Photo News

Meme culture thrives on exaggerated content, and depth or restraint is often an afterthought. The viral "What I See vs. What I Take" trend is different. It's recently filled Instagram feeds with before-and-after images. The trend showcases the cluttered, everyday scenes a photographer encounters, followed by the tightly framed, intentional image they ultimately create. When executed properly, it's a solid lesson in composition. To better understand the skill and decision-making that goes into crafting a compelling photo, we spoke with two creators, Andrew Wille (@andrewoptics) and Hux (@huxterized). Here's what we learned.

For Wille, every image begins with identifying a focal point. "I like to start by choosing a clear subject – something I want the viewer’s attention to be drawn to first," he explains. "From there, I build the scene around that subject." This approach helps remove distractions and gives structure to the photo.

Locking in a subject helps you frame everything else in relation to it, especially in complex environments. Hux echoes this sentiment, though he focuses on the emotional pull of a scene. "It’s less about what’s in front of me and more about how it speaks to me. I’m drawn to simplicity – clean, minimal compositions where lines, shapes and colors quietly hold power."

Andrew shoots with a Sony a7R II or a1 and his Sony 100–400mm GM lens. Telephoto lenses like this do more than bring subjects closer; they compress background elements and make it easier to isolate subjects to simplify a busy environment. "With a longer lens, you naturally have a narrower field of view," he says. "So I follow the light, texture or unique details and let those guide where I point my lens." Long lenses can also help keep you safe. If you want to capture an oncoming train or the painted lines of a highway, you're better off doing so from a distance.

While long telephoto lenses unlock different types of images, they aren't always the most practical. After all, they are very large and quite expensive. Hux's images are a great example of what you can do with what you have on you. His photographs are all shot on iPhone models ranging from the iPhone 8 to the 16 Pro Max. He likes to activate the phone's grid to help with composition when aligning elements.

Both photographers stress the importance of editing with intention. Before adjusting brightness or contrast, they recommend asking two simple questions: Where should the viewer look? What should they feel? This means using light and color to guide the eye. Andrew's process involves brightening key areas and darkening distractions to subtly direct the viewer's attention. He also uses color to build emotion. Warm tones often feel energizing or triumphant, while cooler tones convey solitude or calmness.

For his architectural shots, Hux advises cropping for composition and keeping color enhancements minimal. "Avoid over-editing, especially with colors," he says. "Less is often more when it comes to a clean, timeless look." He uses tools like Snapseed and Lightroom’s Geometry panel to straighten lines and correct distortion. These subjects also thrive on symmetry, so some post-processing will make a profound difference in your overall composition. "I aim to keep all the lines straight – it creates a clean, pleasing look for the viewer," he explains.

Capturing several variations of a scene from different angles, then selecting and cropping with a critical eye gives you a better chance of creating something stellar. Take lots of shots, even if you aren't satisfied with them initially. Sometimes the best composition reveals itself in post-processing. Don’t be afraid to reframe your shot while editing, especially when using high-resolution cameras.

Stripping away distractions, isolating a subject, and using the right tools with purpose can help you transform an everyday scene into something extraordinary and visually compelling. Whether you’re shooting with a dedicated camera or a smartphone, the same core principle applies: strong composition is about what you choose to leave out as much as what you include.

Summer is nearly upon us for those in the Northern Hemisphere, and with that comes travel and holidays for many. You likely want to document those vacations at least somehow, which could mean bringing a camera along. If you're traveling by plane, that may raise some questions or concerns about whether you're allowed to bring your camera with you. As seasoned photographers and travelers, we've got the facts on what's possible for traveling with your cameras.

If you are in the US, the Transportation Security Administration (TSA) has plenty of rules about what you can and can't bring to the airport and on planes. Luckily, cameras are approved by the TSA in both carry-on and checked bags. Each country has its own version of the TSA, but the same is typically true for other countries' airport security agencies as well. However, it's always a good idea to check the regulations of the country you are traveling to and from, just to be safe.

