IIX, and G9 II are also getting the enhanced subject detection that the GH7 launched with, meaning that they'll also be able to recognize planes and trains and zero-in on a specific part of a recognized subject, such as a car's driver or a motorcycle rider's helmet. They're also getting the Crop Zoom feature from the GH7 and S9, which will automatically punch in by a selectable amount. In stills mode, this means that the JPEGs will be taken from a center crop of your untouched Raw. In video you'll only be getting the cropped version since there's no Raw. How cropped it is will depend on your shooting resolution.

'Part priority' is now available on all of Panasonic's phase-detect-equipped ILCs.

The full-frame S5 II and S5 IIX are also getting the Hybrid Zoom system from the S9, which combines your lens' optical zoom with Crop Zoom, giving you more reach the further you twist the zoom ring.

There are a few smaller changes as well; each of the cameras will get improvements to operational stability, as well as the ability to save pictures in an "Extra Small" size.

Features being removed

While the updates are obviously full of new features, they also take away some things. European S5 II and S5 IIXs will no longer support wireless image transfers to PCs or RTMP streaming – you'll have to use RTMPS when livestreaming from your camera. While those features will still work in other markets, such as the US, the S5 IIX and the GH7 are losing the ability to act as a RTP/RTSP network camera over a wired internet connection globally. While Panasonic didn't give an specific explanation of why these features were being removed, the company did say they came as part of a security enhancement to the cameras.

Another change that will affect all S5 II, S5 IIX, GH7, and G9 II users: when directly connecting the camera and your smartphone, you'll now have to enter the password each time if you're using the Lumix Sync app; Lumix Lab isn't affected, since it handles authentication over Bluetooth. These changes also won't affect the cameras' Frame.io integration.

The new firmware files – v3.2 for the S5 II, v2.2 for the S5 IIX, v1.3 for the GH7, and v2.3 for the G9 II – are available for download on Panasonic's website.

Hopefully it's not too cold on this mountaintop.

Image: Sony

Sony has expanded a free repair program for some of its CEA-G Series "Tough"-branded memory cards, saying that some units failed to work properly in the extreme conditions they're designed for.

According to a notice spotted by Digital Camera World, some of the Tough CFexpress Type A cards could stop being recognized or, worse, fail to finish writing data in "low-temperature conditions" that are "around the lower limit of the recommended operating temperature range." Sony specifies that the cards are intended to be used in conditions ranging from -10° to 70°C (14° - 158°F), and its page for the cards touts that they're "designed for extended professional use in the most challenging environments – from snow-covered mountains to sand-blown deserts."

The company initially reported the issue last summer, but the version of the notice that appears on its Japanese site says that it found more units that are eligible for free repair. Sony's various sites list the affected lot numbers, which you can check against the one printed on the back of your cards. We've listed the model numbers below, but only specific units are eligible for repair. The additional numbers added this week, which are for 320GB and 640GB models, appear on the Japanese and UK notices, though not the one for the US.

The affected card models are:

• CEA-G80T
• CEA-G160T
• CEA-G320T
• CEA-G640T

If you have one of the affected cards and your lot number is one of the ones eligible for repair, Sony recommends backing it up before you send it in since any data will be deleted. The company says it'll repair cards "free of charge until June 29, 2029," though it's probably one of those issues that's best to solve sooner rather than later.

Image: Samsung

Samsung has announced the Galaxy S25, S25 Plus and S25 Ultra, its latest flagship smartphones. The phones have a heavy emphasis on AI, but also feature the company's highest-end camera systems.

The Ultra is the highest-end model, and has a 6.9" display and four rear-facing cameras. The company says the phone's ultrawide camera is an upgrade from the previous generation, and uses a new 50MP sensor behind an F1.9 lens – the S24 series' ultrawide camera used a 12MP Type 1/2.55 (5.6 x 4.2) sensor. The company hasn't released specifics on the new sensor's size.

The S25 Ultra, shown here, features four rear cameras. The S25 and S25 Plus have three cameras – the 3x zoom and 50MP ultrawide are the same found on the Ultra, but the main camera isn't as high-resolution.

Image: Samsung

Beyond the ultrawide, the S25 Ultra's camera layout appears to be relatively unchanged compared to the S24 Ultra. It still has a 200MP F1.7 main shooter – the S24 Ultra used a Type 1/1.3 (9.8 x 7.4) sensor, which is likely unchanged – as well as two telephoto cameras: a "3x" F2.4 lens in front of a 10MP sensor, and a "5x" F3.4 lens in front of a 50MP sensor. In the S24 Ultra, these cameras used Type 1/3.94 (3.7 x 2.7) and Type 1/2.52 (5.7 x 4.3) sensors, respectively.

The new ultrawide camera also comes to the 6.2" S25 and 6.7" S25 Plus. The main camera and 3x telephoto appear to be the same 50MP Type 1/1.56 (8.2 x 6.1) and Type 1/3.94 (3.7 x 2.7) models as their predecessors.

Main Camera Ultrawide Camera Telephoto Camera S25 / S25 Plus 50MP, F1.8, OIS 50MP, F1.9 3x - 10MP, F2.4 S25 Ultra 200MP, F1.7, OIS 50MP, F1.9 3x - 10MP, F2.4, OIS
5x - 50MP, F3.4, OIS

Many of the S25's camera improvements come from software, such as the Virtual Aperture feature.

Image: Samsung

While there may not have been many hardware updates, the company did announce some new software tricks for the phones. A feature called "Virtual Aperture" lets you control how much simulated depth-of-field your image has, and the phones now feature a Galaxy Log color mode, which should help anyone who hopes to color grade the footage they take with their phones. The company also says it's updated its image processing, saying that it's upgraded its object recognition and improved how it handles color.

