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Image: DJI

Yesterday, DJI announced the release of its Mavic 4 Pro drone. Notably missing were USD prices. This is because the Shenzhen, China-based company decided to hold off on selling its latest product in the US for an undetermined period of time. Oddly, pre-orders are available on popular reseller websites (and were at the time of launch), including B&H Photo and Adorama. Adding to the confusion, DJI responded to a post on X about pre-orders at B&H, saying, "This product is not yet available in the United States."

Despite all that, some lucky drone enthusiasts were fortunate if they were in or near New York City, as reported by The Verge. On Tuesday, the brick-and-mortar flagship Adorama and B&H Photo stores sold an undisclosed number of units to savvy consumers at their NYC-based locations. DJI's New York City location jumped on the trend today and posted on its official Facebook page that it would also sell a limited number of Mavic 4 Pro packages at its Fifth Avenue store.

DJI's New York City posted today on its Facebook page that it would sell the Mavic 4 Pro, while supplies last.

While the DJI store's sales rep would not confirm with DPReview how many units were available for sale, he verified that the standard Mavic 4 Pro's price is $2699. The Mavic 4 Pro with Fly More Combo retails for $3549, while the Creator Combo will set you back $4649. As of the time of writing, it's possible that these units may be sold out.

A DJI spokesperson recently answered our request for comment. "At this time, the DJI Mavic 4 Pro is not available for sale in the U.S. market through DJI’s official e-commerce site. We cannot comment on behalf of our retail partners.” B&H Photo and Adorama have not responded to a request for comment about pre-order status.

Photo: Richard Butler

While flying with your camera gear in your carry-on bag is allowed – and recommended – it can be tricky to figure out how to pack it all. It can easily become a bit like a game of Tetris, though one that involves pricey equipment. While your carry-on bag won't have quite the journey a checked bag would, it's still important to pack carefully so you don't arrive at your destination with damaged gear.

How to protect your gear in your carry-on Photo: Abby Ferguson

The easiest way to protect your gear is to invest in a quality camera bag with plenty of padding. Adjustable dividers positioned to cradle your setup are also ideal for keeping everything snug and in place so they don't crash into each other. Your carry-on bag will move a lot during your travels, so you want to keep things from moving around and potentially bouncing into each other as much as possible.

If you don't want a dedicated camera bag, there are other options, especially if you only have a few pieces of photography gear (even better if they are on the compact side). You could purchase a small travel pouch or case that fits inside your normal carry-on bag. Many companies, such as Peak Design, Shimoda Designs, LowePro and Neewer, make padded bag inserts, essentially turning any bag into a camera bag.

For a more minimalist approach, there are also wraps designed for cameras and lenses. However, those don't add much protection, so you'll still want to pack your gear carefully even when using them. In a pinch, you could even use your clothes as wraps, but again, you'll want to pay extra attention to how you're packing things, and this should be used as a last resort.

No matter what, the key to protecting your gear in your carry-on is to ensure a snug fit. You want to avoid as much jostling as possible. If you hear something thump or can feel things move around when putting your backpack on your back, it's probably not packed very well. Even if you use a dedicated camera bag, you may need to use clothes or other soft items as extra padding to prevent movement.

Additional considerations for gear in carry-on Photo: winhorse / iStock Unreleased via Getty Images

While you can have your camera gear in your carry-on, that bag must comply with carry-on sizes and weights. For flights in the US, the standard carry-on size is 55.9 x 35.6 x 22.9cm (22 x 14 x 9"). International flights differ slightly, with a standard carry-on size of 56 x 36 x 23cm (22 x 14 x 9"). Individual airlines may have their own rules, though, and budget airlines are often much more strict in what they allow. Also, if space in overhead bins runs out, you may be forced to check your carry-on bag even if it is the right size.

Perhaps more significant than dimensions, though, are weight limits. After all, camera gear can be fairly heavy, and dedicated camera bags can be hefty even when empty. Many airlines outside of the US (and some within the US) have a weight limit for carry-on bags. Those vary by airline but range from 7 to 20kg (15- 26lbs). Again, be sure to check rules for your flight before getting to the airport to prevent a stressful situation.

Samsung has officially announced its highly anticipated and long-teased Galaxy S25 Edge phone. The new device borrows plenty of features from its other phones in the S lineup, packing them into a remarkably thin body. Samsung says it combines "precise design intentions with powerful performance."

The main selling point of the S25 Edge is, naturally, its slim design. The phone is just 5.8mm (0.23") thick and weighs 163g (5.7oz). For comparison, the Galaxy S25 is 7.2mm thick, while the S25 Ultra comes in at 8.2mm. The Ultra also weighs more, at 218g (7.7oz). Some compromises are made to cut down on the bulk, though.

The most notable compromise for photography enthusiasts is the lack of a telephoto camera. Instead, the Galaxy S25 Edge features just two cameras on the back, plus the standard selfie camera. The main camera shares specs with the Galaxy S25 Ultra, featuring the 200MP Type 1/1.3 (9.8 x 7.3mm) sensor and F1.7 aperture. To compensate for the missing telephoto camera, the main camera offers 2x and 10x crop modes, though the latter will use AI upscaling, while the former is sampling from a native region on the sensor. The phone also features a 12MP F2.2 ultra-wide camera that supports macro photography.

Images: Samsung

The other major sacrifice is battery life. It features the smallest battery of the S line, though that's not surprising given the slim design. Samsung didn't specify a promised battery life in its press release, implying it's at least nothing to write home about. If battery life is important to you, you're better off choosing a thicker phone than the S25 Edge.

Performance promises to be strong, though, as The S25 Edge boasts the same customized Snapdragon 8 Elite for Galaxy chipset as the S25 Ultra. It also features the new Corning Gorilla Glass Ceramic 2, introduced at the same time as the phone. Samsung says it offers both vibrancy and strength, protecting the display on this ultra-thin phone without reducing the display quality.

The Samsung Galaxy S25 Edge is available for pre-order starting today from Amazon, Best Buy, Samsung and through phone carriers. General availability will begin on May 30. Pricing starts at $1100 for the 256GB storage option and $1220 for the 512GB option.

Pre-order at Samsung Pre-order at Best Buy

Press release:

Meet the Samsung Galaxy S25 Edge: An Engineering Marvel of New Slim Hardware Innovation

Publish Date: 5.12.2025
Category: Mobile

Samsung Electronics Co., Ltd. today has revealed the full specifications of the Galaxy S25 Edge, a category-defining slim smartphone joining the Galaxy S series. Crafted with style and strength in mind, Galaxy S25 Edge strikes a new balance of premium, pro-level performance in a resilient titanium frame only 5.8mm thick.1 S25 Edge delivers on the S series legacy, integrating an iconic Galaxy AI-enabled2 camera and unleashing a new realm of creativity in an effortlessly portable device.

“Galaxy S25 Edge is more than a slim smartphone. The superior engineering that brought this revolutionary smartphone to life illustrates a commitment to overcoming barriers that helps Galaxy deliver truly unexpected premium experiences for people around the world,” said TM Roh, President and Acting Head of the Device eXperience (DX) Division at Samsung Electronics. “S25 Edge not only marks a breakthrough for its category, but it also accelerates important innovation across the mobile industry.”

Exceptionally Sleek and Strong Design

With a thin 5.8mm chassis and weighing in at just 163 grams, Galaxy S25 Edge is a remarkable feat of engineering that reimagines nearly every element of smartphone design for an even more compact and convenient experience. This refined design bridges form and function, taking slim smartphones to the next level while staying true to the Galaxy S series’ unified design.

Alongside its streamlined silhouette is an exceptionally resilient device. The optimally curved edges of the sturdy titanium frame offer enduring protection for everyday use. The latest Corning® Gorilla® Glass Ceramic 2, a new glass ceramic offering that delivers engineered resilience, is used for the front display to yield both vibrancy and strength on Galaxy S25 Edge.

Dynamic Creativity with a Pocketable 200MP Camera

The slim and light design of Galaxy S25 Edge makes it easier than ever for users to capture memorable moments and express their creativity anytime, anywhere. The 200MP wide lens upholds the Galaxy S series’ iconic camera experience including Nightography. Thanks to its ultra-high resolution, users get sharp photos while maintaining clear shots with the large pixel size — capturing images with over 40% improved brightness3 in low-light environments. The 12MP ultra-wide sensor features autofocus, powering crisp, detailed macro photography for even more creative flexibility.

Galaxy S25 Edge benefits from the same ProVisual Engine that was optimized for Galaxy S25 with pro-grade enhancements, like ensuring sharp details for clothes or plants, and natural, true-to-life skin tone in portraits.4 Galaxy AI-powered editing features,5 including fan-favorites like Audio Eraser6 and Drawing Assist7 are all brought over from the Galaxy S25 series, pairing advanced creative and editing tools with a never-before-seen slim form factor.

Peak Performance Expertly Configured in Ultra-Slim Housing

Galaxy S25 Edge is built to deliver premium performance, starting with the Snapdragon 8 ® Elite Mobile Platform for Galaxy, the same processor available in all Galaxy S25 series devices globally. Customized by Qualcomm Technologies, Inc., the chipset powers Galaxy S25 Edge’s on-device AI processing capabilities and offers reliably fast performance all day.8 Galaxy S25 Edge also features a reconfigured vapor chamber that is now thinner, yet broader for steady heat dissipation.

Matching the Galaxy S series’ renowned performance standards, Galaxy S25 Edge features advanced, efficient AI image processing with ProScaler,9 which delivers a 40% improvement10 in display image scaling quality, while incorporating Samsung’s customized mobile Digital Natural Image engine (mDNIe) — improving power consumption, so you can enjoy peak performance for longer.

A Trusted Companion with Galaxy AI

Integrating Galaxy AI at nearly every touchpoint, Galaxy S25 Edge offers our most natural and context-aware mobile AI experiences. Users get personalized, multimodal AI capabilities with peace of mind that their data is secured.

Mirroring the broader Galaxy S25 series, Galaxy S25 Edge integrates AI agents that work seamlessly across multiple apps, serving as a true AI companion to get things done more easily. Galaxy AI also gets better at integrating with daily routines. Now Brief11 and Now Bar12 include third-party app integrations for greater convenience and helpful reminders during everyday commuting, dining, and more.

Thanks to Galaxy’s deep integration with Google, Galaxy S25 Edge brings Gemini’s13 latest advancements to more users. For example, with Gemini Live’s14 new camera and screen sharing abilities, users can show Gemini Live what they see on their screen or in the world around them while simultaneously interacting with it in a live conversation.

Experiences powered by Galaxy AI on Galaxy S25 Edge aren’t just convenient — they’re designed with privacy at the core. On-device AI processing ensures data is kept secure by Samsung Knox Vault,15 continuing Samsung’s unwavering commitment to ensure hyper-personalized mobile experiences while prioritizing privacy.

Rooted in craftsmanship and driven by performance, Galaxy S25 Edge delivers pro-level photography, personalized AI experiences, and more. It goes beyond a slim form factor to challenge expectations for what a smartphone can be.

Your Digital Essentials Always by Your Side

Galaxy S25 Edge opens access to Samsung’s wide range of features and services to help you live your best life

Samsung Health offers extensive fitness and health tracking, sleep coaching, personalized guides, and wellness tools to help you reach your goals without a subscription fee.

Samsung Wallet is a convenient way to keep and use many of your most essential digital items securely on your phone including payment cards, digital keys, boarding passes, mobile driver’s license, student ID, and more.

