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Image: Canon

Canon posted a teaser across its social media channels, promising that something is coming soon. The post features two cameras shrouded in shadow, with a large "V" between them and the date March 26. "In one week, a new chapter begins! We promise it's worth the wait," says the Instagram caption. "Subscribe to our YouTube channel at the link in our bio to be among the first to know!"

Of course, as a teaser, details are minimal. But the photo does provide some worthwhile details. One of the cameras is less hidden in shadow than the other, revealing a bit more. It looks remarkably like the Canon PowerShot V1, which was recently released in Asia during CP+. You can even make out the 8.2-25.6mm lens, which is what the V1 features. So, it seems like a safe bet to guess that we will see a broader release of the new compact vlogging camera.

The second camera, though, is much darker. Even when brightened, it doesn't reveal any additional details. However, the giant "V" in the image suggests that both cameras will fall in the company's V series of vlogging and creator cameras. It looks to be only slightly larger than the PowerShot V1, though the lens seems quite a bit larger than the V1's. It's hard to tell if it's another fixed-lens compact or if it could be an interchangeable lens system for vloggers.

Luckily, the announcement is only a week away, so we don't need to wait much longer to find out what Canon is hinting at.

2012's XF1 was just one of a range of high-end compacts Fujifilm produced in the past.

Photo: DPReview.com

In our interview with Yuji Igarashi, Fujifilm's Divisional Manager, Professional Imaging Group, he seems to hint at more affordable models, aimed at first-time photographers.

"I think now that cameras have become quite expensive, that’s maybe why young people are going to second-hand cameras for their first camera," he says: "I think maybe there’s a gap for young people to start shooting with digital cameras."

"Maybe there’s a gap for young people to start shooting with digital cameras"

The public awareness generated by the X100V and VI puts them in a good position, he suggests: "We’re getting a lot of interest from the younger generation. The younger generation and also a more female audience. Because in the past it was a more male-dominated industry."

"That's an opportunity for expansion: the younger generation, both male and female."

This audience isn't necessarily familiar with cameras, he suggests: "I think you know many people are the first-time buyers of cameras, so I think that's a huge difference. People who were coming to our system maybe five or ten years ago had experience in shooting with other cameras and then starting with X-series, whereas now we’re seeing people for whom X-series is the first camera in their entire life, so they’re comparing their experience to smartphones, rather than comparing to other cameras."

"Now we’re seeing people for whom X-series is the first camera in their entire life"

"To be honest, we’re still trying to figure out what is the right camera. Of course many young people are interested in X100, X-M5, X-T30 and even X-T5 so they’re quite diverse: we can’t really categorize that audience."

But, he hinted, addressing this audience might mean an expansion beyond its existing models. "They want what’s right for them," he says: "it’s not like there’ll be one camera that’s right for everyone."

"I think [X100VI] has helped raise awareness of other X-series cameras," says Igarashi

Photo: Richard Butler

Could be compact

Could there be room in Fujifilm's lineup for a compact camera, again, we wondered. "I think there is demand for compact cameras," says Igarashi.

"I think that smartphones have actually helped people get into photography because everybody takes pictures. So I think there's potential for compact cameras."

The younger generations' relationship with photos is different from their established users, he suggests: "When young people now take a picture and then look back at a picture they took maybe 10, 15 years ago, it may look almost exactly the same because image quality has remained very good."

"I think there's a lot of potential in compact cameras as long as we can provide something unique"

"So they’ve never experienced this kind of nostalgia in their images. I think second-hand compact cameras are perhaps unique because the images look kind of old and the body looks old and gives this nostalgic feeling to it."

"For my generation, when we were children we had film cameras: we already experienced that, so it’s not a new thing for us, but it’s a new thing for a younger generation."

"I think there's a lot of potential in compact cameras as long as we can provide something unique, and provides a unique experience for the users."

Must be engaging

Experience, is a critical consideration Igarashi says: "I think that the shooting experience is probably the most important thing that distinguishes smartphones," he says: "For our cameras, at least."

"I think that experience is what young people are looking for: the fact that you’re intentionally capturing this moment in time, the way you want to capture it."

"Smartphones can be a great tool, but I think there’s more emotion you can add by using a camera to capture the scene."

Interview conducted by Dale Baskin and Richard Butler, at the CP+ 2025 show in Yokohama, Japan. Answers edited for flow.

Fujifilm's Makoto Oishi and Yuji Igarashi at the company's booth at CP+ 2025.

Photo: Dale Baskin

Fujifilm is still committed to both the X-Pro and X-E lines, says Yuji Igarashi, Divisional Manager of its Professional Imaging Group, as we discussed the future of those cameras, the challenges of autofocus and addressing the X100VI backlog.

X100VI backlog

Igarashi was keen to explain how the X100VI has ended up back-ordered and clear-up the mistaken impression that the shortages are intentional.

"The number of pre-orders on Day One was so big that some people have been waiting for a year," he acknowledges: "It was an extraordinary volume of orders and, of course, we're doing our best to catch up with that. We've been shipping consistently, and we continue to do our best."

"We've increased our production of X100VI quite a lot," he says. To put it in context, he tries to give an idea of how they got caught off-guard: "if you look at the X100 series’ history, we’ve had five cameras preceding this camera and we've already sold in a year what they would have sold in three or four years."

"We've already sold in a year what they would have sold in three or four"

Ramping-up production is harder for a camera like the X100VI, he says: "Generally speaking, a premium product is more difficult to produce. For example, the top plate of X100VI, you can see the sharp edges are made from aluminum, and it goes through many processes like stamping and milling, and filling in the colored details. So, it's not like you can simply increase production, quickly. But of course, we will continue to do our best to make a camera available to everyone who wants one. "

Autofocus concerns

Igarashi also said he recognized the concerns some users and reviews have expressed about autofocus.

"I don't think we are at the point where I can say, ‘Ok, this is good enough and we’re not going to do any more', he says: "So even today, we're working on making improvements."

"Of course, we always continue to improve our autofocus and also we are aware that we have room to improve as well. And so we’re making a continuous effort."

"We are aware that we have room to improve... so we’re making a continuous effort"

One aspect is that the evolution and expansion of the X-series is exposing their cameras to new photographic challenges, he says: "Picking up the X100 autofocus, and then using an X-H with a telephoto prime lens and trying to capture wildlife is a completely different story."

"Of course we know that shooting wildlife or sports is not our bread and butter: it’s not what we’ve been doing for years, and that’s what we’ve been learning as we create these longer lenses. We’ve been expanding our field of photography as we’ve been expanding our lens lineup."

"The areas we’re used to, I think we’re better at, and the new areas we’re expanding into, those are both the spaces we think we have room to improve."

On X-Pro and X-E

"Our plan hasn't changed, we still plan to launch a successor to X-Pro3, but we don’t have a date, yet. And X-E of course, too. We haven’t abandoned the line either."

But, especially in the light of what he'd said about a younger audience, we wondered whether it was likely that the X-E series would return to its more enthusiast-focused roots, given how much the X-T series has now expanded to address that audience.

"We’re always considering what's right, so it's never fixed," he says: "I think we look into every product, not just X-E. There’s nothing that’s perfect, which is totally unchangeable: it’s something we consider every time we come up with the next version."

There are limits to this, he suggests: "I think everybody would be surprised if it wasn’t rangefinder style," he jokes.

"Some people really liked the latest X-E"

But, he says, it's impossible for one product to serve everyone: "Some people really liked the latest X-E we had: X-E4, but some did not, so while we can’t make everyone similarly happy, we try to come up with the best possible solutions. We try to listen to the latest feedback and make improvements from there."

Jun Watanabe, Product Planning Manager, explained the sorts of users they will be building the next X-E for: "They love the rangefinder style, and they don’t have a specific shooting subject [in mind]," he says: "They love daily life photography [and using X-E] as a snap camera." Importantly, "they love the style and the design," he confirms.

