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Panasonic has announced the Lumix S 100-500mm F5-7.1 OIS, a full-frame ultra-telephoto lens that the company says is made to be approachable to people who wouldn't necessarily consider larger, more expensive models.

The lens is made up of 19 elements in 12 groups, with two UED lenses, two ED lenses and two UHR elements. It has an 11-bladed aperture to provide circular bokeh. Panasonic says it worked to make sure the lens's minimum focus distances were manageable, so you won't have to be extremely far away from your subject at the short end. At 100mm, the lens can focus as close as 0.8m (2.6'), though that extends to 1.5m (4.9') at 500mm.

As its name implies, the lens is also optically stabilized. When working in tandem with a camera's IBIS system, Panasonic says you can achieve up to 7EV of stabilization, allowing for relatively long handheld exposures, even when you're zoomed in.

This lens isn't small by any means, but it's surprisingly compact for what it is.
Image: Panasonic

Despite all this, the lens is fairly small and light for its reach. It weighs 1285g (2.83lb) without the removable tripod collar, and is 196mm (7.7") long when it's not extended. It takes 82mm filters, and is water, dust and freeze-resistant.

The lens has a programmable function button, and, like the company's 24-60mm F2.8, lets you program the manual focus ring to control other parameters and features when you're in autofocus mode. It also features a switch that allows you to adjust the manual focus ring's tension, making it easier or harder to turn. There's also a focus limiter switch and switches to control the focus and optical stabilization mode.

Image: Panasonic

Panasonic says that several technologies that it introduced in other lenses helped make this lens possible. This includes the dual-phase linear autofocus motor it launched with its 100mm F2.8 macro, and the optical encoder that can help the autofocus system and account for things like heat deformation. Panasonic told us the encoder is one of the reasons why it didn't feel the need to paint the lens with a reflective white paint.

The company also says it took design cues from its 100-400mm Micro Four Thirds lens to make the 100-500mm compatible with teleconverters. Even though the rear element is very close to the back of the lens, it has a mechanism that allows you to attach a teleconverter after you zoom in to 150mm and set that as the zoom limit with a switch. There won't be any damage if you forget to do that and then close the lens down to 100mm, but your camera will warn you that you can't take pictures until you zoom in a bit.

Image: Panasonic

The company says the lens is made for people interested in getting into telephoto photography, but who don't want to spend a ton of money on a high-end lens or get something that will take up their entire backpack. For example, Sigma's 60-600mm F4.5-6.3 is around the same price, but is over 1kg (2lb) heavier and 80mm(3.1") longer.

Unsurprisingly, the company is also pitching it as a good option for videographers, especially those who are shooting or live-streaming events or concerts, potentially from the sound booth. Panasonic says the lens does a good job of optically compensating for focus breathing.

The Lumix S 100-500mm F5-7.1 OIS will go on sale September 25th for a retail price of $2099. It is available for L-mount.

Buy now:

Buy at B&H Photo

Press release:

Panasonic Introduces the First*1 Ultra-Telephoto Zoom Lens in the LUMIX S Series

LUMIX S 100-500mm F5-7.1 O.I.S. (S-R100500)

Newark, N.J. (September 24, 2025) – Panasonic is proud to introduce the new LUMIX S 100-500mm F5-7.1 O.I.S. (S-R100500) interchangeable lens based on the L-Mount system standard.

As the first*1 ultra-telephoto zoom lens in the LUMIX S Series lineup to cover a focal length of up to 500mm, this lens supports lens teleconverters*2 (sold separately), enabling ultra-telephoto shooting with a combined focal length of up to 1000mm. It delivers high resolution and beautiful bokeh across the entire zoom range, enabling photographers and videographers to capture stunning images and footage in a wide variety of shooting scenarios, including wildlife, motorsports, and landscapes.

With an optimized lens element arrangement and Dual Phase Linear Motor, the lens achieves a remarkably compact design with an overall length of just 196.1mm, while delivering impressive ultra-telephoto performance. High-speed, high-precision, and silent autofocus, combined with Dual I.S. 2 image stabilization supporting up to 7.0 stops*3, ensures exceptional portability and handheld shooting support, expanding creative possibilities in the field.

The lens is also designed for intuitive operation, featuring a customizable focus ring and a focus button. The focus ring can be used as a control ring, by assigning preferred settings such as aperture or other customizable parameters*4, while the focus button allows users to assign their preferred functions, enabling a highly personalized and responsive shooting experience. To meet the growing demand for video production, the lens also incorporates features such as focus breathing suppression and micro-step aperture control for smooth exposure transitions, supporting high-quality video performance.

With this product, Panasonic aims to expand the creative scope by providing a compact yet powerful ultra-telephoto shooting experience for both enthusiasts and professionals.

Main Features 

1. The First*1 Ultra-Telephoto Zoom Lens in the LUMIX S Series Covering Up to 500mm

• Maintains high resolution across the entire zoom range, delivering sharp detail and beautiful bokeh even at maximum aperture
• Covers focal lengths from 100mm to 500mm; compatible with lens teleconverters*2 (sold separately) for ultra-telephoto shooting up to 1000mm

2. Powerful 7.0-stop Dual I.S. 2 for Unshakable Stability and Enhanced Mobility

• Achieves highly effective image stabilization with 7.0-stop*3 Dual I.S. 2
• Ultra-telephoto zoom reaches in a remarkably compact 196.1mm design
• High-speed, high-precision AF powered by a Dual Phase Linear Motor

3. Intuitive Operability for Focused Shooting

• Focus ring can be assigned to control shooting settings such as aperture (Control Ring function) *4
• Focus button can be assigned to support intuitive operations such as Hybrid Zoom*5

Price and availability

The new LUMIX S 100-500mm lens will be available for pre-order on September 25th for $2099.99 at valued channel partners.

*1 As of September 24, 2025. Among interchangeable lenses for AF compatible full-frame mirrorless cameras.

*2 With optional teleconverter DMW-STC20 attached. The maximum aperture becomes two stops slower. When a teleconverter is attached, the focal length of this lens is limited to 150–500mm.

*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=500mm. When LUMIX S1RII is used.]

*4 Compatible cameras: DC-S1M2, DC-S1M2ES, DC-S1RM2 (Firmware version 1.2)

*5 This function combines optical zoom and crop zoom, allowing you to extend the telephoto range using only the zoom ring without changing the focal length at the wide end.

Panasonic Lumix S 100-500mm F5-7.1 OIS specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length100–500 mmImage stabilizationYesCIPA Image stabilization rating7 stop(s)Lens mountL-MountApertureMaximum apertureF5–7.1Minimum apertureF29–40Aperture ringNoNumber of diaphragm blades11OpticsElements19Groups12Special elements / coatings2 UED, 2 ED, 2 UHRFocusMinimum focus0.80 m (31.5″)Maximum magnification0.36×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter5m-InfinityPhysicalWeight1285 g (2.83 lb)Diameter92 mm (3.62″)Length196 mm (7.72″)SealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockUnknownFilter thread82 mmHood suppliedYesTripod collarYes

Image: DJI

DJI has announced the Osmo Nano, a tiny, wearable action camera. The latest device from DJI competes with Insta360's Go lineup, comprising a standalone camera that connects magnetically to a dock for extended functionality. DJI promises pro-level quality from the tiny camera, with 4K video, advanced stabilization, 10-bit color and more.

The DJI Osmo Nano boasts a Type 1/1.3 (9.6mm x 7.2mm) sensor with a 2.4μm pixel size. It promises 13.5 stops of dynamic range for better performance in more lighting conditions. Despite the relatively large sensor, the camera portion of the device is tiny, weighing 52g (1.8oz) and measuring 57 x 29 x 28mm (2.3 x 1.1 x 1.1"). The compact design allows users to wear or mount the Osmo Nano in a variety of ways, including on helmets, hats, lanyards and more.

You can wear or mount the DJI Osmo Nano in many different ways.
Image: DJI

The camera can record up to 4K60 video and 4K120 for slow-motion. However, the HorizonBalancing and RockSteady 3.0 stabilization modes are only compatible with up to 4K60. It supports 10-bit and D-Log M, which DJI says is a first for wearable cameras of this size. Users will have access to multiple recording modes and tools, such as SuperNight Mode, pre-recording, hyperlapse, timelapse, gesture control and more. It's also capable of 35MP still photos.

The Osmo Nano features two built-in microphones for stereo recording. Like DJI's other recent releases, it can also connect to two DJI microphone transmitters without a receiver, allowing users to get improved audio quality. The camera is also compatible with the company's ND filter set.

The camera connects to the dock magnetically.
Image: DJI

Unlike the Insta360 Go series, the Osmo Nano's camera doesn't slot into the middle of the dock. Instead, the camera magnetically attaches to the top of what DJI calls the Multifunctional Vision Dock. It can be mounted in either direction, making it easier to swap between selfies and POV recording. The dock portion measures 59.1 x 42.2 x 22.3mm (2.3 x 1.7 x 0.9"), so it's still a compact device even when both components are together.

The Multifunctional Vision Dock functions as a display, remote trigger, charging station and file-transfer station. It features a 1.96-inch OLED touchscreen to help frame your shots or review your recordings. The dock can charge the main camera up to 80% in 20 minutes and, when fully charged, promises up to 200 minutes of 1080p/24fps recording. DJI also created an "Endurance" mode that promises 4K30 recording for up to 60 minutes. The standalone camera promises up to 90 minutes of battery life at 1080p.

The Osmo Nano main camera is waterproof to 10m (32.8'). The dock, however, only offers an IPX4 rating for splash resistance. It's meant to handle sweat and rain, but isn't designed to go underwater with the main camera. The camera comes in 64GB or 128GB versions, though the dock is compatible with microSD cards for expanded storage.

Image: DJI

As with other recent DJI announcements, the Osmo Nano will not be officially available in the US. However, as with those previous launches, the camera may be available through unofficial retailers in the US, but that is not guaranteed. For customers outside the US, the Osmo Nano is available today at a starting price of CA$309, £239, or €279 for the standard 64GB combo.

Press release:

DJI Launches Osmo Nano, A Hands-Free Wearable Camera with Unmatched Image Quality

Next-Gen 1/1.3″ Sensor Captures Professional-Level Visuals Through Hands-Free Shooting

September 23, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Nano. This lightweight, wearable action camera can be mounted anywhere - from hats and helmets to pet collars - with a dual-sided magnetic design. It is also equipped with a next-gen 1/1.3-inch sensor and a high-performance image processor, offering up to 13.5 stops of dynamic range. Together, the Osmo Nano empowers creators to capture creative, hands-free visuals that are on par with professional cameras.

Effortlessly Wearable – Anywhere You Go

With its ultra-compact design, easy magnetic mounting, and versatile accessory options, Osmo Nano can be mounted anywhere. The smallest of DJI’s action cameras, the Osmo Nano camera weighs just 52g and measures approximately 57mm×29mm×28mm. Offering attachments for headbands, helmets, lanyards, hats, and more, creators can bring the Osmo Nano with them to capture content wherever they go. For water sports and outdoor adventures, the Osmo Nano camera is waterproof up to 10 meters without any additional housing, and, when paired with the Multifunctional Vision Dock, it offers IPX4-rated splash resistance, protecting against sweat, rain, and minor splashes. Shots can also be controlled remotely with the built-in OLED HD touchscreen on the Multifunctional Vision Dock. The perspectives are endless, providing another dimension of creativity and versatility to any video captured.

Image Quality Beyond Imagination

The 1/1.3-inch sensor delivers the best image quality possible for compact action cameras, and the high-performance image processor offers a superior dynamic range of 13.5 stops1 to ensure impressive low-light performance. Osmo Nano captures every scene in crisp detail, with up to 4K/60fps video2 and 4K/120fps slow motion. Osmo Nano’s 143° ultra-wide field of view fits more into every frame, so no part of the moment is ever cropped out. Osmo Nano is the only wearable camera of this size to offer 10-bit and D-Log M color performance. The 10-bit video allows the capture of up to one billion colors and 72% more color space than 8-bit standard video, providing stunning visuals not previously possible with compact action cameras. Meanwhile, the D-Log M mode preserves color and brightness information, offering greater flexibility for post-production and creative editing. In low light conditions, Osmo Nano's SuperNight mode3 enhances image quality with noise reduction algorithms. For image stabilization, HorizonBalancing maintains the horizon level, correcting tilts within a ±30° range, and RockSteady 3.0 reduces camera shake.

Versatile Dock Supports Remote Control, Battery Charging, and File Transfer

Osmo Nano’s Multifunctional Vision Dock acts as a display screen, a remote photo trigger, a charging station, and a high-speed file transfer station. The magnetic design allows the camera to be mounted to the dock in any direction, making it easy to switch between selfies and portraits. The dock can fast charge the main camera up to 80% battery level in only 20 minutes1. When docked and fully-charged, the camera can record up to 200 minutes of 1080p/24fps video, and the new Endurance mode allows for the recording of up to 60 minutes of 4K/30fps (16:9) video. The Multifunctional Vision Dock features a built-in microSD card slot. It can also connect mobile devices or computers using a PD fast-charging cable for transfers up to 600 MB/s4.

Various Audio Options for Premium Sound

Osmo Nano features dual built-in microphones for stereo recording, delivering clear, vivid audio for an immersive first-person audiovisual experience. OsmoAudio™ Direct Microphone Connection allows users to capture studio-quality sound by connecting the Osmo Nano directly to two DJI microphone transmitters without a receiver5.

Creative Freedom with Flexible Shooting Modes

• Creators have a number of Osmo Nano shooting modes and features that offer versatility, interesting composition, and the opportunity to stay in the moment:
• Horizontal & Vertical Shooting - easily switch between horizontal and vertical shooting
• Auto Recording - set shooting intervals and clip durations for automatic recording
• Gesture Control - start shooting with a nod gesture or tapping the device in auto recording mode
• Pre-Rec - automatically saves footage from just before the record button is pressed

For more information6, please refer to: www.dji.com/nano

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the product page on the official DJI website.

2 4K/60fps is not supported when filming in 4:3 aspect ratio.

3 SuperNight mode only supports 8-bit color depth and frame rates up to 30fps. It does not support the 4:3 aspect ratio.

4 To achieve a 600MB/s transfer speed, use the 128GB version of Osmo Nano with the included USB-C to USB-C PD cable (USB 3.1), and transfer data from the camera's built-in storage. The 64GB version of Osmo Nano supports transfer speeds of up to 400MB/s. Make sure your computer supports USB 3.1 high-speed transfers; actual transfer speeds may vary depending on the computer model.

5 Direct connection to the first-generation DJI Mic is not supported. DJI microphones are sold separately.

6Not available officially in the U.S. market on official websites.