The custom filter feature attempts to replicate the look of a reference photo, which you can then apply to your other shots.

Image: Samsung

The S25 also features filters that the company says are inspired by classic film photos. It also allows you to create your own custom filter based on a photo that you give it; it'll try to tweak parameters like saturation and color balance to match the reference image.

The 25 Plus and Ultra also include a feature called "ProScaler," which the company says "delivers a high-definition viewing experience without having to adjust the display settings."

The phones are powered by a chipset called the "Snapdragon 8 Elite for Galaxy," which utilizes Qualcomm's latest technology. Samsung says it delivers "a performance boost of 40% in NPU, 37% in CPU and 30% in GPU compared to the previous generation."

New generations of AI can give you tips on how to improve your pictures of your pets.

Image: Samsung

The company's announcement also placed a heavy focus on AI. In a demo of Google's Gemini Live AI, Samsung showed a person asking the assistant about how they could improve a photo they took, with the assistant giving tips on how to improve composition and color, as well as suggestions on what type of edits the person could make.

The company also announced that it's working with the Coalition for Content Provenance and Authenticity (C2PA) to ensure that AI-generated images from its phones will have metadata marking them as generated imagery.

The phones will be available starting on February 7th. The standard S25 starts at $799 and comes with 128GB of storage, while the S25 Plus costs $999 and comes with 256GB. The S25 Ultra will start at $1,299 – by default it has 256GB of storage, but you can upgrade it up to 1TB.

Details of the phones are currently being announced via a Samsung live stream, which you can watch here.

Developing story... please check back for updates.

Logo: Adobe

Adobe has announced the latest updates for its video platforms, including Premiere Pro, After Effects, and Frame.io. The company says this update aims to "accelerate postproduction and address common pain points that filmmakers face today." The new features and tools aren't entirely groundbreaking, but there are some worthy additions. You can read the full details in the press release below.

These changes are available to use as of today, though the Premiere Pro and After Effects features are only available in the beta apps for the time being. You'll need to be an Adobe Creative Cloud member to access the beta apps, but no additional workarounds are necessary to use the new features.

AI-powered search results and Caption Translation in Premiere Pro beta

One of the most significant updates is Premiere Pro beta's Media Intelligence and AI-powered search panel that aims to make it faster to find clips. This new tool automatically analyzes video content, identifying objects, locations, camera angles and more. Then, using the new Search panel, you can use natural language to find the content you're looking for without hunting down the specific file on your own. The system can pick up on visuals, spoken words or metadata like shoot date and camera type, which should provide more flexibility in how you search.

This new search tool and media analysis happens locally on your system, meaning you don't need to be connected to the internet to use it. Adobe also clarified that, like all of its AI-powered tools, your content remains your own and isn't used to train its AI models.

We haven't used the feature yet, so we can't comment on how successful the new tool is. However, if it works as well as Adobe suggests, it should make it much easier for those working with massive video libraries to find the individual clips they need while working on videos.

Screenshot: Adobe

Beyond faster searches, Adobe also aims to make it faster to generate captions with this update. Adobe announced its Text-Based Editing feature in September 2023, which provided automatic transcriptions using Adobe Sensei. Now, the company is expanding functionality to translate those transcripts and generate captions in multiple languages. Premiere Pro beta will offer automatic translations in 17 different languages. You can also have multiple caption tracks visible simultaneously to display multiple languages.

Faster playback and more HDR support in After Effects beta

After Effects users also get two updates (in the beta app), the most significant of which allows for faster playback due to what Adobe describes as a "more modern caching system that uses both your computer's RAM and high-performance attached hard disks." It says that this means you won't be limited by the amount of RAM on your computer, making it feasible for older computers to play back entire compositions for the first time. There should be no need to pause for caching or rendering since once it is cached, you can simply press play and watch.

Adobe is also bringing HDR monitoring to After Effects beta. Promising that it will be "as easy to work in HDR as it is to work in SDR with the latest version of After Effects beta."

Press release:

Adobe introduces major new updates in Premiere Pro (beta), After Effects (beta), & Frame.io ahead of 2025 Sundance Film Festival

For filmmakers, “hurry up and wait” has always been part of the movie-making process, and nobody knows that better than the filmmakers heading to Park City for the 2025 Sundance Film Festival. Crafting the perfect story takes time. Tedious tasks like holding for sound, chasing the golden hour, or watching a status bar crawl across the screen make it harder to see the big picture and have creative breakthroughs.

We’ve been working hard to reduce tedium for video professionals, which means you’ll spend less time hunting for the perfect clip, transcribing and translating footage, waiting for motion graphics to playback, or troubleshooting color pipelines. Leaving you more time to do the things you love.

Today we’re excited to introduce new features in Premiere Pro (beta), After Effects (beta), & Frame.io that will make editors and motion designers faster than ever.

Find footage faster with AI-powered Media Intelligence and the new Search panel in Premiere Pro (beta)

For editors, finding the perfect shot is hard. Every editor has their own delicate, fastidious system for reviewing, logging, and finding their favorite moments as they piece together their timeline. But if you’re like me, you’ve also had this experience: you’ve finished your edit, handed it off – then found the one magical shot you should have used after everyone starts watching it. It’s the worst.

With new Media Intelligence and the Search panel in Premiere Pro (beta), the power of AI helps you find exactly what you need, when you need it. The content of your clips is automatically recognized, including objects, locations, camera angles, and more. With the new Search panel, you can use natural language to find visuals, spoken words, or content with embedded metadata like shoot date or camera type – all at the same time.
That means you can search footage for descriptive terms like “person skating with a lens flare” or “close up of person running at sunset” and see relevant moments I can quickly scrub through or load in the Source monitor. Or I can search for “California” and find related visuals, transcript mentions, and embedded metadata with shoot location all in one place!

