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

Last week, Fujifilm announced the X half, a camera with a vertical Type-1 sensor, optical viewfinder and a Film Camera mode that turns off live view and forces you to pull an advance lever before you can take your next picture. It's far from an ordinary release, and it seems to have stirred up a lot of feelings. People flocked to our comments section and others to talk about it.

We here at DPReview sat down to discuss some of those reactions and to add a few more of our thoughts. You can listen to the video below.

Photo: Thiago Piccoli (CC BY 2.0)

Earlier this year, the film world lost a true original: director David Lynch, a Hollywood legend, passed away at 78. He was widely seen as one of the most innovative filmmakers ever, directing classics like Mulholland Drive, Blue Velvet, The Elephant Man, Eraserhead, and the Dune (the 1984 original, not the recent remake). And, of course, he created the unforgettable cult TV series Twin Peaks, a show that proved just how strange TV could be.

PSA to Lynch fans: You now have a chance to own some of Lynch's actual camera and filmmaking gear. Julien's Auctions in Los Angeles has listed over 400 items from the David Lynch Collection, offering unique insight into the tools he used, ranging from production gear to espresso machines.

One of Lynch's cameras up for auction is his Canon 5D Mark III and 24-105mm F4 L lens.

Photo: Julien's Auctions

Among the items up for bid are Lynch’s personal cameras, including a Canon 5D Mark III and Sony a7R II and a7S II mirrorless cameras, which come with a Lensbaby lens and three of Lynch's SD cards. (Would you bid on these just to find out if there's anything on those cards?) There are also classics like a Leica R6.2 and some Polaroids.

And what could be more David Lynch than the fever dream that was the Hasselblad Lunar, which appears to have a prototype lens labeled "No. 015." It's bundled with another Sony camera and a Pentax medium format model.

Imagine the images those cameras might have captured over the years!

The gear isn’t limited to cameras, though. You can also find tripods, lights, video cameras, and even a production slate – real nuts-and-bolts production gear.

Three of David Lynch's SanDisk memory cards are included in an auction for a pair of Sony A7R II and A7S II cameras and lenses. Would you bid on them just to find out if there's anything on the cards?

Photo: Julien's Auctions

For real Lynch aficionados, the auction goes way beyond just filmmaking gear, and this is where you get a real peek into Lynch’s creative universe. You can find scripts and even a few props from some of his famous films and TV shows, musical instruments, books, art and even his coffee making gear. It gives you some insight into the different things Lynch was into and paints a picture beyond the director’s chair.

The David Lynch Collection officially goes up for auction at Julien's on June 18, though it seems online bidding might already be open. It’s a rare opportunity for serious fans to grab a tangible piece of film history from a man who showed us how weird and wonderful the world could be.

Photo: Dale Baskin

With summer approaching, many kids will soon head off to summer camp, toting duffel bags filled with sunscreen, bug spray, and, often, a camera to capture their memories. The Camp Snap ($70) is a point-and-shoot camera designed specifically for this purpose. It’s super simple – no LCD screen, no complex settings – and its price means it won’t be a disaster if it ends up at the bottom of a lake or covered in s'mores.

Crucially, its screen-free design helps address a common challenge: many camps restrict or ban smartphones and regular digital cameras, aiming for an immersive, screen-free experience for campers.

Key features

• 8 Megapixel resolution (Type 1/3.2 sensor)
• 35mm (equivalent) F1.8 lens
• LED flash
• 4 GB microSD card included
• USB-C port
• Internal battery

Buy now:

Buy at Camp Snap The case for a dedicated summer camp camera

Summer camp can be one of the most magical experiences kids can have. I admit I might be biased; not only did I attend camp in my youth, but I also ran a summer camp for several years when I was a bit older. I won’t lie – it was probably the best job I ever had.

"Its screen-free design helps address a common challenge: many camps restrict or ban smartphones and regular digital cameras."

One of the best things about camp is it provides an opportunity to immerse kids in an experience different from their normal lives, focusing on new activities and the environment. Fortunately for me, I ran a camp before smartphones were everywhere. If kids brought cameras, they were film cameras, and they had to wait until they got home to see the photos.

Camp Snap camera | F2.8 | 1/750 sec | ISO 100
Photo: Dale Baskin

Today’s camp directors face a very different challenge. To ensure kids get that immersive experience, many camps restrict or prohibit smartphones or regular digital cameras. Constant digital interaction is a distraction, and many camps insist on a screen-free experience. That’s where the Camp Snap comes in. It lets kids capture memories without a screen, complying with camp rules.

In use

The Camp Snap camera is super easy to use because there’s very little to control – perfect for most kids. In fact, it's a lot like using a disposable film camera. There's only one button, the shutter button, and there’s an optical tunnel-type viewfinder. A tiny LCD on the back displays the shot count.

The Camp Snap camera has only two physical controls: the shutter button on top (which doubles as an on/off switch) and a switch for the flash setting (on, off or auto).

Photo: Dale Baskin

The only other physical control is for the LED flash, which can be switched to on, off, or auto. This simplicity ensures kids won’t come home with unviewable photos because a setting was accidentally changed.