Image: GoPro

GoPro says it's entering a "new era of fun and creativity" and has launched the long-awaited successor to its 360-degree camera. The Max2 promises significant changes from the original Max, including 8K 360-degree video, pro-grade recording options and better audio.

The Max2 follows a six-year wait from the release date of the original Max. The new 360-camera offers what GoPro emphasizes is "true" 8K 360-degree video. The company says it doesn't count any overlapping, black or unusable pixels and only considers effective pixels. GoPro also says it isn't upscaling footage or using AI to help reach 8K.

That 8K resolution is for the spherical 360-video, though, which isn't viewable all at once. The real benefit of higher resolution is that it allows for higher quality reframing during the editing process. It provides more control over what you show in your video after the fact, instead of needing to record multiple clips with different angles. GoPro says that the Max2's 8K footage will blend more seamlessly with the resolution of traditional cameras, making it easier to create a cohesive video from multiple cameras.

The new 360 action camera features two Type 1/2.3 (6.17mm x 4.55mm) sensors. GoPro's representative was upfront about the sensors being smaller than the newly released DJI 360 camera, adding that the Max2 is not as good in low light. GoPro said it made this decision to keep the compact design, explaining that making a replaceable lens camera with a large sensor becomes challenging if you also want to keep it small. GoPro decided that the camera size was most important and sacrificed performance after dark in light of user data.

As with all GoPro cameras, the Max 2 is made to be durable.
Image: GoPro

As with most GoPro cameras, the Max2 provides multiple framerate options. In 360-mode, it can output 8K30, 5.6K60 or 4K100 videos. GoPro is also calling the Max2 the "Bitrate King." The stock firmware offers 60Mbps as the standard, but it can be increased up to 120Mbps. Users can also use GoPro Labs, the company's beta firmware program, to increase the bitrate up to 300Mbps and gain greater control over every aspect of the camera.

On the color side, the Max2 offers 10-bit color in 8K, along with GP-Log and GoPro LUTs. The company has also announced that a new Davinci Resolve plug-in for GoPro Reframe will be coming soon. It will join the existing Adobe Premiere and After Effects plug-ins.

While the Max2 offers plenty of pro-level features, it also includes tools for more casual users. The camera has plenty of recording presets, such as POV and Selfie modes. In those settings, the camera records 360-degree video, but when you bring it into the Quik editing app, it will default to the video pointed in a specific direction. The data is there for you to change it if you'd like, but it's also ready to go based on the setting you chose for recording.

Image: GoPro

The Max2 features six microphones for sound recording. In Single Lens Mode, GoPro says that the camera automatically adjusts for accurate directional audio. That means the camera should automatically adjust which mic(s) are used based on your recording direction. It also offers advanced wind noise reduction, and you can connect wireless Bluetooth microphones, including ones built into headsets such as AirPods.

From a photo standpoint, the Max2 can create 29MP 360-degree photos. As with the 360-video footage, you can then crop, zoom and reframe in the Quik app to choose which angle you want. GoPro carried over its long list of photo and video modes found on its traditional action camera lineup, including Interval Photo, Burst Photo and Night Photo modes. For video modes, users will have access to the company's Night Effects such as Star Trails and Light Painting, along with TimeWarp, multiple time-lapse modes, scheduled recording and more.

GoPro also announced multiple new accessories for the camera.
Image: GoPro

The GoPro Max2 promises all-day battery life and features a larger touchscreen than the original Max. Like the other cameras in the GoPro lineup, there are three mounting methods: magnetic mounting, fold-down mounting fingers and 1/4-20 thread for mounting invisible-pole recording. Along with the camera, GoPro also released lots of new accessories, including a 2.7m (9') carbon fiber pole, an 80cm (32") floating extension pole and a new ski pole mount. Finally, GoPro designed the Max2 with easy-to-replace lenses, with no tools or calibration required.

The GoPro Max 2 is available for pre-order now for $500, with full availability on September 30.

Press release:

GoPro Announces Three New Products MAX2: 360 Camera with True 8K Resolution and Twist-and-Go Replaceable Lenses LIT HERO: Miniature 4K Lifestyle Camera with Built-In Light for ‘Whatever, Whenever’ Capture Fluid Pro AI: Gimbal for Stabilizing GoPros, Phones and Other Cameras

New MAX2 360 Camera featuring Emmy® Award-Winning 360 Technology Captures True 8K 360 Video with up to 21% More Resolution Than the Competition, Easy to Replace Lenses—No Tools or Calibration Necessary—10-Bit Color in True 8K and GP-Log, Category-Leading 6 Mics, Up to 300Mbps Bitrate with GoPro Labs, Invisible Pole Mounting and MoreGoPro Quik App’s AI-Enhanced Features Make it Easier Than Ever to Edit and Share Engaging 360 Content and Traditional Videos

New Waterproof, Ultra-Compact LIT HERO Camera Features a Built-In Light for "Whatever, Whenever" Lifestyle Capture, 4K60 Video, 2X Slo-Mo Playback, Magnetic Mounting and Weighs only 93 Grams

New Fluid Pro AI Gimbal Stabilizes and Enables AI Subject Tracking for GoPro Cameras, Smartphones and Point-and-Shoot Cameras up to 400 grams, Meeting the Advanced, Multi-Camera Gimbal Needs of Today’s CreatorsGet the Most out of the 2025 GoPro Lineup with a GoPro Subscription and GoPro Labs

San Mateo, Calif., Sept. 23, 2025 – Today, GoPro (NASDAQ: GPRO) announced three exciting new products that diversify GoPro’s lineup like never before:

• MAX2 – the highly anticipated next-generation GoPro 360 camera featuring Emmy® Award-Winning 360 Technology for $499.99
• LIT HERO – the miniature lifestyle camera with a built-in light that enables "whatever, whenever" capture for $269.99
• Fluid Pro AI – an AI Subject Tracking gimbal for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams, for $229.99

"This year’s new products diversify GoPro’s lineup like never before, delivering exciting new capabilities to today’s demanding content creators, adventurers and enthusiasts," says GoPro Founder and CEO Nicholas Woodman. "MAX2 is the world’s best, most durable 360 camera—with its market leading True 8K video resolution, superior colors and overall image quality, industry-leading six microphone audio performance and convenient twist-off replaceable glass lenses. Our new LIT HERO camera enables fun ‘whatever, whenever’ 4K60 video and 12 megapixel photo capture with its built-in ‘retro-vibes’ light. And our new Fluid Pro AI gimbal enables today’s multi-camera owning creators a powerful but simple to use AI Subject Tracking gimbal for any GoPro camera, smartphone or point-and-shoot camera up to 400 grams."

MAX2 – The World’s Most Durable, True 8K 360 Camera

MAX2 is a powerful, durable, yet easy-to-use 360 camera designed for professional-quality image capture and action. MAX2 is the only True 8K 360 video capture camera on the market, capturing up to 21% more resolution than the competition for superior detail and sharpness. This combines with MAX2’s superior colors and overall image quality to enable the most professional-looking 360 content in the industry. Additional MAX2 features include:

• Full Range 10-Bit Color in True 8K + GP Log encoding captures over 1 billion colors for more realism and smoother gradations in your videos. Advanced users can use GP-Log to maximize dynamic range, details and post production flexibility with their MAX2 footage.
• Twist-and-Go Replaceable Lenses are made from extremely durable, water-repelling optical glass. These lenses are twist-and-go easy to remove and replace, no tools or calibration necessary.
• 29 Megapixel 360 Photos provide all the ultra high resolution you need to crop, zoom and reframe for the exact shot you want via the GoPro Quik App.
• Enhanced Capability with GoPro Labs unlocks up to 300Mbps bitrate and additional advanced camera settings with MAX2’s free, optional GoPro Labs firmware update. GoPro Labs provides advanced users with features and capabilities that go beyond what most average users may want.
• Industry-Leading 6 Microphones deliver true-to-life 360 audio. Improvements include wireless Bluetooth functionality, "Audio Field-of-View" and 360 stereo audio with advanced wind-noise reduction. Plus, 360 ambisonic audio support coming soon.
• AI-Powered Software for easy 360 editing. From AI Object Tracking to MotionFrame editing of 360 content by simply panning your phone to edit, the Quik app makes 360 editing simple and fun.
• Cloud-Based Editing for GoPro subscribers to enjoy unlimited cloud storage of their 360 footage, making it simple to use the Quik App to edit your footage in the cloud without worrying about downloading your footage or taking up storage space on your phone.
• New In-Camera POV and Selfie Video Modes make it fast and easy to capture your point-of-view or perfectly framed selfie-shots during your favorite activities. No editing required, just capture what you want in-camera and then share the shot.
• Invisible Mounting with 16 new mounts and accessories designed specifically for GoPro’s 360 cameras, including MAX2. Enable invisible mounting, drone-like footage and more iconic 360 perspectives with ease.
• Industry-Leading Durability and Design. MAX2’s low-profile, more aerodynamic design is ideally suited for pole, helmet, body and vehicle mounting. MAX2 is waterproof and designed for high impact use in a wide range of conditions with its convenient twist-and-go replaceable glass lenses.
• 1960mAh Cold-Weather Enduro Battery delivers exceptional performance in a wide range of temperatures, ensuring you get the shot no matter the conditions.
• Built-in GPS. MAX2 is the only 360 camera with built-in GPS.

MAX2 is available for preorder today for $499.99USD on GoPro.com. Shipping of preorders and global on-shelf availability at retail stores will begin on September 30. We will have a variety of activity-specific bundles available exclusively on GoPro.com on September 30.

LIT HERO: ‘Whatever, Whenever’ Lifestyle Capture with a Built-In Light

LIT HERO is an ultra-compact lifestyle camera featuring a built-in light that enables fun, immersive "Whatever, Whenever" video and photo capture with a unique 
"retro vibes" look. LIT HERO captures 4K resolution video at up to 60 frames per second, 2x slo-mo, convenient magnetic mounting and only weights 93 grams. Additonal features include:

• Rugged Design + Waterproof to 16ft (5m) and built with legendary GoPro durability, HERO is ready to capture the fun no matter the activity—whether you're ripping snow, dirt or water or enjoying a night out on the town with friends.
• Built-in Light enables "Whatever, Whenever" capture during any time of day, even in complete darkness. The built-in light expands your creative options and allows for a very fun "retro vibes" look to your photos and videos compared to the sometimes "too stark" look of smartphones.
• Stunning Image Quality and Immersive POV. Capture the action in ultra HD 4K video while bumping the frame rate up to 60 frames per second for smooth video play back in 2x slow motion. And LIT HERO’s optional 4:3 aspect ratio delivers a more immersive experience field of view that provides the option for cropped-down 9:16 social posts.
• Social-Ready 12 Megapixel Photos in 4:3 aspect ratio allowing for a wide range of creative cropping options for social posts.
• Long-Lasting Enduro Battery can record continuously for over 100 minutes at its highest video setting on a single charge.

LIT HERO is available for preorder today for $269.99USD on GoPro.com. Shipping of pre-orders and global on-shelf availability at retail stores will begin on October 21.

Fluid Pro AI: Multi-Camera Gimbal for All Creators

Fluid Pro AI is an AI Subject Tracking gimbal designed for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams. Engineered to meet the needs of today’s multi-camera owning content creators, Fluid Pro AI’s features include:

• Robust 3-Axis Gimbal with interchangeable mounts that works with GoPro cameras, mobile phones and some compact point-and-shoot cameras weighing up to 400 grams.
• Forward or Rear-Facing AI Subject Tracker that locks onto a person’s face or body to automatically track them in the frame with precision.
• Integrated Fill Light to help balance the light in your shots for more professional results.
• 18 hours of runtime and doubles as an external power bank.

Fluid Pro AI will be available for $229.99USD on GoPro.com and on-shelf at retail stores on October 21.

To learn more about GoPro’s new cameras, accessories, GoPro Subscription and Quik App, please visit GoPro.com.

Image: GoPro

Along with the release of the Max2, its long-awaited 360-degree camera follow-up, GoPro has also announced an ultra-compact action camera with a built-in light. The action camera company has dubbed the new Lit Hero a "lifestyle" camera that allows for "Whatever, Whenever" video and photo capture.

The Lit Hero camera builds on the compact Hero camera released last year, adding a light for greater convenience. GoPro says the light enables a "a very fun 'retro vibes' look." The integrated quad LED offers three levels of brightness and the camera comes with a diffuser for when users want a softer look.

A sample image from the GoPro Lit Hero.
Image: GoPro

The camera features a Type 1/2.8 (5.44mm x 3.09mm) sensor and offers 4K video up to 60p, or 4K30 video for 4:3 footage that can be cropped to a vertical social-ready 9:16 aspect ratio. The Lit Hero can take 12MP 4:3 still photos, giving users more room to crop for social media.

The light adds some weight compared to the Hero, but the Lit Hero still comes in at just 93g (3.3oz). It's still durable, too, with a rugged design and waterproofing down to 5m (16'). It supports three mounting methods via magnetic mounting, mounting fingers and 1/4-20 mounting threads. It uses an Enduro Battery that GoPro says will support continuous recording for over 100 minutes at the highest video setting.

The GoPro Lit Hero comes with a diffuser for the light.
Image: GoPro

The Lit Hero is available for pre-order today for $270, which is $70 more than the light-free Hero. It will be widely available on October 21.