Spare batteries need to be kept in your carry-on.

Photo: Abby Ferguson

While the TSA approves cameras in checked luggage, most cameras rely on lithium-ion batteries, which complicates things slightly. Official advice from the TSA is that batteries kept in cameras can go in checked bags. However, some airlines and staff may expect you to include them in your carry-on. When in doubt, check with your airline and keep them accessible. Also, if you are taking along spare batteries, those are always prohibited from checked bags, so they will need to be in your carry-on.

Also, while cameras and lenses are approved, they may get flagged for additional screening while going through security. That means security personnel may need to take the camera or lens out of your bag for a closer look or even swab the gear to test for explosives. This entirely depends on the airport and the individual security agent, but it is good to be aware of this possibility.

If you travel frequently from the same airport, you may be able to pick up on trends that can help you pack your gear more efficiently. For example, I know that my local airport will always flag my bag for additional screening if I carry spare lenses. As a result, I now ensure my lenses are easy to access, which speeds up the process for everyone.

Analog photographers have even more to consider when flying. While film cameras and film are TSA-approved for carry-on and checked bags, X-ray and CT machines at airports can damage undeveloped film. This is especially true of newer CT machines, as they are stronger than traditional X-ray machines. Because of this, the TSA suggests keeping your undeveloped film and cameras with undeveloped film in your carry-on and asking for a hand inspection at the security checkpoint.

Of course, security personnel may not always be willing to hand-inspect your film or camera. If they are too busy, they may require it to go through the scanners. However, it is always worth asking (just do so politely).

Firmware Friday is back, and there are a fair number of updates this week. The most significant comes from Leica, in the form of a massive change to video recording options on the SL3 and SL3-S. The latest version allows for internal ProRes 422 HQ video in Cine 6K or Cine 4K recording with a CFexpress card. That's a massive boost from the previous support for ProRes that maxed out at 1080p. Multiple other Leica cameras also saw smaller firmware updates. There were also small fixes for Nikon's Z30 and the Hasselblad X2D 100C, as well as new firmware for select TTArtisan and Viltrox lenses.

Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.

SL3 and SL3-S update 3.1.1 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
• New video formats for C4K and C6K.
• Access to the function Headphone Volume is now additionally available via the menu Audio in the Video section, and via the FN button.
• The function Magnification can now be activated and deactivated by pressing the joystick.
• When making changes to the icon assignments in the Control Center, the function assignment list will open with the currently assigned option presented in the list as the starting position.
• The former menus Film Style and Video Style (accessible via JPG Settings) were integrated into the Leica Looks menu, and their menu items will now be accessible via the Main Menu.
• The firmware update process was optimized. Following a firmware update, all previous settings will remain unchanged, and the dialogue “Do you want to save profiles on SD card?” will no longer be displayed. A battery charge level of around 25% will now suffice for starting the update process.
• Electronic shutter speed 1/16000 s will now be available for P/A mode.
• The function AF-ON can now be combined with the functions Eye/Face/Body Detection and Animal Detection.
• An icon with an asterisk will be displayed alongside the User Profiles icon in the Control Center and the sidebar if settings were modified after profile activation.
• In case of a joystick assignment, the function AF-ON will now be saved to the user profile.

Q3 43 and Q3 update 3.1.1 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on
  ecodesign are supported.
• New menu section AF Settings, where AF Sensitivity and AF Speed can be adjusted individually.
• The menu item AF Tracking Start Position was moved to the menu area AF Settings.
• New setting option for continuous shooting with autofocus: 5 fps, 12 bit, AF.
• The function Toggle Focus Point is now accessible via the FN button.
• Electronic shutter speed 1/16000 s will now be available for P/A mode.

D-Lux 8 update 1.5.0 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
• Bugfixes in the firmware.

M11, M11 Monochrom, M11-P and M11-D update 2.2.2 (iOS), (Android) or the camera's menu

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.

SL2 and SL2-S update 6.2.0 (iOS), (Android) or the camera's menu

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.