It ships with a 4GB microSD card, which Camp Snap says should hold about 2,000 photos. Based on my usage, it's probably closer to 1,500, but that's probably ample for a week at camp, and you have the option to put in a larger card if needed.

"The Camp Snap camera is super easy to use because there’s very little to control – perfect for most kids."

Notably, the microSD card slot is hidden behind a panel that requires a small Phillips screwdriver to remove. This prevents kids from casually removing the card and, more importantly, losing it. Trust me, kids are really good at losing things at summer camp.

The manual flash control is a pleasant surprise, though I suspect most kids will either leave it off or set it to auto. The flash is an LED type, similar to a smartphone, which can result in that same washed-out look.

The microSD card is located on the bottom of the camera behind a screw-in panel that discourages kids from trying to remove the card. The USB-C port can be used for charging or to plug the camera into a computer for direct file transfer.

Photo: Dale Baskin

There's a slight delay between clicking the shutter and taking a photo. It's not as fast as a DSLR, but it's more responsive than many compact cameras I've used. The shutter button also doubles as an on/off switch. You press and hold it for about three seconds to turn the camera on, at which point the shutter button glows green. A flashing red light indicates a low battery. (I only ran into this once during testing.) Holding the shutter button down for another three seconds turns the camera off.

There's one small quirk to the on/off process. When pressing the shutter button to turn off the camera, the camera emits the shutter click sound, followed by another sound about three seconds later when it powers down. Initially, I thought I was taking an extra photo every time I turned off the camera. That turned out not to be the case, but it was confusing.

Camp Snap camera | F2.8 | 1/160 sec | ISO 100
Photo: Dale Baskin

In my opinion, the 35mm equivalent lens is a good choice. It’s wide enough for activities like boating or building a monkey bridge, but not so wide that friends look distorted in group shots. The optical viewfinder doesn’t provide 100% coverage, meaning photos should have a bit of extra room around the edges, which can be helpful for cropping. Unfortunately, the viewfinder itself is tiny and exhibits distortion. It's functional, but not great.

The camera can capture photos using several preset filters, including Standard, B&W, Vintage, KodaClone and 101Clone. Only one filter can be loaded into the camera at a time. Interestingly, it ships with the 'Vintage' filter installed by default, something I didn’t realize until I was well into testing. Camp Snap claims the battery should last for about 500 photos, and it recharges via the USB-C port; I never ran out of power when testing it.

Image quality

Let’s set appropriate expectations: the Camp Snap aims to survive summer camp and provide a screen-free experience, not win image quality awards. Photos are OK, but the camera's sensor is smaller than the ones found on the main cameras of most smartphones and even a lot of older enthusiast compact models, and it will perform accordingly.

Camp Snap camera | F2.8 | 1/100 sec | ISO 100
Photo: Dale Baskin

In short, if you have a modern Android phone or iPhone, don't expect the same level of quality. However, the photos will probably be good enough to capture those core camp memories, even if imperfect.

The camera uses a fixed-focus lens design, so there's no autofocus system to worry about. In even light, the metering does a pretty good job, but it struggles with strongly back-lit scenes. White balance is generally on target, though some of my photos exhibited a slighly green color cast.

The most visible artifacts you're likely to observe are clipped highlights on bright objects or skies, and if you zoom in, you’ll probably see compression artifacts.

This photo illustrates the types of artifacts you're likely to see in some photos from the Camp Snap camera. Look closely at the sky: you'll see banding in the blue areas and places where the color is clipped, making the sky appear white.

Camp Snap camera | F2.8 | 1/640 sec | ISO 100
Photo: Dale Baskin

As mentioned, this camera isn't going to win awards for image quality. Does it matter? When I look back at the grainy, often over- or under-exposed photos 12-year-old me took at summer camp with a film camera, I don’t worry much about the quality because those photos captured important memories. I think the same applies here, particularly if the alternative is having no camera at all due to technology restrictions.

"This camera isn't going to win awards for image quality. Does it matter?"

One minor annoyance: most of the photos I shot are tilted slightly to the right, suggesting the sensor may not be perfectly aligned with the camera. However, considering how many of the photos I shot as a 12-year-old were off-kilter anyway, I'm not sure this is a showstopper.

Should you buy it?

If your child is headed to summer camp and you need to navigate a screen ban – whether it’s a camp policy or your own rule – the Camp Snap is worth considering. In my opinion, it's best suited to younger kids, whereas older kids (13 and up) might find it a bit too simplistic. Just set your expectations appropriately; a modern smartphone will take better photos, but those may not be allowed at many camps.

It’s worth considering other screen-free options, too. A disposable film camera won’t violate screen bans, and if your child can change film rolls, a used point-and-shoot film camera could work. Instax or other instant cameras offer instant fun, though film costs can rise quickly. That’s one area where a digital camera like the Camp Snap, with its large capacity and one-off price, has an advantage.

Summer camp is special, creating memories that last a lifetime, and If your kid has an interest in photography, I encourage you to support that enthusiasm. Whether it’s with the Camp Snap camera or something else, camp is a great place to begin, or feed, one’s photography journey.