Press release:

GoPro Announces Three New Products MAX2: 360 Camera with True 8K Resolution and Twist-and-Go Replaceable Lenses LIT HERO: Miniature 4K Lifestyle Camera with Built-In Light for ‘Whatever, Whenever’ Capture Fluid Pro AI: Gimbal for Stabilizing GoPros, Phones and Other Cameras

New MAX2 360 Camera featuring Emmy® Award-Winning 360 Technology Captures True 8K 360 Video with up to 21% More Resolution Than the Competition, Easy to Replace Lenses—No Tools or Calibration Necessary—10-Bit Color in True 8K and GP-Log, Category-Leading 6 Mics, Up to 300Mbps Bitrate with GoPro Labs, Invisible Pole Mounting and MoreGoPro Quik App’s AI-Enhanced Features Make it Easier Than Ever to Edit and Share Engaging 360 Content and Traditional Videos

New Waterproof, Ultra-Compact LIT HERO Camera Features a Built-In Light for "Whatever, Whenever" Lifestyle Capture, 4K60 Video, 2X Slo-Mo Playback, Magnetic Mounting and Weighs only 93 Grams

New Fluid Pro AI Gimbal Stabilizes and Enables AI Subject Tracking for GoPro Cameras, Smartphones and Point-and-Shoot Cameras up to 400 grams, Meeting the Advanced, Multi-Camera Gimbal Needs of Today’s CreatorsGet the Most out of the 2025 GoPro Lineup with a GoPro Subscription and GoPro Labs

San Mateo, Calif., Sept. 23, 2025 – Today, GoPro (NASDAQ: GPRO) announced three exciting new products that diversify GoPro’s lineup like never before:

• MAX2 – the highly anticipated next-generation GoPro 360 camera featuring Emmy® Award-Winning 360 Technology for $499.99
• LIT HERO – the miniature lifestyle camera with a built-in light that enables "whatever, whenever" capture for $269.99
• Fluid Pro AI – an AI Subject Tracking gimbal for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams, for $229.99

"This year’s new products diversify GoPro’s lineup like never before, delivering exciting new capabilities to today’s demanding content creators, adventurers and enthusiasts," says GoPro Founder and CEO Nicholas Woodman. "MAX2 is the world’s best, most durable 360 camera—with its market leading True 8K video resolution, superior colors and overall image quality, industry-leading six microphone audio performance and convenient twist-off replaceable glass lenses. Our new LIT HERO camera enables fun ‘whatever, whenever’ 4K60 video and 12 megapixel photo capture with its built-in ‘retro-vibes’ light. And our new Fluid Pro AI gimbal enables today’s multi-camera owning creators a powerful but simple to use AI Subject Tracking gimbal for any GoPro camera, smartphone or point-and-shoot camera up to 400 grams."

MAX2 – The World’s Most Durable, True 8K 360 Camera

MAX2 is a powerful, durable, yet easy-to-use 360 camera designed for professional-quality image capture and action. MAX2 is the only True 8K 360 video capture camera on the market, capturing up to 21% more resolution than the competition for superior detail and sharpness. This combines with MAX2’s superior colors and overall image quality to enable the most professional-looking 360 content in the industry. Additional MAX2 features include:

• Full Range 10-Bit Color in True 8K + GP Log encoding captures over 1 billion colors for more realism and smoother gradations in your videos. Advanced users can use GP-Log to maximize dynamic range, details and post production flexibility with their MAX2 footage.
• Twist-and-Go Replaceable Lenses are made from extremely durable, water-repelling optical glass. These lenses are twist-and-go easy to remove and replace, no tools or calibration necessary.
• 29 Megapixel 360 Photos provide all the ultra high resolution you need to crop, zoom and reframe for the exact shot you want via the GoPro Quik App.
• Enhanced Capability with GoPro Labs unlocks up to 300Mbps bitrate and additional advanced camera settings with MAX2’s free, optional GoPro Labs firmware update. GoPro Labs provides advanced users with features and capabilities that go beyond what most average users may want.
• Industry-Leading 6 Microphones deliver true-to-life 360 audio. Improvements include wireless Bluetooth functionality, "Audio Field-of-View" and 360 stereo audio with advanced wind-noise reduction. Plus, 360 ambisonic audio support coming soon.
• AI-Powered Software for easy 360 editing. From AI Object Tracking to MotionFrame editing of 360 content by simply panning your phone to edit, the Quik app makes 360 editing simple and fun.
• Cloud-Based Editing for GoPro subscribers to enjoy unlimited cloud storage of their 360 footage, making it simple to use the Quik App to edit your footage in the cloud without worrying about downloading your footage or taking up storage space on your phone.
• New In-Camera POV and Selfie Video Modes make it fast and easy to capture your point-of-view or perfectly framed selfie-shots during your favorite activities. No editing required, just capture what you want in-camera and then share the shot.
• Invisible Mounting with 16 new mounts and accessories designed specifically for GoPro’s 360 cameras, including MAX2. Enable invisible mounting, drone-like footage and more iconic 360 perspectives with ease.
• Industry-Leading Durability and Design. MAX2’s low-profile, more aerodynamic design is ideally suited for pole, helmet, body and vehicle mounting. MAX2 is waterproof and designed for high impact use in a wide range of conditions with its convenient twist-and-go replaceable glass lenses.
• 1960mAh Cold-Weather Enduro Battery delivers exceptional performance in a wide range of temperatures, ensuring you get the shot no matter the conditions.
• Built-in GPS. MAX2 is the only 360 camera with built-in GPS.

MAX2 is available for preorder today for $499.99USD on GoPro.com. Shipping of preorders and global on-shelf availability at retail stores will begin on September 30. We will have a variety of activity-specific bundles available exclusively on GoPro.com on September 30.

LIT HERO: ‘Whatever, Whenever’ Lifestyle Capture with a Built-In Light

LIT HERO is an ultra-compact lifestyle camera featuring a built-in light that enables fun, immersive "Whatever, Whenever" video and photo capture with a unique 
"retro vibes" look. LIT HERO captures 4K resolution video at up to 60 frames per second, 2x slo-mo, convenient magnetic mounting and only weights 93 grams. Additonal features include:

• Rugged Design + Waterproof to 16ft (5m) and built with legendary GoPro durability, HERO is ready to capture the fun no matter the activity—whether you're ripping snow, dirt or water or enjoying a night out on the town with friends.
• Built-in Light enables "Whatever, Whenever" capture during any time of day, even in complete darkness. The built-in light expands your creative options and allows for a very fun "retro vibes" look to your photos and videos compared to the sometimes "too stark" look of smartphones.
• Stunning Image Quality and Immersive POV. Capture the action in ultra HD 4K video while bumping the frame rate up to 60 frames per second for smooth video play back in 2x slow motion. And LIT HERO’s optional 4:3 aspect ratio delivers a more immersive experience field of view that provides the option for cropped-down 9:16 social posts.
• Social-Ready 12 Megapixel Photos in 4:3 aspect ratio allowing for a wide range of creative cropping options for social posts.
• Long-Lasting Enduro Battery can record continuously for over 100 minutes at its highest video setting on a single charge.

LIT HERO is available for preorder today for $269.99USD on GoPro.com. Shipping of pre-orders and global on-shelf availability at retail stores will begin on October 21.

Fluid Pro AI: Multi-Camera Gimbal for All Creators

Fluid Pro AI is an AI Subject Tracking gimbal designed for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams. Engineered to meet the needs of today’s multi-camera owning content creators, Fluid Pro AI’s features include:

• Robust 3-Axis Gimbal with interchangeable mounts that works with GoPro cameras, mobile phones and some compact point-and-shoot cameras weighing up to 400 grams.
• Forward or Rear-Facing AI Subject Tracker that locks onto a person’s face or body to automatically track them in the frame with precision.
• Integrated Fill Light to help balance the light in your shots for more professional results.
• 18 hours of runtime and doubles as an external power bank.

Fluid Pro AI will be available for $229.99USD on GoPro.com and on-shelf at retail stores on October 21.

To learn more about GoPro’s new cameras, accessories, GoPro Subscription and Quik App, please visit GoPro.com.

Image: GoPro

Along with two new cameras, GoPro has announced a multi-camera gimbal made for creators. The Fluid Pro AI is the company's second take on a gimbal, though this iteration offers subject tracking and stabilization for more than just GoPro cameras.

The Fluid Pro AI gimbal features interchangeable mounts that make it compatible with GoPro cameras, smartphones and point-and-shoot cameras. It can only support cameras up to 400g (14.2oz), so don't expect to stick your full-frame mirrorless camera on the rig.

Image: GoPro

GoPro's latest device offers three-axis stabilization with nearly 360 degrees of rotation. It features AI subject tracking for both forward and rear-facing subjects. GoPro says it's able to lock onto a person's face or body and then automatically and precisely track them in the frame.

The gimbal also offers an integrated fill light to help with content creation in dark conditions. GoPro promises 18 hours of runtime and says the Fluid Pro AI doubles as an external power bank as well.

The Fluid Pro AI will be available for $230 on October 21.

Press release:

GoPro Announces Three New Products MAX2: 360 Camera with True 8K Resolution and Twist-and-Go Replaceable Lenses LIT HERO: Miniature 4K Lifestyle Camera with Built-In Light for ‘Whatever, Whenever’ Capture Fluid Pro AI: Gimbal for Stabilizing GoPros, Phones and Other Cameras

New MAX2 360 Camera featuring Emmy® Award-Winning 360 Technology Captures True 8K 360 Video with up to 21% More Resolution Than the Competition, Easy to Replace Lenses—No Tools or Calibration Necessary—10-Bit Color in True 8K and GP-Log, Category-Leading 6 Mics, Up to 300Mbps Bitrate with GoPro Labs, Invisible Pole Mounting and MoreGoPro Quik App’s AI-Enhanced Features Make it Easier Than Ever to Edit and Share Engaging 360 Content and Traditional Videos

New Waterproof, Ultra-Compact LIT HERO Camera Features a Built-In Light for "Whatever, Whenever" Lifestyle Capture, 4K60 Video, 2X Slo-Mo Playback, Magnetic Mounting and Weighs only 93 Grams

New Fluid Pro AI Gimbal Stabilizes and Enables AI Subject Tracking for GoPro Cameras, Smartphones and Point-and-Shoot Cameras up to 400 grams, Meeting the Advanced, Multi-Camera Gimbal Needs of Today’s CreatorsGet the Most out of the 2025 GoPro Lineup with a GoPro Subscription and GoPro Labs

San Mateo, Calif., Sept. 23, 2025 – Today, GoPro (NASDAQ: GPRO) announced three exciting new products that diversify GoPro’s lineup like never before:

• MAX2 – the highly anticipated next-generation GoPro 360 camera featuring Emmy® Award-Winning 360 Technology for $499.99
• LIT HERO – the miniature lifestyle camera with a built-in light that enables "whatever, whenever" capture for $269.99
• Fluid Pro AI – an AI Subject Tracking gimbal for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams, for $229.99

"This year’s new products diversify GoPro’s lineup like never before, delivering exciting new capabilities to today’s demanding content creators, adventurers and enthusiasts," says GoPro Founder and CEO Nicholas Woodman. "MAX2 is the world’s best, most durable 360 camera—with its market leading True 8K video resolution, superior colors and overall image quality, industry-leading six microphone audio performance and convenient twist-off replaceable glass lenses. Our new LIT HERO camera enables fun ‘whatever, whenever’ 4K60 video and 12 megapixel photo capture with its built-in ‘retro-vibes’ light. And our new Fluid Pro AI gimbal enables today’s multi-camera owning creators a powerful but simple to use AI Subject Tracking gimbal for any GoPro camera, smartphone or point-and-shoot camera up to 400 grams."

MAX2 – The World’s Most Durable, True 8K 360 Camera

MAX2 is a powerful, durable, yet easy-to-use 360 camera designed for professional-quality image capture and action. MAX2 is the only True 8K 360 video capture camera on the market, capturing up to 21% more resolution than the competition for superior detail and sharpness. This combines with MAX2’s superior colors and overall image quality to enable the most professional-looking 360 content in the industry. Additional MAX2 features include:

• Full Range 10-Bit Color in True 8K + GP Log encoding captures over 1 billion colors for more realism and smoother gradations in your videos. Advanced users can use GP-Log to maximize dynamic range, details and post production flexibility with their MAX2 footage.
• Twist-and-Go Replaceable Lenses are made from extremely durable, water-repelling optical glass. These lenses are twist-and-go easy to remove and replace, no tools or calibration necessary.
• 29 Megapixel 360 Photos provide all the ultra high resolution you need to crop, zoom and reframe for the exact shot you want via the GoPro Quik App.
• Enhanced Capability with GoPro Labs unlocks up to 300Mbps bitrate and additional advanced camera settings with MAX2’s free, optional GoPro Labs firmware update. GoPro Labs provides advanced users with features and capabilities that go beyond what most average users may want.
• Industry-Leading 6 Microphones deliver true-to-life 360 audio. Improvements include wireless Bluetooth functionality, "Audio Field-of-View" and 360 stereo audio with advanced wind-noise reduction. Plus, 360 ambisonic audio support coming soon.
• AI-Powered Software for easy 360 editing. From AI Object Tracking to MotionFrame editing of 360 content by simply panning your phone to edit, the Quik app makes 360 editing simple and fun.
• Cloud-Based Editing for GoPro subscribers to enjoy unlimited cloud storage of their 360 footage, making it simple to use the Quik App to edit your footage in the cloud without worrying about downloading your footage or taking up storage space on your phone.
• New In-Camera POV and Selfie Video Modes make it fast and easy to capture your point-of-view or perfectly framed selfie-shots during your favorite activities. No editing required, just capture what you want in-camera and then share the shot.
• Invisible Mounting with 16 new mounts and accessories designed specifically for GoPro’s 360 cameras, including MAX2. Enable invisible mounting, drone-like footage and more iconic 360 perspectives with ease.
• Industry-Leading Durability and Design. MAX2’s low-profile, more aerodynamic design is ideally suited for pole, helmet, body and vehicle mounting. MAX2 is waterproof and designed for high impact use in a wide range of conditions with its convenient twist-and-go replaceable glass lenses.
• 1960mAh Cold-Weather Enduro Battery delivers exceptional performance in a wide range of temperatures, ensuring you get the shot no matter the conditions.
• Built-in GPS. MAX2 is the only 360 camera with built-in GPS.

MAX2 is available for preorder today for $499.99USD on GoPro.com. Shipping of preorders and global on-shelf availability at retail stores will begin on September 30. We will have a variety of activity-specific bundles available exclusively on GoPro.com on September 30.

LIT HERO: ‘Whatever, Whenever’ Lifestyle Capture with a Built-In Light

LIT HERO is an ultra-compact lifestyle camera featuring a built-in light that enables fun, immersive "Whatever, Whenever" video and photo capture with a unique 
"retro vibes" look. LIT HERO captures 4K resolution video at up to 60 frames per second, 2x slo-mo, convenient magnetic mounting and only weights 93 grams. Additonal features include:

• Rugged Design + Waterproof to 16ft (5m) and built with legendary GoPro durability, HERO is ready to capture the fun no matter the activity—whether you're ripping snow, dirt or water or enjoying a night out on the town with friends.
• Built-in Light enables "Whatever, Whenever" capture during any time of day, even in complete darkness. The built-in light expands your creative options and allows for a very fun "retro vibes" look to your photos and videos compared to the sometimes "too stark" look of smartphones.
• Stunning Image Quality and Immersive POV. Capture the action in ultra HD 4K video while bumping the frame rate up to 60 frames per second for smooth video play back in 2x slow motion. And LIT HERO’s optional 4:3 aspect ratio delivers a more immersive experience field of view that provides the option for cropped-down 9:16 social posts.
• Social-Ready 12 Megapixel Photos in 4:3 aspect ratio allowing for a wide range of creative cropping options for social posts.
• Long-Lasting Enduro Battery can record continuously for over 100 minutes at its highest video setting on a single charge.