Galaxy S25 Edge will enable users to take advantage of Samsung Wallet’s soon-to-be-released Tap to Transfer feature. This enables quick6 and convenient peer-to-peer (P2P) payments by using the debit card stored in Samsung Wallet to send money directly to friends and family members’ bank account. No additional apps needed, and transfers are seamless between digital wallets — all it takes is a tap to transfer.17

Availability

Galaxy S25 Edge is available for pre-order starting today, May 12, at Amazon, Best Buy, and Samsung.com, and from carriers nationwide, with general availability starting on May 30, 2025.

Galaxy S25 Edge starts at $1,099.99 for the 256GB storage option and $1,219.99 for 512GB. It comes in stylish Titanium Silver, Titanium Jetblack, and Titanium Icyblue colors options.

Preorder now through May 30 on Samsung.com or the Shop Samsung app to receive up to $800 in total savings. Claim a $50 credit just by pre-ordering,18 plus if you select the 256GB storage model, you will receive the 512GB model at no additional charge19 — that’s a value of $120. For extra savings, trade-in an eligible device and receive up to $630 in credit towards your purchase of Galaxy S25 Edge.20

For more information about Galaxy S25 Edge and the Galaxy S25 series, please visit: Samsung Newsroom, SamsungMobilePress.com or Samsung.com.

1 Excluding camera lenses.

2 Galaxy AI features by Samsung are free through 2025 and require Samsung account login.

3 Compared to Galaxy S25 and Galaxy S25+.

4 Results may vary depending on light condition and/or shooting condition including multiple subjects, being out of subject, or moving subjects.

5 Galaxy AI features by Samsung are free through 2025 and require Samsung account login.

6 Compatible with common video formats accessible in Gallery; helps minimize six sounds (Voice/speech, Music, Noise, Crowd, Nature, Wind) utilizes AI; results may vary.

7 Drawing assist feature requires a network connection and Samsung Account login. A visible watermark is overlaid on the image output upon saving in order to indicate that the image is generated by AI. The accuracy and reliability of the generated output is not guaranteed.

8 Based on average battery life under typical usage conditions. Average expected performance based on typical use. Actual battery life depends on factors such as network, features selected, frequency of calls, and voice, data, and other application usage patterns. Results may vary.

9 Available on Galaxy S25 Edge, Galaxy S25 Ultra, and Galaxy S25+ only; requires screen resolution setting to QHD+.

10 13 Compared to Qualcomm Snapdragon® 8 Gen 3 on Galaxy S24 series based on PSNR (Peak Signal-to-Noise Ratio) test.

11 Displays daily select information from select apps (some apps may require internet connection and/or consent to access data). Personal data intelligence must be enabled.

12 Requires WIFI connection and Samsung and Google accounts.

13 Product functionality may be dependent on your app and device settings. Requires internet connection. Results may vary depending on visual matches. Gemini is a trademark of Google LLC.

14 Results for illustrative purposes and may vary. Check responses for accuracy. Compatible with certain features and with certain accounts. Internet connection required. Available on select devices, languages, and countries. Only available to users 18 years and older.

15 Galaxy AI Personal Data Engine secures select data from select apps on device in Knox Vault. Galaxy AI features by Samsung are free through 2025 and require Samsung account login.

16 Actual funds availability varies depending on receiving financial institutions. Service provided by Green Dot® ©2025 Green Dot Corporation. All rights reserved. Green Dot Corporation NMLS #914924; Green Dot Bank NMLS #908739.

17 Requires a contactless enabled Visa or Mastercard debit card from a participating U.S. bank. Fees and limits apply. Your financial institution or mobile carrier may charge you. See Samsung.com for details.

18 5/12/25 - 5/30/25, pre-order the latest Galaxy S25 Edge device on Samsung.com or in the Shop Samsung App and receive a $50 Samsung Credit ("Reservation Gift”) when you pre-order and purchase the device. Pre-order and purchase required. The Reservation Gift cannot be applied to the pre-ordered device(s) and must be used at the time of pre-order purchase towards purchasing additional eligible products on Samsung.com, or in the Shop Samsung App. Reservation Gift will be applied automatically when you use the same email address during Reserve and Pre-order Periods. Reservation Gift is a one-time use e-certificate; when first used, any value not used is lost and must be used at the time of purchase. The Gift is non-transferable and limited to 1 per Qualifying Purchase. If you return or cancel your purchase, the discount will be forfeit.

19 5/12/25 - 5/30/25, while supplies last, purchase a Galaxy S25 Edge 512GB ("Qualifying Purchase") for the price of the next lowest storage level (“Gift”) at samsung.com or the Shop Samsung app. Portion of storage/memory occupied by existing content. The discount will be automatically applied at checkout. The Gift is non transferrable and limited to 1 per Qualifying Purchase. If you return or cancel your purchase the discount will be lost.

20 For a limited time only, on Samsung.com/Shop Samsung App, or purchase a new qualifying Galaxy device ("Qualifying Purchase"), send in your qualifying trade-in device to Samsung through the Samsung Trade-In Program, and if Samsung determines your trade-in device meets all eligibility requirements, you will receive a trade-in credit specific to your qualifying trade-in device to apply toward your Qualifying Purchase. Device models that currently qualify for trade-in and trade-in credit amounts associated with those models are available on Samsung.com and the Shop Samsung App; eligible models and amounts may change at Samsung's sole discretion. To be eligible for trade-in, your qualifying device must meet all Trade-In Program eligibility requirements, which include, but are not limited to, that the device powers on, holds a charge, and does not power off unexpectedly; has a functioning display; has no breaks or cracks in the screen (unless a cracked screen offer applies); has no breaks or cracks in the case; has no liquid damage (whether visible or not); has no other defects that go beyond normal wear and tear; is not on a black list; has a verified FCC ID; has been reset to factory settings; has all personal information removed; has all software locks disabled; and is owned by you (leased devices are not eligible). Anticipated trade-in value will be applied as a credit at time of purchase, but, if you do not send in your trade-in device within 15 days of receipt of your Qualifying Purchase, you will be charged back for the trade-in credit applied to your purchase, or if you send in your trade-in device within 15 days of receipt of your Qualifying Purchase but Samsung determines your device does not meet all eligibility requirements, you will be charged back for the trade-in credit applied to your purchase minus $25. Participation in this program does not excuse you from contracts with your carrier or retailer (or any related payments or fees) for the device that was traded in. Limit 1 trade-in per Qualifying Purchase. Samsung reserves the right to modify or discontinue this offer at any time. The Trade-In Program cannot be combined with any other Samsung, carrier or retailer promotions, discounts, or offers unless specifically provided for in the terms and conditions of such offers. Additional terms, including terms that govern the resolution of disputes, apply.

* All functionality, features, specifications and other product information provided in this document including, but not limited to, the benefits, design, pricing, components, performance, availability, and capabilities of the product are subject to change without notice.

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 Panasonic Lumix DC-S1II is the company's second-generation, high-end 24MP full-frame mirrorless camera, now based around a partially stacked CMOS sensor, and the same body introduced as the S1RII.

Key specifications

• 24MP partially-stacked BSI CMOS sensor
• Up to 70fps shooting, including Raw
• 1.5 seconds pre-burst capture
• 96MP multi-shot mode with in-cam combination and motion correction
• 10-bit HLG HEIF still images
• In-body stabilization rated at up to 8.0EV of correction
• Open-gate 6K video up to 30p
• Full-width 5.9K or 4K up to 60p
• 4K/120p video with slight crop
• 6K Raw output over HDMI
• Built-in fan for extended recording
• External SSD output for video
• V-Log with 15-stops in DR Boost mode
• Arri C-Log3 paid upgrade option
• 4 channel and 32-bit float audio with XLR2 adapter
• Bluetooth timecode sync

The Panasonic S1II will be available from June 2025 at a recommended price of $3199. As with the launch of the original S1, this is a around $600 more than the list price of its nearest competitors from Nikon or Canon.

Index:

• What's new
• How it compares
• Body and handling
• Video capabilities
• Sample gallery
• Specifications
• Press release

Buy now:

Buy at AdoramaBuy at B&H Photo What's new Partially-stacked CMOS sensor

The S1II becomes the second camera we've encountered to promise a 'partially stacked' CMOS sensor. This is a conventional BSI sensor with more complex readout circuitry applied as an additional layer around the edges of the sensor. This allows faster readout than with a BSI chip with single-layer readout circuitry, but without the significantly higher manufacturing complexity and cost of a fully Stacked CMOS design.

Panasonic says the 24MP sensor it's using is 3.5x quicker to read out than the BSI chip used elsewhere in its range. It's unlikely to be a coincidence that this is the same figure Nikon gave the the improvement it saw between the Z6 II and Z6III.

The sensor allows the S1II to shoot stills at up to 70fps (10fps with mechanical shutter). Panasonic highlights that this capability, combined with pre-shot capture, is designed to help capture key moments, not to make it an out-and-out sports camera. We found it could shoot for around 3 seconds at full speed which, despite those reservations, is likely to be more than enough for a wide range of photography.

ISO and dual gain

The sensor's base ISO is 100, when using the camera's Standard Photo Style. Other response modes have higher base ISO ratings to encourage the use of lower exposures to capture additional highlight information. The sensor is a dual conversion gain design on which Panasonic lets you manually select which gain mode the camera is using.

Low gain mode High gain mode Standard Photo Style ISO 100 ISO 800 Cinelike A2, D2, V2 ISO 200 ISO 1600 Hybrid Log Gamma (HLG) ISO 400 ISO 3200 V-Log ISO 640 ISO 5000 HLG HEIF

The S1II gains the ability to shoot 10-bit HEIF files using the HLG high-dynamic range tone curve. You can shoot with the standard color response, a mono mode or with a custom LUT applied. This allows you to shoot true HDR photos in-camera and do so while still capturing a Raw file alongside.

You can convert the HEIF to an SDR JPEG or, alternatively, you can re-process the Raw in-camera and output an adjusted version as a HEIF. This only works for Raws taken with the camera in HEIF mode, though: Raws shot alongside JPEGs can only be re-processed as SDR HEIFs or JPEGs.

This brings us another step closer to cameras being able to exploit the increasing prevalence of HDR displays. The HEIF format still isn't widely, reliably supported, and HLG files don't always live up to the promise of working equally well on SDR and HDR displays, but with Panasonic, Sony and Nikon all offering HLG HEIFs as an HDR option, it looks like the industry is approaching the adoption of a common standard.

Urban sports AF

The S1II gains a new subject recognition mode, Urban Sports recognition. This is designed for the likes of breakdancing or skateboarding, essentially: situations in which humans are making shapes that the basic human recognition mode isn't necessarily trained to recognize.

Settings backup and transfer

The S1II gains the ability to back-up its settings to an SD card. These can then be used to reset the camera to your preferred settings or to quick-configure other cameras. Panasonic says this capability will be extended to other models, with mutually-supported settings carrying over from one model to another.

Video capabilities

It shouldn't come as a surprise to find the S1II's video feature set is extensive, building on the large array of options provided by the S1RII but underpinned by a much faster-reading sensor.

