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Image: Lomagraphy

Lomography has announced LomoChrome '92 Sun-kissed, an ISO 400 film intended to evoke nostalgia for the film look of the 1990s.

Lomography says the new film, featuring soft orange and yellow hues, is designed to capture the essence of the golden-hour glow. According to the company, the latest film is a follow-up to its LomoChrome Color '92 film stock introduced last year.

"The gentle crackle of a beloved mixtape fills the air, mingling in the sweet, languid embrace of a carefree summer's afternoon," reads Lomography's marketing copy. It goes on to state that the film offers cinematic blues and oranges under bright skies and vivid reds in shadier conditions.

Like all LomoChrome films, Lomography says that each production run is unique, with no two emulsions ever being the same.

LomoChrome '92 Sun-kissed is available in 35mm, 120 and 110 formats and requires C-41 processing. It's available for pre-order on the Lomography website; a 36-exposure roll in 35mm format retails for $12.90, while the 120 version sells for $11.90 and a 24-exposure 110 cartridge sells for $8.90.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Sample images provided by Lomography

Three's a crowd

The Comedy Wildlife Awards has released ten of the best entries it's received so far, with less than a month left, if you think you've shot something better.

Deena Sveinsson / Nikon Comedy Wildlife Awards

Laughing out loud

Now in its tenth year, the awards give photographers the chance to celebrate an entertaining split-second capture and anthropomorphize to their heart's content.

Ingo Hamann / Nikon Comedy Wildlife Awards

Holding on for a ride

There are ten categories to the competition, including separate awards for mammals, birds, reptiles and amphibians, fish and other aquatic species, and insects.

Alexander Fine / Nikon Comedy Wildlife Awards

Three heads are better than one

There's also a junior category, for photographers aged up to 16 years old, and a "young photographer" category, for photographers under 25.

John Mullineux / Nikon Comedy Wildlife Awards

Not a good idea

The awards also have a category for best video, for those of you that sometimes hit the red button on your camera.

Anton Pretorius / Nikon Comedy Wildlife Awards

Watch out for that tree

And, after the finalists have been announced, there's a People's Choice award, voted for by the public and sponsored by Affinity Photo.

Mark Koster / Nikon Comedy Wildlife Awards

Peak a boo!

Prizes include a Nikon Z30 for the winner of the junior category, or a Z8 kit and iPad with Affinity Photo for the young photographer category.

Tilan Weerasinghe / Nikon Comedy Wildlife Awards

Slow hands

All the other category winners will receive a Think Tank backpack, and will compete for the overall prize of a guided photo safari in Kenya.

Harry Collins / Nikon Comedy Wildlife Awards

Did you hear the one about the...?

The winning images will be announced later this year, and displayed in an exhibition at London's Oxo Tower in December.

Wendy-Kaveney / Nikon Comedy Wildlife Awards

Pick me pick meeeeee

The closing date for entries in July 31st, 2024, so now's your last chance to look back through your recent captures or head back out into the wilds.

Thomas van Puymbroeck / Nikon Comedy Wildlife Awards

Image: Pixii

French camera maker Pixii has announced the Pixii Max, a 24MP full-frame rangefinder camera that accepts Leica M-mount lenses.

The Pixii Max (Model A3410) is the company's fifth camera and the first to move from an APS-C sensor to full frame. Like the previous, 26MP A2572+ and A2572 models, the Max uses a fully 64-bit processing pipeline, allowing fine-precision manipulation of the sensor's 14-bit output.

Also like its predecessors, the camera's true rangefinder viewfinder has framelines projected into it (35mm in this instance), meaning they can correct for parallax as you focus to closer distances. The outer limits of the finder represent a 28mm angle of view. The camera's core exposure settings are also projected into the viewfinder.

Photo: Pixii

It also has a mono option that takes into account the relative perceptual lightness of its sensor's Red, Green and Blue filters, to create a monochrome DNG Raw file. This should give the sharpness benefit of not having to demosaic the results, but won't gain the ∼1EV improvement at any given ISO that completely removing the filter array would bring.

The Pixii Max is available for pre-order from July 5th at a cost of €3999, without taxes (approx $4325 at current exchange rates) for the version with 32GB of internal memory or €4249 (∼$4595). As before, the company says there are options to upgrade previous models to the latest specifications. We've asked the company for more details of this upgrade path.