LIT HERO is available for preorder today for $269.99USD on GoPro.com. Shipping of pre-orders and global on-shelf availability at retail stores will begin on October 21.

Fluid Pro AI: Multi-Camera Gimbal for All Creators

Fluid Pro AI is an AI Subject Tracking gimbal designed for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams. Engineered to meet the needs of today’s multi-camera owning content creators, Fluid Pro AI’s features include:

• Robust 3-Axis Gimbal with interchangeable mounts that works with GoPro cameras, mobile phones and some compact point-and-shoot cameras weighing up to 400 grams.
• Forward or Rear-Facing AI Subject Tracker that locks onto a person’s face or body to automatically track them in the frame with precision.
• Integrated Fill Light to help balance the light in your shots for more professional results.
• 18 hours of runtime and doubles as an external power bank.

Fluid Pro AI will be available for $229.99USD on GoPro.com and on-shelf at retail stores on October 21.

To learn more about GoPro’s new cameras, accessories, GoPro Subscription and Quik App, please visit GoPro.com.

The a9 III is now extremely expensive in the US.
Image: Sony

Sony has once again increased the prices of many of its imaging products in the US. This follows an increase in US prices across most of its lineup in May and July due to tariffs.

The recent price increase for US customers isn't across the board, but it does impact many of the company's cameras, as Sony rumors initially spotted. The a7CR, which was a great deal at launch, is now $3400 at Sony's website. That's up $400 from its launch price and $200 from the price increase earlier this year. The a9 III also got substantially more expensive, with a $400 increase from July, now coming in at $6800.

It's not just high-end models that are more expensive, either. The Sony ZV-E10 II is now $1200, or $200 pricier than the launch price. The Sony ZV-1 II didn't see as substantial an increase, but it now costs $1050.

Lenses weren't left out of the latest round of pricing adjustments, either.

Lenses weren't left out of the latest round of pricing adjustments, either. The Sony FE 16-35mm F2.8 GM II is now $350 more expensive than in July, coming in at $2650. The Sony FE 50mm F1.2 GM was also impacted with a new price of $2300, up $300 from July. Not all lenses saw increases this time around, though. The Sony FE 24-70mm F2.8 GM II is still priced the same as it was in July (though it was part of the first increase), as is the 70-200 mm F2.8 GM OSS and many of the company's more budget-focused lenses.

The latest adjustment aligns with the 19% tariff rate that took effect on August 7th on imports from Thailand, where Sony makes many of its US-bound cameras.

When Sony adjusted the rates in July, the tariffs were set at a temporary 10% rate, so it seems to be adjusting now that the higher rates have gone into effect. Sony isn't the only company raising US prices in light of the updated rate. Both Nikon and Fujifilm have already done so a second time, and Canon said that it's considering another price increase later this year.

Image: MirageC / Moment via Getty Images

Our last 'Question of the week' asked the members of our forum community which phone they prefer from a photography perspective. We wanted to know which phones you're drawn to, not necessarily because of operating systems, but because of the cameras or photography-related features. Here's what you all had to say.

Most referenced smartphones

Naturally, many of you mentioned a small handful of phones. Clearly, there are crowd favorites among photographer-friendly phones.

• Apple iPhone Pro series: iPhones were the most common among those who commented, with a preference for the Pro models. Many of you said that the connectivity with the broader Apple ecosystem is a primary reason, though there's also a preference for the iPhone image quality.

• Google Pixel series: Pixel phones were also very common. You value Pixel phones for their quality out-of-camera results that don't require additional post-processing and integration with Google Photos.

Less common but still popular

• Samsung Galaxy S Ultra series: Though slightly less common, Galaxy users praised the image quality of the series, especially from the JPEG files.

• Sony Xperia 1 IV / V: The Xperia lineup is popular with many of you who want camera-like controls on a phone with more natural, less processed-looking photos.

• Vivo X series: You like this series because of its Zeiss optics and strong image quality that looks more natural than other phones.

• Xiaomi Ultra: Finally, there were some of you who preferred the Xiaomi phones, especially the 14 Ultra, in part because of the Leica co-branding and associated app.

General smartphone camera thoughts

Many of you pointed out that the brand of the phone is only part of the process. There are other critical features and considerations that make a smartphone ideal (or not) for photography.

• Wide-ranging focal lengths: The range of camera focal lengths is an important consideration on smartphones, with preferences for getting closer with optics rather than relying on digital zoom. Manmachine242 said, "For me, 4..5x zoom is unacceptable if the main camera has to solve this important range with digital zoom."

• Ultra-wide performance: A quality ultrawide camera is sometimes preferred over the main sensor, as many of you use your smartphone for panoramas and sweeping landscapes. For example, Jagganatha says they primarily use their iPhone for landscapes "because under the right conditions it produces impeccable detailed sweep panoramas with perfect exposure and colour balance."

• Existing ecosystems: Integration with other ecosystems is also important to many of you. Whether it's being able to transition from phone to tablet to laptop or using familiar editing programs across devices, you want a phone that can seamlessly connect with other ecosystems. Pavel Vishniakov said "Maybe some Android phones have better cameras, but given that I'm fully in Apple ecosystem, I see no reason to switch phones for a 'maybe'."

• Raw capture: A number of you seek phones that allow for robust Raw capture or editing and the ability to use third-party camera apps, particularly Adobe's Project Indigo or Halide. Robgendreau is among those, explaining that "I often use Lightroom to shoot raw, if I need a good photo. If I am more serious then Halide, and their raw. But lately it's been Adobe's Project Indigo, which does some major stacking magic. It's in beta, so it heats my phone up like crazy, but worth it."

• Older phones: The desire to hold on to older phones was a common sentiment. Some of you simply don't see the need to upgrade until there's something seriously wrong with your current phone, or a major upgrade with the new model. For example, Jefenator says, "I'll continue buying iPhones with the best camera hardware, but I won't be accelerating my update plans for just any old incremental change." Others prefer older features or specs and stick to those models for as long as possible.

Entertaining replies

As always, some of you shared some entertaining answers and anecdotes. For example, A74Me shared about how most will have a smartphone on them, but cameras get left behind. "Your going to have a laugh at this one, the other night it was our Photography club AGM and the new committee was asked up for a group photo, No one had a camera with them and the image was shot on a phone. times are changing," they said.

Many of you expressed a dislike for smartphone photography in general. For example, Dem Bell said "It is a bit like asking 'what's your favourite Microsoft Office application?' I don't really like any of them but I have to use them."

If you haven't had a chance to answer yet, or just want to see what others had to say, the post is still open. Head on over to the forums to share your opinion on smartphones for photography!

Click here to answer the Question of the week

Used gear is more affordable, but it comes with risks.
Photo: tupungato / iStock Editorial / Getty Images Plus via Getty Images

If you're in the market for new photography gear, you'll have to decide between buying new, used or refurbished. Each option has advantages and drawbacks, and which is best comes down to a balance of cost, reliability and your individual needs. Understanding the differences between new, used and refurbished can help you make a purchase that fits your budget and long-term needs.

New gear Photo: Extreme-Photographer / E+ via Getty Images

Many people prefer new gear because it comes in pristine shape with no wear and tear. You don't have to worry about how the person who previously owned the camera or lens treated it, as it's never been used before. That means that you can, in theory, get the maximum lifespan and optimal performance.

New gear also comes with all the original packaging and accessories, which is a draw for some. Additionally, buying new means you get the benefit of warranties, giving you some protection if something goes wrong.

However, purchasing brand-new gear comes with a higher upfront cost. The higher expense can be a limiting factor for many. Additionally, there may be limited availability for some new models, making it harder to get your hands on it.

Used gear Photo: zoranm / iStock / Getty Images Plus via Getty Images

Used gear usually comes at a much lower cost than new, making it a more affordable option for building out your kit. The more affordable prices could mean that higher-end items are now accessible, whereas they wouldn't be if buying new. It also opens up the options of what's available. You'll have access to discontinued or vintage models that simply aren't available new. Likewise, high-demand products may only be available used, even if they are still in production.

However, there are risks when buying used gear. Those risks vary based on where you are shopping, as purchasing from a flea market or Facebook Marketplace is much different than a camera-specific marketplace like KEH, Adorama or MPB (our sponsor). With the former, you don't know if the item will be as described, and could end up with a non-functional piece of gear. Most camera-specific marketplaces will at least inspect gear to ensure it is listed accurately. With all used marketplaces, though, you never know how the camera or lens was treated before your purchase, which adds risks related to longevity.

Depending on where you purchase, there may be no protections or guarantees in place, leaving you out of your hard-earned money if the item isn't as listed. You also won't get the warranties that come with new equipment. Some of the third-party camera-specific marketplaces may offer limited warranties on the used gear they sell, but you'll usually pay a bit higher price than what's available on sites like eBay or Facebook Marketplace. That added cost may be worth it, though, as it takes some of the risk out of buying used.

Refurbished gear Photo: onuma Inthapong / E+ via Getty Images

Refurbished gear gives you the benefit of the lower cost of used gear, but with some added guarantees in place. Refurbished gear is inspected and repaired by the manufacturer or a reseller, giving you better peace of mind that what you are purchasing is as described and it will be in working order. Plus, many companies selling refurbished gear will have some sort of warranty (though not as extensive as that of new equipment). That way, you have protection if something goes wrong soon after your purchase.

Refurbished gear also has drawbacks, naturally. Like used gear, it likely won't come in the original packaging or with original accessories. You also still don't know the original usage or history, which could lead to a shorter lifespan, no matter how good the refurbishing was. Finally, while some third-party refurbishers will do work up to the quality of the original manufacturer, that won't be the case for all of them. So do your research before buying refurbished from a third-party company.

Shop smart

There's no right or wrong answer when it comes to shopping new or used, as it simply comes down to your budget, needs and preferences. For some, shopping for used or refurbished equipment is always the best option, whereas others will prefer to only buy new. Either way, make sure you are doing your research to ensure you are getting the best deal and only purchasing expensive items from trusted sources.

Many cameras offer a mode dial for easy access to different modes.

Many aspiring photographers are led to believe that manual mode is the gold standard and the only setting that "real" photographers use. However, manual mode is just one tool a camera provides, and excluding the others can slow you down or lead to missed opportunities. Modern cameras offer advanced automatic modes and multiple semi-automatic ones like aperture and shutter priority, providing more flexible options without sacrificing complete creative control.

Mastering when to choose manual – or when to embrace other modes – is a sign of expertise, not a limitation. In this article, we will explain what the different modes are, and when you might want to rely on each, helping you embrace your and your camera’s full potential.

Auto

Auto mode is usually displayed on the top dial in green, either with the word "Auto" or a green "A." In Auto mode, the camera sets all core settings automatically. That includes aperture, shutter speed, ISO and white balance, but many cameras also adjust creative factors like color mode, noise reduction and more. Canon mirrorless cameras, for example, offer a Scene Intelligent Auto setting, which aims to detect the type of scene you are photographing and optimize all settings for that situation.

Auto modes typically don't allow for any manual override of settings. You simply point and shoot, fully relying on the camera's judgment. It's ideal for casual shooters, beginners and moments where speed is essential and creative control isn't. However, it will limit creative control and may not always choose the best settings for tricky conditions.

Program

Program mode, marked on the top dial by a "P," is similar to Auto mode but allows for some control. In Program mode, the camera will automatically choose aperture and shutter speed for proper exposure, but you can adjust other settings like ISO, exposure compensation and white balance, which are unavailable in full Auto mode.

Additionally, most cameras give you some room to adjust the exposure settings they've selected by "shifting" the program. Doing so will keep the brightness consistent, but will change the shutter speed, aperture, and/or ISO together, which can help if you want to prioritize a deeper depth of field or faster shutter speed. Each camera brand handles this slightly differently, however, so be sure to consult your camera's manual for the full details of what it does and doesn't allow.

Program mode is good for situations where you want a little more control than full Auto, but still want the camera to set core exposure settings for you. Street photography, everyday shooting, travel and other unpredictable situations are all situations where Program mode may come in handy.

Scene

Scene modes are typically labeled as "SCN" on the top dial. In Scene mode, you can choose various pre-programmed scenes, each optimized for different shooting scenarios, such as portraiture, action, landscapes, macro, sunset, night scenes and more. When you select a scene, the camera optimizes all settings for that situation. It goes beyond simply covering exposure settings, also adjusting white balance, metering mode, color profiles and more.

Scene mode is helpful when you need quick, reliable results and don't have the time or experience to adjust settings for specific situations manually. It can choose the appropriate settings to blur the background when taking portraits or close-up photographs, or capture images in challenging lighting situations where manual mode may not produce the best color or exposure.

Aperture Priority

Aperture Priority mode is marked as "A" or "AV" on your camera dial. In this mode, you select the desired aperture to control depth of field, and the camera will adjust shutter speed to produce a well-exposed image. It also allows full manual control of other settings like ISO and white balance, or you can individually set those to automatic.

Aperture Priority is perfect for situations where depth of field is the main creative priority, but the lighting is prone to changing. For example, if you're creating portraits outside, you may want to ensure that you have a shallow depth of field to blur out the background. On the other hand, if you're taking photographs of landscapes, you may want a consistently deep depth of field to have the entire scene in focus.

Shutter Priority

Shutter Priority is marked as "S" or "TV," depending on your camera. It is similar to Aperture Priority, but instead of controlling aperture, you control shutter speed. Then, based on the shutter speed you select, your camera will automatically adjust aperture for you.

Shutter Priority is perfect for situations where you need to control how motion is rendered (either frozen or blurred) but aren't as concerned with depth of field. It's commonly used when photographing sports, wildlife and other action situations where motion is the priority and you need to be able to react quickly.

Manual

Manual mode puts you in full control of everything. You select aperture, shutter speed and ISO (though you can generally set ISO to automatic and still be in Manual mode). Manual mode is best for when you want full creative control and have the time to manually adjust each parameter. It's also useful in tricky lighting situations where your camera may not know what specifically you are after.

Use what's best for you and a given situation

Some manufacturers have specialty modes in addition to the ones mentioned above, so be sure to check your manual for information on those. It's also important to remember that each camera mode is ideal for different situations and people; there is no single right mode. The goal of using your camera is typically, at least in part, to create nice photographs, and whichever mode helps you achieve that goal is the correct one.

2025 Audubon Photography Awards

The National Audubon Society has announced the winners of its 2025 Audubon Photography Awards competition.