The future of photo-focused cameras

Existing photographers shouldn't be alarmed at the company's efforts to broaden their appeal, Igarashi stresses. If anything, the broadening product line lets each camera be a bit more focused: "I think improving cameras for photographers is very much possible. Very small things, but for example, because we have more hybrid cameras like the X-H, that's allowed us to make the X-T5 screen a tilting screen instead of flip out screen. We can probably separate our cameras more between stills and hybrid models."

"We just need to be mindful of who the audience is, and how to provide the right fit for those people."

Interview conducted by Dale Baskin and Richard Butler, at the CP+ 2025 show in Yokohama, Japan. Answers edited for flow.

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Viltrox has announced that its highly regarded AF 135mm F1.8 Lab lens is now available for Nikon Z-mount. The lens was initially released last fall for E-mount, offering a much more affordable prime portrait lens alternative to Sony's FE 135mm F1.8 GM lens. Now, Nikon users will have a budget-friendly version of Nikon's 135mm F1.8 S Plena.

The Viltrox Lab lineup is the third-party lens maker's high-end series, offering flagship quality and more premium features than its other series of lenses. As a result, Viltrox promises edge-to-edge sharpness in the 135mm F1.8 Lab. The E-mount version has received excellent reviews for the quality it provides, especially for the price, and the Z-mount model should be the same, given that the mount is the only difference between the two.

The lens uses the Viltrox HyperVCM motor for autofocus, which Viltrox claims offers 150% faster autofocus than traditional STM motors. It says the lens will provide 100ms near to far focus point switching for fast yet smooth transitions. It also promises silent autofocus with minimal focus breathing, making it a worthy lens for video purposes. It offers a 0.72m (2.4') minimum focusing distance with 0.25x maximum magnification, roughly the same as Sony's 135mm and slightly closer than Nikon's Plena lens.

Image: Viltrox

The AF 135mm F1.8 Lab features an 11-blade aperture diaphragm for attractive bokeh. The optical design is comprised of 14 elements in 9 groups, which include four ED low-dispersion lenses and two high-refractive-index elements. It's made to be durable, with a dustproof and splash-resistant design and magnesium alloy barrel.

Like the E-mount version, it features a small screen on the top of the lens that can be customized to show relevant information. The lens also offers an AF/MF switch and an aperture de-click switch. A multifunction ring enables adjustable function modes such as aperture adjustment, exposure compensation or ISO control on Nikon cameras. Finally, a USB-C port allows for firmware updates.

One of the tradeoffs for the budget price is more weight. 135mm prime lenses aren't known for being very lightweight, but the Viltrox lens is an especially hefty offering. At 1265g (2.8lbs), it is a bit heavier than the Nikon 135mm F1.8 S Plena, which weighs 995g (2.2lbs). Saving money, in this case, means added weight.

The Viltrox AF 135mm F1.8 Lab lens for Nikon Z-mount is available now on the Viltrox website for $854, which is a temporary discount from its $899 price.

Buy now: $854 at Viltrox

Photo: Google

Google has announced its latest budget smartphone, the Pixel 9a, which does away with the iconic camera bar by making the cameras smaller. The tech giant claims the new model offers an ideal balance of features and price. Despite that, the team acknowledged that the camera is what draws people to the Pixel lineup, so Google says it aimed to provide quality image-making features on the budget-focused device, claiming it is the best camera in its class.

Resolution Sensor size Aperture Field of view Wide rear camera 48MP Type 1/2
(6.4 x 4.8 mm) F1.7 82°
(25mm equiv) Ultra wide rear camera 13MP Type 1/3.1
(5.0 x 3.7mm) F2.2 120°
(12.5mm equiv) Front camera 13MP Type 1/3
(4.7 x 3.4mm) F2.2 96.1°
(∼19mm equiv)

Like the Pixel 8a, the 9a features a wide-angle main camera and an ultra-wide. Those who want a dedicated telephoto camera will need to upgrade to the Pro lineup of Pixel phones. While the dual camera layout remains consistent, Google opted for a different main camera sensor in the new model. Instead of the 64MP wide-angle main camera on the 8a, the 9a uses the same 48MP Quad PD Dual Pixel sensor as the Pixel 9 Pro Fold.

Main camera resolution Main camera sensor size Main camera aperture Main camera field of view Pixel 8a 64MP Type 1/1.7
(7.3 x 5.5mm) F1.89 80°
(26mm equiv) Pixel 9a 48MP Type 1/2
(6.4 x 4.8 mm) F1.7 82°
(25mm equiv)

This move to a smaller effective sensor is interesting since it's a bit of a downgrade from the 8a in terms of resolution, sensor size and aperture. Granted, due to pixel binning – the process of combining adjacent pixels together to function as a larger pixel – the dip in resolution isn't quite as significant as it may initially seem. The Pixel 8a typically produces 16MP images, while the main camera of Pixel 9a uses pixel binning to produce 12MP images.

Even though the difference isn't massive, it is still less, and it's not typical to see lower resolution in a newer model. This, combined with the slightly smaller sensor and aperture, means the computational photography and processing will need to work that much harder.

While all smartphones rely on computational photography, it seems that the hardware downgrade in the 9a makes it even more dependent on AI image processing.

While all smartphones rely on computational photography, it seems that the hardware downgrade in the 9a makes it even more dependent on AI image processing. Those computational photography tools involve image processing for every image you take in the standard camera modes, along with some specialized options currently found on the Pixel 9 Pro.

One such feature is the Macro Focus setting, which is coming to a-series phones for the first time. This mode allows users to get as close as 2cm (0.8") to create pseudo-macro images or videos without a dedicated macro lens. It uses AI to detect when you are close to a subject and automatically switches to the main lens (due to its higher resolution) and macro focus setting instead of requiring a manual switch to a macro mode.

The Pixel 9a's main camera also provides optical and electronic image stabilization, though the ultra-wide rear and selfie camera do not. The main camera uses Google's Super Res Zoom, a form of digital zoom that relies on software and machine learning algorithms to crop and upscale, offering up to 8x magnification. It's no replacement for dedicated telephoto cameras, but it is better than nothing.

As we've seen with other Pixel phones, there are plenty of AI-based editing tools at play on the 9a. Google AI promises the ability to fix blurry images with Photo Unblur. The Magic Editor can automatically crop your image for you or expand the image to invent what's beyond the edges of the frame, much like you can in Photoshop. The Reimagine tool in Magic Editor can even completely change the image using AI, such as making grass green or adding entirely new items to a photo to change the scene.

Image: Google

Of course, the most obvious change with the 9a is the new design that ditches the protruding "camera bar" that has become synonymous with Pixel phones, in favor of a flatter design. Google says this design is inspired by "nature and water droplets," which seems like a stretch, but it is certainly more minimal. It's also slightly more durable than previous models, with a bump from IP67 to IP68 protection and a new scratch-resistant Actua display.

The Pixel 9a steps up to the Tensor G4 chipset, which is the same chip that's in the Pixel 9 and Pixel 9 Pro. It also features the largest battery in the a-series, promising up to 30 hours of battery life or 100 hours in Extreme Battery Saver mode. When it needs a charge, the phone supports fast charging and wireless charging. Google has also promised seven years of OS and security updates, prolonging the life of the phone.

Image: Google

The Pixel 9a will be available for purchase beginning in April for $500. It comes in 128GB or 256GB storage capacities and is available in four colors: Obsidian, Porcelain, Peony and Iris (the black, cream, pink and blue colors pictured above).

A still shot from Zafra's timelapse of the event.

Photo: Dan Zafra

Capturing the total lunar eclipse is special enough, but one photographer took things to the next level. Dan Zafra saw the forecast for a period of high solar activity during last week's lunar eclipse and traveled from his Las Vegas home to the Alaskan Arctic to capture the rare event.