Plus, media analysis is super-fast and happens entirely on your own system, so you don’t need an internet connection to use it. And as with all our AI-powered tools, your content is never used to train any AI models.

Go global in seconds with Caption Translation in Premiere Pro (beta)

Since we launched our popular Text-Based Editing workflow, we’ve had fantastic feature requests like bulk removal of pauses and filler word detection. Now that we’ve added those, we’re working on the next most popular request: caption translation!
Captions have become increasingly critical for accessibility and engagement on social media. Now you can more easily expand your global audience with fast, accurate translations in 17 languages. Plus, you can have multiple caption tracks visible at the same time to display various languages, or even assist you through editing in a different language.

Fast, seamless playback in After Effects (beta)

Everyone wants to work faster and save time. After Effects (beta) is rising to meet that demand with new performance improvements that let you preview more of your comp than ever before.

We’re introducing a faster, more modern caching system that uses both your computer’s RAM and high-performance attached hard disks to preview and playback larger and more complex projects faster than ever before. It makes motion design more interactive, responsive, and fun.

You’re no longer limited by the amount of RAM on your computer when you play back your work. That means even older desktops and laptops can now play back entire compositions in After Effects for the first time, without having to pause for caching or rendering. As soon as a comp is cached, press play, and spend more time watching creative work with less time spent waiting.

Go end to end in HDR in After Effects (beta)

Additionally, we’re bringing HDR monitoring to After Effects (beta). With support for PQ and HLG video, motion designers can now view their HDR comps accurately with improved video scopes that support HDR. Whether you’re working on a laptop or using professional I/O hardware to send an HDR signal to a calibrated reference monitor, it’s just as easy to work in HDR as it is to work in SDR with the latest version of After Effects (beta).

Frame.io Camera to Cloud: Now available for select Canon cameras

We've partnered with Canon to deliver an exciting new integration between Frame.io Camera to Cloud (C2C) and Canon’s C80 and C400 cameras. With a recent firmware update in December, you can now automatically upload proxy files directly from your Canon camera to Frame.io, giving your post-production teams and creative stakeholders access to footage from anywhere within moments of image capture. And since Premiere Pro supports raw camera formats from these cameras, this integration allows teams to get the best of both worlds: speed and quality. Send proxy files to the cloud quickly to start an edit and relink to the camera originals before your final delivery.

This seamless connection between production and post-production enables a whole new way to collaborate in real-time that unlocks faster project turnarounds and the ability to address potential issues before production wraps. By addressing problems as they occur, you can avoid costly reshoots and have greater confidence that everything you’ve captured is securely stored and accessible regardless of location.

With just a Frame.io account, a Canon C80 or C400, a network connection, and a simple six-digit pairing code, you can get started uploading your video files to the cloud within minutes. Whether you’re working on an independent project, or a large-scale production, this integration offers a streamlined, more efficient workflow from capture to edit.

Everything you need, for everything you’ll make.

No matter your workflow, genre, content, or delivery platform, we’re focused on making tools that reduce the tedium so you can focus on what you love: telling your story. And as more professional editors and motion designers than ever choose Premiere Pro, After Effects, and Frame.io, we’re continuing to prioritize core workflows so you can tell your story with powerful industry standard tools.

Many of our Video Team members – product managers, engineers, marketers, and designers – are also editors, motion designers, and filmmakers who are passionate about delivering features that solve everyday pain points. We worked through iterating designs, testing ideas, and incorporating feedback based on real world use cases over months of development, and we’re excited these features are available for you to use today.

We encourage you to try these new features in beta and give us your feedback! If you’re a Creative Cloud member, you have access to beta apps. You can even install the betas side-by-side with the current releases of Premiere Pro and After Effects.

Availability

All these features are available now in beta. For more information on how to access the beta apps, please visit the Premiere Pro (beta) page.

Instagram announced that it is launching its own free video editing app named Edits. The move makes sense for a platform that's been pushing video content for quite some time, yet lacked any refined editing tools. The timing, however, is interesting, as it coincided with the ban on a very similar free editing app, CapCut.

Instagram head Adam Mosseri shared the news about Edits in an Instagram post on Sunday, covering some of the features we can expect. The description of the app and its features sounds remarkably similar to CapCut, with a long list of tools for creating videos and finding ideas for new content.

View this post on Instagram

A post shared by Adam Mosseri (@mosseri)

Instagram built the app with a tab-based approach, with tabs for inspiration, trending audio and for keeping track of ideas. It also provides access to what it says is a "much higher-quality camera." The app features all the editing tools most people would use in a phone-based editing app, including the ability to edit down to single-frame precision, settings for resolution, framerate and dynamic range, background adjustment tools, fonts, filters and more. It can also generate captions automatically, hopefully with more accuracy than the auto-generated captions in Instagram Stories.

Beyond editing tools, there will also be insights into how your Reels are performing with a live insights dashboard. Plus, you'll have access to the various metrics available in Instagram, such as a breakdown of engagement, what impacts if your Reel gets recommended and more.

Screenshots: Instagram

Instagram says it supports videos up to 10 minutes long, so this is only a tool for short-form videos. Mosseri stressed in his video announcement that this app is not a replacement for desktop editing tools or a good option for those who rely on templates. Instead, it is very specifically created for creators who edit videos on their phones. Mosseri also stressed that the first version will be incomplete and asked people to be patient as it works on the app.

Screenshot: Abby Ferguson

Many of these features are also currently found in CapCut. It's not unusual for people to edit their Instagram Reels using CapCut, as it has a reputation for being much more user-friendly than the integrated Instagram Reels editor. CapCut, though, is owned by TikTok parent company ByteDance, which meant that it was also part of the ban that took effect (briefly) on Sunday. While TikTok returned very quickly, as of Monday morning, CapCut users were still unable to access the app unless they were in Airplane mode, though it seems that it has returned to functional as of this afternoon. If you didn't already have the app downloaded, though, that is still unavailable at the time of writing, as The Verge reports.