Buy now:

Buy at Camp Snap

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

Sony has announced the FX2, a cinema camera built around a full-frame 33MP BSI sensor. Despite its presence in Sony's Cinema line, it's also surprisingly capable as a stills camera – the company says its goal was to have the same photo features as the a7 IV – which could be a sign of even more interesting things to come in Sony's video-focused lineup.

Key Specifications:

• 33MP BSI CMOS sensor
• 4K <30p derived from full-width 7K capture
• 4K <60p with APS-C crop
• AI-based autofocus tracking and video cropping modes
• Mechanical shutter and stills mode switch
• 3.68M dot tilting EVF
• 1x CFexpress Type A/SD slot, 1x SD slot

The camera's design borrows a lot from previous cinema cameras; it has several standard 1/4 20" mounting points and lacks a viewfinder hump, which is nice when attaching it to a gimbal.

It does, however, add a variable angle EVF with 0.70x magnification and a 33mm eyepoint, which Sony says will let you monitor your video without having to put your eye completely up to it. A loupe-style eyecup, which can be swapped for use with your right or left eye, enhances that experience. It also has a much deeper grip than the FX3 and FX30, and even more custom function buttons, with a new one on the EVF.

Sony has greatly expanded the camera's stills capabilities

Sony has also greatly expanded the camera's stills capabilities. On the FX3, getting into photo mode required pressing four buttons. Now, there's a switch right on the camera to go between stills and video, and each mode has its own menus suited to the task at hand. It also features a mechanical shutter, 10fps burst, and a flash sync speed of 1/160. Sony has also added the ability to shoot full-resolution stills with a Log response curve, saved as either 8-bit JPEGs or 10-bit HEIFs.

Despite the expanded stills mode, it's still very much a cinema camera, with a lot of DNA from models like the FX3 and FX30. It has All-I and HEVC codecs, the ability to adjust gain in terms of exposure index rather than ISO and professional workflow features such as timecode sync, support for Sony's Catalyst software, and more.

The use of a 33MP sensor, with Sony hinting that rolling shutter numbers could be similar, suggest the use of a very similar sensor to the a7IV. Like that camera, the new one has to crop to an APS-C region to deliver 4K/60. Sony's post processing Catalyst software can attempt to correct some rolling shutter distortion from full-frame mode.

The color modes, especially, speak to its cinema-first design; it comes with the S-Cinetone mode, an expanded suite of "Creative Look" presets, and the ability to load user-created Luts to the camera, which can previewed, applied to your footage, or linked to standard S-Log footage with a metadata tag.

Like the a7IV but unlike any previous FX cameras, the camera features Sony's improved AI autofocus system, which can track insects, animals, birds and vehicles while recording video, and should be better at tracking humans than the previous-generation system.

Some more updates this camera has over the FX3:

• Slow and quick mode is replaced with a variable FPS mode
• Has two tripod mounting points on the bottom
• "Big6" menu option, inspired by the Sony Venice cinema camera
• Dynamic active stabilization mode for improved smoothness when shooting handheld
• UVC/UAC support for driver-free streaming to a computer over USB
• Updated fan and heatsink for up to 13-hour record times in 4K60p

It'll be interesting to see where Sony goes from here. It's hard to imagine it did all this design work for one camera that's on the low end of the FX line. But if the rumored second-generation FX3 has the same body and stills features, it's hard to imagine there being any reason for the company to continue making the a7S cameras that are so popular with video shooters.

The FX2 will cost $2699 body-only and $3099 for a bundle with the company's XLR-H1 audio adapter/handle. It's available for pre-order starting today, and the company says it expects to start shipping it in August.

When you use DPReview links to buy products, the site may earn a commission. Image: 7artisans

7artisans has officially released its full-frame AF 24mm F1.8 lens for Sony E-mount. The company is pitching it as a do-everything option for landscape, astro and environmental portraiture shooting.

The lens is made up of 14 elements in 11 groups, with two aspherical lenses, two high refractive elements and three ED elements. It has a minimum focusing distance of 0.32m (12"), and its aperture has 11 blades. Its autofocus abilities are provided by a stepper motor.

The AF 24mm F1.8's body is made of metal and weighs in at 424g (~15oz). It can accept 62mm filters and has a clickless aperture ring. It also includes a customizable function button and a USB-C port on the mount for software updates.

The lens costs $329 and is available now.

Buy now:

Buy at Amazon.comBuy at 7Artisans 7artisans AF 24mm F1.8 Specs: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length24 mmImage stabilizationNoLens mountSony E, Sony FEApertureMaximum apertureF1.8–16Aperture ringYesNumber of diaphragm blades11Aperture notesClickless ringOpticsElements14Groups11Special elements / coatings2 asph., 2 HR, 3 EDFocusMinimum focus0.32 m (12.6″)AutofocusYesMotor typeStepper motorFull time manualYesDistance scaleNoDoF scaleNoPhysicalWeight424 g (0.93 lb)Diameter72 mm (2.83″)Length92 mm (3.62″)MaterialsMetalColourBlackFilter thread62 mmHood suppliedYesTripod collarNo