Aurora trips are typically best with a new moon because it ensures the darkest possible skies, enhancing the aurora's visibility. This time was an exception, though the eclipse yielded a similar result. "The total lunar eclipse meant that the Moon would darken, allowing the northern lights to shine even brighter," Zafra said.

Photo: Dan Zafra

Getting the timing and location right was a significant challenge, Zafra said. He had to calculate where to be to ensure both the Moon and potential aurora were in the same composition. Location scouting was part of this process, though the subzero temperatures added to the challenge. He finally settled on a frozen lake south of Fairbanks, Alaska, which offered an unobstructed horizon.

The weather made things challenging the night of the event, too. Zafra had to contend with -23°C (-10°F) temperatures, requiring he switch between thin glove liners for dexterity and thicker gloves to keep feeling in his fingers. Cold temperatures also drain batteries quickly. He kept spares in his jacket, swapping them out as needed. He says he used six batteries in total between his three cameras.

Adding to the difficulty was the predictably unpredictable aurora. "At one point, my timelapse framing was completely off—the aurora surged higher in the sky than I expected," Zafra said. "I had to quickly reframe the shot mid-sequence, all while monitoring my other cameras."

Photo: Dan Zafra

Despite the challenges, Zafra managed to capture multiple shots of the event. A telephoto image, created using a 400mm telephoto lens on a Benro Polaris start tracker, enabled a close-up view to show detail on the surface of the Moon. On the opposite side of the spectrum, a 20mm wide-angle lens allowed him to capture a wide view of the entire scene, showing how grand the aurora was. He also created a timelapse of the event to show it all in motion, which you can see below.

Due to the extreme contrast between the Moon and the surrounding aurora, the final images involved some post-processing. Zafra says he bracketed multiple exposures during the shoot. He then used PixInsight to extract details from the Moon and Photoshop to blend them together with the aurora background. The wide-angle image required less editing, with a single exposure for the Moon and one for the landscape. The timelapse was processed with LRtimelapse.

Zafra says that of all of the images he captured that night, the telephoto shot is his favorite. "I’ve seen countless lunar eclipses and auroras separately, but never like this," he said. "It was as if the entire sky was working together to put on a show."

You can see more behind-the-scenes content and more of Zafra's incredible work on his Instagram page or website.

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

As part of our ongoing review of the Panasonic Lumix DC-S1RII, we shot our standard test scene, to see how its sensor performs.

We're moving to a pattern of shooting test scenes together in batches, rather than risking delays to reviews, but the S1RII is a camera built around a sensor we've not seen before, so we rushed it straight into our studio to see how it performs.

Click here to read our initial review of the Panasonic S1RII

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Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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The results are pretty positive. In terms of detail capture, the S1RII performs as we'd expect, capturing less detail than the 61MP Sony a7R V but with no meaningful difference vs the likes of the Canon EOS R5 II, Nikon Z8 or its own predecessor.

There's a fair bit of moiré visible in various places suggesting there's no anti-aliasing filter. But it's not significantly more pronounced than in most of its rivals, suggesting we were just unlucky that we got to see some artefacts in one of our real-world shooting. If anything, looking around various high-frequency targets in the scene, Panasonic's JPEG engine seems to be doing a pretty good job of suppressing the effects of moiré.

In terms of color rendition the Panasonic looks a lot like its immediate peers, with no significant differences in most colors, compared with its peers. The light skin tone patch is perhaps a fraction more pink than Canon's rendering, but there aren't any nasty surprises: something backed up by our experiences of shooting with the camera.

Noise levels seem competitive at low to moderately-high ISO settings but it looks like noise reduction is being applied to the Raws at the higher ISO settings, with distinct blurring of the noise patterns. JPEG noise reduction strikes a pretty good balance between noise suppression and detail retention, but gets a bit overwhelmed at the highest settings.

Dynamic range:

The S1RII's sensor is a modern design with dual conversion gain; it has Panasonic's 'Dual Native ISO' function that lets you decide exactly where the switch in modes happens, but at default settings, it's at ISO 400 that the switch happens. Sure enough, if you brighten an ISO 320 image, you'll see it has slightly more noise than images shot at ISOs above that point, with the same exposure.

The further you venture into the ISOs from that low gain mode, the more noisy you'll find the very deep shadows (this is exactly the read noise that using the higher gain step minimizes). So the widest possible dynamic range is encountered at ISO 80, but if you're tempted to underexpose in low light, to protect highlights, you shouldn't venture below ISO 400.

The S1RII has a lower base ISO than its predecessor, so you can't make a direct comparison (the new camera receives 1/3EV more light), but even with that slight discrepancy, it's results seem comparable. It's a competitive result, even compared with the best of its peers.

Summary

It's pretty apparent that the Panasonic Lumix DC-S1RII is built around the IMX366 sensor from Sony Semiconductor. So we see a sensor with dual conversion gain giving lots of dynamic range at base ISO and well-controlled noise once you move to the second gain mode. Its BSI design means its high image quality should be maintained right to the corners of the image, as it means the pixels can reliably receive light from more acute angles than on older FSI sensors.

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It does this while being fast enough to deliver 8K footage at an acceptable rate (though not great by video camera standards), despite taking the unusual step of using a slower, 13-bit readout mode, which should give it a DR edge over its peers. We'll be looking more closely at that in the coming weeks. But on the stills side of things, the S1RII seems to be built on predictably firm foundations.

Photo: Abby Ferguson

As a tech journalist and photography educator, I've been lucky enough to get my hands on a variety of cameras. While each differs somewhat regarding menu systems, button placement and ergonomics, they are mostly subtle differences that haven't drastically altered my shooting style or process. That was not the story with the Nikon Zf, though, which surprised me by how much it changed the way I photograph.

The Nikon Zf has been available since October 2023, but I only recently had a chance to use it for the first time. As someone who learned photography on film (with a Pentax K1000, to be precise) and still shoots film, I have admired the camera's looks since it was first announced. I'm a sucker for that vintage film camera vibe, after all. Plus, I like having physical dials for my exposure settings, mainly for nostalgia.

My first time using the Zf was on a hike. It was a last-minute decision to bring it, so I didn't put any thought into using it instead of my trusty Sony a7 III. I knew the physical dials would change how I interacted with the camera and assumed there would be an adjustment period, but that was all. I certainly didn't set out with the intention of using the camera differently or think that my fundamental process would change. I simply tossed the Zf in my backpack as I would any other camera and set off.

Almost immediately, though, I noticed that the way I interacted with the camera was altered. In many ways, it felt much more like using a film SLR than a mirrorless camera. For starters, I exclusively used the viewfinder, not the rear display, to compose my images. That hasn't been the case since I switched to mirrorless many years ago.

The more significant change, though, was that my process slowed down.

The more significant change, though, was that my process slowed down, and I was much more selective about what I took photos of. On that hike, I took less than half of the images I typically take on a hike of a similar distance. Of course, some of this could be attributed to the location and general mood that day, but I was also distinctly aware of a shift in my mindset.

When I take photos during hikes with my Sony, I snap away. I pay attention to composition and subject matter, but it's often a more rushed process. I'm willing to take a handful of shots to get the composition or exposure right instead of slowing down and getting one shot that does what I want. I even take quite a few photos while still walking and not looking closely at the display. With the Zf, though, I was much more intentional about getting the composition where I wanted it in the first frame. I also didn't take photos at all unless I was excited about the scene, and I didn't take any frames while walking.

Photo: Abby Ferguson

Overall, using the Zf was much more reminiscent of how I shoot with film when I have limited frames to work with, and each one costs a dollar or so. Whether it was the physical dials and their placement that made me slow down, the vintage design that tricked my brain into thinking I was shooting film or a combination of the two, I'm not sure. But it was truly surprising how a very modern mirrorless camera could shift my process so dramatically.