The Instagram Edits app is now available for pre-order in the Apple App Store. The App Store listing says it won't be available for download until March 13, but Mosseri said it will launch in February. The Android app is supposedly "coming soon" with no specific date mentioned as of yet.

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

Tamron has announced a firmware update for its 50-400mm F4.5-6.3 Di III VC VXD lens, which will allow users who pair it with a Sony a9 III to shoot at up to 120fps. The company says the update also improves the lens' autofocus performance while zooming in continuous autofocus mode.

The lens is the latest in Tamron's lineup to get the capability; the company added it to its 70-180 F2.8 G2 last year. Like with that lens, the ability to shoot at 120fps using the 50-400mm does come with a notable exception: it doesn't work with continuous autofocus like some of Sony's first-party lenses. Instead, you'll only be able to use the blistering shooting rate in single autofocus, manual focus, or direct manual focus modes.

Still, it's nice to see that Tamron's continuing to update its lenses to add additional functionality, even to lenses that have been out for a while – the 50-400mm was announced in 2022.

Buy at Amazon Buy at B&H Buy used at MPB TAMRON Lens Firmware Update Enhances AF Performance During Zooming and Supports Continuous Shooting with Sony α9 III

For 50-400mm F/4.5-6.3 Di III VC VXD (Model A067)

Commack, NY, January 20, 2025 – TAMRON announces a new firmware update scheduled for release on January 20, 2025, 11pm ET, for the TAMRON 50-400mm F/4.5-6.3 Di III VC VXD (Model A067) for Sony E-mount.

With this new firmware update, AF performance during zooming is improved when shooting videos and still images in AF-C mode. Additionally, with the Sony α9 III, when the focus mode is set to AF-S, DMF, or MF, the lens will support continuous shooting at up to approximately 120 frames per second.

Users can update to the latest firmware by visiting the TAMRON Lens Utility Download Page on TAMRON’s global website.

As one of the few brands to still make rangerfinder cameras, there's no question that this is a Leica.

Photo: Barney Britton

The Leica SL3-S is an interesting camera in many respects, including being one of the first mirrorless cameras to make Content Credentials metadata available to the general public. But that's not the factor that caught a lot of people's attention.

Instead, the SL3-S ends up putting a spotlight on what it means for a camera to be a Leica. And, by extension, raises interesting questions about what branding means in the modern camera industry.

Just what makes it a Leica?

In the past, Leica made the M-series models itself, then sold badge-engineered versions of Panasonic compacts, with a mark-up. But the distinction has become less clear-cut, with time. The M-series remains distinctively Leica, but the SL series, made from similar components and with ever more feature crossover with Panasonic's L-mount cameras, blurs the line somewhat.

What about this? It's hard to imagine many other brands building a full-frame fixed lens camera, especially one with a lens that works so nicely in manual focus mode. But its lens was designed by Panasonic. So is it a 'real' Leica?

Photo: Richard Butler

The revelation that Panasonic holds the patent to the Q3 43's lens design caused further doubt, despite it being a model that it's impossible to imagine Panasonic ever making. After all, Leica had turned to another company with more experience of AF lens design for the Q3's 28mm lens, but that didn't prompt many people to question whether it was a 'real' Leica.

Finally, we have the D-Lux8, a refresh of the Panasonic LX100 II/Leica D-Lux7. It gains Leica's fairly radical and rather excellent user interface, which makes it feel like a very different camera as you use it, but it's hard to ignore the Osaka origins of so much of its underpinnings. Or the significant mark-up of its price tag.

Red dot, full stop

What about the D-Lux8 (left)? It's clearly developed from the Panasonic LX100 II (right), but Panasonic doesn't make its own version, and again it has Leica's distinctive user interface. Also, it says Leica on the top. And any camera that does so is, by definition, a Leica, whether that fits with your perception of the brand or not.

Photo: Richard Butler

To an extent, the answer to "what makes it a 'real' Leica" is simply "the presence of the red dot*." If the company chooses to let that red dot be put on cameras and phones made by and with other companies, then that's what the brand stands for. It's just snobbery to decide that only the products you respect or revere are truly representative of the brand.

But, once you start asking these questions, it's interesting to apply them more broadly.

Commonality is commonplace

If the concern is commonality, then it's interesting to look across the rest of the market. Every clever feature, from on-sensor phase detection to dynamic range compression (Active D-Lighting, DRO, etc), subject recognition autofocus, pre-capture and eye detection AF get imitated across the different brands.

The specifics differ, whether in terms of the performance of features such as AF or the implementation of more gimmicky add-ons such as multi-shot high res modes, but there are very few fundamental features setting different camera makers apart, at this point.

The Nikon Zf is styled after the company's cameras from the early '80s and is built around Nikon's user interface, right down to its peculiar Auto ISO behavior. Is this somehow less of a Nikon because (like the majority of large-sensor cameras the company has ever made) it uses a sensor from Sony's semiconductor division? Of course not.

Photo: Richard Butler

And look under the hood and the level of common componentry has always been very high. There are only a couple of suppliers of large camera sensors and only one major one in compacts. It's bizarre to see comments questioning Nikon's dependence on Sony Semiconductor for its sensors, when that's where they, and most of the rest of the industry, have been sourcing the majority of their sensors for much of the history of digital photography. Not just coming before Sony's (separate) camera division became a major player, but pre-dating Sony making ILCs at all.

Just as the bulk of camera screens are sourced from a single supplier (which used to be part of Sony) and most viewfinder panels come from a single manufacturer (another parts supply division of guess-which electronics maker), most digital cameras ever made have tended to be based on a small number of sensors.