This year, the organization is doing its "annual celebration of outstanding bird visuals" a little differently: there's one set of awards in its various categories (which include Birds in Landscapes, Conservation, and Plants for Birds) for the US and Canada, and another set for Chile and Colombia. The Audubon Society says it did this to expand the talent – and species of birds – that the contest showcases.

You can see the complete list of winners, as well as the honorable mentions, on the Audubon Society's website.

Chile and Colombia "Grand Prize" Winner: Felipe Esteban Toledo Alarcón

From the photographer: While looking to photograph frogs’ mating rituals at a lagoon in Parque Saval, my friend and I noticed a pair of Ringed Kingfishers hunting fish, completely submerging themselves in the water. No one can ignore such a scene. While the female was far away, the male dove unsuccessfully time and time again—and with each try, he moved closer to us. Even though the sun was not in the perfect position, I set up my camera in burst mode with a high shutter speed, moderate ISO, and “zone” focus. I was ready. After the bird made six dives, I got the image that I’d been chasing: a kingfisher explosively rising out of the water, displaying its beauty, elegance, and power.

Species: Ringed Kingfisher

Camera: Sony a7 IV, Sony FE 200-600mm f/5.6-6.3 G OSS

US and Canada "Grand Prize" Winner: Liron Gertsman

From the photographer: Frigatebirds are a common sight in many coastal towns in Mexico. As a kleptoparasitic species, they may look to steal a meal from other seabirds—or from local fishermen. I photographed these birds as they passed a stunning halo in the sky. These rings of light form when millions of tiny ice crystals in the atmosphere refract sunlight, often when there are high-altitude cirrus or cirrostratus clouds. I utilized a small aperture to ensure both the birds and sky would be sharp and to get a “starburst” effect on the sun in the middle of the frame.

Species: Magnificent Frigatebird

Camera: Canon EOS R5, Sigma 14mm F1.8 DG HSM Art EF

US and Canada "Birds in Landscapes" Winner: Joe Subolefsky

From the photographer: I wanted to photograph Northern Gannets against the Milky Way, so I studied the moon phases and planned a trip. Forecasters predicted rain and fog for all three nights I was in Newfoundland, so my chances were limited. I hiked to the colony and waited for clear skies. I used only the rotating light from the nearby lighthouse, which washed over the colony every 30 seconds. Then, for a mere 20 minutes, most of the clouds parted, bringing the stars and Milky Way to life.

Species: Northern Gannet

Camera: Canon EOS R5, Canon RF 15-35mm F2.8L IS USM

Colombia "Birds in Landscapes" Winner: Shamir Shah

From the photographer: On this day, I was documenting trees above a bike path along a busy road and climbed a pedestrian bridge to get a different angle. That’s when I saw these Blue-headed Parrots peeking out from a hollow. This image tells an interesting story: Down below, people in cars and buses are going about their daily business; above, the parrots observe the humans, who, in their rush to progress, miss out on all kinds of expressions of life.

Species: Blue-headed Parrot

Camera: Nikon D750, Nikkor AF-S 24-120mm F4G ED VR

Chile "Birds in Landscapes" Winner: Caro Aravena Costa

From the photographer: Despite very few daytime hours, the sunlight in Patagonia is exquisite in winter. After arriving in Puerto Natales, my group walked along the waterfront as the sun began to set and spotted these backlit flamingos. I got my camera, and we walked carefully to the snow- and ice-covered shore. In subfreezing chill, I lay down on the cold ground to take photos. The warm sunlight, which enveloped everything, created a magical atmosphere.

Species: Chilean Flamingo

Camera: Sony a7 IV, Sony FE 100-400mm F4.5-5.6 GM OSS

Chile and Colombia "Birds Without Borders" Winner: Jacobo Giraldo Trejos

From the photographer: Capturing this image required patience, attention to detail, and, above all, enduring the sun’s intense heat. The adult Royal Tern flew tirelessly, looking for fish to feed its young, which patiently waited on a railing. Many people think that dedication and affection for our young is exclusive to humans, but nature, as usual, proves us wrong. I feel a deep respect for these birds’ efforts: Photographing this moment was a privilege worth every second—and every drop of sweat.

Species: Royal Tern

Camera: Canon EOS R50, Sigma 150-600mm F5.6-6.3 DG OS HSM Contemporary

US and Canada "Birds Without Borders" Winner: Yoshiki Nakamura

From the photographer: Every winter, tens of thousands of Snow Geese migrate from Siberia to Washington’s Skagit Valley, where they stay from October to April. Massive flocks—some numbering more than 10,000 birds—take off together in breathtaking, synchronized motion. When danger nears, the first few birds flap their wings, sending a cascading signal that triggers a collective launch. Although they move as one, each bird follows its own rhythm and direction, creating a mesmerizing mixture of order and chaos. To express this ephemeral choreography, I used a slow shutter speed. The result is what I call a “melting flight”: a blend of motion, form, and instinct. What I find most beautiful is how this chaos has coherence. There are no collisions, no commands—just a shared sense of movement.

Species: Snow Goose

Camera: Nikon D850, Nikon AF-S 600mm F4E FL ED VR w/ Nikon AF-S Teleconverter TC-17E-II

Chile and Colombia "Conservation" Winner: Luis Alberto Peña

From the photographer: I was photographing birds in a rural area when I came across this fire, which started as a controlled burn to clear rice crop residues but got out of hand. For many people who grow rice in this area, fires are a necessary practice for subsistence. However, these burns can also harm air quality and habitat, especially if they aren’t controlled. As I watched the flames, I noticed a Savanna Hawk. Attentive and patient, this bird never strayed from the dense smoke and heat; in fact, it returned again and again hoping to hunt disoriented animals fleeing the flames. I, on the other hand, eventually had to retreat. Before I left, I captured this visual testimony to one of the many ways that wildlife survives and adapts in the face of extreme environmental conditions.

Species: Savanna Hawk

Camera: Nikon Coolpix P900

US and Canada "Conservation" Winner: Jean Hall

From the photographer: As a volunteer with the Audubon of the Western Everglades’ Owl Watch program, I’ve spent hours and hours photographing Burrowing Owls. Initially, I was only interested in beauty and behavior shots. Over time, I realized I needed to take a journalistic approach to demonstrate the vulnerability of this imperiled species. I took this image near a construction site. This defiant guy decided to use a huge lumber pile as his roost for days. I returned several times because I never knew if or where he might pop out. Burrowing Owl habitat is almost gone, especially on Marco Island, but the birds’ toughness is hard to defeat.

Species: Burrowing Owl

Camera: Canon EOS 5D Mark IV, Canon EF 24-105mm F4 L IS USM

Chile and Colombia "Plants for Birds" Winner: Cristian Valencia

From the photographer: I was blessed to work as a bird guide at the Hotel Termales del Ruiz, near Los Nevados National Natural Park. The area is home to a sub-páramo ecosystem, a cool forest rich in biodiversity. I wanted to photograph the Purple-backed Thornbill, so I approached flowers they pollinate. One day, I suddenly saw this specimen up close; I just had to wait patiently to capture its colorful beauty as it fed. I like to share such photos to raise awareness: When we cut down a forest, we also risk losing species like this one.

Species: Purple-backed Thornbill

Camera: Sony a7 II, Sigma 100-400 F5-6.3 DG DN OS Contemporary

US and Canada "Plants for Birds" Winner: Barbara Swanson

From the photographer: I visited La Jolla’s cliffs three times in January, when cormorants were building nests, and with each visit my photos improved. The birds fly in low over the ocean, then swiftly gain altitude, making it hard to predict where each bird will settle. From the moment I spotted this bird flying in from some distance on my third visit, I had only six seconds to focus and snap this image as it prepared to land. I was in the right place, and my camera’s “bird focus” setting helped me keep the cormorant sharp in the frame. The bird carried not only the usual seagrass but also a strand of red grape algae, which glowed like translucent jewels.

Species: Brandt’s Cormorant

Camera: Nikon Z8, Nikkor Z 600mm F6.3 VR S

Chile and Colombia "Youth" Winner: Camilo Sanabria Grajales

From the photographer: On our way to this year’s Colombia Birdfair, my dad and I pulled over for lunch at the Neblinas restaurant. A little warbler crept up as I walked along the nature trail in the high-altitude cold. Suddenly, the bird caught a moth and shook it vigorously. Astonished as I was, I captured the precise instant of this predator-and-prey interaction in detail as the moth’s scales floated midair, released by each flick of the bird’s beak. To me, this photo reveals the vital relationship between migratory birds and ecosystems that support them.

Species: Blackburnian Warbler

Camera: Canon EOS Rebel T7, Sigma 150-600mm F5-6.3 DG OS HSM Contemporary

US and Canada "Youth" Winner: Parham Pourahmad

From the photographer: When I heard of a rare Long-eared Owl sighting at Coyote Hills Regional Park, I went to check it out. When I arrived before sunrise, I saw the owl looking for rodents in the park’s grasslands and marshes. It hunted on and off for the next hour, giving me ample time to take photos. The sun rose, shining beautiful colors all over the marsh. When the owl flew by, I framed it with its habitat to demonstrate the connection between the owl and its home. I appreciated the warm lighting and how the owl stood out despite appearing small in the frame.

Species: Long-eared Owl

Camera: Nikon D3500, Sigma 150-500mm F5-6.3 DG OS HSM Contemporary

Chile "Coastal Birds" Winner: Francisco Castro Escobar

From the photographer: I enjoy birding every weekend in the coastal area of my city. Urban sprawl has affected shorebird habitat, but even so, in summer it is common to see some species strolling among rocky outcrops or the shore. On this occasion, an American Oystercatcher chick and its mother came toward me. I hid, patiently waiting for them to get closer, until I was able to capture this beautiful moment of the mother feeding a mollusk to her chick. The tenderness of an image like this helps raise awareness about the importance of protecting these “coastal warriors,” as I call these birds, who struggle to survive day by day.

Species: American Oystercatcher

Camera: Sony a7 IV, Sony FE 200-600mm F5.6-6.3 G OSS

"Female Bird Prize" Winner: Sean Pursley

From the photographer: I decided to head to cooler temperatures in the mountains, about an hour’s drive from Boise. I arrived as the early morning light started to hit the side of the mountain. I made my way on the trail as the filtered light shone through the canopy. It was absolutely magical: I could hear bird sounds all around, feel the cool air, and smell the pines. I then saw two Chipping Sparrows flitting around the bushes. One, carrying nesting material, flew onto a perfectly lit branch. She posed for about 15 seconds. The gifts the universe gives us are so special.

Species: Chipping Sparrow

Camera: Sony a1, Sony FE 200-600mm F5.6-6.3 G OSS w/ Sony FE 1.4x teleconverter

The Viltrox AF 9mm F2.8 lens.
Image: Viltrox

Viltrox has announced two new lenses in its Air lineup: the AF 14mm F4.0 Air for full-frame and AF 9mm F2.8 Air for APS-C cameras. These join Viltrox’s growing series of lightweight, compact and affordable lenses, offering an ultrawide perspective for both full-frame and APS-C users.

The Viltrox AF 14mm F4.0 Air lens.
Image: Viltrox

The AF 14mm F4.0 Air lens is available for E and Z mount full-frame cameras and provides a 112° field of view. The lens features an STM autofocus motor that Viltrox says is accurate, smooth and quiet enough for video use. It can focus as close as 0.13m (5.1") and offers a 0.23x maximum magnification, making it useful for detail shots as well as sweeping views.

The 14mm lens uses an optical design comprised of 12 elements in 9 groups, which includes 4 ED, 2 HR and 2 aspherical elements. The front element also features an anti-glare coating to minimize flare and ghosting. It is compatible with 58mm filters.

As part of the Air series, Viltrox designed the lens to be lightweight and compact. The E-mount version weighs just 170g (6oz), while the Z-mount model weighs 185g (6.5oz). The E-mount lens is 56.4mm (2.2") long, and the Z-mount is 58.4mm (2.3") long.

The Viltrox AF 9mm F2.8 lens.
Image: Viltrox

The AF 9mm (13.5mm equiv) F2.8 Air lens offers nearly the same view as the full-frame lens. The APS-C lens shares other similarities with the full-frame offering as well, such as the STM motor for autofocus that promises to be smooth and silent for video recording and a 0.13m (5.1") minimum focusing distance. Its maximum magnification is slightly lower, coming in at 0.15x.

The 9mm F2.8 lens uses an optical design with 13 elements in 11 groups and includes 3 ED, 3 HR and 2 aspherical elements to minimize chromatic aberration and manage distortion. It's available for E and Z mounts, with the E model weighing 175g (6.1oz) and the Z mount lens weighing 190g (6.7oz). Despite Viltrox's recent announcement that it's joining the L-mount Alliance, the lenses don't appear to be available for that mount.

Both new Air lenses, the AF 14mm F4.0 Air and AF 9mm F2.8 Air, are now available for purchase for $199.

Buy now: Viltrox AF 9mm F2.8 Air Viltrox AF 14mm F4 Air

When you use DPReview links to buy products, the site may earn a commission. Canon EOS R5 II | Canon RF 85mm F1.4 L VCM | F5 | 1/640 sec | ISO 3200
Photo: Richard Butler

Last week, Canon announced the RF 85mm F1.4 L VCM, a new telephoto lenses made for portraits and video work. The company also invited our editor Richard Butler to Japan, to take a tour of their factory (so keep an eye out for some exciting stuff coming down the line), and on the trip he got the opportunity to take several portraits with it, along with other images that fit the focal length.

We processed the samples using our standard Capture One workflow, which includes digital geometric distortion corrections. However, unlike with some of the wider lenses in Canon's current F1.4 lineup, the company says those aren't required for this lens, and indeed we've found them to be relatively subtle.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Canon EOS R5 II | Canon RF 85mm F1.4 L VCM | F8 | 1/200 sec | ISO 500
Same file, exported from Adobe Camera Raw with and without distortion correction.

As with other lenses in this line, we found the declicked aperture ring to be somewhat unsatisfying for photography; the lack of discrete stops meaning it doesn't give any sense of feedback when you change your aperture setting, so we tended to leave it in its locked position and control the lens from the camera's command dials.

Buy now:

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When you use DPReview links to buy products, the site may earn a commission.Hasselblad X2D II 100C vs Fujifilm GFX 100 II

Hasselblad recently announced the X2D II 100C, the latest camera in its medium-format lineup, and the first to be capable of continuous autofocus. That feature makes it a much closer competitor to Fujifilm's medium format cameras, the GFX 100 II and 100S II. Fujifilm's two models have a lot in common, but we'll mainly be comparing the former in this article because of its higher magnification viewfinder, CFexpress storage and price tag that's closer to Hasselblad's.