Z30 update for Version 1.20 (Mac) and (Windows)

• Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.

X2D 100C update 4.1.1 (Download and instructions)

• Fixed stability-related issues.

TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11

• Fixed a bug that caused the in-body image stabilization to not work.
• Optimized compatibility with some models.

Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)

• Fixed known issues.

While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.

That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!

Firmware Friday is back, and there are a few minor, but necessary, updates for Nikon's Z30, especially if you're a blogger or content creator on the go. Lenses from Viltrox and TTArtisan also received some updates, though the instructions for the former are pretty vague. Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.

Z30 update for Version 1.20 (Mac) and (Windows)

• Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.

TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11

• Fixed a bug that caused the in-body image stabilization to not work.
• Optimized compatibility with some models.

Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)

• Fixed known issues.

While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.

That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!

Capture One, an editing software known for its Raw processing and tethered shooting features, has announced updates to its platform. The update brings a new retouching feature and a slightly updated workflow for managing folders. It also revealed a bit of a branding refresh in the form of a drastically different logo.

The new Retouch tool will automatically recognize faces and can select up to 20 per image.

Image: Capture One

With this update, Capture One wanted to improve efficiency, allowing you to do more in the app. While the software already offered a healthy list of editing tools, most retouching needed to happen outside of Capture One, with programs like Photoshop. Now, though, it has added a Retouch toolbar with a Retouch Faces tool.

The Retouch Faces tool automatically detects faces to make retouching quick and easy. It can detect up to 20 faces, though with a group that big, you likely aren't seeing many facial details to justify retouching. Each face is assigned a number, allowing you to work through everyone simultaneously or adjust the retouching for each face separately.

The Retouch Faces feature has five main adjustments: Impact, Blemishes, Dark Circles, Even Skin and Contouring. The Blemishes option retains skin texture, beauty marks and scars while removing blemishes, resulting in a more natural-looking retouch than other methods. Capture One's demo showed the tool in action, which essentially looks like an automated version of Photoshop's Spot Healing brush.

The Blemish option has a sliding scale that lets you control what's appropriate for each image and subject: low numbers focus on larger blemishes, and larger numbers remove smaller ones. It looked quite effective during the demo, but we haven't had a chance to test it out ourselves.

The Retouch Faces tool offers multiple settings.

Image: Capture One

When you do want to smooth out skin texture, you can use the Even Skin feature. Under this option are two sliders: Amount and Texture. The Amount option reduces contrast in certain areas. In the demo, it was extremely subtle, with a barely noticeable impact. David Grover, the Global Manager of Product Training at Capture One, said the team has discussed making the slider more aggressive come launch because of this, so you may see more obvious results in the actual release. The Texture slider, which is set to zero by default, is slightly more dramatic and can help you reduce skin texture by making contrast more uniform across the entire face.

The Dark Circles slider helps remove darkness under the eyes. Again, it keeps the skin texture and wrinkles to maintain a natural look. Grover described the Contouring option is essentially an auto dodge and burn tool, helping to create stronger contours on faces. It accounts for existing highlights, once again keeping things natural without making it look like a light source was added in post. Finally, the Impact slider changes the effect of all of the other sliders. So, if you think you went too far with everything, you can dial it all back at once without going into each individual option.

Given some of the automated tools in this retouching framework, it's reasonable to wonder about AI usage. When asked about this, Grover said the retouch feature only partially relies on AI. He explained that it uses AI to detect the face and create a mask (which is not editable or accessible outside of the retouch tool). However, the process for removing blemishes is a combination of what he described as traditional image editing techniques and AI. Capture One didn't specify if this is generative AI or machine learning. Based on how Grover described it, it seems like the latter, though it isn't entirely clear.

The Retouch tool will work during tethered sessions as well.

Photo: Capture One

Capture One is often used by photographers who shoot tethered to a computer during sessions, so the company made sure that the Retouch features work while shooting tethered. It can even apply the retouch effects automatically as you shoot. Grover explained that it's especially ideal when working with people who are not very comfortable with having their photo taken, since they are able to see a more finished product while you are still shooting. Additionally, if you know you like certain settings for every photo, you can save your settings, just as you can with color grading options, making it faster to edit.