What is the difference between brands?

And yet the cameras aren't all the same. The things that define what a camera is like to use: from body style and button position to user interface, menu structure and lens choice, still vary significantly. As do the respective lens choices offered by each manufacturer, further differentiating the experience.

And it's always worth remembering that, in the film era, every camera used essentially the same light-sensing medium. Whether you shot with a Leica or the cheapest Russian knock-off, you had essentially the same sensor and probably less difference in user experience.

The differences in handling, in user interfaces and in what lenses a brand chooses to offer (and allow to be offered) are, ultimately, the main differences between any two camera brands. Nikon vs Sony, just as much as Leica vs Panasonic.

So why the focus on Leica?

The L² technology sharing deal between Leica and Panasonic means that their features behave more similarly than we'd typically see across brands, but that's perhaps a relatively minor factor, given how different their cameras are to use.

Instead, I suspect what draws most attention to any Leica / Panasonic similarity is the German brand's luxury pricing model. Much like Swiss watches, Leica's high prices, as well as promises of high quality engineering, are part of the appeal. The exclusivity that it brings is part of the value proposition of Veblen goods.

This has always been the factor that splits opinion about Leica. The commonality with Panasonic simply brings it into stark relief.

*More precisely I mean "have the Leica name on it," I haven't forgotten all the Monochrom and 'P' cameras without red dots.

Image: Fujifilm

Fujifilm has announced that it's bringing another hybrid camera to its popular Instax lineup. The Instax Wide Evo builds on the success of the smaller Instax Mini Evo, which the company released in 2021. As the name implies, the new camera uses the larger Instax Wide film, producing prints that are twice as wide and have a 115% larger area than the Mini film.

Like its little sibling, the Wide Evo's main selling point is that it combines some of the convenience of digital photography with the tactility of instant film. A 3.5" display on the back lets you see the image you've taken before committing it to film, saving you from the experience of taking a picture, waiting for it to develop, and then discovering that it's not quite right and that you've wasted a relatively expensive shot. It can store around 45 photos on its internal memory, though you can expand that capacity with a microSD card.

The camera's display lets you apply effects, manage photos saved to the camera's memory and preview your shots and prints.

Image: Fujifilm

To take those photos, the Wide Evo has a 16mm (equiv) F2.4 lens, which Fujifilm says is "the widest lens on any Instax instant camera." By default, the camera doesn't seem to make use of the entire field of view – there's a switch to activate "Wide Angle mode," which the company's press release says "maximizes Wide Evo’s lens capabilities." It doesn't say what kind of focal length you can expect to see in standard mode.

Image: Fujifilm

The camera also lets you apply lens effects such as vignetting, light leaks, and soft focus, as well as film effects that change the colors of the image. The Wide Evo takes the customizability a step further than the Mini, letting you change how strong your selected lens effect is. It also adds five "Film Styles," letting you add "cinematic" black bars to the top and bottom of your image, a film strip effect, a date and time stamp, a "retro contact sheet look" and a "collodion process effect" that lets you emulate wet plate photography.

The Wide Evo adds new "Film Styles" to push your photos' vintage aesthetic even further.

Image: Fujifilm

Design-wise, the Wide Evo carries on the Mini Evo's tradition of a retro-inspired design. While the Mini Evo featured a print lever – reminiscent of a film advance lever – the Wide Evo's physical print control takes after a film rewind dial. The company hasn't provided exact dimensions for the camera, but we'll be sure to update this story with them when they're available.

Image: Fujifilm

Fujifilm says the integrated battery should let you print up to 100 images per charge. Those 100 images need not all be taken with the Wide Evo; an app lets you connect your smartphone and print images from its camera roll onto film. It also lets you remotely control the camera, adds "additional image enhancement options," and gives you access to what Fujifilm calls the "Discover Feed," which lets you see images that other Wide Evo owners have uploaded and apply the effects they've used onto your own images if you see an aesthetic that you like.

The Instax Wide Evo will be available in February and will cost $349. An accessory case with a shoulder strap will be available for $49, and the company is also releasing a new edition of Instax Wide film – called "Brushed Metallics" – alongside the camera. A 10-exposure pack will cost $24.99.

Press release:

The Instant Evo-lution Continues:
Fujifilm Introduces instax WIDE Evo Hybrid Instant Camera

VALHALLA, N.Y., January 20, 2025 – FUJIFILM North America Corporation, Imaging Division, today announced the latest addition to its popular instax line of instant cameras and smartphone printers with the introduction of its instax WIDE Evo Hybrid Instant Camera (Wide Evo), whose unique hybrid format combines the excitement and satisfaction of traditional instant camera functionality with the capabilities of digital imaging technology to select, share, edit and store photo images. Wide Evo takes these capabilities a step further, with the ability to create wide format images that print onto instax WIDE instant film (sold separately), along with a host of other advanced capabilities designed to enhance the photographic image taking experience.

“Like the groundbreaking instax mini Evo Hybrid Instant Camera that came before it, Wide Evo offers a creative way to chronicle life’s milestones, creating a bridge between digital and analog photography,” said Bing Liem, division president, Imaging Division, FUJIFILM North America Corporation. “Hybrid photography gives the photographer the flexibility to choose which images to instantly print, which images to share, and which images to store for later access. Wide Evo does all of that, in a new wide format body, and with a host of new and improved lens and film effects and modes to enhance the user experience even more.”

Wide Evo outputs high-quality prints directly from the camera. Images can also be printed from a user’s iOS or Android smartphone camera roll using the free instax WIDE Evo Smartphone App. The app also features remote shooting capabilities and additional image enhancement options. Additionally, to inspire creativity and encourage image sharing, the instax WIDE Evo Smartphone App offers the newly introduced “Discover Feed”. The feed allows the user to view images uploaded by other Wide Evo users in a photo gallery format and apply their lens, film, and degree effects and film style settings to their own images.