While both the X2D II and GFX 100 II use very similar 100MP BSI CMOS sensors, they're surprisingly different in several key areas. Let's go over what those are.

Design

The X2D II is designed to be sleek and minimlaist, and Hasselblad says it makes the bodies out of a single block of machined aluminium. The GFX 100 II, meanwhile, has a very utilitarian design, with a hatched rubber grip that uses a proprietary pattern called Bishamon-Tex. The X2D's grip feels like a rubber version of leather; one of our editors described it as looking a bit like washi, a Japanese paper.

The GFX 100 II isn't substantially larger or heavier than the X2D II, but it still feels like a more substantial piece of equipment, with its grip fully filling your hand. Hasselblad's grip isn't small and we never felt at risk of dropping it, but its sleeker; it's like holding a modern glass sandwich smartphone compared to a Nokia 3310 (though the two cameras are much closer in capabilities than the two phones).

Handling / Controls

The GFX 100 II's more industrial appearance is helped by the several switches and knobs that you use to control its shooting and autofocus modes and power. While the X2D II has a generous number of programmable buttons, including one under the newly-added joystick, and two customizable top-plate command dials, you'll probably find yourself changing settings via the touchscreen more often than you would with the GFX.

With that said, Hasselblad's UI is very simple and clean. Its Settings screen is limited to the essentials, and the live view UI mainly focuses on the basics of photography. Our only real gripe with the controls is that the autofocus point moves quite slowly in response to the (four-direction) joystick, taking a long time to go from one edge of the screen to the other, which could be frustrating if you're trying to photograph a moving subject.

The GFX's UI is, for better and worse, very similar to what you'll find on Fujifilm's other cameras. You can configure the live view display to show just a few key statistics, but when you dive into the menus, you'll be greeted by several tabs, each with nested pages containing dozens of options. Once you learn the system, it's generally easy to get around, but it certainly isn't minimalist.

EVF and Display

The GFX 100 II has a versatile EVF and screen setup. The 9.44M dot EVF can be removed from the camera if you don't need it, or attached to an adapter that lets you tilt and swivel it. You can also choose whether you want it to run at 1x magnification at 60Hz for the highest quality, or at 0.77x and 120Hz for maximum responsiveness. It has a 3.2", two-way tilting rear screen that can move up or down and to the right, which gives you more flexibility when shooting in portrait or at low angles like you would when photographing architecture.

The X2D II's EVF has a lower-resolution 5.76M dot panel, but still provides a 1x magnification. While its rear display can only tilt up and down, it uses a larger 3.6" OLED panel that can get exceptionally bright, up to 1400 nits. That's important because...

HDR stills Ultra HDR JPEG taken with the Hasselblad X2D II. To see the effect, open the photo in a supported browser on a device with an HDR-capable display.

One of the X2D II's main features is its "end-to-end" HDR, where it outputs Ultra HDR JPEG or HEIF files, and lets you review them on the camera itself. Viewed on a device with an HDR-capable screen and compatible software, the images' highlights can be rendered with a wider range of brightness, creating a more life-like rendering.

While most other camera manufacturers have varying levels of support for HDR output files, Fujifilm doesn't, outside of video. If you have a Raw-based workflow, you can create comparable HDR images with the Fujifilm using software like Adobe Camera Raw, but the Hasselblad helps you expose correctly for HDR in its auto modes by analyzing the scene to determine how much headroom it needs to capture the highlights correctly. You'll also be able to check its work, as the rear display shows the output images in HDR.

Speed

Neither the X2D II nor the GFX 100 II are sports / action cameras, but if you're trying to capture moving subjects, the Fujifilm will be the better pick. It can shoot at 8fps with its electronic shutter, though doing so will require dropping down to a 12-bit readout. The Hasselblad, meanwhile, tops out at 3fps using 14-bit readout.

Both cameras have relatively snappy user interfaces, though the Hasselblad can sometimes take a beat to start up. That won't be an issue in the studio, but it could be frustrating if you're trying to use it for more documentary or street photography work.

Stabilization

While both cameras have very good IBIS systems, the X2D II's provides up to 10EV of stabilization compared to the GFX 100 II's 8EV. While Hasselblad tells us that 10EV of stabilization is possible with just the camera, its site says that you'll need to sync it with the company's Phocus app every few hours or whenever you change location to get the most out of the system. This is because the system can compensate for the Earth's rotation, but to do so, it needs your latitude and longitude. Unfortunately, Phocus isn't available for Android; the mobile version only runs on iPhones and iPads.

In practice, without syncing with Phocus, we found it worked well but didn't leave us thinking it was appreciably better than the Fujifilm.

Autofocus

Both the GFX 100 II and X2D II have autofocus systems that would've been unthinkable for a medium format camera just a few years ago, with continuous autofocus augmented by AI-derived subject recognition. The X2D II can recognize humans, pets and vehicles, and the GFX 100 II supports those plus birds, trains, planes and motorcycles/bikes.

Both can track arbitrary subjects as well, though we've found the Hasselblad to be ever so slightly more accurate when doing so, perhaps because of its LiDAR sensors that augment its more traditional phase detect focus points. The fact that it vibrates to confirm when it's locked on is also an excellent touch.

The X2D II's continuous autofocus mode also comes with the critical caveat that it only works with select, faster-focussing lenses and, currently, that list only has seven entries. Fujifilm's, meanwhile, is compatible with most of its lenses.

Lenses

Fujifilm and Hasselblad both have a robust ecosystem of prime and zoom lenses available for their medium format systems, but there are some important differences between the two systems. Hasselblad's lenses use leaf shutters, meaning they can sync with flash up to their maximum shutter speeds (typically around 1/2000 or 1/4000 sec). This mechanism can't always deliver a circular aperture, which can lead to oddly-shaped specular highlights and bokeh in some shooting situations.

The GFX system, meanwhile, uses a focal plane shutter built into the camera, meaning it can only sync flash at 1/125 sec or slower. In most studios, that will be sufficient, but outdoors, it could make it difficult to shoot with flash unless you have powerful strobes with High Speed Sync modes capable of overpowering the sun. However, it means you don't have to rely on the extremely slow electronic shutter for adapted lenses like you would with the Hasselblad, so you can use old or third-party lenses to shoot a wider variety of subjects.

Not requiring a leaf shutter means that Fujifilm's first-party lenses can be faster, cheaper, or both. For example, Fujifilm's 55mm lens is an F1.7 and costs $2599, while Hasselblad's tops out at F2.5 for $3699.

Video

If you need to shoot video, the X2D II is a non-starter; it doesn't even have a mode for it. The GFX 100 II, meanwhile, is packed with video features to the point where Fujifilm is making a dedicated cinema camera out of it. It can shoot 8K with a 1.53x crop, 4K up to 60p, and has modes for shooting with several types of lenses, including ones made for full-frame cameras and anamorphics. It also has waveforms, vectorscopes, ProRes recording (to an external SSD, if you'd like) and a full-size HDMI port with support for Raw output.

Despite Fujifilm clearly pushing the GFX 100 II as a video camera, its rolling shutter performance is quite poor. In its highest resolution modes, it takes up to a glacial 33.2ms to read out the portion of the sensor it's using. It can achieve much better times – around 15ms – in most of its 4K modes, but to do so, it either has to skip lines or bin pixels, which will lower the amount of detail captured.

Ports and connectivity

The GFX 100 II is bursting with ports. It has 10Gbps USB-C, dual 3.5mm sockets for headphones and microphones, full-size HDMI, one CFexpress and one SD card slot for storage, Ethernet and a flash sync terminal. There's no internal storage, though, so you'll be using a slower SD card for overflow or backup recording, rather than a fast CFexpress card like with the Hasselblad.

The X2D II's ports, meanwhile, can best be described as "minimal." It has a 10Gbps USB Type-C port for charging and data transfer, a 3.5mm port for Hasselblad's shutter release cable, and a CFexpress Type B slot to augment the built-in 1TB SSD (which should theoretically be lightning-fast, but the camera occasionally took longer than we felt it should to write images in our testing). It also has a hot-shoe mount for connecting Nikon-compatible flashes and triggers.

Both can be shot tethered in a studio, though the Fujifilm gives you more flexibility when it comes to workflow. The X2D II can be tethered to a Mac or Windows computer with a cable, or wirelessly with the Phocus mobile app, though, again, it's iOS/iPadOS only. The Fujifilm can also be tethered to various computer and mobile apps, but it also offers the option to automatically upload your images straight from the camera to Frame.io or an FTP server via Wi-Fi or wired internet. That could make it easier to get your images to an editor or other stakeholders.

Battery

While battery life may not be as big of a concern in the studio where power leads and spares are readily at hand, both cameras are viable options for shooting out-and-about. Here, the Fujifilm wins handily, as its battery should last for all but the longest shoots. It's CIPA-rated for around 540 shots, and we've found it can last for several sessions. Even a wedding photographer may be able to scrape by with a single charge, though they also have the option of topping up with a USB-C battery bank.

The X2D II's battery is rated for 327 shots per charge, though you can extend it by turing off HDR. It too can be charged via USB-C. While these ratings aren't usually an indicator of the literal number of shots you'd get, they do work as a common point of comparison between cameras. After a casual day of shooting, we'd almost certainly put the Hasselblad on to charge, but probably wouldn't think about it with the Fujifilm.

Price

The GFX 100 II is, in general, more expensive than the X2D II. It costs $8500 in the US, £7000 in the UK, and around €7999 in Europe, while the Hasselblad costs $7400, £6400 and €7200, respectively. However, buyers should take the (often substantial) extra cost of Hasselblad's leaf-shutter lenses. It's also worth noting that you can get the same image quality and autofocus as the GFX 100 with the $5699 GFX 100S II, at the cost of a fixed viewfinder with lower resolution and magnification, and fewer video capabilities and ports.

The X2D II is $800 cheaper than the original X2D, which appears to be an explicit bid to compete more with the GFX lineup. It now falls between the two models, rather than coming in above the GFX 100 II's pre-tariff price as its predecessor did.

Summary

Both the GFX 100 II and the X2D II have outstanding image quality and are extremely capable for studio work and shooting outside. That doesn't make choosing between them easy, but largely the decision will likely come down to your aesthetic preferences and whether you need certain capabilities. If you're looking to produce HDR images straight out of camera or need to be able to sync flash at 1/1000 sec and above, the Hasselblad is the obvious choice. But if you want to shoot the occasional video or high-speed burst, the Fujifilm is likely the better option.

In practice, it's a consideration of the systems as a whole that will win the day, but with the X2D II 100C, Hasselblad has made that decision significantly more difficult.

Image: DJI

DJI has announced the latest drone in its popular Mini lineup, the Mini 5 Pro. The new offering introduces a Type 1 sensor to the sub-250g series for the first time, promising pro-level imaging with longer battery life.

The Mini 5 Pro is built around a 50-megapixel Type 1 (116mm²) sensor. That's 68% larger than its predecessor, the Mini 4 Pro, which featured a Type 1/1.3 (69mm²) sensor. DJI says that the drone is able to capture 14 stops of dynamic range, making it better in high-contrast scenes such as sunset and sunrise.

DJI also gave a slight bump to battery life in the Mini 5 Pro. It promises 36 minutes of flight time, compared to the 34 minutes from the Mini 4 Pro. Users can also opt for the company's extended battery for 52 minutes of flight time, though that will put the drone over the 250g mark, requiring compliance with laws around heavier drones.

Image: DJI

Many of the other improvements in the Mini 5 Pro bring the device closer to the company's Air line. That includes improved low-light obstacle detection with newly added forward-facing LiDAR. DJI says it will make the return-to-home mode safer, and it can even navigate cityscapes at night. DJI also says that in sufficient light, it can memorize flight routes for safe takeoff and return, even if the drone does not have a satellite signal.

The drone features a new "48mm Med-Tele mode" and DJI says it offers a higher digital zoom resolution than previous models. The camera gimbal also gets more movement with 225-degree roll rotation. It also keeps the true vertical shooting found on the Mini 4 Pro.

From a video standpoint, the new drone is capable of 4K 60p HDR video and supports slow-motion recording at 4K 120p. It can record 10-bit video using H.265 encoding with a maximum ISO of 12800 and offers D-Log M and HLG color modes with a maximum ISO of 3200.

Image: DJI

The Mini 5 Pro supports DJI's long list of pre-formatted quick shots, including Rotate, Dronie, Asteroid, various MasterShots and Free Panorama. It also enables quick transfers via Wi-Fi, promising transfer speeds of up to 100MB/s, which is up substantially from the Mini 4 Pro's promised 30 MB/s rate. It also offers 42GB of onboard storage, another notable increase from its predecessor's 2GB.

Unfortunately for US users, as with other recent DJI products, the Mini 5 Pro will not be officially available in the US. There won't even be a product page for it on the DJI US website. As with other recent launches, you may be able to find small numbers at other retailers, though that isn't guaranteed. For those outside the US, the DJI Mini 5 Pro is available as of today for a starting price of €799 / £679.

Press release:

DJI Brings World First to the Sky with Mini 5 Pro

1-Inch large CMOS sensor, Nightscape Omnidirectional Sensing, true vertical shooting and 225° flexible gimbal rotation combine for the ultimate all-in-one mini camera drone

September 17th, 2025 - DJI, the global leader in civilian drones and creative camera technology, today introduces the DJI Mini 5 Pro. Featuring the world’s first¹ 1-inch sensor in a mini camera drone, an Intelligent Flight Battery providing up to 36 minutes of flight time1 and upgraded ActiveTrack 360°, the palm-sized, lightweight drone, gives everyone the chance to capture life’s beautiful moments and preserve treasured memories in stunning detail.

Pro-level Imaging in a Compact Body

The Mini 5 Pro debuts a 50MP 1-inch large sensor, preserving even minute details in low-light conditions such as sunsets and nightscapes; and a new 48mm Med-Tele mode with higher digital zoom resolution than previous models, to make subjects stand out with greater texture and adds depth. Furthermore, DJI’s portrait optimization technology enhances portraits’ brightness, contrast and skin tones to make them look naturally radiant with more vivid expressions.

Cinematic Settings as Standard

With 4K/60fps HDR video up to 14 stops of dynamic range¹ are achievable to capture cinematic footage in high-contrast scenes, such as detailed views of cloud textures and other elements during sunrise and sunset.

For those wanting to slow things down with even greater creative flexibility in post-production the Mini 5 Pro supports slow-motion video recording at 4K/120fps.

When it comes to color modes, the Mini 5 Pro can record 10-bit video using H.265 encoding, delivering refined color performance, with the maximum ISO raised to 12800. In D-Log M and HLG color modes, the maximum ISO is raised to 3200, allowing for greater brightness and more details in urban night scenes.