The new Session Builder feature makes it easier to create sub-folders for each shoot.

Image: Capture One

Capture One has also updated its workflow for the first time in 15 years. Users can now create sub-folders for Sessions using the new Session Builder tool, making it easier to keep files organized for shoots. Creating sub-folders was previously only possible outside of Capture One, meaning you'd have to drag them into the app to sync to the catalog. Plus, if you frequently use the same folder structure for shoots, you can save that as a preset, saving you time on future shoots.

The new workflow features and the retouching tools are available in open beta as of today. You can download the beta app from the Capture One website.

Finally, Capture One unveiled a new brand identity. The new logo moves away from the easily recognizable blue and purple circular form with a one in it. Instead, it's been simplified and is now devoid of color. Interestingly, it looks quite similar to the Creative Commons logo and copyright symbol.

Panasonic is teasing an upcoming product announcement with a scheduled YouTube Livestream. The brand is holding details close to its chest, with the placeholder only revealing the Lumix branding. The caption doesn't reveal any additional information, other than the time of the reveal, which is scheduled for May 13th at 2:00 pm UTC.

The company also posted on its Instagram page, which at least had some movement to the teaser. It shows swirling greens and purples on the black background, reminiscent of the aurora. Still, there's no shadowed camera like many teasers include (such as the recent Fujifilm teaser), so there's no trying to make out details to guess what it may be.

Panasonic's most recent release was the Lumix DC-S1RII, which came out in February this year. That camera was a high-resolution full-frame camera with 8K video capabilities. It seems unlikely, then, that it will be something in that same vein, but we'll have to wait and see.

If you want to be sure you don't miss the live stream, you can choose to get a notification from YouTube come the big day.

Canon's senior management team, left to right: Yasuhiko Shiomi, Go Tokura, Manabu Kato, Tetsushi Hibi

Photo: Dale Baskin

"More and more users are using these cameras for video shooting. We have to accommodate this video shooting," says Go Tokura, Executive Vice President at Canon and head of its Imaging Group, when speaking to us at CP+ in Yokohama, in February.

He's describing the change in the kinds of users he's seeing. "I see this influx of video users who are dedicated professionals, and they are saying that mirrorless shooting will suffice for their work. Also at the entry level, we're seeing this prevalence of social media and everyone's doing vlogs now, so the shooting demand from the general public is very high."

But, he says, this doesn't come at the expense of stills capabilities. "We have a foundation as a still camera system. We have to accommodate video users and make it easier to operate." But, he says, "It's more like an add-on of video functionality.”

It's a similar story with lenses, says Manabu Kato, Unit Executive of photo and video business unit: "I think we will stay true to focusing on lenses for still photographers: that presence will always remain for us. However, we do need to always keep in mind the video part of it and what they require in our lenses, so the development will always consider two facets. That means that we have to ensure quiet movement and maybe focus."

"If you try to achieve very good still and video functionality to begin with, this doesn't undermine the still factor," says Tokura. "There's no compromise," agrees Kato.

The need for this broadened appeal can be seen if you look at the market trends, Tokura suggests.

"We're seeing sound growth in the camera market overall. As I look at CIPA’s shipment data, I see an increase of over 10 percent," he says.

But this improvement comes from a low base. "At the peak of interchangeable camera systems, [sales were] about 18 million units, then during Covid and post-Covid, it came down to 5 million. I think we're already surpassed the 6 million threshold last year."

"In ILCs there's still room for growth," he says: "and demand for compacts is growing."

But this upswing comes from an even more diminished starting point, says Kato: "At their peak, digital compacts were selling about 120 million overall units. That has come down to one-fortieth. It has bottomed out but we're seeing a slight uptick these days," he says.

He attributes this to the industry starting to attract a new audience.