The main features of Wide Evo include: Integrated Wide Angle Option

Wide Evo features the widest lens on any instax instant camera, at 15.67mm. Users can choose to take images at the standard width, or opt for Wide Angle Mode, which maximizes Wide Evo’s lens capabilities to get all of the action into the photo.

10 Lens Effects x 10 Film Effect Options = 100 Combinations of Creative Expression, Now with Added Degree Control

Like the instax mini Evo instant camera, Wide Evo features 10 lens effects and 10 film effect options, offering 100 different combinations for users to express themselves. Wide Evo adds Degree Control, which allows the user to determine the degree to which each lens effect is applied to their image.

5 Film Styles to Enhance the Look of the Image

In addition to the lens and film effects, Wide Evo offers 5 film styles to customize images even further, with options including a cinematic look with black bars across the top and bottom of the image, a classic film strip look, a traditional date/time stamp format, a retro contact sheet look, or a vintage collodion process effect.

Selfies, Storage, and More

Wide Evo also features a 3.5-inch LCD Monitor on the back of the camera to allow users to select images, add effects, edit, print, and adjust image settings, supported by a built-in Lithium-Ion battery which enables the camera to print up to 100 images per charge, depending on the specific use case. A Micro SD card slot (Micro SD Card sold separately) ensures there’s plenty of room to store additional images for later enjoyment (approximately 45 images can be stored in the camera’s internal memory), while the Selfie Mirror helps users nail selfies every time.

In addition to the new camera, new accessory and film options have also been introduced:

New instax WIDE Evo Hybrid Instant Camera Case

Accompanying the introduction of the Wide Evo is the instax WIDE Evo hybrid instant camera case (sold separately). Made from premium faux leather, the case features an adjustable shoulder strap for optimal carrying comfort and portability. For added convenience, the top portion can be removed, allowing users to keep the camera in its case during use.

New instax WIDE Brushed Metallics Instant Film Pack

The instax WIDE Brushed Metallics instant film pack features a metallic, dark gradient border. Available in a 10-exposure pack, the film is compatible with all instax WIDE instant cameras, the instax Link WIDE Smartphone printer, and the WIDE Evo.

The instax WIDE Evo Hybrid Instant Camera will be offered in a classic black and gray combination finish at a manufacturer’s suggested retail price of $349.95 USD and $479.99 CAD.

The instax WIDE Evo Hybrid Instant Camera Case will be offered in black at a manufacturer’s suggested retail price of $49.99 USD and $69.99 CAD. The instax WIDE Brushed Metallics Instant Film Pack will be offered at a manufacturer’s suggested retail price of $24.99 USD and $17.99 CAD.

All are expected to be available for purchase in the U.S. and Canada in February 2025. For more information, visit https://www.instaxus.com/cameras/instax-wide-evo/.

Graphic: Rentovault

Canadians now have a new way to access gear and earn money, thanks to the launch of an Ontario-based startup called Rentovault, as reported by EIN Presswire. Rentovault is a peer-to-peer gear rental option offering photography and outdoor equipment. It aims to provide better access to outdoor and photography gear by connecting those who own it with individuals seeking to rent. It's essentially like Turo or Airbnb but for outdoor and photography gear.

According to the company, "Rentovault is an outdoor gear rental platform dedicated to connecting Adventure and Photography enthusiasts. By facilitating the sharing of high-quality equipment, Rentovault empowers individuals to explore their passions without the burden of high costs." It serves as an alternative to renting from companies like Lensrentals in the U.S. and Vistek in Canada.

Rentovault isn't the first peer-to-peer photography gear rental company created, though it is the first Canadian company, as far as we've been able to ascertain. In the U.S., those looking to rent gear peer-to-peer style have more options, with the two most well-known being KitSplit and ShareGrid. KitSplit operates in Canada, though its options are extremely limited at the time of writing. ShareGrid doesn't currently operate in Canada.

Of course, any peer-to-peer rental structure depends entirely on users putting up their equipment for rent. People won't bother checking the site if there isn't much selection. Even though Rentovault is so new, is does appear to have a fairly good selection already, at least in major cities. There's still plenty of room to grow, though, so don't expect to find an expansive selection right off the bat.

Rentovault charges a 20% commission on rentals, but even so, if you have gear you aren't using regularly, this could be a useful way to help pay for the cost of said piece of equipment. To provide those who are putting their stuff up for rent with some peace of mind, Rentovault says it "assumes full responsibility to reimburse you, the lender, to cover damages or loss during the rental period provided that there is proper proof of damages."

One benefit to such a website over a larger rental company like Lensrentals (which doesn't operate in Canada) is that you aren't stuck waiting for something to ship. Rentovault is designed as a local pick-up option, so you can schedule a time and place to pick up what you're renting instead of waiting a few days or even a week to receive it. Finding the exact piece of kit you need may be harder, but it could provide a lot faster access. Additionally, Rentovault is unique because it has outdoor gear. If you're looking to get into outdoor adventure but don't want to buy everything right away, this could be a convenient option.

Canon has announced the 'Live Switcher Mobile' app, designed to let you livestream from multiple iOS devices, providing multiple angles "without the need for special equipment or complex wiring." 'Special equipment' apparently also includes Canon's cameras, as the app will currently only take in videos from iOS devices.

Let's break down what using the app will look like: you'll have one iOS device – an iPhone or an iPad – that acts as the control device. Using it, you can switch between wireless video streams coming from multiple iOS devices, and from the host device's own cameras as well. You'll also use the device to manage your stream, adding and adjusting layouts and overlays that include text and still images. The company says it'll also be able to show you user comments.