Press Release:

Pixii SAS announces Pixii Max, its first full-frame camera with a high-performance 24.5MP sensor, wide-angle optical viewfinder and a seamless upgrade option for existing Pixii owners. Available for pre-order on July 5, with a launch price of 3999 euros w/o taxes.

Pixii SAS, the rising French startup, unveils Pixii Max today, its first full-frame digital rangefinder camera.

Building on the success of its predecessors, Pixii Max marks a significant leap forward with exciting new features:

New 24.5MP full-frame sensor: The carefully selected, high-resolution 24.5MP full-frame sensor, builds on the strength of its pixel technology to deliver outstanding image quality, with exceptional dynamic range surpassing even its top-ranked predecessors. Photographers will appreciate the familiar feel of the 24x36 sensor paired with their rangefinder lenses of choice.

Wide-Angle Viewfinder: The new optical viewfinder complements the sensor capabilities, with high-index optical glass and fully multi-coated anti-reflective surfaces, to offer unmatched clarity and a wider field of view. The new design features comfortable frame lines for 35mm lenses, while offering an ultra-wide field of view, up to 28mm.

Upgrade option: Pixii Max isn't just a new camera; it's also another new upgrade path for existing Pixii camera owners. It packs all the power of Pixii Max into the existing compact form factor, with even a slight reduction in overall depth. The new upgrade confirms Pixii's commitment to preserving the investment made by photographers in their cameras.

Additional Key Features of Pixii Max:

Modern 64-bit Platform, shared with the current Pixii cameras models, providing exceptional performances, connectivity and seamless over-the-air software upgrades.

Native Monochrome, Pixii's exclusive feature to capture true B&W digital negatives with a bayer sensor. Pixii Max is also fully capable of producing native monochrome files.

Interactive Rangefinder Viewfinder, another Pixii exclusive feature providing real-time controls and indicators right inside the optical viewfinder, for a truly modern and immersive experience.

The Pixii Max joins the Pixii camera family, offering photographers a new option for rangefinder photography. Pixii remains committed to producing and developing the well-loved APS-C model, proposing two exceptional cameras to choose from for photographers with different needs.

Pricing and Availability

Pixii Max (Model A3410) will offer photographers a new entry point into the world of full-frame digital rangefinders, with special introductory prices:

• Pixii Max (32GB): 3999 EUR w/o taxes.
• Pixii Max (128GB): 4249 EUR w/o taxes.

Pixii Max will be available for pre-order on July 5.

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Results published by Bill Claff and by forum regular Horshack both point to the Nikon Z6 III having appreciably lower dynamic range than the previous generation of 24MP sensors.

Faster sensor readout is often associated with higher levels of read noise, and this appears to be the case with what Nikon is calling the "Partially Stacked" sensor in the Z6III. Bill Claff's photons to photos site reports a maximum dynamic range of 10.4EV, using his own "photographic DR" metric. This compares to a figure of 11.3EV for the Z6 II.

It's important to stress that dynamic range is not the same thing as image quality: two cameras can demonstrate the same dynamic range cut-off even while one exhibits much better tonal quality across much of the brightness range of its images. So it's not safe to make assumptions about the Z6III's overall image quality in relation to other cameras' DR numbers.

"We won't be making any assumptions about whether a speed vs DR trade-off is worthwhile until we've seen more of the camera's overall IQ nd got more of a sense of its performance"

However, after a long period in which most cameras showed extremely low levels of read noise, allowing the deep shadows of images to be brightened and incorporated into images, it's definitely noteworthy that the Z6III will have noisier shadows than its predecessor and the Nikon Zf. The trade-off for this reduction in shadow performance is the high-speed shooting modes, the improved rolling shutter in both video and e-shutter stills, and any AF performance advantage shown over the Zf.

The Z6III's sensor has a dual conversion gain design, and the higher gain step is sufficient to overcome the read noise difference seen at lower ISOs, bringing the Z6III back into line with the Z6 II, but it's the peak dynamic range figures (typically for base ISO) that are most meaningful.

We have not yet received a testable camera so cannot corroborate the results, but the findings of lower dynamic range by multiple experienced and knowledgeable users makes us feel confident enough to report them. We'll be testing the Z6 III and showing how photographically meaningful these differences are or aren't, as soon as we receive a camera.