We detail the options as fully as possible, later in this article, but the headlines features are:

• Open gate recording
  The S1II can record 6K footage from its entire 6000 x 4000 sensor at up to 30p or 5.1K footage derived from the same region at up to 60p
• 4K up to 120p
  4K video can be captured in DCI or UHD 4K at up to 60p from the full width of the sensor or in 5.9/5.8K resolution from the same regions. Alternatively, with a small crop, the camera can capture 4K/120p
• Cinemascope 120p
  Another option is to shoot a very wide 'Cinemascope' style 2.4:1 region of the sensor in 4K resolution at up to 120p
• Anamorphic shooting
  Videographers using anamorphic lenses can capture 4.8K video from a 4:3 region the full height of the sensor at up to 60p
• ProRes RAW capture
  The S1II can also capture 1.89:1 ProRes RAW video from either the full sensor width at up to 30p or from a native DCI 4K region at up to 60p

Beyond this, the S1II offers highlight warnings set at two different thresholds (dual zebras), false color, the ability to specify exposure in terms of shutter angle (especially valuable on a camera that can so easily switch between frame rates), and the ability to preview corrected Log footage and record proxies.

Cinelike A2

Like the S1RII, the S1II gains the new Cinelike A2 color profile. It's essentially a midway between the low-contrast Cinelike D2 profile and the punchier, ready-to-use Cinelike V2 one. The color response is designed to be a little more like that of a major cinema camera maker.

On a similar note, Panasonic says that the ability to natively shoot Arri's Log C3 profile will be offered as an extra cost firmware upgrade to the S1II. They say this uses Arri's Log response natively, not shooting V-Log and —trying to map across to an approximation of C3.

DR Boost

The S1II has a Dynamic Range Boost mode when shooting video, allowing it to capture up to 15 stops of dynamic range. We were not given details on how it's being delivered.

All we were able to establish is that it's not comparable to the GH7's DR Boost function that combines parallel readout paths, shot simultaneously (but with no option to turn the function off). Nor is it the same as the DR Expansion function on the S1RII, which changes the readout bit-depth to gain DR at the expense of more rolling shutter.

There is a significant rolling shutter impact for DR Boost on the S1II, and the available video modes top out at 30p (24p for the full-height 6K, 5.1K and 4.8K modes). Base ISO in V-Log mode increases by 2/3EV to ISO 1000, when engaged.

DR Boost Off DR Boost On 6K Open Gate /30 14.6ms — 6K Open Gate /24 14.6ms 34.1 ms UHD 4K /24 12.5 ms 30.4 ms

Panasonic promises a DR increase from "14+ stops" to "15 stops" of dynamic range if you engage DR Boost mode, but its lower speed not only makes many of the camera's video modes impossible, it also means you should only use it in situations with very little motion in the scene.

32-bit Float capability

As with other recent Panasonic cameras, the S1II is compatible with the optional DMW-XLR2 adapter, making it one of the only cameras able to capture 32-bit Float audio. This uses two different gain levels and clever data encoding to allow very quiet and very loud signals to be captured simultaeously, meaning you don't have to worry about audio levels.

AI-AWB

As well as the ability to re-process Raws as HEIFs (so long as you were shooting HEIF at the point of capture), the S1II gains a new, "AI Auto White Balance" option if you re-process a Raw file in the camera.

The mode is too processor-intensive to use as you shoot but will try to analyse the scene to give the best white balance. Panasonic also says additional processing should allow it to cope better with shots taken under mixed lighting.

How it compares

The S1II comes in at something of a premium, compared with its apparent peers. Its $3200 price tag makes it a fair bit more expensive than the likes of Nikon's Z6III, with which it very probably shares a sensor, or the Sony a7IV and Canon EOS R6 II with which the Nikon competes.

There aren't currently many other cameras that sit between the mass-market $2500 models and the high-end, high-res options, for nearer $4000. This essentially means one of its only direct competitors is its own sibling, the S1RII, whose list price is just $100 more, giving a high speed or high-res choice of second-gen S1 cameras.

Here we're going to show it against the Nikon, the Canon and its less-expensive sister model, the S1IIE (the 'E' stands for "essentials," Panasonic tells us).

Panasonic Lumix DC-S1II Panasonic Lumix DC-S1IIE Nikon Z6III Canon EOS R6 II MSRP $3199 $2499 $2499 $2499 Pixel Count 24MP 24MP 24MP 24MP Stabilization Up to 8EV Up to 8EV Up to 8EV Up to 8EV (with lens sync) Max burst rate 10fps mech. (continuous AF)
70fps e-shutter (continuous AF)

10fps mech. (continuous AF)
30fps e-shutter (continuous AF)

14fps mech. 20fps e-shutter
60fps e-shutter JPEG only 12 fps mech.
40fps e-shutter (12-bit) Pre-burst capture Up to 1.5 sec Up to 1.5 sec Up to 1 sec JPEG-only Up to 0.5 sec in Raw Burst mode Viewfinder res / mag 5.76M dot OLED / 0.78x 5.76M dot OLED / 0.78x 5.76M dots / OLED 0.8x 3.69M dots/ OLED 0.76x Rear screen 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot fully articulated 3.0" 1.62M-dot fully articulated Max video resolution 6K/30 (3:2)
5.9K/60p (16:9)
DCI 4K/96, 120p w/ 1.17x crop

6K/30 (3:2)
5.9K / 4K UHD 30p
6K/60 (2.4:1) 6K/60 (Raw)
5.4K 60p
UHD 4K/60, 120 w/ APS-C crop UHD 4K/60 (full width, from 6K) Rolling shutter rate (UHD 24p) 12.8ms 21.6ms 9.4ms 16.3ms Video format options H.264
H.265
ProRes
ProRes HQ
ProRes Raw

H.264
H.265
ProRes
ProRes HQ
ProRes Raw

H.264
H.265
ProRes HQ
ProRes Raw
N-Raw

H.264
H.265
Raw output over HDMI

Storage formats 1x UHS-II SD
1x CFe B
External SSD 1x UHS-II SD
1x CFe B
External SSD 1x UHS-II SD
1x CFe B 2x UHS-II SD HDR output (stills / video) HLG HEIF / HLG HLG HEIF / HLG HLG HEIF / HLG PQ HEIF / PQ USB USB-C
10 Gbps
UVC USB-C
10 Gbps
UVC USB-C
5Gbps USB-C
10Gbps
UVC Battery life LCD / EVF (CIPA) 360 / 320 380 / 340 360 / 390 580 / 320 Dimensions 134 x 102 x 92 mm 134 x 102 x 92 mm 139 x 102 x 74 mm 138 x 98 x 88 mm Weight 800g (28.2oz) 795g (28oz) 760g (26.8oz) 670g (23.6oz)

The Panasonic S1II is competitive on paper with all its immediate peers, even pulling ahead in terms of continuous shooting rate and its vast array of video modes. Its peers are starting to compete with the range of video support tools provided but the Panasonic still outshines them with specialist options such as full support for anamorphic shooting. The Panasonics are also the only cameras in this class to let you shoot multi-shot high-res images and have them automatically combined in camera (Raw and JPEG).

Only its price counts against it, with it commanding a significant premium compared with its immediate peers.

Body and handling

The S1II's body is essentially identical to that of the S1RII: similar in size to the more basic S5 models but with a better grip design and a carefully-struck balance between being compact and giving an excellent level of direct control.

The camera is appreciably smaller and lighter than the original S1 model but still feels solidly built. It maintains an extensively environmentally-sealed design with gaskets at all the joins. It feels comfortable in the hand with a pleasant density to it.

The mic socket sits high up on the left hand side of the camera, comfortably clear of the rear monitor, which pulls out on a tilting cradle, as well as then flipping out and rotating, which lets you keep it clear of the headphone socket, further down its flank. A USB C socket with 10 Gbps transfer speeds sits below this, allowing charging, tethered shooting and video recording to SSD. A full-sized HDMI socket completes the left-side ports.

On the right-hand side of the camera is a 2.5mm remote socket. There's no flash sync socket on the S1II but anyone looking to sync timecode from the camera will find the S1 compatible with Atomos' Bluetooth timecode sync system.

Like the S1RII, and distinct from the S5 models, the S1II has one CFexpress Type B slot and one UHS-II SD card slot. It can also output video over its USB socket to an external SSD.

It has both the viewfinder and the adjacent cooling fans of the S1RII, meaning it has a 5.76M dot display (1600 x 1200 pixels). It has 0.78x magnification, making it pretty large. An eyepoint of 21mm means it can be a little difficult to see the extreme corners, if you wear glasses.

Battery

The S1II takes the same 15.8Wh DMW-BLK22 battery as most of the rest of Panasonic's range. This powers it to a CIPA rating of 360 shots per charge via the rear LCD or 320 shots using the viewfinder. Both figures are measured using an SD card, with both declining by 10 shots per charge if you use a CFexpress card. As always, these numbers are likely to significantly under-represent how many shots you're likely to achieve, but they provide a reasonably like-for-like comparison and these are reasonable numbers for this class of camera.

The S1II is compatible with the DMW-BG2, introduced alongside the S1RII. This adds a second battery and has a sensor on the battery door that switches the camera over to the internal battery when its open, allowing you to hot-swap batteries.

Video capabilities

As you'd expect from Panasonic, especially one with a relatively quick sensor, the S1II has an extensive array of video features. In addition to its many, many recording modes, the camera has a considerable array of supporting features to help you get the best results.

The S1II lets you control exposure in terms of shutter angle (handy for quick changes when using different frame rates), waveforms, false color and dual zebras for setting exposure, a vectorscope display for matching color, the ability to show a corrected view for Log or HLG shooting.

There's a tally lamp to make it clear when the camera is recording, the ability to record low-res proxy versions alongside your primary footage, a choice if mic gain levels. The list is near endless. On which note: the ability to add video modes to a custom list by pressing the 'Q' button, letting you quickly access just the modes you want to use is hugely valuable on a camera with this many video modes.

Open gate and Anamorphic modes

Users wanting to crop after the fact or add digital stabilization during their edit are likely to appreciate the S1II's open gate recording mode, which captures the full area of the sensor.

As has become standard for Panasonic, the S1II can alternatively capture a full-height 4:3 region of the sensor for use with anamorphic lenses. It comes with the option to show a desqueezed preview when working with anamorphic lenses and, in a feature unique to Panasonic, lets you set the stabilization system to correct shake with anamorphic lenses.

Widescreen modes

The S1II's partially stacked sensor reads out faster than any in a previous S-series cameras, allowing it to offer full-width 60p capture or 4K/120 with a moderate crop.

There are also a host of 5.xK modes that capture most of the sensor width natively, rather than downsampling to 4K. The S1II, like its 'E' sister model, adds a very widescreen 2.41:1 mode, mimicking the CinemaScope movie aspect ratio of the 1960s. Conveniently, this is also uses about the maximum height of the sensor that can be read fast enough for 120p output, without having to crop horizontally.

Internal Raw

The S1II can capture ProRes RAW footage, either in the standard or HQ levels of compression. These are taken either from a 5760 x 3040 region of the sensor or a native 4096 x 2160 pixel region. In both instances, footage can be recorded either to the camera's CFexpress slot or to an external SSD.