Camera Movement with Greater Possibilities

Mini 5 Pro supports wide-angle 225° roll rotation and true vertical shooting, bringing greater freedom and possibilities to camera movement.

With 225° roll rotation, the gimbal enables flexible and dynamic camera movement. Paired with intelligent modes like QuickShot Rotate, Timelapse, Spotlight, and Waypoint Flight, capturing creative rotating footage is easier than ever before.

Instantly shoot skyscrapers, waterfalls and vibrant city scenes with the camera’s True Vertical Shooting. No cropping is needed and with every photo and video ready for social media.

Confident Flight Even in Low Light

Mini 5 Pro features a forward-facing LiDAR and multiple vision sensors for nightscape omnidirectional obstacle sensing, making return-to-home safer. In city nightscapes, it actively detects and avoids obstacles along flight and return paths for worry-free night flying. With sufficient light, it can memorize flight routes, enabling safe takeoff and return even without a satellite signal¹.

Omnidirectional Vision Sensing System: With forward-facing LiDAR, fisheye lenses on the front and rear; binocular lenses and a 3D infrared sensor on the bottom omnidirectional obstacle sensing is achieved for safer flights¹.

Nightscape Omnidirectional Obstacle Sensing¹: Provides robust safety for night photography, allowing the user to create with confidence and efficiency¹.

Nighttime RTH: With the forward-facing LiDAR, Mini 5 Pro detects obstacles like tall buildings even in low-light conditions and intelligently maneuvers upward, ensuring safer returns during nighttime flights¹.

Non-GNSS RTH: Powered by real-time vision positioning and map construction technologies, Mini 5 Pro memorizes flight paths when adequate lighting is available. This ensures a safe return even when taking off from locations without satellite signals, such as balconies.

Dual-Band GNSS: With L1 + L5 dual-band GNSS, Mini 5 Pro connects to more satellites, for improved signal stability and precise positioning.

Upgraded ActiveTrack 360°

The upgraded ActiveTrack 360° offers customizable tracking for various scenarios, and features more stable and safer tracking performance than previous models. Whether filming a stroll by the beach or a bike ride on a weaving road, the Mini 5 Pro detects sports scenarios and will select the right mode for optimal framing and tracking. Tracking performance has been enhanced to balance speed, agility, and safety.

Capture and Transfer Like a Pro

The Mini 5 Pro offers DJI’s intelligent features which enable users to achieve professional-level results with every flight.

MasterShots: Provides high-level camera movement templates according to portrait, close-up, and long-distance shooting needs.

QuickShots: Supports various modes such as QuickShot Rotate, Dronie, Circle, Helix, Rocket, Boomerang, and Asteroid, allowing the user to easily shoot stylish short films.

Free Panorama: Enables users to create seamless panoramic shots by stitching together multiple images with a manually selected subject or area.

Off-State QuickTransfer: Mini 5 Pro supports remote wake-up via the DJI Fly app within Bluetooth range. Without taking out the drone or remote controller, files can be transferred at up to 100 MB/s via Wi-Fi 61. Even when switching to other apps, the DJI Fly app continues downloading in the background.

Extended Flight Time

With the DJI Intelligent Flight Battery Plus flight time is increased by up to 16 minutes from the up to 36 minutes of the standard Intelligent Flight Battery to up to 52 minutes1.

1 - Always observe local laws and regulations and ensure the aircraft has obtained relevant certifications and airspace authorizations before flying.

- The term "world's first" refers to the fact that, DJI Mini 5 Pro is the market's first 1-inch sensor in a near-250g mini drone, as of September 17th, 2025.

- All data was tested in controlled conditions. Actual experience may vary.

- All named accessories are sold separately

Nikon D800 | Tokina AT-X 16-28mm F2.8 Pro FX | ISO 400 | 1/640 sec | F2.8
Photo: Abby Ferguson

Understanding shutter speed, aperture and ISO can be overwhelming for beginner photographers. Even once you comprehend the terms and settings on their own, knowing when to use specific values for each can be confusing. After all, each of those settings controls something different, and putting it all together is a lot.

It's not feasible to provide specific numbers that you should use for a given situation, since that's dependent on the amount of light in the scene and your gear. However, below you'll find tips on identifying a general ballpark of which shutter speed, aperture and ISO you should use to achieve the visual effect you want.

Shutter speed

A fast shutter speed was necessary in this situation to freeze the action of the surfer.

Nikon D800 | Nikon 80-200mm F/2.8D ED IF AF-S | ISO 100 | 1/5000 sec | F3.2
Photo: Abby Ferguson

Shutter speed, which you can learn more about in our video on the topic, is one of the fundamental properties of exposure. A slow shutter speed lets in more light, making your image brighter, while a fast shutter speed lets in less light, making your image darker (assuming the rest of your settings stay the same). It's important to note that shutter speeds are fractions of a second, though some cameras only display the denominator. Smaller denominators (such as 1/20) are slower shutter speeds, while larger denominators (such as 1/2000) are fast shutter speeds.

Beyond controlling how much light your sensor is exposed to, shutter speed also impacts how movement appears in your photographs. As a result, choosing a shutter speed comes down to whether there is movement in your scene and how you want it to look.

Slow shutter speeds will result in blurred movement, which can be useful for conveying a sense of time. You often see slow shutter speeds used when photographing rivers or waterfalls, traffic at night or creative images of people moving. Fast shutter speeds, on the other hand, freeze movement. They are ideal for highlighting action. That's why sports and wildlife photographers typically use fast shutter speeds.

In this image, the slightly blurred movement in the subject's hands helps show more action than a perfectly still image would.

Sony a7 III | Sony Vario-Tessar T* FE 24-70mm F4 ZA OSS | ISO 1000 | 1/40 sec | F4
Photo: Abby Ferguson

Broadly speaking, shutter speeds slower than 1/60 sec are considered slow, while those higher than that are considered fast. However, what constitutes fast and slow shutter speeds in a given situation depends on multiple factors, the most important of which is the speed of the movement.

Fast movement requires faster shutter speeds to freeze movement. For extremely fast-moving subjects, such as a race car, a shutter speed of 1/2000 sec or more is necessary. Slower movement allows for a slower shutter speed while still stopping movement in the image. For example, a baby crawling across the floor may only need a shutter speed of 1/125 sec to freeze the movement.

It's also important to know that working with slow shutter speeds is likely to cause camera shake or blur across the entire image from the camera's movement during exposure. So, when using slow shutter speeds, it's best to put your camera on a tripod or another sturdy surface to avoid an image that is entirely blurry.

Aperture

The background could have been distracting in this image and wasn't important for adding context, so I chose a shallow depth of field to keep attention on the cat.

Nikon Z6 III | Nikon Z 35mm F1.4 | ISO 400 | 1/125 sec | F3.2
Photo: Abby Ferguson

Aperture is the second fundamental property of exposure, which you can learn more about in our video explainer. It refers to the size of the opening in the lens, which determines how much light enters the camera. A larger opening lets in more light, making the image brighter, while a small opening lets in less light, making the image darker.

Aperture is one factor that impacts depth of field, or how much of a scene is in focus. A wide open aperture, which is named with a small F-stop number such as F1.8, will result in a shallower depth of field, or only a small amount of the scene in focus. A small aperture, which is named with a large F-stop number like F22, will provide a deep depth of field, or most of the scene in focus.

For this landscape, I wanted everything reasonably in focus, so I used small aperture in order to produce a deep depth of field.

Nikon D800 | Tokina AT-X 16-28mm F2.8 Pro FX | ISO 320 | 1/800 sec | F10
Photo: Abby Ferguson

A shallow depth of field is ideal for keeping the focus on your subject and blurring out distracting elements in the background. It is typically used in portraiture and macro photography. Deep depth of field is useful when everything in the scene is important, such as landscapes or architectural photography.

ISO

If you look carefully at the dark sky, you can see a fair amount of noise.

Fujifilm GFX100RF | F4 | 1/60 sec | ISO 12,800 | Processed in Adobe Camera Raw
Photo: Mitchell Clark

Finally, there is the often-misunderstood setting: ISO. This setting determines how much your camera boosts the signal coming from the light hitting its sensor, thereby making the image brighter or darker. Lower ISOs mean its boosting the signal less, adding less lightness, and higher ISOs boost it more, making a low-exposure image appear brighter. A high ISO is helpful in situations where you can't capture a lot of light through your exposure settings, such as at night or in dark interior spaces. A low ISO is best for conditions with lots of light, such as a bright and sunny day.

ISO itself doesn't cause noise, but capturing less light will result in noisy images compared to bright, well-lit situations. So, if image quality is most important, you'll want to prioritize getting enough light so that you can use lower ISOs.

There was enough light in this scene that I could avoid noise.

Sony a7 III | Sony Vario-Tessar T* FE 24-70mm F4 ZA OSS | ISO 1000 | 1/40 sec | F4 | Processed in Adobe Camera Raw
Photo: Abby Ferguson

How aperture, shutter speed and ISO work together

While all three settings have some sort of visual effect (even if indirectly), they all impact how dark or bright your photographs will be. Choosing your shutter speed, aperture and ISO is a balance of getting a correct exposure and achieving the look you want for motion, depth of field and noise.

When determining which numbers to use, it's important to first decide if motion or depth of field is most important or if you need to balance the two. If motion is the critical feature, select your shutter speed and then dial in your aperture and ISO to obtain an appropriate level of brightness. If depth of field is the priority, set your aperture to whatever gives you the look you want, then use shutter speed and ISO to correct your brightness level. Sometimes you need to find a happy middle ground with those two exposure settings and use ISO to round out how bright the image is.

Image: Apple

With Apple's latest iPhone 17 series, the company's lineup has more options than before, from the iPhone Air to the iPhone 17 Pro Max (and we can't forget the budget iPhone 16e). While there are many things that set these phones apart, we're going to look at how the phones are for photography, and how they compare to each other.

How do Apple's new iPhones compare?

There are more subtle differences that we'll cover, but the biggest differences between cameras for the Air (left), iPhone 17 (middle) and iPhone 17 Pro (right) are obvious just from looking at them.
Image: Apple

Comparing the cameras on the iPhone 17, iPhone Air, iPhone 17 Pro, and iPhone 17 Pro Max is relatively simple; for most people, the main differences will be in the number of cameras each phone has. The Air has a single wide-angle camera, and the same model is found on the iPhone 17, though paired with an ultra-wide camera. The 17 Pro adds an additional telephoto camera, providing the most range and flexibility.

There are several shared components between the phones. The 17 and Air's main cameras, for example, are the same, as are the wide-angle camera on the 17 and 17 Pro. And for photography, they have the same set of features, including the Camera Control button, customizable Photographic Styles that give you more control over how your photos look and a portrait mode with adjustable computer-generated bokeh.

The iPhone 17 Pro's main camera is much larger than the one on the standard 17 and Air

Despite the commonalities, there are still benefits to going Pro. Besides the addition of a 100mm equiv. telephoto camera, the main camera also uses a much larger Type 1/1.28 (71.5mm²) sensor, compared to the Type 1/1.56 (48mm²) sensor used on the standard 17 and Air.

The additional area means it will gather more light, so it won't have to dip into the long exposure low-light mode as often, and can provide better image quality and more real bokeh in ideal lighting conditions. The Pros' main cameras also have a slightly wider focal length at 24mm, rather than 26mm.

iPhone Air iPhone 17 iPhone 17 Pro Main (wide) Sensor resolution / size 48MP
Type 1/1.56 (48mm²) 48MP
Type 1/1.28 (71.5mm²) Focal length (equiv.) 26mm 24mm Aperture F1.6 F1.78 Ultra-wide Sensor resolution / size — 48MP
Type 1/2.55 (23.5mm²) Focal length (equiv.) 13mm Aperture F2.2 Telephoto Sensor resolution / size — 48MP
Type 1/2.55 (23.5mm²) Focal length (equiv.) 100mm Aperture F2.8

Finally, there's the Air, which only has a single 26mm wide-angle camera. Apple includes a "2x" mode that crops in on the 12MP in the center of the sensor to provide a bit of additional reach, but if you like to shoot subjects that are far away, or like the look that ultra-wide images provide, you may want to consider other options. However, if you only use the main camera, you're not giving anything up versus the standard 17.

What about the selfie camera? Image: Apple

For this generation, Apple introduced a brand new selfie camera which, thankfully, is included on all of its new phones. The new design is larger (though it's not clear by how much), higher-resolution and square. While it doesn't seem like the phone uses the whole sensor at once, it allows you to switch between portrait and landscape selfies without having to physically rotate your phone.

Is the Pro Max better than the Pro?

For photography, no; the iPhone 17 Pro and Pro Max have the same camera setup. This hasn't always been the case; the iPhone 15 Pro Max's telephoto camera had further reach than the one on the smaller model. However, this time around, you don't have to give up any photography features to get the more pocketable phone (unless you truly feel you need the 2TB storage option that's only available on the Max).

If you're interested in the Pro line, be sure to check out our deep-dive article that covers all the changes to its cameras and video features compared to the previous generation.

iPhone 17 versus iPhone 16e The iPhone 17 (left) has more than just an extra camera compared to the 16e (right).
Image: Apple

If you look at Apple's spec sheet, it'd be easy to think that the budget-oriented iPhone 16e's single camera is the same one used by the standard iPhone 17; the company calls them both "48MP Fusion Main" cameras, after all. However, the one on the 16e is substantially smaller, coming in at 23.5mm² (which you might recognize as the same size used by the more expensive phones' secondary and tertiary cameras).

The smaller sensor again means that the phone will have to work harder to capture clear photos in low light, and that images from it taken in ideal lighting conditions won't be as good as ones from the newer phones. That's especially true given that it's only optically stabilized, rather than having additional sensor stabilization like the mainline iPhones.

A few other limitations compared to the 17s and Air: the 16e doesn't have the next-generation portrait mode that lets you adjust what the main focus of the image is and what's blurred out, nor does it have the more customizable Photographic Styles. It also lacks the Camera Control button and uses the old selfie camera, meaning you'll have to turn your phone to get landscape portraits.

What about the iPhone 16? Last year's iPhone 16 has the same main camera as the new iPhone 17, but ultra-wide shooters beware...
Image: Tucker Bowe

As usual, Apple has stopped selling the previous-generation Pro phones, but is still selling the standard iPhone 16 for around $100 less than its launch price. Its main camera will be the same as the standard 17's, but its ultra-wide camera is a smaller (23.5mm²) 12MP model versus the 48MP one used by the current-gen. Like the 16e, it uses the older selfie camera.

What else should I consider?