Of course, Nikon isn't the only camera company offering vintage design and dedicated control dials. It wasn't even the first. This design choice has been a trend in recent years, and cameras from other companies could indeed provide the same effect.

No matter what the cause, the Zf brought back a sense of mindfulness to my photography that I had missed when shooting with digital cameras. In fact, I recently came back to shooting film after years away because I missed the push to slow down. Whether or not this change is sustainable as I keep using the camera remains to be seen. It could also be that I can put that mindset into practice with other cameras without control dials now that I am more cognizant of the change. No matter what, it was a refreshing change that certainly made me more aware of my approach and how different tools can shape my process.

Image: SmallRig

When Canon released the R5, a common talking point was the camera's tendency to overheat when recording video. Canon improved those problems with the R5 Mark II, but all cameras overheat at some point, especially when recording long takes in high resolutions. To help cool things down, SmallRig has adapted its Cooling Fan, originally designed for Sony cameras, to work with the Canon R5 Mark II and R5.

The SmallRig Cooling Fan is more than just a basic fan. It features multiple layers to efficiently pull heat away from the camera body, including a silicone thermal conductive gel, a thermoelectric cooling (TEC) component and an aluminum alloy heat sink. The fan blades sit on top of those layers to blow away the camera's heat. The fan offers two levels: A Cool Mode with a 4500 RPM fan speed for quieter operation and an Ice-Cold Mode with a stronger 7000 RPM fan speed.

SmallRig claims that at 40°C (104°F), the fan can increase shooting time by 30% for 8K 30p recording. It also claims that when shooting 4K 60p at 25°C (77°F), the fan can completely prevent shutdowns from overheating.

The Cooling Fan is easy to use with quick snap-on installation. No tools are required, so users can pop it on or take it off as needed. There are some potential downsides, though. First, it attaches where the screen folds, so you have to operate the camera with the screen folded out. Additionally, it lacks a built-in battery, requiring an external power source via a 5V USB input. It is compatible with the SmallRig V-mount battery ecosystem, though, making it a convenient option for those already invested in SmallRig products.

While SmallRig made this version specifically for the Canon R5 and R5 Mark II, it is compatible with Sony cameras as well. SmallRig designed the fan's bracket to be removable so it can be switched back and forth if needed. It is available for purchase today for $60 through SmallRig's website.

Buy now: $60 at SmallRig

Ricoh's Mayumi Ueda, Kazunobu Saiki, Shigeru Wakashiro and Ryutaro Aratama

"We don't just want to focus on the results of photography: we want people to enjoy the photography process," says Kazunobu Saiki, general manager of the Ricoh Camera Business Division.

We spoke at the recent CP+ trade show in Yokohama, Japan, where he told us about the challenges of DSLRs, the reaction to reviving film, the future of the GR series and why they're not particularly focused on video.

"We have to put our resources into making sure supply catches up with that demand. That's the first priority as a brand"

"The total number of compact cameras has largely decreased over the years," Saiki says, "but for unique products, which can attract the creative people, especially from the younger generation, I believe the market trend is to increase." He's referring to the prospects for models such as the WG waterproof series and the GR APS-C compact: "GR users, globally, are increasing."

In fact demand for GR is so high that the company has found it difficult to build enough.

"Thanks to increased demand for the GR series, there's a slight shortage of supply on a worldwide basis. So we have to put our resources into making sure supply catches up with that demand. That's the first priority as a brand, we believe."

The market for DSLRs

The DSLR market is rather more challenging, Saiki says: "New product sales [of DSLRs] are still in rapid decline in comparison to the huge emerging market of mirrorless. But we do believe there is a still a certain group of DSLR lovers."

"A lot of DSLR users still exist, but they're use their existing DSLR, which they bought a long time ago. Also the second-hand market of DSLRs is really booming."

"If we only count new product sales numbers it looks like the user is rapidly disappearing, but we don't assume in that way. We believe there's a group of DSLR lovers who still want to see real light, right through their lenses. And also want to enjoy the handling of the DSLR shooting experience."

"We believe there's a group of DSLR lovers who still want to see real light, right through their lenses"

"We know the second-hand marker for Pentax interchangeable lenses. But one of the reasons is that some people have sold their DSLR systems and moved to mirrorless. This has happened with all the brands."

"But we have a lot of very specialized lenses, such as the Limited and Star series lenses, and we appreciate that a lot of users still like to purchase these as a new products."

"We will carefully research the market and then listen to our users and DSLR fans," says Saiki. "Then we'll draw our business roadmap."

The revival of film

Saiki says it's too early to say what lessons can be learned from the Pentax 17 film camera. "I think there's two ways to evaluate it," says Saiki: "In terms of brand value, I think it was good sense to release the Pentax 17, as the first new film camera fifteen or twenty years after the industry discontinued them."

"We wanted to show to smartphone users what the basis of photography is. In that sense, the Pentax 17 played a very good role in saying what Pentax stands for."

"On the business side the contribution of film cameras has been smaller than the GR business. It's not the same size as GR."

This doesn't automatically rule out future film models, Saiki suggests: "If we can generate more interest in film photography, we can consider how we could make a product group. Now is not the time to consider that, though because we have only just released the first film camera in fifteen years. We need time to communicate with our users and find out what they appreciate or were disappointed by. We need sufficient time to evaluate the usage of Pentax 17."

The future of the GR series

The Ricoh GR III was launched back in 2018 but a revival in interest in compact cameras has seen demand outstrip supply.

Photo: Barnaby Britton

However, Saiki says, sometimes user feedback can be hard to respond to; something they're finding in the process of planning a future GR model.

"Compactness, high image quality and responsiveness are the core of the GR brand, along with evolution, so everyone looks for improvements in these three areas. So we have to think about how to evolve from here."

'We have conducted a lot of research in many countries. A lot of research tells us many users request built-in flash and that they are using small flashes, including 3rd party products, because we dropped the flash feature between GR II and GR III. So we know that a lot of people want flash, if it can be packed into the very small size of the GR III."

"These things are in conflict, though. Because people want improvements in all three areas, plus flash. If we want to make the image quality better, the body might become bigger, or if we use a more powerful processor to improve the speed and responsiveness, that would require a bigger battery, but the battery endurance should also be longer. "

"But we know the requests from the users," he says.

The demand for a GR Mono

We ask whether he believes there's any potential interest in a monochrome GR model.

"The K-3 Mark III Monochrome got a nice reaction from users. To be frank, more than our expectations. We knew from the Leica M9 or M11 that there were certain photographers who love real monochrome cameras, and the K-3 Mark III has maybe caught some of this demand."

"We know that a lot of GR users are already using the monochrome filter modes on that camera. And one of the symbolic photographers who uses GR is Daido Moriyama, who's famous for monochrome photography."

"Our research says a lot of GR users are waiting for the release of a monochrome compact camera"

"I've visited local GR fan events all over the world and I've observed many times people using Leica monochrome cameras or the K-3 Mark III Monochrome alongside their GR."

"Our research says a lot of GR users are waiting for the release of a monochrome compact camera. Of course that dedicated number is smaller than for other products. But at the moment there's only Leica, which is extremely expensive. If we released such a camera, I think we can appeal to them."

On photography

Finally, we asked about the future of photography, in a time when it's the industry's video features that have been advancing most obviously.

"The speed of evolution in video has been very quick, and the part of the industry dedicated to still imaging is maybe smaller now," Saiki says: "Sony, Canon and even Nikon are following that technology as well."

"We value not only the results of photography... we want to provide an enjoyable process"

"But among our brands, both Ricoh and Pentax, we value not only the results of photography or the result of recording: we want to provide an enjoyable process for photo taking. That's why we don't want to get heavily involved in video features."