Video modes Dimensions Rates Crop MOV ProRes 1.89:1 5.8K 5760 x 3040 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:0 Up to 30p 30, 25, 24, 23.98 1.04 — Raw DCI 4K 4096 x 2160 96*, 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:2 Up to 60p 120, 100 1.17 4:2:0 120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98 1.45 4:2:0 Up to 60p 60, 50, 30, 25, 24, 23.98 1.46 — Raw 16:9 modes 5.9K 5888 x 3312 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:0 UHD 4K 3840 x 2160 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:2 Up to 60p 120, 100 1.24 4:2:0 120, 100, 60, 50, 48, 30, 25, 24, 23.98 1.51 4:2:0 Up to 60p 2.4:1 'Cinemascope' 6K 5952 x 2512 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:0 Cs4K 4096 x 1728 120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:2 Up to 60p 120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98 1.45 4:2:0 3:2 Open gate 6K 5952 x 3968 30, 25, 24, 23.98 1.00 4:2:0 5.1K 5088 x 3392 60, 50, 48, 30, 25, 24, 23.98 1.00 4:2:0 4:3 for anamorphic shooting 4.8K 4800 x 3600 60, 50, 48, 30, 25, 24, 23.98 1.13 4:2:0 Up to 30p 3.3K 3328 x 2496 60, 50, 48, 30, 25, 24, 23.98 1.63 4:2:2 Up to 60p 120, 100 1.72 4:2:0

Despite this table covering 166 different modes – without even deliving into different compression levels or MP4 options – it's not quite complete, as there are instances of Pixel/Pixel and APS-C modes that have identical options and virtually identical crops existing alongside one another. For reasons of sanity, we've not tried to measure them all.

For similar reasons, we'd strongly suggest the use of the camera's 'My List' feature, that lets you quickly create a list of the modes you plan to use, preventing accidental use of a mode with the wrong frame rate, chroma subsampling method or crop factor and avoiding you needing to scroll through the whole list.

Raw over HDMI

Alternatively, if you have an Atomos or Blackmagic external recorder, the S1II can output a Raw stream over its HDMI port, which can be encoded into ProRes RAW or Blackmagic Raw.

Resolution Aspect ratio Frame rates Crop 6K 6000 x 4000 3:2 30, 25, 23.98 1.00 (Full height) 5.9K 5888 x 3312 16:9 30, 25, 23.98 1.00 5.7K 5738 x 3024 1.89:1 60, 50, 30, 25, 23.98 1.00 4.8K 4800 x 3600 4:3 60, 50, 30, 25, 23.98 1.20 (Full height) C4K 4096 x 2160 1.89:1 120, 100, 60, 50, 30, 25, 23.98 1.46 3.5K 3535 x 2656 4:3 60, 50, 30, 25, 24, 23.98 1.63

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Product Photos: Mitchell Clark

The Panasonic Lumix S1IIE is a 24MP full-frame camera aimed at stills and video shooters. It uses the same BSI sensor found in the Panasonic S5II and S5IIX but paired with the body of the S1II and S1RII, giving it some additional capabilities and features not found in the S5-series.

Key Features

• 24MP BSI CMOS sensor
• Up to 30fps e-shutter shooting with C-AF and Raw
• 1.5 seconds pre-burst capture
• 10-bit HEIF recording
• 6K 4:2:0 open-gate recording up to 30p
• Internal Raw recording
• 32-bit float recording via optional XLR 2 adapter
• 2.1M dot flip-out and tilting display
• 5.76M dot viewfinder

The S1IIE will be available starting in late June for a recommended price of $2499.

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• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Specifications

What's New

As a blend of existing cameras, the S1IIE doesn't have anything entirely its own. However, some of the features are brand-new on the S1II, announced the same day as the S1IIE, so it's worth looking at what it inherited from that camera and the S1RII and what it keeps the same as the S5II/X.

HLG HEIF

Like the S1II, the S1IIE can record stills to a 10-bit HEIF file using the HLG high-dynamic range tone curve, which can also be paired with mono and LUT color modes. This lets you get HDR images straight-out-of-camera without the need to process Raws, though HEIFs aren't nearly as widely supported as JPEGs.

You can do an in-camera HEIF to SDR JPEG conversion, though there is a strange limitation when outputting HDR HEIFs. If you originally shot the image as HEIF+Raw, you can reprocess the Raw and output an HDR HEIF, adjusting settings such as white balance. However, if you shot the image as JPG+Raw, you can only reprocess the Raw into an SDR HEIF. Of course, you can always bring that Raw into desktop editing software to output it however you like, but it is strange that the in-camera processor can only output HDR HEIFs in certain circumstances.

AI white balancing Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Photo taken in a challenging condition with daylight coming in through a window and indoor lighting. The AI white balance tool was much closer to what it looked like in real life.
S1IIE | Sigma 24mm F1.4 DG DN Art | 1/250 sec | F1.4 | ISO 100 | Cropped to taste

Speaking of the in-camera Raw processing, the S1IIE has the same "AI Auto White Balance" feature as the S1II. It's only available in post-processing, but Panasonic says it should be better at producing pleasing colors in difficult lighting situations.

New Body

The S1IIE has the same body as the S1RII and S1II, which makes it just a tad bigger than the S5II. That means it has the same control layout, complete with a dial for switching between stills, video and slow and quick modes, the lock switch and extra custom modes. It also has the large, high-resolution viewfinder and the tilting/fully-articulating display.

Updated autofocus

The S5II brought phase-detect autofocus to Panasonic's full-frame lineup, and the system the S1IIE inherits from the S1RII is a refinement of that. It has the enhanced human subject recognition, complete with support for "urban sports" like breakdancing or skateboarding, where people will be moving their bodies into positions that the previous system may not have recognized.

Compared to the S5II, there's a key difference in the autofocus user interface: the S1IIE, like the S1RII, doesn't fall back to its generic tracking if it's in subject detection mode but doesn't recognize a subject in the scene.

New movie capabilities

Despite using the same sensor, the S1IIE has 30 more recording modes than the S5IIX. Some of those are the "Cinemascope" modes, which offer a 2.4:1 aspect ratio, as well as the ability to shoot in 60/50/48p in full-width 6K and 4K. Like the S5IIX, it's essentially achieving the faster frame rates by dropping down to an APS-C region of its sensor, just a super-wide one.

The S1IIE also includes the "Cinelike A2" color profile, the ability to record ProRes Raw internally to a CFexpress Type B card, proxy recording to a second card and 32-bit float audio recording via an add-on XLR 2 adapter. You can also use it with Bluetooth timecode synchronization devices and Panasonic's Lumix Flow app, which aims to streamline the process of writing a script, creating storyboards and shotlists and sorting captured footage.

It has the S1II's upgraded stabilization system as well, which the company says is "60% more efficient" than the S5II's. That includes the "cropless" electronic image stabilization mode that's compatible with the company's S-series lenses, though not other L-mount options from Sigma or Leica.

And even more...

As is becoming tradition, Panasonic has promised even more features coming via a future firmware update. Those include:

• A paid upgrade for Arri LogC3
• Multiple frame markers, like the S9 and S5II
• Bluetooth connectivity to DJI gimbals

How it compares

The S1IIE is playing in a relatively crowded field; every manufacturer is pitching their mid-level full-frame cameras as a great hybrid option for stills and videos. We're comparing the S1IIE to Nikon and Canon's similarly-positioned Z6III and EOS R6 II. We've also compared it to the S5IIX, which Panasonic has said will remain in its lineup for now, as the S1IIE is essentially an upgraded version of that camera.

Lumix S1IIE Lumix S5IIX Nikon Z6III Canon EOS R6 II MSRP $2499 $2199 $2499 $2499 Pixel Count 24MP 24MP 24MP 24MP Stabilization (IBIS / Synced) Up to 8EV Up to 6.5EV Up to 8.0EV Up to 8EV Max burst rate

10fps mech. (continuous AF)
30fps e-shutter (continuous AF)

9fps mech. (single AF)
30fps e-shutter (continuous AF) 14fps mech. 20fps e-shutter
120fps JPEG only, APS-C 12 fps mech.
40fps e-shutter (12-bit) Pre-burst capture Up to 1.5 sec Up to 1.5 sec Up to 1 sec JPEG-only Up to 0.5 sec in Raw Burst mode Viewfinder res / mag 5.76M dot OLED / 0.78x 3.8M dot OLED / 0.78x 5.76M dots / 0.8x 3.69M dots/ 0.76x Rear screen 3.2" 2.1M dot Tilt + Fully Artic. 3" 1.84M dot fully articulated 3.2" 2.1M dot fully articulated 3.0" 1.62M-dot fully articulated Max video resolution 6K 30p (3:2)
5.9K / 4K UHD 30p
6K 60p (2.4:1) 6K 30p (3:2)
5.9K / 4K UHD 30p 6K (Raw) 60p
5.4K 60p
UHD 4K 60p / 120p w/ APS-C crop UHD 4K 60p (full width, from 6K) Video format options

H.264
H.265
ProRes
ProRes HQ
ProRes Raw

H.264
H.265
ProRes
Raw (via HDMI)

H.264
H.265
ProRes HQ
ProRes Raw
N-Raw

H.264
H.265
ProRes RAW (w/ Atomos recorder)

Storage formats 1x UHS-II SD
1x CFe B
External SSD 2x UHS-II SD 1x UHS-II SD
1x CFe B 2x UHS-II SD HDR output (stills / video) HLG HEIF / HLG - / HLG HLG HEIF / HLG PQ HEIF / PQ USB USB-C
10 Gbps
UVC USB-C
10Gbps

USB-C
5Gbps USB-C
10Gbps
UVC Battery life LCD / EVF (CIPA) 380 / 340 370 / 370 360 / 390 580 / 320 Dimensions 134 x 102 x 92 mm 134 x 102 x 90 mm 139 x 102 x 74 mm 138 x 98 x 88 mm Weight 795g (28oz) 740g (26.1oz) 760g (26.8oz) 670g (23.6oz)

The Z6III and EOS R6 II are both strong competitors, and we've found their autofocus systems to be quite capable of shooting moving subjects and action, which wasn't always the case for Panasonic's system when we tested it in other cameras. With such feature-packed cameras, though, the differences are going to come down to the details like the fact that the Canon can't do internal Raw video, the Z6III's highest burst rates being limited to JPEG-only, or that the S1IIE doesn't have an automatic subject detection mode like the Z6III and EOS R6 II do.

Those who focus on video have to deal with even more nuance. Nikon's use of a 'partially stacked' sensor lets it shoot at quite high framerates, though sometimes only in Raw. While the S1IIE doesn't have the same level of speed, Panasonic has loaded it with resolution and aspect ratio options and an army of assistance features. Those are things like waveforms, vectorscopes and false color monitoring to help you nail exposure, a desqueezed preview if you're shooting with anamorphic lenses and its real-time LUT system that lets you use industry-standard color profiles to grade your footage straight out of camera.

Body and handling The S1IIE's buttons and dials are well-placed, making it easy to almost completely control the camera using one hand.

The S1IIE's body will be familiar to anyone who's used an S5II/X, and even more so to those who've used an S1RII. It's a tiny bit larger and heavier than the S5-series and has a larger grip, but otherwise feels quite similar in the hand. The control layout is largely similar, with the same autofocus layout and dial setup that should make it easy to avoid the menu system during a shoot.

Compared to the S5II, the S1IIE gains a lock switch, which can be customized to lock different buttons depending on whether you're shooting stills or video, a mode dial for stills, video and slow and quick mode and a slightly deeper grip. There's also now a record button on the left front corner of the camera, which we've found is extremely easy to accidentally press, though you can set it to do nothing in stills mode.

The camera's ports now get their own individual doors, which makes for less flapping around if you only have a few things plugged in.

Rear Display

The S1IIE inherits the combination tilting / articulating screen from the S1RII, giving you the versatility of a fully articulating screen that can be viewed from the front without sacrificing the ability to position it for waist-level or above-the-head shooting with a single motion. It also provides plenty of clearance, even with a microphone and headphones plugged into the camera.