There's a lot of things to consider when you're buying a phone beyond its photographic capabilities. For example, the iPhone 17 Pro Max has a massive battery and a giant screen, both of which could be handy on days when you're taking a ton of photos. The Pro phones also have a litany of video features, such as the ability to record ProRes Raw and Log footage.

Meanwhile, the iPhone Air is substantially thinner than the other options, which could be nice if you prefer a phone that doesn't take up a ton of pocket space. And, of course, there are countless Android options with their own sets of strengths and weaknesses. But you should now at least understand how the cameras on Apple's current-generation phones stack up to one another.

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The G7 X III is popular thanks to its wide array of vlogging features, photographer-pleasing 24-100mm equiv. F1.8-2.8 lens, and well-considered controls.
Image: Canon

At a media event in Tokyo, Canon said it's in the process of increasing production on the PowerShot G7 X III, the company's premium compact camera that has recently been quite difficult to buy.

It's a reiteration of a few comments the company has made throughout the year. In January, it told investors it had seen a surge of orders for the camera, coinciding with point-and-shoots rising in popularity, and in the summer, it said it was increasing production on its compact cameras. And when we specifically asked about the frequent PowerShot G7 X III stock issues, the company promised that the camera was still in production.

The company says the renewed production is following a component shortage, and that it's starting to fulfill backorders on the camera. Whether this means that you'll be able to buy one in the near-term feature if you haven't already put in an order remains to be seen, but Canon says the PowerShot G7 X III is still in its lineup, so there's some hope.

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

Laowa has announced the 180mm F4.5 1.5X Ultra Macro APO, a full-frame telephoto macro lens that provides greater-than-life-size reproduction. The company says it's "one of the smallest and lightest options in its class," and is offering an autofocus version for Sony E, Nikon Z and Canon EF mounts.

The lens has a minimum focusing distance of 0.3m (11.8"), allowing for up to 1.5x magnification. Its optical formula uses 12 elements in 9 groups, and while the company doesn't mention whether it's using any kind of special glass types, it does say the lens has an apochromatic design to reduce chromatic aberrations. It has a nine-bladed aperture.

The E-mount version of the lens is 134mm long and weighs 522g. It can accept 62mm filters and has a function button and USB Type-C port for firmware updates.

Laowa doesn't specify what kind of autofocus motors the AF versions of the lens use, but the system is capable of focusing on subjects that are as close as 1.5m (4' 11") away; for closer subjects, you'll have to use manual focus. It has an internal focusing design.

The 180mm F4.5 1.5X Ultra Macro APO's specifications bear striking similarities to the company's Sword 180mm T4.6 1.5X Macro cinema lens, but it's nice to see this lens in a more photo-friendly package. For one, this option is much cheaper and lighter, and includes autofocus if you happen to have the right lens mount. While it's not particularly surprising that the RF mount version is manual-focus only, the fact that the L-mount version also lacks AF is a little confusing.

The lens will be available today, and costs $499.

Press release:

Laowa Launches the 180mm f/4.5 1.5X Ultra Macro APO Lens

Macro Tight, Feather Light

Anhui China, September 16, 2025 – Laowa announces the launch of the 180mm f/4.5 1.5X Ultra Macro APO lens, the brand's first tele-macro lens designed to revolutionize telephoto, macro, and portrait photography. Combining a 1.5X ultra macro magnification, advanced apochromatic (APO) optics, a remarkably compact and lightweight design, and versatile functionality, this lens empowers photographers to capture intricate details with unparalleled clarity in both close-up subjects and distant scenes. With its robust lens build and innovative features, including autofocus on selective mount options, it's a handy yet powerful tool for professionals and enthusiasts alike.

Key Features:

• 1.5X Ultra Macro Magnification
• Extended Working Distance
• Compact & Lightweight Design
• APO Design
• Outstanding Corner-to-Corner Sharpness
• Auto-Focus Function (E, Z, EF)
• Durable, Well-Built Lens Housing

1.5X Ultra Macro Magnification

The Laowa 180mm f/4.5 1.5X Ultra Macro APO lens delivers an impressive 1.5:1 magnification ratio, capturing life-size subjects with extraordinary detail. Every intricate texture and pattern is rendered in stunning high resolution, perfect for macro photography of small subjects like insects or flowers. With a minimum focusing distance of 30cm and a minimum working distance of 14.7cm in manual mode, this lens excels at enabling breathtaking close-up shots with unmatched clarity and precision, while providing ample space between the lens and subject for comfortable shooting.

Extended Working Distance

With a 180mm focal length, the lens offers a generous minimum working distance of 147.6mm, surpassing shorter macro lenses like the 58mm or 100mm options. This longer reach provides photographers with ample space for shooting and lighting setups, enhancing framing flexibility and precision in macro photography. The most important thing is reducing the chance of scaring the subject away.

A 180mm focal length creates a natural compression effect, making the background appear closer to the subject. This feature provides photographers with enhanced creative flexibility, enabling them to skillfully manipulate the perceived relationship between subject and background for compelling compositions.

Compact & Lightweight Design

Despite its powerful 180mm telephoto reach and 1.5X ultra-macro capabilities, the lens maintains a remarkably compact and lightweight form factor, enhancing portability for photographers on the go. Weighing just 484g (Canon EF) and 522g (Sony E) with dimensions of Ø67.6mm x 88.4mm and Ø67.6mm x 134.4mm, respectively, it stands out as one of the smallest and lightest options in its class. This makes it the ideal choice for professionals and enthusiasts seeking high performance without the bulk, perfect for handheld, field, or travel use.

APO Design

Utilizing an apochromatic (APO) design, this lens effectively eliminates both longitudinal and lateral chromatic aberrations. The result is exceptional sharpness, true-to-life color accuracy, and minimal fringing across the entire image, even in challenging lighting conditions. This makes it an ideal tool for precision-dependent macro and telephoto photography.

Outstanding Sharpness

The Laowa 180mm f/4.5 1.5X Ultra Macro APO delivers exceptional corner-to-corner sharpness, even at high magnifications, for stunning image quality. Featuring an advanced optical design with 12 elements in 9 groups. It provides consistent, razor-sharp performance for macro photography. This configuration excels at capturing subjects with extreme detail, making it ideal for intricate close-up shots and professional-grade results across the frame.

AF Function In Selective Mount Options

The lens features autofocus (AF) functionality for Sony E, Nikon Z, and Canon EF mounts, enabling focusing on subjects from 1.5m to infinity. To switch to AF mode, simply rotate the focus ring to the infinity point until a distinct “click” — manual focus remains available for subjects within 1.5m for precise macro control. For Canon RF users, pair the EF mount with an EF-to-RF adapter to unlock AF capabilities. This easy-switch design enhances workflow efficiency for telephoto, portraits, wildlife, and macro shooting.

Durable, Well-Built Lens Housing

The Laowa 180mm f/4.5 1.5X Ultra Macro APO lens is crafted with a durable, robust housing design for challenging shooting conditions. It incorporates internal focusing to prevent lens extension during use, ensuring balanced handling and dust protection. Enhanced with practical features, the lens includes a dedicated function button for swift adjustments, a Ø62mm filter thread for versatile filter use, electronic contacts on AF versions for EXIF data recording, and a Type-C port for firmware updates.

Pricing & Availability

LAOWA 180mm f/4.5 1.5X Ultra Macro APO lens is available for purchase via the Venus Optics official website (Home - LAOWA Camera Lenses) and authorized resellers starting September 16, 2025. The US price is USD 499, with pricing varying by country.

Laowa 180mm F4.5 1.5X Ultra Macro APO specifications:

Image: Extreme-Photographer / E+ via Getty Images

Deciding the best timing to buy a new camera can be challenging when weighing the benefits of buying immediately versus waiting for the next model. It's a balancing act between getting the latest technology and having something in hand sooner. Making matters worse, cameras aren't like a lot of consumer electronics that follow fixed release timelines (like the iPhone coming out every September). Instead, they are more sporadic, and you can never know for sure when to expect an update.

Rumors typically fly before camera releases, speculating about details and timing. But those aren't always trustworthy or accurate, making the decision even harder. If you're on the fence about buying now or waiting, here are some key things you'll want to consider.

When you should buy now

Buying without waiting is smart in many situations. For starters, it may be necessary to purchase immediately if you have an upcoming project or event that requires a new camera. For example, if you're photographing a wedding in the coming months and need a backup camera, waiting for the updated model generally isn't possible. However, if you're pretty sure something new is coming soon that will better fit your needs, renting a camera until the new one is out may be the better move.

You'll also want to check when the lineup you are considering last had a release and what the typical release cadence is for that company (we have a handy timeline tool that can help you with that). If a camera just came out a handful of months ago, you'll have to wait a long time for the next model. In that case, you might as well make the purchase now if it fits your needs. Otherwise, you'll be left waiting for quite some time.

If the cameras currently available offer all your must-have features, then it doesn't hurt to purchase now.

Additionally, if the cameras currently available offer all your must-have features, then it doesn't hurt to purchase now. If you need high burst rates and the current cameras are fast enough, you might as well go ahead and buy. Of course, you never know what new features will be introduced, but if you've thought carefully about what is most important to you in a camera and there is one that currently meets those needs, there may not be a reason to wait.

Lastly, some companies only rarely offer steep sales or discounts, so if you come across a good deal, it may be worth jumping on it. Plus, not every older model is discounted when the new one comes out, so a good sale could save you more than waiting for the camera you want to be old news.

When you should wait to buy a new camera

There are certainly good reasons to buy immediately, but waiting may also be the better move. For those who currently have or are eying a camera that's getting rather old, it could be likely that a new version is imminent. In such cases, you may simply want to wait for the new version.

As mentioned, knowing the release cadence can also help you decide if you should wait. If you don't need a new camera urgently and you are getting close to the timeframe when a new model typically comes out, it may make the most sense to just wait a little longer. Even if you decide you don't need that latest camera, you may be able to save a little bit on the now older model.

It may also be worth paying attention to any rumors or teasers. Rumors, of course, aren't always accurate, but they could at least provide an idea of upcoming features. If you see hints that the next camera could have a feature that you would really enjoy or benefit from, it may make sense to hold off for a bit longer and wait for that camera.

Final thoughts

At the end of the day, whether you should wait for the latest device or buy a camera now comes down to your needs. Having a clear understanding of your must-have features and tools is critical and will put you in a better position to make a smart decision. Likewise, knowing when a company last released something and what cadence the product announcement tends to follow will help you decide if you'll be waiting for years or months. However, if there is a model available today that perfectly matches your needs, the benefits of waiting could be slim to none.

Photo: MPB

Buying and selling used gear online is a great way to find bargains and make sure that valuable equipment gets a second life, rather than ending up in a landfill. But trading online can be stressful. We've all had the experience of buying a camera or lens listed as "barely used" or "mint in box," only to discover on opening the parcel that the glowing description didn't match reality. Equally, selling used gear can be a hassle too. Time-wasters, flaky buyers and outright scammers are at best an inconvenience, and at worst, could present a serious risk to your online security.

But it doesn't need to be a headache. We've teamed up with the good folks at MPB to create a quick guide to buying and selling used camera gear online the smart way.

Tips for Buying Used Gear Image: MPB Always check the photos

When you're shopping for used gear online, whether from a private seller or a retailer, a picture is truly worth a thousand words. Make sure that the photos are in focus and high-resolution enough to check for any potential defects. Minor scuffs on the body of a camera or lens probably don't matter, but scratches on the optics of a lens, or significant dust or fungus between the elements is bad news.

When you browse used inventory on MPB, you'll see multiple high-res photos of the exact product you'll be buying. But if you opt to buy from a site that doesn't include photos, it's smart to do some additional research before you click "buy now." Check customer reviews to see what other buyers are saying, and make sure that you have the option of returning a product that doesn't meet your expectations without incurring a fee.

If you're buying from a private seller and want to see more than their blurry smartphone photos reveal, look for an option to message them or leave a comment. A trustworthy seller should be happy to reshoot or supply additional photos on request. If they refuse or don't reply, that's your cue to walk away.

Photo: MPB …and read the product description.

This one should go without saying, but we'll say it anyway – always read the item description and condition grade carefully. MPB uses a transparent, multi-tiered condition grading scale, including a description field that lists specific details about the item. No hard-to-spot "info" or "read description" button – it's all right there.

When it comes to private listings, watch out for sellers who bury bad news at the end of a listing or use minimizing terms like "very minor" or "unnoticeable" to describe flaws. Be particularly cautious if the description mentions cracks to a camera or lens housing, scratches on the front or (especially) rear glass element of a lens, or the dreaded fungus…

Remember: appearances can be deceptive

So you've examined the photos closely, and from appearances, the gear you're considering looks like it's never been used. That's a good thing, right? Well, maybe, but maybe not. Even if the exterior looks pristine, there may still be gremlins lurking inside.

If you're shopping for a vintage film camera or manual lens, especially, ask yourself – what has it been doing all these years? And how has it been stored? When mechanical cameras aren't used for extended periods of time, this can lead to hard-to-spot problems, including sticky shutters, light meter failure, corroded battery compartments and worse.

Meanwhile, lenses that have been sitting unused for years are susceptible to their own issues, including stiff focusing rings, haze, oily aperture blades and fungus.

When you buy gear from MPB, you can be sure that a trained technician has inspected it for exactly these kinds of issues and verified that everything checks out. So if it looks perfect, it should work perfectly too.

Tips for Selling Used Gear Image: MPB Get your priorities straight

If you want to get the most money possible for your used gear, selling privately will probably net you the best return, but it's risky. Anyone who has listed an item on a public forum or auction site knows what it's like to deal with time-wasters and scammers, not to mention the hassle and expense of managing payment and shipping. And be prepared for a potentially long wait until the right customer comes along.

Much easier is to sell your gear to an established, reputable dealer like MPB. Just describe your item for a free estimate, and if you want to move forward, MPB will send you a complimentary shipping label. Once they have it in their hands, MPB's trained inspectors will check your gear, provide a final quote, and if you agree, you'll get paid. The money will be sent directly to your bank account within days, and another photographer will get to enjoy your valuable gear for years to come.

Photo: MPB Trade your way to an upgrade (and save time in the process)

Sure, there are instances where selling used gear is motivated by the desire to free up space in the camera bag or to generate a quick infusion of cash. But in our experience, more often than not, we sell gear to lessen the cost of upgrading a piece of our kit.

Instances like this are where the MPB platform shines brightest – by streamlining buying and selling into a single process, you get all of the benefits described above plus the time savings of only having to do it once. If you value your time, and would rather spend it shooting photos than haggling via email, the efficiency of MPB's trade process is hard to ignore.

Buy, Sell, or Trade with MPB