"Of course we don't ignore it, but taking for example, GR. The user, if they just walk around the city they become sensitive to what's going on. They focus on capturing the real moment of something that stands out to them, rather than recording all the time. We want to cultivate that street photography culture, that's why we're not so much concerned about video or recording technology."

Illuminated water fountains light up the night on the Magic Water Circuit at Parque de la Reserva in Lima, Peru. The Magic Water Circuit features a variety of fountains, some featuring animated shows, that stretch across the park.

Photo: Dale Baskin

The theme for our March Editors' challenge is 'Water'.

Show us the essence of water in its many forms, from the roaring power of the ocean to a gentle rain, reflections on a lake, smooth waterfalls, frozen ice, or even fine art. The possibilities are endless, so let your creativity flow and show us your best photos that revolve around water. Our favorites will be featured on the DPReview homepage later this month.

This challenge is open to photos taken at any time.

Photos can be submitted between Sunday, March 16, and Saturday, March 22 (GMT).

Important: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to submit your photo.

Visit the challenge page to submit your photo

Images: Godox, Shure and Fotogear

Happy Saturday, everyone! We've made it to the weekend, so it's time to look at some new accessories that came out this week. Today's roundup includes a battery pack for lights, a vintage-inspired smartphone case and a new mic. But first, let's check out what's on sale.

The sales Photo: Dale Baskin

Canon's powerful and versatile R6 Mark II is currently on sale for $200 off. We reviewed it two years ago, and although the camera is due for a refresh, it's still a very worthy piece of equipment, especially at this price.

Buy now:

$2099 at Amazon.comBuy at AdoramaBuy at B&H Photo

Image: Fujifilm

For something a bit more fun (and affordable), the Fujifilm Instax Mini 12 is currently at its lowest price since the holidays. The Instax Mini 12 brought some worthwhile improvements over its predecessor, making it easier to get keepers with this fun little instant camera.

Buy now: $70 at Amazon Easier audio Photo: Shure

Shure's latest microphone, the MoveMic 88+, features direct-to-phone stereo microphone technology, making it faster to get to recording. Its Bluetooth connection offers a range of up to 100 feet, and there's no extra dongle or recorder necessary. It even offers four polar patterns to help you record a variety of situations.

Buy at Amazon Buy at Shure Turn your iPhone into a vintage camera Image: Fotogear

iPhoneographers who want something a bit more special to house their phone may appreciate the Fotogear Retro DMF Photography Kit. It's a multi-part case that looks like a vintage camera while adding control dials and a shutter to make your phone function more like a camera, too. It's compatible with the iPhone 16 Pro and Pro Max and comes in a few different configurations. The case is available for pre-order now through Fotogear's website.

Buy at Fotogear More power Image: Godox

The Godox BG02 Battery Grip is a powerful tool for photographers and videographers who use Godox lights on the go. The grip features a 95Wh capacity battery that is airline-friendly, extending the life of your lights when on location. It's compatible with the AD200, AD200Pro, AD200Pro II, AD300Pro flashes, ML100Bi, ML100R and FH series LED lights. You can pre-order it now through B&H.

Pre-order at B&H Back-button focus

Finally, this week's educational video comes from Adorama's YouTube series Ask David Bergman. In it, Bergman discusses back-button focus, how to set it up and whether it's still worthwhile with the advanced subject detection autofocus modes on new mirrorless cameras.

Read last week's roundup

A recent video from The Museum of Modern Art (MoMA) profiles the prolific street photographer Jamel Shabazz with a visit to his home studio and old neighborhood. In it, Shabazz discusses his influences, philosophy and process, as well as how he began his career in photography.

Shabazz is best known for his images of people on New York City's streets and subway, capturing life in the city for the past 40 years. He began his photographic journey in 1980 after serving in the Army in Germany. Once back in New York, he used a 35mm Canon AE-1 to capture hip-hop culture in the 80s and 90s. His work includes both posed and candid photographs and clips from his studio reveal the vastness of his archive.

A key point in the video is the importance of connection for Shabazz. He explains how he would always carry a photo album with him to show potential subjects so they could see his intentions. He also gave everyone he photographed his business card so that they could call him if they wanted the photograph. "It's not about me,” explains Shabazz. "I'm just a vessel using my position to freeze time and then thaw the moments out later on so people can see them and heal, rejuvenate, or just celebrate."

This connection is particularly evident when Shabazz reunites with two men who are the subjects of one of his most iconic images, "The Righteous Brothers." He met them on the day he photographed them, and they have remained friends over the years. The three talk about what was going on at the time and how powerful the photograph is for them.

It's a short video, but it serves as an excellent reminder of the importance and power of portraiture and photography as a tool for storytelling.

OM System's Director of Product Planning, Hiroki Koyama and VP for Brand Strategy and Product Planning, Kazuhiro Togashi, at CP+ 2025

Photo: Dale Baskin

"We are considering the new Pen concept as OM System brand," says OM System's Kazuhiro Togashi, VP for Brand Strategy and Product Planning.

We spoke at the CP+ trade show in Yokohama, Japan, and he reassured us that the arrival of the OM-3 with a Pen-F style 'creative dial' on the front doesn't close the door on the rangefinder-style series.

"There's a different concept between OM-3 and Pen-F series," he explains: "basically the Pen-F series is about ultimate beauty and the ultimate craftsmanship. Whereas OM-3's core concept is to take authentic and great creative photos."

But, he says, it's too soon to know what a future Pen might look like. "We think the camera's design must realize the concept of the product, so we don't start to decide the camera design before deciding the camera's concept: the product concept must come first."

"Therefore, we haven't yet decided if the product design for a new Pen will look like the Pen-F or similar to the E-P7 because we haven't decided on the product concept."

But what's clear is that OM System does plan to continue the Pen line.

The continued appeal of dedicated cameras

We asked Togashi what he thought makes shooting with a dedicated camera special, in a time when smartphone image quality has got so good.

"Experience is very important," he says: "There's a different kind of experience between smartphones and a camera. For example, I personally love to use a smartphone, but just to record; without any emotional feeling."

"When a user decides the moment with their camera, maybe their feelings are being moved by such an attempt: they're not just recording, there's more to it."

"It's like with professional sportsmen. They have to prepare to give their best performance during the game. They are always training before the game."

"When you get a perfect photo, you feel a win"

"In the case of photos, photo enthusiasts always think or calculate before taking a photograph. Before you take something, you consider the place, or you think about which position is better, or what sort of atmosphere or angle: you calculate before you take the photo."

"This is like a serious game, just as it is for football or baseball player. And when you get a perfect photo, you feel a win. 'I win, by myself' I don't know if many people can get that similar experience by taking photos with a smartphone."

And he thinks this difference should remain, even as the image quality gap narrows. "Smartphone's development speed is very high, and in the future, the difference between smartphones and camera might become very small," he says: "however the difference in experience, is a bit bigger."

We're not the company to make an enthusiast compact

Despite this, and in spite of rising sales of compacts, Togashi says we shouldn't expect an enthusiast compact.

"As for the current popularity of compact digital cameras, lower-priced models seem to be selling very well worldwide, but we feel that this is a temporary trend." he says: "We are continuing to study the development of a successor to the TG series, but currently we don't have any plans to introduce other compact camera concepts."

"We don't have any plans to introduce other compact camera concepts"

“As for high-end compact digital cameras, we recognize that there is a dedicated user base that remains a valued segment of the market, however, at OM System, we are focused on developing products that align with the evolving needs of photographers, ensuring we deliver the best possible innovation and performance across our lineup."

“When we were Olympus, our brand was known for high-end compact cameras like the XZ series and Stylus 1. However, since becoming OM System, we no longer carry high-end compact cameras. Instead, we focus on cameras that align with broader market needs, including those of younger generation photographers. Given the significant investment required – not only in research and development but also in reestablishing a high-end compact brand image – such a product would be challenging to make profitable.”

The TG series endures...

The TG series of rugged, waterproof cameras continues to have an audience, the company says.