Battery

The S1IIE uses the same 15.8Wh DMW-BLK22 battery as the S5II and the rest of the S1II family. It's CIPA-rated to provide 380 shots when using the LCD. You'll likely be able to shoot many more photos than that on a single charge, but the rating provides a consistent point of comparison between cameras. It's not the best in class, but it should get you through a weekend of light-to-moderate shooting.

You can charge it via USB-C, and it's compatible with the DMW-BG2 battery grip launched with the S1RII, which should roughly double its battery life.

The company says it can record an approximately 100-minute continuous 4K 60p clip on a charge, and about half that if you're repeatedly starting and stopping recording.

Initial Impressions

Let's get this out of the way: there's a lot to like about the S1IIE. It'd be shocking if there wasn't, given that it's essentially a blend of the S1RII and S5IIX, both of which are more than solid in their own right. While we haven't put it through our thorough testing process yet, it's pretty much a given that it'll provide great image quality, sturdy ergonomics and more video features than most people would use in a lifetime.

While the formula isn't new, the S1IIE is in a bit of a complicated position. On one hand, it's a version of the S1II that costs substantially less and comes with a lot of the same features but has a slower sensor that limits burst rates and 4K-and-above framerates. But you could also look at it as a slightly fancier S5IIX; its capabilities are quite similar, but its upgraded processor, refined design and higher price tag will give you a more premium experience.

You now have to consider five cameras if you want a 24MP hybrid camera from Panasonic

For certain users, that'll be worth it. Depending on what you need from a camera, the S1IIE's support for Capture One tethering could be a deciding factor on its own. But if you don't have a slam-dunk reason to buy it, you now have to consider five different cameras (the S5II, S5IIX, S1II, S1IIE and S9) if you're looking to get a 24MP hybrid camera from Panasonic.

Even as a reviewer, it can be hard to keep the differences straight in my head, and I feel like I'd need to have a 15-minute conversation with someone before I'd feel confident that I knew which model(s?) they should consider. And that's before you even consider the competition: the S1IIE is up against cameras with just plain faster sensors, which allow for higher framerates and better rolling shutter performance.

Panasonic still includes plenty of features that make its cameras stand out, like shutter angle, timecode sync, in-camera multi-shot and support for anamorphic lenses. However, some of those will only appeal to people with quite specific needs, and the base video capabilities that used to be Panasonic's competitive advantage are now relatively common. We'll have to fully test the S1IIE to see if it does enough to stand out among the rest.

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

Panasonic is keeping busy today, announcing two new full-frame Lumix cameras – the S1II and S1IIE – while also revealing a new lens. The Lumix S 24-60mm F2.8 expands the company's lens offerings with a fast standard zoom, offering a versatile focal length in a relatively compact and affordable package.

The Lumix S 24-60mm F2.8 lens sits between Panasonic's existing standard zooms. Unlike the Lumix S 20-60mm F3.5-5.6, the new lens offers a bright F2.8 maximum aperture throughout the entire zoom range. Weighing 544g (1.2lbs), it provides some weight savings compared to the Lumix S Pro 24-70mm F2.8's 935g (2.1lbs), albeit with slightly less range.

Image: Panasonic

Panasonic's latest Lumix lens features 14 elements in 12 groups, which include three aspherical, one UED and two ED elements. It's compatible with 77mm filters. Regarding autofocus, it uses its dual-phase linear motor, introduced with its 100mm F2.8 macro lens. This, combined with an optical encoder to report the focus group's position, promises fast and precise autofocus performance. It can focus as close as 19cm (7.5"), provided you stick to 24-30mm.

The lens offers several customization options, including an assignable control ring, a first in S-series lenses. That ring also controls manual focus, though, so you'll have to choose between that and other functions. If you leave the control ring for focusing, you can set which direction you rotate it for manual focus. It also features a programmable Fn button.

Image: Panasonic

There are also some video-specific features as well. Panasonic says that the lens's design effectively suppresses focus breathing. Additionally, its micro-step aperture control allows for smooth and gradual F-stop transitions, providing more fine-tuned control during recording.

The Lumix S 24-60mm F2.8 will be available for purchase in late June for an expected retail price of $899.

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Press release:

Panasonic Introduces New Large-Aperture Standard Zoom Lens: LUMIX S 24-60mm F2.8 (S-E2460)

Panasonic is pleased to expand its LUMIX lens lineup, with the introduction of the LUMIX S 24-60mm F2.8 (S-E2460), a new large-aperture standard zoom lens built according to the L-Mount system standard.

This new lens features a large F2.8 aperture throughout its versatile zoom range. Its unique compact and lightweight design enhances mobility, making it an ideal choice for dynamic landscape and architectural photography, at the 24mm wide-angle perspective, as well as for capturing beautifully bokeh-rich portraits at 60mm focal length. The Hybrid Zoom feature (*1), extends the zoom range up to 187mm (*2) for both photos and videos. The generous aperture of F2.8 provides high-resolution performance and exquisite bokeh across the zoom range, offering fast shutter speeds and minimizing subject blur even in low-light conditions.

Through a carefully optimized lens configuration and a minimized filter diameter, the new lens achieves compactness and a light weight of 544g*3, with a total length of approximately 99.9mm. It also incorporates a recently developed Dual Phase Linear Motor and advanced optical encoder, resulting in high-speed, high-precision AF performance. Versatility is further boosted by an equipped focus button on the lens barrel, facilitating intuitive shooting and allowing customization of preferred features assigned to the button. For the first time in the S series (*4), the LUMIX S 24-60mm F2.8 lens supports control ring assignment (*5). This added feature enables quick access to key settings such as aperture control and exposure compensation through the use of the focus ring as a customizable control ring.

Moreover, it has outstanding video production capabilities, including an advanced optical design and an optimized internal barrel structure that effectively suppress focus breathing. In high-contrast scenes, micro-step aperture control ensures smooth F-stop transitions, preventing abrupt exposure changes. With its wide starting angle at 24mm and broad feature set, it is also an excellent choice for video, offering phenomenal versatility in a single lens.

The LUMIX S 24-60mm F2.8 (S-E2460) Lens will be available starting late June at valued channel partners.

LUMIX S 24-60mm F2.8 (S-E2460) Main Features

1. A Maximum of F2.8 Large Aperture and High Image Quality Across the Entire Zoom Range

• Covers focal lengths from wide-angle 24mm to standard 60mm, the lens is suited for various shooting scenarios.
• Despite being a large aperture zoom lens, it maintains a compact and lightweight profile, weighing approximately 544g (*3).
• Capable of close-up photography with a minimum focusing distance of 19 cm (*6) and a maximum magnification of 0.3x. (*7)

2. Enhanced Operability to Expand Creative Potential

• Features the first-ever (*4) focus ring control capability (*5) in the S series lenses.
• Focus button on the lens barrel to assist intuitive shooting, allowing customization such as Hybrid Zoom (*1).
• Incorporates newly developed Dual Phase Linear Motor and a new optical encoder for fast and highly accurate AF performance.

3. Optimal Video Functionality for Video Production

• Effectively suppresses focus breathing, in which the angle of view changes caused by movements in the focus position.
• In high-contrast scenes, micro-step aperture control enables smooth F-stop transitions, preventing sudden exposure changes.
• Enables changing focus positions while zooming during manual focus.

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

*2 Compatible with the DC-S1M2, DC-S1M2ES, DC-S5M2X, DC-S5M2 and DC-S9. When using the DC-S1RM2, the maximum focal length is 252mm. The maximum focal length varies depending on the camera model.

*3 Lens hood, front cap, rear cap not included.

*4 Among interchangeable lenses for LUMIX full-frame mirrorless cameras.

*5 Compatible with DC-S1RM2, DC-S1M2 and DC-S1M2ES. A firmware update is required for DC-S1RM2.

*6 At focal length 24-30mm

*7 At focal length 30mm

Panasonic Lumix S 24-60mm F2.8 specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length24–60 mmImage stabilizationNoLens mountL-MountApertureMaximum apertureF2.8–22Aperture ringNoNumber of diaphragm blades9OpticsElements14Groups12Special elements / coatings3 aspherical, 1 UED, 2 EDFocusMinimum focus0.19 m (7.48″)Maximum magnification0.3×AutofocusYesMotor typeLinear MotorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight544 g (1.20 lb)Diameter84 mm (3.31″)Length100 mm (3.94″)SealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread77 mmHood suppliedYesTripod collarNo

Image: Panasonic

In case two cameras and a lens weren't enough for Panasonic fans, the company has also announced new firmware and software updates. The star of the show is the firmware update for the Panasonic Lumix S1RII, which will unlock quite a few new (and already promised) features. Unfortunately, though, that update isn't available quite yet. A more immediate release is updated firmware for its S series lenses and new Lumix Flow and Lumix Lab app versions.

Panasonic LumiX S1RII firmware updates Image: Panasonic

When Panasonic launched the Lumix S1RII, it promised a firmware update that would make it possible to capture 7.1K and 8.1K open gate video footage. That remains the plan, though Panasonic still isn't providing a date for the release, simply saying it's planned for 2025.

Regardless of when it comes, Panasonic will have additional updates for the S1RII firmware beyond 8.1K open gate. You'll be able to purchase an upgrade key to add support for Arri LogC, enabling users to match colors to Arri cinema cameras. It will also support capturing stills as 4:2:0 10-bit HEIFs, which should display with higher dynamic range than traditional JPEGs.

The upcoming firmware for the S1RII adds an "Urban Sports" recognition feature to its human detection capabilities, which is already available on the two newly released Lumix cameras, the S1II and S1IIE. Panasonic says it will allow for better autofocus when capturing activities like breakdancing, skateboarding and parkour. More customization options will be added, too, including the ability to use a lens's focus ring as a control ring. and the option to choose the rotation direction for manual focus when using that ring for focusing purposes. Users will also be able to use up to three different aspect ratio guides, a feature that was launched with the Panasonic S9 but has since become available for other cameras in the company's lineup.

Some workflow improvements are coming, too. That includes the ability to directly transfer stills and videos from a CFexpress Type B or SD memory card to an external SSD, and for the camera to record proxy files to the internal memory card while simultaneously outputting Raw video data over HDMI. It also gains compatibility with Atomos' UltraSync Blue Bluetooth timecode synchronization devices and Bluetooth compatibility with DJI gimbals.

Additional updates Image: Panasonic

Firmware updates are also coming to three S series lenses: The Lumix S 20-60mm F3.5-5.6, Lumix S 24-105mm F4 Macro OIS and Lumix S Pro 50mm F1.4. Firmware version 2.0 for all three lenses will enable more customization. The focus ring can now be used as a control ring, allowing users to assign functions like aperture control and exposure compensation instead of manual focus capabilities. Should users want to keep it for focus purposes, they will be able to choose the direction of rotation when using manual focus.

Finally, Panasonic has also updated the Lumix Flow and Lumix Lab apps. Lumix Flow Version 1.1 adds compatibility for the newly released S1II and S1IIE cameras and a monitor mirroring function that lets you share the live view to another device. Lumix Lab Version 1.5 also adds compatibility with the two new cameras. It also now supports editing for HEIF images taken with Lumix cameras, unlocking easier editing of HDR images.

The lens and app updates are available on May 14 at 1:00 am UTC.