"When you look at the compact camera users today, they're not what we call residual users from the past. These are a new generation of younger people, taking cameras in their hands for the first time," says Tokura: "we don't anticipate any great boost, like we saw in the past, but there's a stable healthy growth supported by these younger generations."

The PowerShot V10 and V1 are the first signs of addressing this audience, and won't be the last, he suggests:

"We launched the PowerShot V1 but we are also considering to make sure we cover different needs for these new users, so please look forward to future releases.”

Does this focus on younger users who also shoot video explain the V1's lack of viewfinder, we asked.

'We had to accommodate still shooting," says Tokura. But also, he says: "video shooting for stress-free, long period of time. We considered all these functionalities and then balance it out against the cost. When we did that balancing, we had to say no viewfinder: there's no choice."

"We just made a bold decision. We just said 'let's do it,' see how it goes," he says.

We said we'd seen multiple requests for an optional, add-on EVF, but had heard these don't tend to sell well, and wondered about Canon's experience with accessory finders such as the one for the EOS M6 II.

"I'll be honest, it wasn't that well received," confirmed Tokura.

With all the advances being made in video, we wondered whether this had taken focus off improvements in stills. Yasuhiko Shiomi, Unit Executive of camera development, says it hasn't:

"We've always been working on the sensitivity, resolution and dynamic range: all of these contribute towards the best image quality possible, and that is going to drive growth for us. We will continue to do this."

"But it’s not just about the technology of image processing,” he says: "What we continue to do is work on capturing moments that could not be captured before."

“We're also looking into deep learning and utilizing AI to benefit us,” says Shiomi: “By integrating all these technologies, I think we can continue to be better.”

We asked whether true HDR technology, that gives a more lifelike image from existing cameras could be a way for stills photos to advance.

Shiomi suggests it's possible "I do believe the current environment is not sufficient to have the public understand or accept it yet," he says: "I know they will, once it's readily available. We've been talking to some significant industry partners, requesting support for this. Once the environment is ready, I'm sure this is something people will find interesting."

Go Tokura says he expects the company's context recognition 'Action Priority' autofocus modes to make its way down to lower-end models, in time.

Canon EOS R1, RF 70-200mm F2.8 L IS USM Z @ 200mm | F2.8 | 1/1000 sec | ISO 1600
Photo: Mitchell Clark

We also asked what sorts of improvements AI could offer, and Tokura highlighted the Action Priority autofocus modes his company has developed.

"There's the action recognition system in place in the EOS R1. It's quite heavy because you have a CPU, the accelerator and all of this, which makes real-time autofocus possible."

He said the complexity of the processors, the amount of battery required and the cost of developing the feature made it difficult to include in lower-end models.

"Yesterday we were discussing this, I said, 'can't you put more of this in other cameras?'" Tokura says: "Shiomi-san got really upset because it's not that easy," he laughs.

"But, rest assured, I believe that we've always seen the cost and technology become more democratized after a while. It will come down to lower-end models.”

And, even with the risk of it becoming an act of theatre, with both sides knowing the role they have to play, we asked Tokura about their policy toward allowing third-party lenses for the RF mount.

"I think the basic philosophy behind it is that whatever makes our series more embraced and prevalent in the world would be my answer. Our strategy is formulated based on 'how happy can we make our customers,' so that would be the standard in selecting a partner."

"We were expecting this question, since it comes up every year,” he smiles.

But, just as we were about to pack up our recorders and notebooks, Tokura added an intriguing postscript to his statement:

"I think one day we're going to be sitting here again and saying the environment has changed and the situation has changed," he says. And, referencing the licensing of Sigma and Tamron's APS-C lenses: "So maybe it's just a slight sign we're starting to see."

This article is based on an interview by Dale Baskin and Richard Butler at CP+ 2025. It has been edited for clarity and flow.

Pictured: Sony's FX3 camera in action. Due to the subtle updates, the FX3a should look and function essentially the same as the original.