Image: OM System

But the TG series definitely has a future, says Togashi, because it has a dedicated user base.

"TG still survives and is well received by the market," he says: "Outdoor enthusiasts want to capture their activities and adventures. Also families look for ways to preserve special memories---whether it’s their children playing in the pool or on vacations and situations like that."

"On the other hand, professional scuba divers or climbers continue to rely on the TG series. For them, safety is very important during these extreme activities, and the TG series remains a trusted tool in these challenging environments. "

"Both types of users continue to use the TG series, setting it apart from other high-end compact cameras. Their main priorities are mobility and ease of operation, rather than smartphone connectivity. They love the operation and mobility."

...but a high-end TG would be challenging

These specific requirements might rule out a higher-end TG, he suggests

"We're always talking about the successor of the TG series and whether to add a new, higher TG line, maybe using a bigger sensor, or perhaps a TG-DSLR."

"We're always thinking about the possibilities. However, as of today we don't have any best answer to realize this concept because the requirement for TG series is very hard. For example, making a large or removable lens drop resistant is very difficult."

Also, he says, keeping the size down is important: "if we adopted a bigger sensor and we maintain the same optical zoom range, the body would need to be very big. That means such a TG would lose the mobility concept."

Togashi didn't seem enthused by our suggestion of a prime lens: "A lot of TG users' photographic needs are different from enthusiasts', so they like to use a zoom lens. They like to enlarge subjects in their photos, therefore they always use tele-zoom."

Director of Product Planning, Hiroki Koyama raises another concern: " We also give priority for close-up capability. TG can be used very close to the subject. If we choose a bigger sensor size, the close-up capability will be reduced. The current sensor size is the best balance, but we'll try to study the concept."

The OM System lens range

On the subject of lenses, we asked whether they believe the current Micro Four Thirds lens lineup includes all the options an OM-3 user might want.

"Still not yet," says Togashi: "We are also trying to develop small and light and bright lenses or something like that. We have space to make new lenses in the future. I can't disclose [the details], but yes."

Choosing the right lenses to add isn't always easy, he suggests: "People always ask 'will you make a pancake lens?'," he says: "but then the pancake lens sales are not so good in general. But still, we'll continue to consider it."

Interview conducted by Dale Baskin and Richard Butler, answers edited for flow.

A lunar eclipse, captured by Jamie Malcolm-Brown in November 2021. Used with permission.

Editor's note: This article was originally published in 2022. We have updated it with information about the current eclipse as a service to readers.

Starting tonight, March 13, through the early hours of tomorrow, March 14th, skywatchers in the Americas will be able to view the first total lunar eclipse of the year. The moon will turn a 'blood red' hue for a brief period as it passes entirely into the Earth's shadow when lined up with the sun. Depending on where you are located, there is a specific time you can witness this phenomenon.

Time and Date, a top-ranking site for times and timezones, created a useful tool that allows you to make a plan by entering your viewing location. From there, it gives you pertinent information, including the total duration, what time each phase of the eclipse starts and the direction it'll travel, plus altitude during these phases. A helpful animation gives you a visual of how it will appear, minute by minute, once it starts.

Time and Date created a free tool to help you plan your total lunar eclipse viewing, depending on your location. This is the data for Seattle, WA, where DPReview's headquarters is located.

If you plan on bringing your camera out for the 'blood moon', photographer Jamie Malcolm-Brown has some helpful tips for camera settings. Describing his process for capturing a lunar eclipse in 2021, he tells DPReview that 'it was taken with [a] 200-600mm lens at 600mm, ISO 800, F6.3, at 1/3 sec. I bracketed the shots at 5 shots with an EV (exposure value) change of 1. Next time I would probably bracket 5 shots but with only an EV change of .3. The final image was cropped fairly significantly to fill the frame with the moon.'

While useful for capturing more detail on the moon's surface, you don't necessarily need a long lens that extends to 600mm to photograph the blood moon. John Weatherby released a quick, helpful tutorial on Instagram outlining his process for getting the best images possible. For one, you can shoot at a focal length between 100–200mm if you want to include a foreground.

View this post on Instagram

A post shared by John Weatherby (@whereisweatherby)

Weatherby also explains that having a sturdy tripod and ball head is an absolute necessity. Ensuring that the lens is locked in securely will yield clearer images of the moon. Using the camera's shutter delay or self-timer, or an external remote, will also help prevent blurry shots as the camera is likely to shake a bit once you press the shutter. PhotoPills, an app that helps you identify where the moon will travel in accordance with your specific location, is recommended as well.

It's important to check the weather in your area as cloud coverage can potentially conceal the moon completely. Windy.com is a free app available on desktop, iOS and Android that, in my opinion, does a decent job of forecasting weather patterns. It'll give you a visual of where clouds will appear at specific dates and times so you can determine the best place to set up in your state or country.

Windy.com, a free app, is an effective tool for forecasting weather elements, including cloud coverage.

The next total lunar eclipse will take place on September 7, and will be visible in parts of Asia, Africa and Australia. If skywatching interests you, you're in or near one of the locations where the eclipse is visible and weather permits, I recommend getting out for a few hours and witnessing this wonderful event first-hand.

Photo: Benedek Lampert

This weekend marks the start of the 2025 Formula 1 season, and one photographer is kicking things off with a series of photographs to celebrate. With a fine focus on detail and many hours of work, toy photographer Benedek Lampert has recreated F1 moments using Lego. This project is just the latest for Lampert, who has previously created life-like scenes of Lego versions of the Eiffel Tower and Shackleton's Endurance.

In September 2024, Lego and F1 announced a partnership that included releasing numerous F1 Lego sets, some of which featured more realistic-looking models of F1 team cars. Lampert managed to get his hands on the entire starting grid and set to work on creating highly detailed, life-like photographs of the Lego F1 cars.

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

As with all of Lampert's work, nearly everything was done in camera. "It’s extremely important to me that these are actual photos and not AI-generated graphics," he explained. That meant lots of hands-on time to build sets and problem-solve special effects. He built the track scenery and crafted unique sets that allowed him to get motion blur, spinning wheels, smoke and water vapor without any editing work. Lampert explained that the only thing he added while editing was the cloud texture in the sky and rear lights in one image.

All said and done, Lampert says the project took 70 hours for the 10 final images. The photo shoot portion of the project took five days, with ten to twelve-hour days at times. You can see how he meticulously created each image in the behind-the-scenes video below, as well as the photos in the gallery above.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.

Product photos: Richard Butler

The Sigma BF is a minimalist 24MP full-frame mirrorless camera that offers distinctive design and an unconventional user interface.

Key specifications

• 24MP full-frame CMOS sensor
• Phase detection AF with human and animal detection
• No mechanical shutter
• 3.2" 2.1M dot rear touchscreen
• Pressure-sensitive buttons with haptic feedback
• 6K video up to 30p, 4K up to 30p
• 1080 up to 120p
• Leica L-Log profile
• Zebras and False Color exposure displays
• 230GB of internal memory
• 10Gbps USB-C port, external mic compatible

The Sigma BF is available in Black or Silver at a cost of $2000. Sigma has also made versions of all its i-series primes to match the silver version of the camera.

Buy now:

$1999 at Amazon.comBuy at B&H Photo Index:

• What is it?
• Body and controls
• Initial impressions
• Sample gallery
• Specifications

What is it?

The Sigma BF is explicitly not trying to be a do-everything, Swiss Army Knife of a camera. Sony's a7C II already exists, bringing an EVF, multiple dials, a mechanical second-curtain shutter mechanism and in-body image stabilization, for a list price just 10% higher than the BF's.

But if Sigma was trying to go head-to-head with Sony in the mass market, it probably wouldn't be spending seven hours milling each camera out of blocks of aluminium, nor doing so in Japan: neither of which is the approach you take if you're primarily driven to hit a specific price point.