And, critically, we won't be making any assumptions about whether a speed vs DR trade-off is worthwhile until we've seen more of the camera's overall IQ and got more of a sense of its performance.

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

Panasonic has released the Lumix DC-FZ80D, an updated version of its 60x superzoom from 2017. It will be sold as the FZ82D in Europe and the FZ85D in Japan.

The 'D' variants get a USB-C socket (with charging) to bring them into line with European regulations, and see the panels in both the rear screen and viewfinder brought up to more modern specifications. The fixed rear screen moves from 1.04M dots to 1.84M, meaning a resolution jump from 720 x 480px to 960 x 640px.

Buy now:

$479 at Amazon.com$478 at B&H Photo$478 at Adorama

More intriguingly, the viewfinder moves from a 1.17M dot equivalent field sequential panel with 0.46x magnification to a 2.36M dot OLED display with 0.74x magnification. That's much larger, much higher resolution and won't exhibit the rainbow effect that field-sequential displays are prone to. The thing that makes it interesting is that those are the same specs as the finder that's been added to the new Leica D-Lux 8. We haven't been able to find an eyepoint figure for the Panasonic but the resolution, magnification and degree of dioptre adjustment all match, strongly suggesting it's the same unit.

The FZ80D is still built around the same 18MP Type 1/2.3 (6.2 x 4.6 mm) sensor and 3.58-215mm F2.8-5.9 zoom, giving it a 20-1200mm equivalent focal view range. It will be available at a recommended price of $479, up from the $399 of its predecessor.

Panasonic Lumix DC-FZ80D specifications PriceMSRP$478Body typeBody typeSLR-like (bridge)SensorMax resolution4896 x 3672Image ratio w:h4:3Effective pixels18 megapixelsSensor photo detectors19 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSProcessorVenus EngineColor spacesRGBColor filter arrayPrimary color filterImageISOAuto, 80-3200 (expands to 6400)Boosted ISO (maximum)6400White balance presets5Custom white balanceYes (4 slots)Image stabilizationOpticalUncompressed formatRAWFile format

• JPEG (Exif v2.3)
• Raw (Panasonic RW2)

Optics & FocusFocal length (equiv.)20–1200 mmOptical zoom60×Maximum apertureF2.8–5.9Autofocus

• Contrast Detect (sensor)
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

Autofocus assist lampYesDigital zoomYes (4x)Manual focusYesNormal focus range30 cm (11.81″)Macro focus range1 cm (0.39″)Number of focus points49Screen / viewfinderArticulated LCDFixedScreen size3″Screen dots1,840,000Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeElectronicViewfinder coverage100%Viewfinder magnification0.74×Viewfinder resolution2,360,000Photography featuresMinimum shutter speed4 secMaximum shutter speed1/2000 secMaximum shutter speed (electronic)1/16000 secExposure modes

• Intelligent Auto
• Program
• Aperture priority
• Shutter priority
• Manual

Scene modes

• Clear Portrait
• Silky Skin
• Backlit Softness
• Clear in Backlight
• Relaxing Tone
• Sweet Child's Face
• Distinct Scenery
• Bright Blue Sky
• Romantic Sunset Glow
• Vivid Sunset Glow
• Glistening Water
• Clear Nightscape
• Cool Night Sky
• Warm Glowing Nightscape
• Artistic Nightscape
• Glittering Illuminations
• Handheld Night Shot
• Clear Night Portrait
• Soft Image of a Flower
• Appetizing Food
• Cute Dessert
• Freeze Animal Motion
• Clear Sports Shot
• Monochrome

Built-in flashYesFlash range14.10 m (at Auto ISO)External flashYesFlash modesAuto, Auto/Red-eye Reduction, Forced Off, Forced On, Forced On/Red-eye Reduction, Slow Sync, Slow Sync/Red-eye Reduction, 1st Curtain Sync, 2nd Curtain SyncSelf-timerYes (2 or 10 secs, 3 images x 10 secs)Metering modes

• Multi
• Center-weighted
• Spot

Exposure compensation±5 (at 1/3 EV steps)AE Bracketing±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)WB BracketingYesVideography featuresFormatMPEG-4, AVCHDModes

• 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
• 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
• 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
• 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
• 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
• 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
• 1280 x 720 @ 30p / 10 Mbps, MP4, H.264, AAC