Panasonic Announces New Firmware Updates for LUMIX S1RII / LUMIX S Series Lenses (S-X50, S-R24105, S-2060) / LUMIX Flow / LUMIX Lab

Newark, N.J. (May 13, 2025) – Today, Panasonic announces a new firmware update for the LUMIX S1RII, the release of workflow-supporting applications LUMIX Flow and LUMIX Lab, and updates for S Series lenses. These updates are designed to seamlessly integrate advanced features from the latest models—the LUMIX S1II and S1IIE—into the LUMIX S1RII, enhancing its capabilities and providing creators with a versatile toolset to support their creative aspirations

In line with LUMIX’s ongoing commitment to supporting creators, the latest firmware update for S1RII is scheduled to be available for download free of charge in 2025. In the meantime, the LUMIX Flow and LUMIX Lab applications, along with the lens firmware update, will be available on May 14 at 1:00 AM UTC.

LUMIX S1RII Firmware Update (Planned for 2025)

• Advanced Recording Formats
• 8.1K / 7.2K (3:2) Open Gate recording and RAW data video can be output via HDMI for external recording.
• ARRI LogC3 will be available by using DMW-SFU3A Software Upgrade Key (sold separately), enabling the colors to match ARRI’s digital cinema cameras (*1).
• Supports HEIF recording in 4:2:0 10-bit format.
• Improved Shooting Assistance Tools
• Urban Sports recognition will be added to the existing human detection capabilities for eyes, faces, and bodies, accurately capturing dynamic movements like breakdancing, skateboarding, and parkour.
• The frame aspect ratio options will be expanded from 10 to 17 and enable simultaneous display of up to three frames.
• Expanded Workflow Capabilities
• Direct transfers from the CFexpress Type B or SD memory card to an external SSD can be made to allow for more workflow options and flexibility.
• Supports recording proxy files to the internal memory card during HDMI RAW video data output.
• Compatible with timecode synchronization via Bluetooth®.
• Connectivity with UVC/UAC devices is supported.
• Compatible with Bluetooth® connectivity with DJI's gimbals.
• HLG View Assist will be available to enable gradation and exposure checks on the camera's monitor or viewfinder, in addition to external monitors that do not support HLG.
• Enhanced customization
• The focus ring can be used as a control ring (*2), enabling the assignment of key functions. Additionally, the focus rotation direction can be selected in MF mode.
• The AF frame color can be chosen from 10 colors for better usability.

LUMIX S Series Lenses (S-X50 Version 2.0, S-R24105 Version 2.0, S-R2060 Version 2.0)

• The focus ring can now be used as a control ring*, enabling the assignment of key functions. Additionally, the focus rotation direction can be selected in MF mode (*3).

LUMIX Flow Version 1.1

• Compatibility with the LUMIX S1II and S1IIE.
• Added shooting assist features (*4).
• Added mirroring monitor function to wirelessly transfer live view from the external monitor (USB) to another device (*4).

LUMIX Lab Version 1.5

• Compatibility with the LUMIX S1II and S1IIE.
• Editing of HEIF images taken with LUMIX cameras is now supported.

*1 ARRI LogC3 is a Log gamma developed by ARRI and used in ARRI digital cinema cameras. Please note: ALEXA 35 uses ARRI LogC4. DMW-SFU3A Software Upgrade Key (sold separately) is required.

*2 Compatible lens models as of May 2025: S-E2460, S-X50, S-R24105, S-R2060

*3 Compatible camera models as of May 2025: DC-S1M2, DC-S1RM2, DC-S1M2ES

*4 Compatibility with the LUMIX S1RII is scheduled for 2025.

Image: DJI

DJI has announced the Mavic 4 Pro, the latest addition to its prosumer camera drone lineup. The successor to the Mavic 3 Pro introduces a new 100MP main camera with a redesigned spherical "Infinity Gimbal" that allows for full 360º rotation and 70º upward tilt. It also promises a longer battery life and an improved transmission system with a new pro-grade remote.

Image: DJI

The Mavic 4 Pro keeps the tri-camera system introduced with the Mavic 3 Pro. The main camera's 28mm (equiv.) focal length offers a slightly narrower perspective than its predecessor's 24mm (equiv.). It features a newly developed 100MP Type 4/3 (17.4 x 13 mm) CMOS sensor with an adjustable F2.0 to F11 aperture. It supports 6K/60p video, which is up from the Mavid 3 Pro's 5.1K/50p. The main camera also supports 4K/120p slow-motion recording and up to 16 stops of dynamic range. Additionally, the camera features Hasselblad's Natural Color Solution, promising realistic-looking, accurate colors.

The second camera features a 70mm (equiv.) telephoto lens equipped with a 48MP Type 1/1.3 (10 x 7.5mm) sensor, fixed F2.8 aperture and 14 stops of dynamic range. The third camera is a 168mm (equiv.) telephoto lens with a 50MP Type 1/1.5 ( 8.3 x 6.2mm) sensor, fixed F2.8 aperture and 13 stops of dynamic range. The medium telephoto camera supports 4K/120p slow motion recording, while the second telephoto camera offers a slightly lower 100fps at 4K.

All three cameras support HDR video recording at 4K/60fps (up to 6K/60fps for the main camera) with 10-bit D-Log, D-Log M and HLG color profiles for greater control when color grading. Additionally, DJI offers free Rec.709 LUTs (Look Up Tables) for all of its drone models.

A photo captured on the Mavic 4 Pro's 168mm camera.

Image: DJI

The Mavic 4 Pro promises up to 51 minutes of flight time, five minutes longer than the last model. Equipped with DJI's OcuSync O4+ transmission system, it offers a 10-bit HDR transmission range of up to 30km (18.6 miles) and overall range of 41km (25.4 miles). While you would never fly such a long distance, the likelihood of disconnection in urban areas and environments with high interference is reduced.

DJI says its ActiveTrack 360º system can track a subject even in low-light scenarios and keep it in focus even if it disappears behind obstacles like bushes. Six fisheye sensors give it omnidirectional obstacle detection at speeds up to 18m/s (roughly 40 mph). That means obstacle avoidance will be deactivated at higher speeds, such as when operating the drone in Sport mode.

Image: DJI

The Mavic 4 Pro pairs with the new DJI RC Pro 2, a remote controller equipped with a 7-inch Mini-LED display. The display can rotate, which DJI says will instantly sync with the drone's gimbal to coordinate vertical shooting. It also offers HDMI output and 128GB of internal storage. The controller provides up to four hours of battery life and native audio recording with the built-in mic or when paired with DJI Mic series microphones.

Mavic 4 Pro Fly More combos include the Parallel Charging Hub.

Image: DJI

The Mavic 4 Pro's standard version includes 64GB of internal storage, while the Creator Combo will give you 512GB and supports ALL-I 4:2:2 video encoding. QuickTransfer enables fast file transfers up to 80MB/s over Wi-Fi 6, and footage can be offloaded without powering on the drone via direct USB-C connection.

The DJI Mavic 4 Pro is available for purchase as of today for £1879 (with tax) and €2099 (excluding tax) for the drone only. The DJI Mavic 4 Pro Fly More Combo with DJI RC 2 costs £2459 / €2699, while the Fly More Combo with the new DJI RC Pro 2 costs a steeper £3209 / €3539. The DJI RC Pro 2 remote on its own is priced at £879 / €999.

You may notice there aren't any US prices listed above. That's because the Mavic 4 Pro isn't coming to the US. When asked about this, and if it was related to a potential ban on DJI drones, a DJI representative said, "The Mavic 4 Pro has obtained all necessary approvals and clearances, including FCC certification, for sale in the United States." That means DJI is allowed to sell the drone here, but is choosing not to, potentially as a result of the US tariffs. That may leave the option open for the drone to eventually make its way to the US, but only time will tell.

DJI Mavic 4 Pro Unlocks Shots from Any Angle for Aerial Narrators

100MP Hasselblad main camera, large CMOS dual tele cameras and 360° rotation Infinity Gimbal combine for the ultimate aerial camera

May 13th, 2025 - DJI, the global leader in civilian drones and creative camera technology, today introduces the DJI Mavic 4 Pro. Featuring a brand new 100MP Hasselblad sensor and large CMOS dual tele cameras housed in an Infinity Gimbal with 360° rotation, a 51-minute maximum flight time, improved Omnidirectional Obstacle Sensing and 30km HD Video Transmission, the Mavic 4 Pro is a real game-changer for creators to push their content to new levels.

“When we launched the previous model this was the first drone with a triple camera combination allowing content creators to switch between shot composition with just one tap,” said Ferdinand Wolf, Product Experience Director at DJI. “The Mavic 4 Pro’s innovative 360° rotation Infinity Gimbal goes one step further and offers even more shooting options. We’re really looking forward to seeing how people experiment with their shots and the cinematic possibilities that this opens up.”

Three Cameras on Just One Drone

The Mavic 4 Pro has an advanced triple camera system with focal lengths of 28mm, 70mm and 168mm, enabling shot capture from expansive wide-angle landscapes to detailed telephoto close-ups. All three cameras boast Dual Native ISO Fusion, seamlessly blending the benefits of high and low ISO settings and RAW stacking of up to 5 frames, along with features like Free Panoramas and Subject Focusing to facilitate high consistency image quality.

The main 4/3 CMOS Hasselblad camera utilizes a brand new 100MP sensor and supports the renowned Hasselblad Natural Color Solution (HNCS) for exceptional color fidelity. It captures breathtaking 100MP images packed with detail, sharpness and offers unprecedented flexibility in post-processing. A versatile f/2.0 to f/11 aperture allows for clean low-light filming, while also rendering eye-catching 10-ray starburst effects.

Equipped with a 48MP 1/1.3-inch sensor and f/2.8 aperture, the 70mm medium tele camera delivers enhanced image quality due to its new image processing engine. The 70mm focal length can be used to create compressed perspectives which highlight subjects, ideal for dynamic portraits and footage with orbital camera movements.

Powered by a 50MP 1/1.5-inch sensor and a wide f/2.8 aperture, the 168mm tele camera leverages a specifically optimized gimbal algorithm tailored for its telephoto optics to deliver unparalleled image quality and stability in long-range aerial photography. Its extended reach dramatically reduces depth perception and creates a flattened perspective that isolates subjects with remarkable clarity. Combined with Subject Focusing, capturing breathtaking close-ups becomes effortless. Additionally, it captures incredibly detailed Free Panoramas, revealing expansive skylines when zoomed out and intricate cityscapes when zoomed in.

Pro Grade Video for All

While all three cameras support 4K/60fps HDR video recording, the Hasselblad main camera goes even further, offering 6K/60fps HDR video and an impressive dynamic range of up to around 16 stops1. The medium tele and tele cameras offer dynamic ranges of 14 stops and 13 stops respectively.

For those looking to add dramatic tension and visual impact by slowing things down, both the Hasselblad main camera and the medium tele camera support 4K/120fps video recording, while the tele camera records in 4K/100fps1.

Consistent color reproduction across footage is ensured with all three cameras featuring 10-bit D-Log, D-Log M, and HLG color profiles.

Break Boundaries with the 360° Infinity Gimbal

Never seen before on a DJI drone, the Mavic 4 Pro introduces an innovative gimbal capable of full 360° rotation1 and 70° upward shots for unprecedented angles. Capture dramatic ‘Dutch angles’ straight from the camera or reimagine aerial storytelling with fluid, gravity-defying movements.

Even Safer in Low-Light

Six high-performance, low-light fisheye sensors and dual processors grant the Mavic 4 Pro high-resolution environmental awareness. It can achieve omnidirectional obstacle avoidance at speeds up to 18 m/s in low light. Whether navigating through canyons or urban landscapes with poor satellite signals, this high-performance visual system ensures precise drone positioning. Furthermore, powered by real-time vision positioning and map construction technologies, Mavic 4 Pro memorizes flight paths when adequate lighting is available and can return to home without GPS1.