Similarly, just looking at the specs, the BF might be mistaken for an unstabilized Panasonic S9 in a fancier body, but despite sharing a sensor, the two cameras couldn't be more different.

Instead Sigma explicitly says the BF is designed for 'everyday' photography. An elegant object designed to be carried with you, rather than a utilitarian device you take when you're taking photos. It's absolutely not optimized for rapid operation, it's not teeming with clever features. Instead it includes only the bare essentials for photography (or, arguably, slightly less than that, given its lack of mechanical shutter).

Think of it like a Moleskine notebook: in many respects it's not as practical for taking notes and recording ideas as the smartphone you're already carrying, but the very process of carrying it with you acts as a prompt to look at the world and capture the thoughts you were having. The BF is trying to do the same.

It's the difference between a camera that you'd grab when you want to go and take photos of something, vs a tool that encourages you to look for things to photograph.

Body and controls User interface

The best way to understand the BF is to note the dedicated settings display towards the top right-hand corner on the back of the camera. This displays one of ten parameters:

Drive mode File format Aspect ratio Focus mode White balance Shutter speed Aperture value Exp comp. ISO Color mode

These are also the ten parameters that appear on the main screen if you press the center button on the back of the camera, in the pattern shown in the table above.

You can navigate between them by pressing the cardinal points on the rear dial, then scroll the dial to change the current setting.

Pressing the center button lets you see and edit the camera's core ten parameters, but the chosen setting is also shown in the dedicated settings display to the top right of the screen.

In this instance the aperture value is shown in dark grey because it's being controlled from the lens.

But you don't have to press the center button and bring them up on the main screen: once you've learned their relative positions (and chances are it's the ones in the bottom row you'll change regularly), you can navigate around them just using the settings display. And, for me, that's the key to understanding the BF: it's designed so that the core settings can be adjusted without looking at the main screen. You can set the camera to show all the settings on the main screen,

In keeping with this idea, the touchscreen is almost solely used for positioning the AF point or selecting a subject to track: even if you summon-up the settings on the main screen, you can't tap to change settings, just choose what to focus on.

Exposure modes

The BF has no mode dial, so exposure mode is set by selecting which parameters you want to be controlled by the camera. This is done via the main screen. Press the center button to bring up the settings then press it again to edit them, and the ISO, aperture value and shutter speed indicators show 'Auto' options above them, letting you engage and disengage automated control of each parameter.

Any of the exposure parameters that can't be changed by spinning the dial, either because they're set to Auto or because aperture value is being set by an aperture ring, is rendered in darker grey, both in the settings display and on the main screen display.

Other settings Ten further settings, including the level gauge and options to display information such as focal length and focus distance are accessed via the three-dot button. Navigating down to the word 'System' takes you to the menu where fundamental settings such as date and time are edited.

Another ten settings, six of which relate to how much detail appears on the main screen (exposure parameters, guides, virtual horizon, etc), can be accessed by pressing the 'three dots' settings button. At the bottom of this settings menu is the word 'System' which gives you access to a ten-option-long list of fundamental camera settings, including firmware information, copyright information, menu language and date/time.

That's the extent of the BF's interface: ten top-level parameters, ten settings and ten menu options. But what this doesn't fully convey is the degree to which it's a camera in which Shutter speed, Aperture value, Exposure compensation and ISO can all be set using just the settings display, leaving the monitor solely for focus and composition.

Handling

The BF is a very solid-feeling camera, as you might expect from something hewn from a solid block of metal. The body itself is relatively light but the weight adds up as soon as you mount a lens of any appreciable size on it.

Despite it's minimalist appearance, it's quite easy to hold. The textured front-plate and raised thumb rest at the back mean you can get a pretty solid grip on the camera, and you can cradle the weight of the lens in your left hand if you're working with anything larger than one of the compact primes offered by Sigma or Panasonic.

However, we found that it was common for our ring finger to wrap around to the base of the camera as we held it, which quickly makes apparent how sharply angled the edge of the BF is. It's not hard to imagine users adding a little tape to the lower edge of the camera or being tempted to chamfer the edge with a fine file, once they come to live with the camera.

I've primarily used it with the Sigma 35mm F2 prime and the Panasonic 20-60mm F3.5-5.6 lenses, both of which are small and light enough that it's been comfortable to use.

Battery

The BF uses a new 11.88Wh BP-81 battery. This will power the camera to a CIPA rating of 260 shots per charge. As always, the CIPA figure will tend to under-represent how many shots you're likely to get, and we found it's the camera's propensity to show its charge percentage on its settings display that caused us to worry a little disproportionately.

Still, a rating of 260 is pretty low and means you may want to consider carrying a power bank if you plan to do more than occasional shots each day. Putting it on to charge overnight, just as you might do with your phone will probably be sufficient for everyday casual use, though.

A gentle press of the power button puts the camera into standby mode, but the battery will continue to drain at an appreciable rate. The BF starts up from cold quickly enough that this is usually a better approach.

Initial impressions

By Richard Butler

Even the body cap is an over-engineered delight.

The Sigma BF is one of the most unusual cameras we've ever encountered. On paper it looks like an under-specced rival to the Panasonic DC-S9 or even the Sony a7C II. Or, perhaps even a slightly re-purposed Sigma fp. But, even though it shares components and a small rectangular body, the BF is quite unlike any of these cameras.

Sigma's CEO, Kazuto Yamaki talked about completely re-thinking the camera's interface to pare it back to the fundamental things a camera needs to offer, in an attempt to make it simple to use, with the aim of making a camera for everyday use. And the more I use the BF, the more I think I understand this intent.

The idea of a dedicated settings display, leaving the main screen as a means of composing your image and positioning the focus point is a refreshingly simple one, undermined only by the challenge of viewing a fixed LCD in bright light. The decision to display only one setting, rather than a full array of settings and icons makes it very quick to interpret and I did find it made me consider what changes I wanted to make, shot-to-shot, in a way I don't on a more conventional twin-dial camera.

Playback mode has three levels of information that can be displayed, this is the most detailed, but you can also opt just to see the top two rows of information, or just the first.

Touching, rather than pressing, the playback button lets you review the last image you shot, without entering the full playback mode, for as long as your finger remains on the button.

This really hit home when I realized I prefer to set aperture from the camera, rather than using an aperture ring; I think the camera works best with everything controlled from the settings display, rather than trying to increase the number of control points.

Another surprise was how good the BF's autofocus appears to be. Its subject tracking is very simple to use and impressively tenacious, while its eye detection works well and can be left turned on without minimal risk of the camera prioritizing nearby faces ahead of a different subject you've selected.

There are distinct downsides, though. The lack of mechanical shutter not only means there's a risk of rolling shutter and that the camera can't be used with flash, it also means it's quite prone to banding caused by the inherent flicker of artificial lights. This can be fairly subtle at longer shutter speeds but becomes increasingly apparent in short exposures, limiting its use as an indoor camera, despite a sensor that works well in low light.

Sigma 35mm F2.0 | F4.0 | 1/500 sec | ISO 400

Photo: Richard Butler

Sigma's sometimes quite dramatic color modes may not be to everyone's tastes, and I'm not wholly convinced by the 'Light Source Priority' auto white balance mode, that tries to maintain some of the character of the detected light source. But even when the results are unexpected, they're often interesting.

The BF's battery life is also quite short. An external charger is available, if you want to keep a second battery topped-up, but mainly it's a case of remembering to put the camera on to charge regularly, just as you might for your smartphone.

Other than a slight concern about the sharp lower front edge, I'm really looking forward to spending more time with the BF. It's not a camera that lets you respond quickly to the unexpected; instead it's one that makes you slow down and look for the photos you might otherwise not notice.