MicrophoneStereoSpeakerMonoStorageStorage typesSD/SDHC/SDXC cardConnectivityUSB USB 3.0 (5 GBit/sec)HDMIYes (micro-HDMI)Microphone portNoHeadphone portNoWirelessBuilt-InWireless notes802.11b/g/nRemote controlYes (via smartphone)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery Life (CIPA)330Weight (inc. batteries)616 g (1.36 lb / 21.73 oz)Dimensions130 x 94 x 119 mm (5.12 x 3.7 x 4.69″)Other featuresOrientation sensorYesGPSNone

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The Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera that uses a series of crops of a Four Thirds sized sensor to give multiple aspect ratios. It's a gentle update of the D-Lux 7 with refreshed look, revised interface and a much-improved viewfinder.

Key Specifications

• Up to 17MP images from a 22MP Four Thirds (17.3 x 13mm) CMOS sensor
• 24-75mm equiv. 10.9-34mm F1.7-2.8 stabilized lens
• 2fps shooting with AF, up to 11fps without
• Captures DNG Raw files
• Larger, 2.36M dot OLED viewfinder
• 1.84M dot rear touchscreen
• Updated user interface
• UHS-II card compatibility
• 5Gbps USB-C port

The D-Lux 8 is one of the only enthusiast compacts on the market, but follows on from some of the best of their type. It combines a relatively large sensor, a bright F1.7-2.8 zoom and a high level of direct control for shutter speed, aperture value and ISO or exposure compensation. In many respects it's conceptually similar to Fujifilm's X100 series, but with a zoom.

The Leica D-Lux8 is available from July 2 at a recommended price of $1595, a $400 premium over the previous model.

Buy now:

$1595 at B&H Photo$1595 at Adorama Index:

• What's new?
• How it compares
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new

The D-Lux8 is a relatively subtle update of the 2018 D-Lux 7, with much of the underlying hardware unchanged. The body has been redesigned and there are some changes to the controls and interface but the sensor and lens are the same as those used in the D-Lux7 and the Panasonic LX100 II.

4:3

3:2

16:9

1:1

This sees it use the same arrangement by which the entire sensor region is never used but instead a choice of three aspect ratios that have the same diagonal angle-of-view is offered. So you can switch between 4:3, 3:2 or 16:9 and maintain the same 24mm equiv. widest angle from the lens. The 1:1 setting is handled more like the majority of cameras and simply crops in from the default sensor region.

OLED viewfinder

The most significant change is the use of a standard OLED viewfinder. Previous models used field-sequential displays that would display their red, green and blue components one after the other. For some users this can give distracting red/green/blue fringing artefacts when their eye moves around the frame or they engage the menus because they become aware that the three colors haven't updated to the same degree.

So although the viewfinder spec looks like a downgrade on paper, in practice its 2.36M dots (1024 x 768 px) can give a more pleasant experience than the 2.76M dot-equivalent finder in the D-Lux 7.

The D-Lux 8's finder is also larger, with a magnification equivalent to 0.74x, rather than 0.7x in the previous camera. Again it sounds like a small change but it results in a much nicer experience.

The rear screen also sees a resolution boost, moving to 1.84M dots (960 x 640 px), rather than the 1.24M (∼786 x 524px) of the older model.

DNG capture

The other significant specification change in the D-Lux8 is that it can now capture its Raw data in the standard DNG format, rather than Panasonic's RW2 files that the D-Lux 7 shot.

The D-Lux 8 also adopts a USB-C connector, rather than the Micro B type connection on the previous model. Likewise the camera's Bluetooth capabilities have been brought up to the newer 5.0 LE standard, rather than 4.2, but the Wi-Fi is still a relatively basic 2.4Mhz connection.

Beyond this, much of what sets the D-Lux 8 apart from its predecessor is its revised body and interface. Leica has made an effort to bring it into line with the Q3 full-sensor fixed lens camera, generally for the better.

How it compares

As mentioned at the start of the article, the D-Lux 8 enters a much-reduced enthusiast compact space, compared with the one its predecessor competed in. But there are still small cameras offering good image quality and photographer-friendly levels of direct control, even as most of the market retreats to the higher profit margins of interchangeable lens cameras.

Sony's RX100 Va is still a current model, offering a similar short, bright zoom and, of course, there's perhaps the most visible small camera for photographers, the Fujifilm X100 VI.