The Mavic 4 Pro features ActiveTrack 360°1 which excels even in low-light scenarios delivering cinematic tracking with enhanced stability. Once tracking begins, Mavic 4 Pro can keep a subject in focus even if partially obscured by bushes or if they are standing on a bridge. It also detects vehicles up to 200m1 with directional awareness, ideal for delivering professional-grade automotive cinematography.

Pushing the Limits of Flight Capability

Mavic 4 Pro’s aerodynamic design, efficient propulsion system, and 95Wh battery deliver flight times of up to 51 minutes, top speeds of up to 90 kph, and a range of 41 km (25.4 miles) 1. Whether locations are being scouted, maneuvers practiced, time-lapses are being captured, or panoramic photos are being taken with a telephoto lens, users have ample flight time to operate with ease and confidence.

The full potential of the Mavic 4 Pro’s hardware is unlocked with its DJI O4+ transmission system, which leverages next-generation proprietary algorithms. It enables ultra-long-range 10-bit HDR image transmission up to 30 km (18.6 miles) 1, reducing the likelihood of disconnection in environments with high interference, such as urban areas.

A new Pro Remote for a Pro Drone

To accompany the Mavic 4 Pro, the DJI RC Pro 2 remote controller has been created for a professional-grade aerial filmmaking experience. It has a powerful 7-inch high-bright Mini-LED display to deliver stunning visuals, rotatable screen to instantly sync with the drone’s gimbal for vertical shooting and a HDMI port. The enterprise-level multibeam high-gain antennas ensures ultra-reliable video transmission and the integrated collapsible design enables the RC Pro 2 to power on when extended. Furthermore, it has an up to 4-hour battery life, 128gb built-in storage and high-quality audio can be recorded with the built-in mic or when paired with the DJI Mic series1. From design to experience, DJI RC Pro 2 is the ultimate companion for the Mavic 4 Pro and other DJI camera drones.

Batteries at the Ready with Efficient Parallel Charging

With the DJI Mavic 240W Power Adapter1, the Mavic 4 Pro Parallel Charging Hub fully charges one battery in around 50 minutes and can charge three batteries at the same time via the Mini SDC port. The Parallel Charging Hub boosts efficiency by prioritizing the battery with the lowest charge. Once all three batteries reach the same charge level, it switches to parallel charging, fully charging all three batteries in just 90 minutes1.

By leveraging the batteries' stored power, the Parallel Charging Hub can also transform into a 100W power bank, providing a convenient way to fast-charge phones and laptops on location. Additionally, it features a power accumulation function, which allows you to transfer the remaining power of multiple low-power batteries into the battery with the highest remaining power1.

Convenience as Standard

Content can be captured straightaway without the need for an external memory card as the DJI Mavic 4 Pro standard version comes with a 64 GB storage module1. For those wanting more memory space the Mavic 4 Pro in the Creator Combo features a built-in 512 GB high-capacity storage and also supports high-spec ALL-I 4:2:2 encoded video recording.

With DJI’s QuickTransfer, there's no need to take the drone1 and controller out of the bag to transfer footage. Simply wake Mavic 4 Pro remotely via the DJI Fly app, and transfer files at speeds up to 80MB/s1 over Wi-Fi 6. Even when switching apps, the DJI Fly app continues downloading smoothly in the background. To easily transfer footage to a computer, simply connect the drone to a computer via a compatible USB cable without needing to power on the drone.

DJI Care Refresh

DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for DJI Mavic 4 Pro. The replacement service covers accidental damage, including flyaway, collisions and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.

DJI Care Refresh (1-Year Plan) includes up to two replacements in one year. DJI Care Refresh (2-Year Plan) includes up to four replacements in two years. Other services of DJI Care Refresh include official Warranty and free shipping. For a full list of details, please visit: https://www.dji.com/support/service/djicare-refresh

Price and Availability

DJI Mavic 4 Pro is available to order from store.dji.com and authorized retail partners, in the following configurations:

DJI Mavic 4 Pro 512GB Creator Combo includes

• Built-in 512 GB high-speed storageSSD
• DJI RC Pro 2 remote controller
• a 240W power adapter
• USB-C to USB-C High-Speed Data Cable
• Two additional Intelligent Flight batteries
• Parallel Battery Charging Hub
• Shoulder bag

DJI Mavic 4 Pro Fly More Combo includes

• Built-in 64 GB storage module
• DJI RC 2 remote controller
• Two additional Intelligent Flight batteries
• DJI 100W USB-C Power Adapter
• Battery charging hub
• Shoulder bag

DJI Mavic 4 Pro (DJI RC 2) includes

• Built-in 64 GB storage module
• DJI RC 2 remote controller
• Intelligent Flight Battery

For more information on all the new features, accessories, and capabilities, please visit https://www.dji.com/mavic-4-pro

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

- All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to https://www.dji.com/mavic-4-pro

- All named accessories are sold separately

Image: General_4530 / Moment via Getty Images

Over the weekend, the United States and China agreed to a 90-day suspension of most tariffs imposed since April. This latest development could offer short-term relief in an ongoing trade dispute that has disrupted global shipping and raised prices for US consumers. Previously, the US had paused reciprocal tariffs for other countries, though it had excluded China from that pause.

In a joint statement released this morning, both governments said the pause would allow time for continued negotiations. US Treasury Secretary Scott Bessent confirmed the "90-day pause" agreement following talks with officials in Geneva, stating that "reciprocal" tariffs would be reduced by 115% on both sides. US tariffs on Chinese goods will drop to about 30%, while China will reduce its levies to 10% on American imports.

The previously proposed tariffs from early April involved US tariffs of up to 145% on Chinese imports and Chinese tariffs of 125% on US goods, which slowed trade significantly. Major ports reported sharp drops in traffic, and the international shipping and logistics firm DHL Express suspended shipments to the US with a declared value of over $800.

Sigma America, Canon and others have already announced their plans for increased prices as a result of the US-China tariff war. Tamron also announced that it was shifting where its lenses are manufactured based on the tariffs. What this pause means for those companies is unclear. Given that it's a temporary solution, it's unlikely we'll see any walkback on plans to increase prices.

Officials on both sides characterized the Geneva talks as productive. "It's important to understand how quickly we were able to come to an agreement," said Jamieson Greer, a senior US trade representative. For now, with tariffs temporarily eased and talks ongoing, all manufacturers and importers can do is watch and wait. Hopefully, the pause becomes a path toward resolution rather than a delay before the next disruption.

Photo: Mongkol Chuewong / Moment via Getty Images

Travel can be stressful, and figuring out how to pack your cameras and lenses can certainly add to that stress. All that gear can take up a lot of space and add quite a bit of weight, which isn't always feasible to keep with you during a flight. So, what do you do when packing camera equipment in your carry-on isn't an option? You resort to checked luggage.

Can you put a camera in checked luggage?

The simple answer to whether or not you can put a camera in checked luggage is yes. Most countries and airlines allow cameras and lenses in checked baggage, provided they don't result in your bag exceeding the airline's size and weight limitations. The main potential restriction is lithium batteries.

Most countries' airport security rules say you can have a lithium battery in a device within your checked bag, provided the device can't power on. However, airlines (or even specific personnel) may have their own rules. It's always a good idea to check prior to catching your flight, and to keep your camera at least somewhat easily accessible in case you need to take the battery out at the last minute. If you're bringing spare batteries along, those must always be in carry-on, no matter what airline you're flying.

Should you put a camera in checked luggage? Photo: Barney Britton

While you can put your camera in checked baggage, the bigger question is whether you should. Your bag will have quite a rough and tumble journey from getting checked in to being picked up at your destination. Luggage handlers aren't typically known for being all that careful with bags, so there is a risk of your camera and lenses getting damaged in transit. Plus, theft is another potential concern, as is your bag getting lost by the airline.

Of course, there are times when checking your camera may be unavoidable. If so, you'll want to ensure your gear is packed securely with plenty of padding and rigid structure. Don't simply toss your camera or lens at the top of your duffel bag and hope for the best. Something like a Pelican case or at least a hard suitcase would be best. An airport security-approved lock isn't a bad idea, and insurance for your gear certainly doesn't hurt, either. Also, small trackers like AirTags, Chipolos or Tiles could give you some peace of mind.

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. 85%Overall scoreJump to conclusion

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
• Full-time HDR capture embedded in JPEGs
• 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.

Index:

• What is it?
• Body and controls
• Initial impressions
• Shooting experience
• Image quality
• Autofocus
• Video
• Sample gallery
• Specifications

Buy now:

Buy at AdoramaBuy at B&H Photo

• Mar 13: Initial review published
• Apr 21: Shooting experience and additional galleries added
• May 12: IQ, AF, Video and conclusion added

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.

Electronic shutter

The BF has no mechanical shutter and a sensor that takes 24.8ms to read out. Having seen this sensor in other cameras, this suggests its stills are being captured with 12-bit precision, which will slightly blunt the dynamic range at base ISO.

This readout speed (corresponding to 1/40 sec) also means the camera couldn't sync with a flash at shutter speeds faster than this rate. It also introduces the possibility of rolling shutter distortion of fast-moving subjects and means you're likely to encounter banding when shooting under artificial lights.

It's better news on the video side of things, where a rolling shutter rate of 20.9ms for its 24, 25 and 30p modes (6K, 4K or 1080) isn't too terrible. Things speed up to deliver the 1080/60 mode (10.4ms) and 1080/120 modes (7.8ms), suggesting line-skipping is being used.

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.

Shooting experience

We took the time to spend a couple of weeks shooting with the BF the way it was designed to be used: as a daily companion whose presence would hopefully encourage us to look for photographic opportunities we might not otherwise recognize.

It constantly asked "what are you trying to photograph, and how do you want to capture it?"

It turns out to be surprisingly capable, if seen and used this way, with its unusual but highly focused interface making us think about what we were trying to achieve, with each shot. Find out more in our shooting experience article:

What's the Sigma BF really like to live with?

Image quality

We'll be conducting our full studio tests soon. We'll be testing a series of cameras alongside one another and will add the images to this review and revisit the score as necessary.

In our general use we've found the camera's standard color mode to be pretty good and its slightly more idiosyncratic 'Rich' color mode gives distinctive, and often attractive, results. We've encountered this sensor often enough that we're confident in the Raw results.

Base ISO and HDR

The JPEGs do contain a surprise though: the BF has a base ISO of 320 and an Auto ISO system that likes to use ISO 400 as its lowest setting. This is done to prompt lower exposure levels, capturing more highlight information. This extra highlight information is then used to give highlights with a more gentle roll-off and to allow the camera's undocumented HDR capabilities.

The JPEGs look normal on most displays but they also include a gain map that can be used by devices with high dynamic range displays to make the very bright highlights glow brighter. You don't have to do anything, an HDR version of your image is created within the standard JPEGs.

The downside of this is that, unless you override it by setting the camera to a lower ISO, all your shots with be a bit noisier than they could be, because you're capturing less light for your midtones and shadows, in order to capture more highlights.

There are a few odd quirks beyond this: at present DNGs shot below ISO 320 can sometimes be rendered at the wrong lightness if you try to re-process in-camera, and minor adjustments of the 'Look Effect' of each mode can have an unexpectedly large and unpredictable impact. But generally, we found the Sigma produces interesting-looking images and gives you a good amount of scope to adjust them in-camera.