The app is free, but you'll have to pay $17.99 to unlock its full capabilities

The video sent from the external devices can either be footage from their cameras, or screen capture. As an example setup, you could have an iPad set up as your switcher, have a smartphone pointed at you as your face cam, and be playing a game on a second smartphone. Using the controlling iPad, you could set up a picture-in-picture layout, with the face cam in the corner of the screen, overlaid on top of the gameplay footage. The company also uses the example of livestreaming from your kitchen using phones to capture multiple angles – you could use an iPhone to control it all without taking up valuable counter space with a laptop running streaming software.

The app is free, but you'll have to pay $17.99 to unlock its full capabilities. The paid version is required if you want to add still image overlays to the stream, change the size and / or position of your picture-in-picture overlay, remove a watermark, or work in 1080p Full HD instead of 720p 'HD.' The free version will also display Google ads on your device's screen, though they won't appear on your livestream itself.

Overall, the app seems relatively powerful despite the fact that it's being pitched toward people who don't want to manage a streaming computer or hardware switcher. It can create recordings, mix audio from your sources, take in external audio, and output your stream directly to platforms like YouTube or Facebook, as well as via RTMP. It also has a feature that will automatically cycle through the different sources you have set up every 8, 12, 16, or 20 seconds if you don't want to manually switch up your angles.

It is worth noting that the $17.99 price tag for the paid version is relatively expensive, given that much of the livestreaming world revolves around a free piece of software called OBS, that can be used with a variety of input devices – including iPhones and Andriod phones. However, OBS has a relatively steep learning curve and has to be run on a computer, adding to the complexity that Canon is promising to resolve with its app.

Canon launches "Live Switcher Mobile" iOS app for one-person multi-angle livestreaming with single touch camera switching

TOKYO, January 20, 2025—Canon Inc. announced today that it will begin providing "Live Switcher Mobile," an iOS app for livestreaming, free of charge1 on January 20, 2025.

With the increase in video content on social media, there has been a growing demand for livestreaming video content, such as cooking, gaming, and product reviews in which content creators can simultaneously communicate with the viewers. The “Live Switcher Mobile” app2 meets this demand by providing multi-camera switching between up to three devices, such as iPads or iPhones, all connected under the same Wi-Fi network. Simply by downloading the app to an iPhone or iPad acting as a camera, users can broadcast the footage through a livestream platform3 of their choosing.

“Live Switcher Mobile” drastically facilitates setting up a livestreaming environment. By eliminating the needs for bulky additional equipment including PCs and complex wiring, users can freely position the devices to achieve the most effective angles. Additionally, users can specify the number of seconds4 before the shooting device automatically changes over to another to broadcast video with dynamic flow even when they are working alone and cannot manually operate multiple devices.

Users can harness the app to customize their livestreams to make them more engaging. By freely adding text and graphics5 to the screen, users can create a unique and original livestream screen that makes their content stand out. They can also check6 comments from viewers in real time, thereby achieving two-way communication.

The app can also livestream the screens of the devices to easily produce videos showing live gameplay or application operations with just an iPhone or iPad. Additionally, video from another device camera can be layered on top of the livestream screen so that viewers can see the streamer’s facial expressions and reactions alongside the video of the smartphone screen.

“Live Switcher Mobile” will also support digital camera connection in the future to make high quality live streaming easier and more flexible.

1 Although the app can be used free-of-charge, some functions may require registration (at a cost) for periodic use.

2 Compatible with iOS 16/17/18 and iPadOS 16/17/18. The application is not guaranteed to work on all devices. For more information, please see the following website: https://ssw.imaging-saas.canon/lsm/faq.html
Please note that the app must be downloaded to all devices in use.

3 Livestreams can easily be made on YouTube and Facebook. For streaming on other platforms, users must enter the streaming URL issued on each platform.

4 The available settings are 8, 12, 16, and 20 seconds

5 Adding graphics aside from those including in the application requires a fee.

6 Comment display function is limited to YouTube and Facebook

Japan is a street photographer's paradise, but it's the rain that really transforms Japanese cityscapes into something magical. City lights reflect off wet pavement, creating depth and dimension that only exist when it rains, and everyone carries umbrellas, creating captivating shadows and silhouettes. This image, taken in Tokyo during a downpour last year, encapsulates the feeling of wandering through the city's intimate side streets and alleys on a rainy night.

Panasonic S5II X and Panasonic 28-200mm F4-7.1 lens | ISO 1600 | 1/100 sec | F4
Photo: Dale Baskin

Show us your black-and-white street photography!

The January edition of our Editors' Photo Challenge is now open for submissions. Our theme this month is 'B&W Street'. We want to see the city through your lens, whether it's an unexpected scene, a candid portrait, or some other "decisive moment." Our favorites will be featured on the DPReview homepage later this month.

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! (Hint: the caption for the photo above is a good example.)

Photos can be submitted between Sunday, January 19, and Saturday, January 25 (GMT). This challenge is open to photos taken at any time.

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

Enter your photos here

Also, don't forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.

Open challenges:

• Lights at Night (closes Jan. 20)
• Restaurants, bars, taverns, pubs (closes Jan. 24)
• Abstract (closes Jan. 24)

Upcoming challenges:

• Fortnight 43: My Best Non-bird Photo Shot after 2025-01-06 (opens Jan. 20)
• Show us METAL! (opens Jan. 20)
• Street Festival (opens Jan. 21)
• Fruits (opens Jan. 25)
• Use Light to Help Tell Your Story (opens Jan. 25)

Images: Westcott, DJI, Datacolor, ThinkTank

We're back with another accessory roundup! This weekend, we're taking a look at some big flashes, new bags, color calibration tools, and more, but first – as always – let's see what's on sale.