Leica D-Lux 8 Sony DSC-RX100 VA Fujifilm X100 VI Ricoh GR III MSRP $1595 $999 $1599 $899 Sensor size
(Crop factor) 183mm²
(2.21x) 115mm²
(2.74x) 369mm²
(1.53x) 367mm²
(1.53x) Resolution 17MP (4:3) 20MP 40MP 24MP Zoom range
(FF Equiv) 24-75mm 24-70mm 35mm 24mm Max aperture
(Equivalent range) F1.7-2.8
(F3.8-6.2) F1.8-2.8
(F4.9-7.7) F2
(F3.1) F2.8
(F4.3) Viewfinder OLED
2.36M dots
0.74x mag Pop-up OLED
2.36M dots
0.59x mag Hybrid Optical/Electronic
2.39M dots
0.66x mag None Rear screen 1.86M dot fixed 1.22M dot tilting 1.62M dot tilting 1.04M dot fixed File formats

• JPEG
• DNG

• JPEG
• ARW

• JPEG
• HEIF
• RAF

• JPEG
• DNG
• PEF

USB connection USB-C
5 Gbps USB-B (Micro)
480 MBPS USB-C
10 Gbps USB-C
5 Gbps Mic / Headphone socket No / No Yes / No Yes / via adapter No / No Memory card type UHS-II UHS-I SD
Memory Stick UHS-I UHS-I Weight 397g 299g 521g 257g

The updates to the D-Lux 8 means it has one of the best viewfinders in the class, and becomes one of the only options to use the faster UHS-II SD cards (not that these stills-focused cameras especially need it). Its sensor size means it's a larger camera than the Sony but can offer a zoom, whereas you need to move to a prime lens if you want a larger sensor in a compact camera.

Body and Handling

The D-Lux 8 has a significantly simplified body and interface compared with the D-Lux 7.

The top plate of the camera now has a power button, rather than the on-off switch of its predecessor. The dedicated exposure comp dial has been replaced by a command dial with a custom button at its center, which itself replaces the 'A' button that was present on the D-Lux 7.

This custom button and the two just below the shutter speed dial and the button at the center of the four-way controller can be configured to control any of 38 options, from Exposure Comp and ISO Shutter Speed Limit to switching between the video and stills modes. You can reconfigure the function of a button by simply holding the button down for two seconds.

The command dial on the corner of the camera has four possible settings: Exposure Comp, ISO, Off or Auto. The Auto setting sees the dial's function change depending on the position of the aperture ring and shutter speed dial.

Shutter speed dial Aperture ring setting Exposure mode Command dial function (Auto) A F-no Aperture priority Exposure Comp. Time value A Shutter priority 1/3EV shutter adj A A Flexible Program F-no Time value F-no Manual Exposure 1/3EV shutter adj Interface

There have been big changes to the D-Lux's interface, too, giving it a close resemblance to that of the Q3 (it hasn't gained the red/yellow indication for stills/video shooting that we saw on the SL3).

Pressing the menu button takes you to a settings panel screen, from which you can adjust any exposure value that isn't being set by the specific position of one of the dials (you can't over-rule the aperture or shutter speed controls). Below this are a series of icons that can be tapped or navigated to, to change various camera settings.

To get to the main menu you need to press the menu button a second time or tap the icon with three lines at the lower right of the settings panel. This takes you into a five page, 29-option menu.

Within the menu, scrolling up and down also scrolls between its five pages. Pressing right changes the current option or takes you into a sub-menu, where required. Pressing left takes you back out of the sub-menus and back up to the main menu level.

There is one minor oddity, though: pressing left from the top level of the menu jumps you one page to the left. But you press the Menu button to jump a page to the right. This is slightly unusual behavior as it's more common for left/right or up/down button combinations to deliver opposing actions. The left/Menu combination requires a little more conscious thought.

Most of key options are in the settings screen, and the ability to quickly reconfigure the camera's four customizable buttons means you can gain quick or semi-quick access to all the photographic parameters you're likely to need. Like the Q3 and other recent Leica cameras, the D-Lux 8 ends up being an impressively photo-focused camera: you have direct access to shutter speed, aperture and either exposure comp or ISO, and then quick access to the other. Everything else is somewhat secondary to this, meaning you can focus on your photos, not the camera's other functions.