Image: Sony

Sony has quietly introduced the FX3a, a revised version of its FX3 full-frame Cinema Line camera. Rather than offer up a next-generation upgrade, the FX3a replaces its predecessor with a small hardware change. The very minor upgrade aims to maintain compatibility with current manufacturing standards.

The only apparent update is a new rear LCD screen, which increases resolution from 1.44 million dots to approximately 2.36 million. The new screen enhances display clarity for monitoring and menu use. While it is a nice update, the swap is necessity-based since the screen found on the original FX3 is no longer manufactured.

The update mirrors Sony's recent strategy with other models, including the A6400a and A6100a, which received similar minor revisions. While the FX3a isn't the leap some users anticipated with a potential FX3 II, it retains the camera's compact but dependable allure and S-Cinetone color science.

Sony has not yet announced pricing or an official release date for the FX3a, and it's not listed for sale on Sony's website. However, it is listed at B&H as a new item available for pre-order and is priced at $3898. At launch, the original FX3 was priced at $3900. It's worth noting that, like other recent revisions, it may see a limited release dependent on regional regulations.

Microsoft unveiled new Surface devices yesterday, along with some improvements to its AI-powered creative apps. The Photos, Paint and Snipping tools were given new features that aim to make editing easier and more intuitive. There is one catch, though: You'll need one of the company's new Copilot+ PCs to access them.

One of the more substantial additions is Relight in the Photos app. It lets users adjust lighting in photos by positioning up to three virtual light sources. Users can adjust each light's color, focus point, intensity and position. It was designed to correct poor lighting or add some artistic flair to an image.

Of course, how well the Relight tool actually works and how natural it looks remains to be seen. Still, it is interesting to see such a (potentially) powerful photo editing tool from Microsoft. The app already had Generative Erase and Background Blur tools, but otherwise, it was a very basic photo editing option. This new feature adds some functionality for those who want a bit more control over their photos without diving into a complicated platform like Photoshop.

In Paint, a new Sticker Generator creates custom digital stickers from simple text prompts. This is ideal for creators who want to generate quick, personal visuals. Object Select uses context-aware selection to detect and isolate elements on the canvas, streamlining detailed edits like moving or erasing parts of an image without manual tracing (like using the lasso tool).

The Snipping Tool features a new Perfect Screenshot option. It detects the most relevant on-screen content and automatically crops around it in a rectangular shape. Text Extractor lets users copy text directly from any image or screenshot and paste it elsewhere. This is useful for extracting quotes or data from infographics. Color Picker enables users to identify any color on their screen with its hex or RGB value.

All of these updates rely on a new, diffusion-based AI model Microsoft says is faster and more accurate. For the time being, they're limited to Copilot+ starting with the Snapdragon X PCs. Support for AMD and Intel-powered systems is promised "later this year," a fairly vague timeline. You can see all of the details at Microsoft's Windows Experience blog.

Sony is teasing a new flagship device, though this time in the smartphone realm. The company posted a very short video on its YouTube channel to announce the May 13th launch date of the next Xperia 1 phone. The new model, which will likely be called the Xperia 1 VII, comes almost a year to the day after the launch of the Xperia 1 VI.

The 28-second video doesn't reveal much, but it does show off the Sony a1 camera, what looks to be the 70-200mm f/4 Macro G OSS II lens and the 50mm f/1.2 GM lens. It also includes the tagline "Powered by Alpha." Of course, that could mean a lot of things, referencing either software or hardware.

While the Sony Xperia 1 VI's camera system was good, it wasn't spectacular. It featured a 48MP main camera, 12MP ultrawide and 12MP telephoto with 3.5x-7.1x continuous optical zoom, all of which used Zeiss optics. What made the Xperia 1 VI unique was its expandable memory and headphone jack, which are rarities in current phones. Given all the camera references in the teaser, perhaps Sony will surprise us with something exciting camera-wise on the new version to bring back some excitement around its flagship phone.