Buy now:

$1999 at Amazon.comBuy at B&H Photo Sigma BF sample gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Photo: Dale Baskin

Canon Announced its PowerShot V1 compact just a few weeks ago, with pre-orders only recently opening for those in Asia. Despite that, DCWatch reported that Canon has already warned that demand is high and delivery may be delayed as a result, potentially delaying its availability to the rest of the world.

A screenshot of the messaging on Canon Japan's website.

Visiting the PowerShot V1 product page reveals a message (translated from Japanese) stating, "Apologies and information regarding product supply status." That message links to a page that briefly explains that Canon is "currently receiving more orders than expected for the following products, which is causing delays in delivery." Notably, three compact cameras are affected, with the PowerShot V1 at the top of the list. Canon plans to ship these products sequentially but says delivery may take longer than usual.

The PowerShot V1 is the company's first compact camera since the PowerShot G7 X III, which was released back in July 2019. Canon also launched the PowerShot V10 in June 2023, but that model is more video-focused and targets a different user base. Even though the Powershot V1 is only available in Asia, it is a welcome addition. After all, we are currently seeing an increased interest in compact cameras, which is driving up prices and causing issues with availability across the board.

Photo: Dale Baskin

The increased demand is reflected across the compact market. Retro compacts that used to sell for $5 at garage sales and thrift stores now go for anywhere from $40 to $250 or even higher. The PowerShot G7 X III, despite being six years old, has such high demand that Canon is suspending orders indefinitely to catch up. Meanwhile, the Fujifilm X100VI, which was announced a year ago, is still out of stock on most websites and is selling for as much as double its already steep $1,599 retail price on sites like eBay. CIPA's January numbers also showed a rise in the popularity of compact cameras, with an increase in shipments and value compared to January 2024.

While The PowerShot V1 was released exclusively for Asia, many are eagerly waiting for broader availability. Unfortunately, a delay so early on in the release potentially complicates that, meaning those hoping to get their hands on the camera outside of Asia will likely have to wait even longer. Canon hasn't provided specific timing or details on the extent of the delays. That means it's a waiting game for now, with another compact camera bogged down by supply constraints.

Photo: Richard Butler

The Camera and Imaging Product Association (CIPA) recently published its total production and shipment data for January. The latest data shows that demand for compact cameras remains strong. Shipments of interchangeable lens systems also increased year over year, while those of SLR systems slowed.

CIPA breaks down its data into camera types, with dedicated sections for cameras with built-in lenses and interchangeable lens systems. It also differentiates between SLRs and mirrorless cameras and provides specific data regarding various regions. All digital still cameras saw a 6% increase in shipment compared to January 2024 data, while interchangeable lens cameras were up 5% year-over-year.

A graph showing the total number of shipments of digital still cameras.

Graph: CIPA

Built-in lens systems, though, saw the biggest increase of all categories. With 124,085 units shipped in January, cameras with integrated lenses saw an increase in shipments of 11% compared to January last year. Also notable was the 50% increase in the value of shipped compact cameras compared to January last year. The fact that the value is increasing faster than the number of units shipped indicates prices are higher for those cameras.

The growth in value isn't entirely surprising, given that demand for compacts is high right now. Cameras like the Fujifilm X100VI have been extremely popular. According to Map Camera, one of the largest photography retailers in Japan, the Fujifilm X100VI was its best-selling camera in February 2025. The buzz surrounding the Canon Powershot V1, which was only recently announced at CP+, is also significant. The Powershot V1 is only available in Asia and wasn't scheduled to start shipping until April. Despite all that, DCWatch reported that Canon has already announced it is experiencing supply shortage issues and that delivery times may be longer than usual as a result.

While that growth in compact camera shipments is interesting, it seems to be largely the result of two regions. China saw the greatest increase; shipments of compact cameras grew substantially year-over-year, with just 6,055 units shipped in January 2024 versus 18,955 units shipped in January 2025, a 213% increase. Asia (excluding China and Japan) also saw an increase, though at a more modest 22%. Europe and the Americas, however, actually saw a few thousand fewer shipments of compact cameras year-over-year (around a 6% fall).

While compacts saw an increase in shipments, SLRs saw a decline in January 2025 compared to January 2024. Shipments of SLRs were down 16% year-over-year. This isn't much of a surprise, given that the last DLSR that was released was the Pentax K-3 Mark III in March 2021, and Canon and Nikon last released DSLRs in 2018 and 2020, respectively. Sigma is also no longer developing new DSLR lenses. Needless to say, it seems the sun is setting on DSLRs, so it makes sense that shipments would be slowing.

Image: Insta360

Insta360 and Leica Camera AG first teamed up in January 2020 with the Insta360 One R action camera. More recently, they collaborated on the Insta360 Ace Pro 2. That cooperation isn't over, as the two companies have announced an extension of their partnership, bringing continued collaboration to Insta360's action cameras.

The Ace Pro 2 featured a Leica Summarit lens and Leica color profiles, so it seems likely that we will see more Leica optics and colors in future Insta360 products. The announcement reveals that "exciting developments are already on the horizon," suggesting that a new product is already in the works. It goes on to say that there will be "more cutting-edge imaging solutions across new product lines in the near future."

“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”

The Insta360 Ace 2 Pro has been very well regarded with impressive quality, so if that's a sign of what this partnership can yield, then exciting things could indeed be on the way. The two companies didn't provide any additional details about what product lines may involve Leica's input, so for now, we will have to wait.

Insta360 and Leica Camera AG extend Partnership: Advancing the Action Cam Industry

Insta360, a leader in 360° and action cameras, is proud to announce an extension of its partnership with Leica Camera AG, the legendary brand renowned for over a century of excellence in imaging. This continued collaboration aims to bring elite performance to Insta360's range of AI-powered action cameras and more.

Leica's heritage in crafting high-quality lenses and pioneering advancements in optical engineering aligns seamlessly with Insta360’s mission to redefine what’s possible in action and 360° imaging. Together, the two brands have delivered industry-leading innovations, with the latest offering, Insta360 Ace Pro 2, proving to be a smash hit among users worldwide.

With this partnership evolving, exciting developments are already on the horizon. While we can’t share specifics just yet, creators can expect more cutting-edge imaging solutions across new product lines in the near future. This extension sets the stage for further innovation, reinforcing both brands’ commitment to pushing the boundaries of what’s possible in action and 360° imaging.

A Partnership Rooted in Innovation

“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”

As the action camera market continues to demand ever-better image quality, this partnership ensures that Insta360 continues to lead in imaging excellence.

"For over a century, Leica has stood at the forefront of optical innovation, and our partnership with Insta360 allows us to continue this legacy in the dynamic world of action cameras.

Together, we strive to push the boundaries of imaging excellence, offering creators tools that inspire their creative journeys," said Marius Eschweiler, Vice President Business Unit Mobile, at Leica Camera AG.

Insta360 Ace Pro 2 – The Latest Evolution of Insta360 and Leica’s Collaboration

The latest product of this partnership is the recently launched Insta360 Ace Pro 2, a flagship AI-powered action camera designed for professionals and enthusiasts seeking the highest image quality.

Built with a Leica SUMMARIT lens and unique Leica color profiles, the latest addition to Insta360's wide-angle camera lineup sets a new standard in action photography and videography.

With industry-leading low-light performance, superior dynamic range, and refined image processing, Insta360 Ace Pro 2 is engineered to capture life’s most thrilling moments with the precision and quality expected from Leica optics.

Creators can rely on Insta360 Ace Pro 2’s enhanced stabilization and AI-powered features to ensure smooth and professional-looking footage every time.

Looking Ahead

The renewal of this partnership signals an exciting future for creators and action camera enthusiasts alike. With Leica’s legacy in optics and Insta360’s expertise in imaging technology, the next generation of cameras will continue to set new benchmarks in performance and creativity.

Shop the Insta360 Ace Pro 2 here, and be sure to explore Leica's latest offerings via their official website.