Battery

The D-Lux 8 uses the same BP-DC15 battery as its predecessor. This is a benefit in terms of compatibility with wide availability. But it also means it's still dependent on a relatively small 7.4Wh battery. Leica doesn't specify a CIPA-standard battery figure but we'd guess at a number somewhere in the sub-300 shot-per-charge region. It's certainly small enough that you'll want to keep track of where your USB-C lead is.

Initial impressions Side-by-side with the Panasonic LX100 II you can see the camera has grown a little larger but exhibits a much cleaner, more focused design.

The D-Lux 8 is, in many respects, a D-Lux 7 with a belated facelift and a 2024 price tag to match. In spite of this, I found myself rather liking it.

For a start, I'm delighted to see anyone still committed to making enthusiast compacts. The D-Lux 8 is pricey but if any manufacturer knows how to survive in a niche market, I'd be inclined not to bet against Leica. And the D-Lux 8 is a genuinely better camera than the 7, even if many of the updates simply bring the connections and card compatibility up to more recent standards.

I found the move to a conventional OLED viewfinder made a big difference, as I'm generally rather sensitive to the rainbow tearing effect seen in field-sequential displays. The D-Lux 7's finder refreshed quickly enough that it wasn't too distracting, but eliminating the effect entirely is certainly welcome. The 8's autofocus is also improved, with the AF tracking showing impressive tenacity, which again makes the camera nicer to use.

But it's the move to the new, stripped-down interface that impressed me most. The D-Lux 8 puts the key photographic parameters right at my fingertips such that I could just focus on photography, rather than thinking about what bells and whistles the camera might contain.

Even after a week with the camera I found it difficult to adapt to the combination of the left and Menu buttons to move left and right through the menu tabs, but thankfully it's not necessary to delve into the main menu very often.

At the end of my week with the camera, I found myself hit with an enthusiast-camera conundrum: 'given the similarity of its control layout, why didn't I enjoy it as much as I do the X100 models?' And I'm genuinely not certain. In many respects the Leica has a more focused interface than the latest Fujifilms, which is definitely a bonus. It's also appreciably more compact, which is a plus for a small camera. So why doesn't it feel as special?

I have three theories: is it that the motor-driven zoom induces a lag, and being a zoom requires a little more thought about the framing options in front of me? Is it that I know the D-Lux 8 won't quite deliver the image quality that the larger sensor and prime lens of an X100 can? Or is it, as a insightful friend suggested, that it doesn't share the Fujifilm's attractive color modes, such that the EVF doesn't hold the same promise that its photos will look really good?

I don't know for sure. But I liked the D-Lux 8 enough that I can't wait to get hold of one again to see if it will find a similar place in my heart.

Buy now:

$1595 at B&H Photo$1595 at Adorama Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

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Image: Sony

Sony's PDT-FP1 tethered 5G transmitter module is available now at a price of $1095. It was originally announced in early 2024 but was announced with an availability date of "Summer 2024."

Conceptually the Portable Data Transmitter is essentially a 5G Xperia phone that can only send and receive data, rather than making phone calls. In practice it's a little more complex than that: adding direct HDMI and LAN inputs and dual USB-C sockets so that it can stream data and video directly from cameras to the internet using its 5G cellular connection.

With compatible cameras it will automatically launch the correct Sony app and make a wired connection, avoiding the need to launch and configure a connectivity app.

The PDT-FP1 also has a fan, meaning it can keep operating for long periods, even in warm environments. Its dual USB-C sockets mean it can be connected to a power source at the same time as using the other socket to receive data. Sony stresses that the unit, which has a more substantial case than a typical smartphone, has "optimized antenna" for reliable 5G connection and the option of automatic switching between its nano SIM and eSIM to allow it to constantly connect to the strongest available network.

The PDT-FP1 is designed for use in professional environments with the company's pro-focused stills and video cameras.

Press Release:

Now Available: Sony Electronics’ PDT-FP1 5G Portable Data Transmitter

New Device Supports Sustained High-Speed Still and Video Transmission from Sony Cameras, Providing a Competitive Advantage for Live Event Photographers and Broadcast Professionals

SAN DIEGO – July 1, 2024 – Sony Electronics is furthering its commitment to live content creators with today’s launch of the PDT-FP1 portable data transmitter. The previously announced device, which enables high-speed, stable still image and video transport over 5G networks, provides efficiencies for news agencies, photojournalists, corporate and event photographers, and broadcast professionals, among others. It is now available to purchase for a suggested price of $1,099.99 USD: https://electronics.sony.com/mobile/5g-iot-devices/portable-data-transmitter/p/pdtfp1.