The brief view of the phone's back reveals a design that looks very similar to the Xperia 1 VI. It keeps the three-camera array and standard rectangular build with flat edges. A graphic at the end features a colorful triangle with a TV, camera and music device at each corner, which likely suggests that the phone will borrow aspects from Sony's Bravia TVs, cameras and Walkman products.

When it was launched last year, the Xperia 1 VI cost roughly $1,300, which was quite pricey given what it offered. It also wasn't available in the US. There's no word yet on pricing or availability for the new phone, but leaked information suggests there won't be a US launch of the new model, either. We'll just have to wait until May 13 for details.

Download this image and open on a recent iPhone or in Preview in MacOS 15 (Sequoia) and the bright edges of the petals should glow.

Sigma BF | Sigma 35mm F2 DN | F2.0 | 1/500sec | ISO 200
Photo: Richard Butler

Modern displays in the latest phones, TVs and laptops can show a much wider brightness range and a broader array of colors than before, allowing more lifelike images in a way that could revolutionize photography. But a lack of movement toward a format with widespread support has stifled the progress of true HDR photography.

Now, just as it looks like the industry might be closing in on a standard, Sigma has quietly delivered an intermediate step that gives more impressive images with full backward compatibility.

The term 'HDR' has been undermined by its association with wide dynamic range captures crudely tone-mapped for standard DR (SDR) displays. The results were often overdone, frequently looking off-putting and gimmicky.

True HDR is an attempt to convey more of what your camera captured (even in a single, conventional exposure), by taking full advantage of the greater brightness and color capabilities of modern displays. Instead of looking gimmicky, true HDR can present a more lifelike representation of the world that was possible in print or on SDR displays.

It's becoming increasingly common in the video world and on devices such as iPhones to be able to share and view HDR content, but the photo world and camera industry have lagged behind. True HDR imagery really needs more space than the elderly, 8-bit JPEG format can cope with, but nothing else comes close to being as well supported.

Embedded in the image at the top of the page is this image, a 1/4 resolution 'gain map' that tells HDR displays where to boost the brightness.

The result isn't quite as impressive as full 10-bit images encoded with high dynamic range response curves, but they're an interesting stepping stone on the way and can be viewed as normal on SDR displays.

As we were finalising our review of the Sigma BF, we noticed that the JPEGs produced by the Sigma BF look much more punchy and vibrant when viewed on Mitchell's laptop. A little digging revealed that the files include a gain map, which the newer version of Mac OS he was running could interpret.

It's an interesting intermediate step: capturing the main image data in the universally-supported JPEG format but embedding an additional version of the image telling HDR displays which parts of the image should be made brighter.

The result isn't the best representation of HDR that we've seen, not maintaining the subtle and, crucially, saturated colors on the approach to clipping that can convey the bright 'glow' of evening sunshine or light passing through spring leaves that the best can. But it means that more people might be able to get a taste of what HDR photography can offer, while being certain that other people will be able to see at least an SDR version of their shots.

For the full HDR experience, the industry will probably need to adopt a proper HDR response curve - with the Hybrid Log Gamma (HLG) curve developed by broadcasters NHK and BBC looking most likely - along with a file format that can include the 10-bit data required to encode the additional tonal and chromatic range.

As things stand, HDR broadcasting has been happening for more than a decade, iPhones are merrily creating HDR photos without their users necessarily knowing, YouTube is happy to support HDR video, but the camera industry is still pulling in different directions.

Adobe has finally introduced HDR editing tools to Adobe Camera Raw, but its output formats (AVIF or JPEG XL) are not the ones camera makers appear to be settling on.

Sony and Nikon have adopted the HLG curve and HEIF format for their cameras while Canon and Fujifilm can both output HEIF files and shoot video using HLG, but can't combine the two. Panasonic used to output HLG photos in a format that never took off, but there are hints that HEIF support is on the horizon.

Being lucky enough to use modern Macbook Pros and having access to Adobe Camera Raw means we're constantly reminded of how much more attractive and compelling HDR could make some of our photos, and frustrated at not having a reliable means of sharing them. While the rest of the industry dithers, Sigma is forging its own path.