Sales of the week Photo: Richard Butler

The Nikon Z8 – a powerful camera that essentially stuffs the company's sports / action flagship Z9 into a smaller body – is currently on sale for $600 off. At $3,400 it's still an investment, but you'll be getting a ton of camera for your money.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo

For anyone who's focused more on video, Panasonic's GH7 is also on sale, going for $200 off MSRP.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Big flashes Image: Westcott

Lighting company Westcott has introduced two new flagship-tier flashes: the FJ400 II, which is an update to an existing model, and the FJ800. Both feature OLED touchscreens that display your settings, give you access to a guide, and let you control the flash.

The FJ400II, as its name implies, has 400Ws of power, which it can recycle in 0.01 to 0.9 seconds. The FJ800 puts out 800Ws, and can recycle in 0.01 to 1.8 seconds. Both feature a 30W, bi-color modeling light, include a rechargeable battery, and have a Bowens mount for attaching accessories like softboxes or reflectors.

The FJ400 II costs $599, while the FJ800 is $999.

FJ400 II

Buy at Amazon Buy at B&H

FJ800

Buy at Amazon Buy at B&H ThinkTank goes tactical Image: ThinkTank

ThinkTank has released two new backpacks, the DarkLight 14L and DarkLight 20L. The bags, which come in black or green, feature the standard suite of photography-focused features you'd expect from the company: they come with padded dividers, let you access your camera from the top or back of the bag, and have points for attaching tripods.

If you're into hooking other things onto your bag, though, the DarkLights give you far more options than most of the company's other backpacks. The front panel is covered in MOLLE loops that let you attach standardized pouches and other accessories, and also features a few hook and loop strips for attaching patches. The side of the bag has additional webbing for strapping things down.

The 20L can hold more gear but weighs 600g (1.32lb) more.

Image: ThinkTank

The company says the 14L model, which has a detachable waistbelt made out of webbing, can hold a "standard-sized camera body with lenses attached and 1–3 standard zoom lenses." The 20L model, which has a removable padded waistbelt, can hold a 16" laptop and "two bodies with lenses attached and 2–3 lenses, or one body with lens attached plus 3–5 lenses." They cost $169 and $199, respectively.

DarkLight 14L

Buy at Amazon Buy at B&H

DarkLight 20L

Buy at Amazon Buy at B&H Anniversary colors Image: Datacolor

25 years ago, Datacolor came out with its first Spyder color calibrator tool, and now it's created a "Spyder Celebration Kit" to commemorate the anniversary. The company says the kit is a celebration of "the essentials of precision color management for photography from capture through editing."

It gathers three of the company's products – the 2024 Spyder calibrator, a Spyder Checkr 24 color chart, and the "Spyder Cube" white balancing tool – and puts them into a metal carrying case. And, as a bonus, the kit's $199 price is around $70 less than you'd pay for the products if you bought them separately.

Buy at Datacolor An inexpensive lens Image: 7Artisans

We don't generally talk about lenses in the accessory roundup, but if any lens counts as an accessory, it's this one. 7Artisans has released an 18mm F5.6 pancake lens made for full frame cameras with E, L, or Z mounts... and it costs just $89.

Image: 7Artisans

Of course, you'll have to cut some corners to make a sub-$100, 146g full-frame lens – the lens is manual focus only, and the aperture is fixed – but it's hard to complain about those things when the lens doesn't cost that much more than a good SD card. If you've never shot with wide-angle prime before or have always wanted to play around with a low-cost, compact lens, it may be worth picking this one up.

Buy at Amazon Buy at B&H Buy at Pergear Find your next shot Photo: Fujifilm

Fujifilm has been adding stabilization to its cameras' sensors, but it hasn't stopped there; this week, the company announced two new pairs of stabilized binoculars, the Fujinon Techno-Stabi TS-L1640 and TS-L2040. Their respective 16 and 20x magnifications give you a lot of reach when you're surveying the landscape, whether you're doing so for fun or you're looking for an interesting subject for your next shot.

Despite packing the electronics and motors used to stabilize the optics while you're looking through them – powered by two AAA batteries – the binoculars are still relatively compact and lightweight. The company says they're IPX7 certified, so you won't have to worry about them if you suddenly get caught in a rainstorm.

The technology and optics don't come cheap, though. The TS-L1640 comes in at $1,199, and the TS-L2040 costs an extra $100. But if you're serious about your binoculars and are willing to pay the price, they'll be available starting January 31st.

Air Traffic Control Image: DJI

DJI may sell its own first-person view, or FPV, drones, but that hasn't prevented it from making tools for the enthusiasts who want to build their own. It recently announced the O4 Air and O4 Air Pro, kits that let you attach a DJI camera and transmission system to a DIY drone. The company says the regular model is the "smallest and lightest 4K digital video transmission solution available" and says the Pro model is aimed towards people who want to capture high-quality video without the need for a separate camera like the GoPro Bones.

Both units can transmit 1080p 100fps footage back to the pilot and support the DJI Goggles 2, Goggles 3, Goggles N3, and Goggles Integra, as well as the second and third-gen DJI FPV Remote Controllers.

The regular O4 air costs $109 and can record 4K 60 fps video from its Type 1/2 (6.4 x 5.8mm) sensor. It has a range of 10 km (6.2 mi) and can transmit video with as little as 20ms of latency. The Pro, meanwhile, can record 4K footage at 120fps from its Type 1/1.3 (9.6 x 7.2mm) sensor, supports DJI's 10-bit D-Log color mode and can be fitted with the ND filters DJI makes for its Avata 2 drone. It has a range of 15 km (9.3 mi), a minimum latency of 15ms, and costs $229.

DJI O4 Air

Buy at B&H Buy at Amazon

DJI O4 Air Pro

Buy at B&H Buy at Amazon

Read last week's roundup