Highlights of the new PDT-FP1 include the ability to capture and transmit content from virtually anywhere; simple operation; optimized battery efficiency; reliable heat dissipation; wireless livestreaming capabilities; versatile input interfaces; support for broadcasting high-quality, low-latency video; and real-time, off-site network monitoring during data transfer.

The PDT-FP1 has already been tested for precise, real-time photo and video transmission by broadcasters and individuals, benefiting a range of high-profile events and clients. Award-winning photographer and photojournalist Nick Didlick used the new device for his worldwide travels and provided critical input that helped shape its usability. He called the PDT-FP1 “one of the most significant developments in mobile communications in the last decade,” and noted its agility and cost-effectiveness. Didlick added, “The PDT-FP1 allows me to transmit from where I am shooting rather than having to return to a media center. It worked flawlessly, allowing me to connect and upload images in real-time from various venues.”

The latest industry figures from trade body CIPA show more cameras were shipped between January and May 2024 than in the same periods of 2022 or 2023.

The figures, published today, show 2.3M interchangeable lens cameras were shipped: a 9.8% rise over the same period of 2023, and 11.9% up on 2022. Meanwhile, cameras with built-in lenses were up 7% compared with the same period of last year, leaving them 4.2% lower than 2022.

The value of ILC sales grew 28.6% compared with last year, to ¥251.8B ($1.6B), aided in part by the weak Yen boosting the value received from overseas sales. Meanwhile, the value of fixed-lens camera sales rocketed by 34.7%, to ¥37.6B ($233M) which suggests that at least some of the growth in the compact market is being driven by high-value cameras such as Fujifilm's X100 VI.

Unsurprisingly, the shift from DSLR to mirrorless continued, with mirrorless cameras making up 83.7% of ILC shipments by volume and 92.9% by value. This compares with mirrorless making up 78.4% of volumes and 90.7% by value, for the same period in 2023. With the majority of camera makers focusing their efforts on mirrorless, this trend seems likely to continue.

In its annual results, posted in May, Nikon upped its prediction of the size of the ILC market from 6.1M cameras to 6.2M cameras for the current financial year, which would represent a 6.7% increase over the 2023/24 figures.

Previously in this series, I talked about my visits to Andasibe NP, where I shot lemurs and chameleons, and to Tsingy Rouge NP, where I shot beautiful formations made by erosion. I also talked about shooting sifaka lemurs and baobab trees in Kirindy Forest reserve and about visiting several secluded stops on my way to the southern part of Madagascar. This time, I'll talk about two short but fruitful visits: one to Isalo National Park and the other to Ranomafana National Park.

Isalo is a National Park in the Ihorombe region of Madagascar. It is a sandstone landscape dissected by wind and water erosion into rocky outcrops, plateaus, extensive plains and up to 200 m (660 ft) deep canyons. The park was created in 1962 and has been administered by the Madagascar National Parks authority since 1997. It includes landscapes considered part of the subhumid forests ecoregion. This ecoregion is home to numerous endemic species and has been given Critical/Endangered status because only small areas of native habitat remain, and most of those are highly fragmented.

As you've seen in previous articles, this fragmentation of ecosystems and, thus, the endangerment and rapid decline of endemic species is, unfortunately, very typical of Madagascar. Ecotourism is thus a most powerful and important tool to preserve what's left of the fragile habitats and beautiful species of this poor country.

Isalo might not have infinite landscape photography attractions, but it does have some nice locations with fantastic rock formations, the principal of which is the famous rock arch. As with many locations in Madagascar, this arch is very crowded at sunset with tourist groups and locals but surprisingly empty during sunrise.

The arch can be photographed from both sides. The easier eastern side is basically connected to the road and is thus harder to shoot when it's crowded, but getting to the shooting spot on the western side requires some agility and a bit of climbing and is thus much emptier, even during sunset. Thus, I chose to shoot the arch from the west during sunset and from the east during sunrise.

The eastern side of the rock arch during a cloudy sunrise.

Canon 5D4, Canon 11-24mm F4
11mm | F13 | 4 sec | ISO 200

The western side a few minutes after sunset, under a strong post-sunset glow. This phenomenon happens when the western horizon is clear of clouds. The glow is surprisingly red and reflects beautifully off of brighter surfaces such as the rock arch.