As you start to shop for lenses, you'll come across the terms "prime" and "zoom." But as with most gear decisions, understanding what those are, what their impact is and what you should choose isn't always so straightforward. Each type has pros and cons, so it isn't a simple answer of one is better than the other. Below is a simple outline of what these terms mean and why you might choose one over the other.

Both of these lenses are prime lenses, even though they are vastly different focal lengths.

Photo: Abby Ferguson

Prime lenses are camera lenses with only a single, fixed focal length. You can't zoom in or out, and instead will need to move yourself. Since there is no zoom mechanism, you can't simply twist a ring on the lens to change what's included in the frame. Instead, your feet have to function as a substitute for the zoom.

Prime lenses are available in a wide range of focal lengths (how lenses are measured). There are ultra-wide-angle primes, telephoto primes and everything in between. Because of this, you can find a suitable prime lens for nearly any focal length you need.

Both of these lenses are zoom lenses, with the one on the left covering from 12-24mm and the one on the right covering 24-70mm.

Photo: Abby Ferguson

Zoom lenses offer a range of focal lengths in one single lens body. They allow you to zoom in or out without physically moving. Instead, a twist of the lens can change what is included in your composition.

Like prime lenses, zoom lenses come in focal lengths across the entire range. It’s also important to know that zoom lenses can cover multiple focal length categories in a single lens. For example, a classic 24-70mm lens offers a bit of wide-angle, normal and telephoto coverage all in one lens. Some zoom lenses are even more dramatic than that, covering from ultra-wide all the way to super telephoto, though such a range often comes at the cost of image quality.

Zoom lenses can also be limited to just one focal length category. A 70-200mm lens offers exclusively telephoto range, while a 14-24mm lens (on a full-frame camera) only provides a wide-angle point of view. A lens is considered a zoom lens as long as it offers adjustable focal length, regardless of which focal lengths are covered.

For a long time, prime lenses offered superior image quality to zoom lenses, making them the best choice for those wanting the best image quality. While this is still typically true for budget-friendly options, lens development has advanced to the point where zoom lenses are often nearly as good, or even as good as prime lenses. As a result, the conversation comes down to different factors.

Zoom lenses, thanks to their range of focal lengths, are a versatile choice. There are times when physically changing your position or changing your lens (especially quickly) are not options, so being able to zoom with the lens you have on your camera is crucial. Weddings, events and sports photography are great examples of this. If you’re on the sidelines of a football game, you won't be able to back up if a player rushes toward you and gets too close for your telephoto lens to capture. A zoom lens could make the difference between getting the shot or not.

Prime lenses, on the other hand, offer simplicity and can promote a more intentional, thoughtful approach to photography. Because there is only one focal length, it is easier to focus on composition without getting caught up or distracted by changing focal lengths. Since you have to move around to change your composition, you'll likely think more about what's in the frame. Their simplicity means they are often recommended (or even required) for beginner photography classes.

Many prime lenses can be quite compact, making them ideal for travel.

Photo: Abby Ferguson

Outside of intentionality and versatility, there are a few other things to consider. While some prime lenses certainly are quite bulky and heavy (like the 135mm at the top of the story), those are typically either high-end lenses or telephoto lenses. Budget primes, especially wide-angle and normal ones, are generally much smaller and lighter than zoom lenses. The more diminutive size makes them ideal for street and travel photography or any other situation where size and weight are essential.

Prime lenses can also offer wider apertures than most zoom lenses, though there are some (quite expensive) exceptions. So, if you need a lens to create a shallow depth of field or will be working in low-light conditions, then a prime lens will be ideal unless you have a large budget for a pricier zoom.

When it comes to choosing between prime and zoom lens, it comes down to your needs, preferences and budget. If versatility is key, either because you can't or don't want to change lenses frequently, then a zoom is the way to go. However, if you're more interested in focusing on composition, need a small, lightweight lens or want something with a fast aperture without spending a fortune, then a prime lens will be your best bet.