Canon 5D4, Canon 11-24mm F4
13mm | F13 | 8 sec | ISO 200

Apart from the arch, there are eroded rock formations nearby, surrounded by fields where termites build huge mounds, which can serve as nice foregrounds.

A termite mound under post-sunset glow. I took this shot right after the arch shot since it was located just two minutes away.

Canon 5D4, Canon 11-24mm F4
13mm | F13 | 4 sec | ISO 200

As for wildlife, Isalo has a small variety, including the sportive lemur and the red-fronted brown lemur, which I had already seen and photographed. It also has a decent-sized population of the ring-tailed lemur, perhaps the most famous of this primate family.

Getting to the ring-tailed lemurs was a bit of a challenge, and it took some precarious rock climbing to get to the point where they were hanging out. Still, nothing extreme. Upon getting to the lemur group, I got plenty of interesting poses by the lemurs, which were super cute and fun to shoot.

"Why hello there!" It seems like this lemur was a top model in a previous life!

Canon 5D4, Sigma 150-600mm F4.5-6.3
238mm | F8 | 1/1600 sec | ISO 400

I intentionally left some negative space on top of the frame since that's where the lemur is looking.

Canon 5D4, Sigma 150-600mm F4.5-6.3
150mm | F5 | 1/1600 sec | ISO 200

I will talk about ring-tailed lemurs much more extensively in the next article, but for now, I will say that it's not only their beauty but their wonderful behaviors that make them a joy to shoot. One such behavior is licking the branches for a taste of pheromones. Both male and female ring-tailed lemurs have scent glands that secrete pungent substances, which some lemurs find irresistible!

Like other lemurs, this species relies strongly on their sense of smell and territorial marking with scent glands, providing communication signals throughout a group’s home range. The males will participate in stink fights by dousing their tails with their pheromones and ‘wafting’ them at opponents. Additionally, lemurs of both sexes will scent-mark trees, rocks or other objects by simply rubbing their faces and bodies onto it. I guess the eyes say it all.

Canon 5D4, Sigma 150-600mm F4.5-6.3
421mm | F6.3 | 1/640 sec | ISO 800

What I'll talk about next wasn't the next stop in my trip after Isalo. That stop deserves its own article, so for now, I'll skip it and talk about the very last stop - Ranomafana NP. The park protects more than 41,600 hectares (161 square miles) of tropical rainforest at elevations ranging from 800 to 1,200 m (2,645 to 3,937 ft) and is home to several rare species of plants and animals. Out of these species, I had a really good time shooting the golden bamboo lemur, a medium-sized lemur endemic to the area.

Golden bamboo lemur. These guys are super fast and jump around constantly, but once in a while, they'll stop and allow a shot or two. I think they're absolutely beautiful!

Canon 5D4, Canon 70-300mm F4-5.6
300mm | F5.6 | 1/160 sec | ISO 800

This was the second bamboo lemur I shot (the first was the gray bamboo lemur in Andasibe (see the first article in the series), but it was the most photogenic, and by far the harder one to shoot. I had to run across narrow trails through thick vegetation, sometimes only to find out the lemur had already gone away. But I was very happy with this final shot: a golden bamboo lemur inside a heart-shaped leafy frame.

It's hard to beat cuteness in a heart-shaped frame. This was a difficult shot technically, as it was very dark inside the thick vegetation, and my camera found it hard to focus. Only a few shots turned out good, and this is my favorite. You may remember framing as one of the methods I discussed in my landscape composition series—I would say it's even more useful in wildlife photography!

Canon 5D4, Canon 70-300mm F4-5.6
300mm | F5.6 | 1/250 sec | ISO 2000

In the next, final article in this series, I'll talk about the crown jewel of my Madagascar visit: Anja Reserve.

Erez Marom is a professional nature photographer, photography guide and traveller based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Madagascar, Greenland, the Lofoten Islands, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

More in this Series:

• Part 1: Andasibe
• Part 2: Red Tsingy
• Part 3: Kirindy Forest
• Part 4: The Long Way to Isalo

Selected Articles by Erez Marom:

• Landscape Composition - Balancing the weights
• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Landscape Composition - Separation of Elements
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Landscape Composition - Negative space
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take