Autofocus

The BF's autofocus system is very simple: you can either select all-area or specify a single point. You can decide whether subject detection is engaged and whether it is looking for people, animals or both.

The BF's AF is simple but effective, and its eye detection is very reliable.

Sigma 35mm F2 DG | F2.8 | 1/100 sec | ISO 100
Photo: Richard Butler

There's also a choice about whether manual focus for fine-tuning is available any time you turn the focus ring or just when the shutter is half-pressed. With focus precision in mind, there's a focus peaking option, with a choice of color and intensity and, in AF-S mode, the option for the camera to show you a zoomed-in view of the selected AF point when focus is achieved.

Generally we'd leave the camera in AF-C mode and all-area focus with subject detection engaged. This way the camera would focus on people's eyes if there's a human in the frame but leaving the option to tap on the screen if there's a specific point we wanted to focus on instead. For the kinds of photos the BF is designed for, this worked 99% of the time (with one instance of having to use manual focus override for a very backlit shot).

The camera's eye detection proved very fast and precise, letting us focus on composition and capturing a good expression, in social situations. It's not a complex system that would be well suited for sports or wildlife shooting, but for casual and social photography, it does exactly what you want, without you really having to think about it.

Video The Sigma BF has a surprisingly strong video feature set, can accept external mics via USB and is easy to balance on a gimbal.

The Sigma BF has a surprisingly extensive video feature set for such a seemingly minimalist camera. But perhaps it shouldn't be a surprise, given the same sensor underpinned Panasonic's S1H video flagship.

You have the option to shoot 6K (or UHD 4K derived from that same capture) at up to 30fps. Alternatively it can capture 1080 video at up to 120p. Unlike the fp, though, the BF can happily save 10-bit footage as H.265 files, and gains the ability to shoot Log footage using Leica's Log profile (meaning conversion LUTs are available).

The Sigma includes video features that are still relatively unusual on hybrid cameras, including a false color display that applies a colored tint to different brightness regions, to let you quickly assess exposure even when working in hard-to-interpret color modes. It can also let you adjust exposure time in terms of shutter angle, making it easy to maintain correct exposure when switching frame rates.

"Its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work"

It can accept external mics or headphones via its USB socket. We weren't able to test whether its 'Headset' mode, that expects both a mic and headphone connection works with a USB splitter/adapter. The BF is also compatible with the UVC/UAC standards, so can be used as a webcam.

Its lack of stabilization weighs heavily against it for handheld use, but its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work. The single dial interface is likely to be a little fiddly to adjust, once mounted, but if you set the shutter speed (or shutter angle, that's an option) to your chosen value, use a lens with an aperture ring and either leave ISO locked or on Auto, you shouldn't need to change too many settings.

Conclusion Pros Cons

• Excellent image quality
• Elegantly focused UI
• Simple, powerful autofocus
• Interesting range of color modes
• Strong video feature set
• Distinctive design and solid build
• Built-in storage provides speed and space
• Connects quickly to most USB devices (phone, PC or SSD) for image transfer
• Good in-camera DNG conversion system
• HDR images embedded in standard JPEGs

• Lack of mechanical shutter limits its flexibility
• Absence of viewfinder a drawback in bright light
• Short battery life
• Needs USB cable to offload images
• Body has some sharp edges
• Lack of mechanical stabilization limits video
• Auto ISO's use of ISO 400 exposures (to capture HDR highlights) increases noise

On paper the Sigma BF sounds worryingly like a rebodied Sigma fp: the company's modular hybrid camera that was received as much more of a video rig than they'd intended. Encountered in-person and it risks looking like a design exercise, with all the attendant concerns that it might be style over substance. Actually using the camera dismisses both concerns.

The BF's user interface is perhaps its strongest feature, giving a refreshingly uncluttered shooting experience. There aren't indecipherable icons or pages of menus, just a settings display for your shooting parameters and a rear LCD for composition. It's about as back-to-basics as you can get but, critically, without its minimalism making things awkward.

The Sigma BF doesn't have a large, protruding grip, but the textured metal front means it's easy enough to grip, fairly comfortably (unless your fingers extend around the sharp lower edge of the camera).

It's not an all-rounder by any means. Its lack of viewfinder limits its usability in bright light, its lack of mechanical shutter rules out the use of flash and means you have to pay attention to artificial lighting. Its interface and operation prioritizes considered shooting ahead of the ability to respond quickly. If you're looking for a camera that can do a bit of everything, there are plenty of better alternatives.

However, as a device for capturing moments, and encouraging you to capture moments, it's really rather good. Its interface is genuinely radical and well thought out and I was constantly surprised by how simple but effective its autofocus is.

The Sigma is a lovely device for capturing the world around you.

Sigma 35mm F2.0 DG | F7.1 | 1/160 sec | ISO 125
Photo: Richard Butler

Overall I've enjoyed my time with the BF tremendously, and I suspect plenty of other people will, too. I found the experience both fascinating and refreshing: paring photography back to its very essence. It was this focus and simplicity – which shouldn't be mistaken for minimalism for its own sake – that makes the BF so unfamiliar and so compelling. The allegation that it's style over substance is misguided, I believe, as it's the substance, rather than the style that I found most enjoyable. It certainly has some style to it – I don't remember the last time so many friends and strangers asked me what I was shooting with – but it's not something that evoked much of a response, personally.

That's probably too niche a prospect for us to be able to give the BF one of our awards. Those are framed in terms of whether a camera should be on your shortlist. And if there's any other camera on your shortlist, then the BF shouldn't be there, because it's a dreadful substitute for anything else. But that's not its intent and that's not its appeal.

I don't feel we can give it an award, but it's going to take a lot for it not to be my Gear of the Year.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Sigma BFCategory: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Sigma BF is an idiosyncratic photo taking device, to the point we'd barely call it a camera: its not a sensible substitute for much else that's on the market. But every aspect of its design is both innovative and clever. It's focused solely on exposure and composition. Joyously so.Good forCapturing the details of your life.Not so good forShooting in bright surroundings, sports photography, flash photography...85%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"sigma_bf","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

As I've tried to argue throughout most of this review, the Sigma BF doesn't really have any direct peers, because it's not really trying to be the same thing as other cameras. If judged on their terms, it's limited and limiting. You can look at the list of what it lacks, by comparison, and write it off. And if you're considering other cameras, then you'd probably be right to do so.

It's barely appropriate to even think of it as a camera. At the most fundamental level a car and a bicycle are both devices to get you from A to B, and yet thinking of a bike as a car that's missing an engine and two of its wheels would be to completely miss the point. The BF and most other cameras are both devices for capturing images, but the way they do it and the experience that you get from them means direct comparison doesn't necessarily make sense.

The BF costs more than Panasonic's S9 because it features much more solid (and expensive) construction and is made in Japan by a company that can't compete with the economies-of-scale larger camera companies can achieve. There's little sign of any significant Leica-esque 'luxury goods' markup, though.

If you want to be needlessly reductive, you could compare it to Panasonic's vlogging-focused Lumix DC-S9. They're both small, single dial cameras with no viewfinders, based around the same sensor and same lens mount. The Panasonic has a flip-out screen, in-body image stabilization and a list price $500 lower. For taking photos I'd choose the Sigma every time.

The S9 has a single control dial but uses the same interface as Panasonic's three-dial S-series cameras. This isn't necessarily a drawback for the vlogging for which it's designed, but having used both for photography, the BF feels pleasantly focused, while the S9 feels maddeningly lacking. If you've never used either, it might look like the S9 lets you get just as much camera, plus IBIS and a lens for the same money. That's a cynical assumption, duly evoking Wilde's line about knowing "the price of everything and the value of nothing".

Buy now:

Buy at AdoramaBuy at B&H Photo Sigma BF 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.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. One photo a day with the Sigma BF Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. A photo day in London Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Photo: Mitchell Clark

Our May editor's challenge is now open for submissions. The theme this month is human-powered travel, so we're looking for photos of people moving through the world under their own power, using means of transportation mundane or exotic.

Some examples: people walking, hiking, skateboarding, biking, roller-blading hand pedaling – whatever gets them places without a motor.

The challenge is open to photos taken at any time. The last day for entry will be Saturday, 17th May (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 read the full rules and to submit your photos for consideration. Please remember to include a caption or your submission will be deemed ineligible, and we'll ask you to resubmit it.

Visit the challenge page to read the rules and submit your photo

After you've submitted your photo to our editor's challenge, be sure to check out some other community-run challenges. You can vote for your favorites in RHES' "Simple subject" challenge and, starting Monday, Dr.Lex's "A Big Year 2025" challenge. You can also submit entries to RHES' "Look What I Have for You!" and Dr.Lex's "Fortnight 51" challenges.

Images: DxO, Ilford, Aperture, SmallRig

Happy Saturday, everyone! We've officially made it to the weekend, which means it's time to take a look at new accessories that came out this week. This week was a quiet one gear-wise, but we saw some new film, software updates, a cage from SmallRig and a 60th anniversary photo book. First, though, let's get into the deals.

Deals of the week Photo: Sony

The Sony a7 IV has earned many recommendations from the DPReview team since its launch. It's been picked as one of the best cameras for street photography and one of the best affordable cameras for sports. It's even more affordable right now, too, selling for $500 off.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo

Image: Nikon

If Nikon cameras are more your thing, you're also in luck. The Nikon Z8, which was picked as Richard Butler's Gear of the Year in 2023 and earned a DPReview Gold Award, is also $500 off right now.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Protect your investment Image: SmallRig

Speaking of the Sony a7 IV, SmallRig released a new modular cage for the hybrid camera this week. It offers full protection on all sides, a genuine leather-wrapped handle and an integrated Arca-Swiss plate. It's currently available for purchase in all regions except for the US, where it won't be available until June 7th.

Buy at SmallRig An updated way to edit Image: DxO

DxO is celebrating its 30th anniversary this year and unveiled a new logo and tagline to celebrate. It also launched Nik Collection 8 this week. The Nik Collection is a series of seven plugins that work with various programs, but can also function as standalone apps, too. The update brought new masking tools, making it easier to go back and forth between Photoshop and Nik Collection while using masks.

The company also updated Nik Silver Efex, its black-and-white editor, with an updated workflow. You can see all of the updates, download a free trial or update your version at the DxO website.

Stock up on new stock Images: Ilford and Hannah Gross

This week brought a new film stock for analog photographers. Ilford released Kentmere Pan 200, an ISO 200 black-and-white film. The company says it offers fine grain and enhanced contrast for shooting in most situations. It's available in 24 exposures, 36 exposures, 35mm bulk lengths and 120 format.

Buy at Ilford A new edition of a classic book

Finally, something a little different. Aperture, a non-profit photography publisher established in 1952, has released the Sixtieth Anniversary Edition of Edward Weston's The Flame of Recognition. The monograph was initially issued as a hardcover in 1965, though some of the work was included in a 1958 edition of Aperture magazine. It brings together sequences of Weston's images with excerpts from his writing to, in his own words, "present clearly my feeling for life with photographic beauty... without subterfuge or evasion in spirit or technique."

The Flame of Recognition covers the rage of Weston's works, including portraits and nudes, to landscapes and still lifes. It's available for purchase now through Aperture's website.

Buy at Aperture

Read last week's roundup

Images: © Andrew Wille

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

Start with a clear subject

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

Images: © Hux

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

Choose the tools you're most comfortable using

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

Images: © Andrew Wille

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

Edit with intention

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

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

Images: © Hux

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

Conclusion

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

Photo: Greggory DiSalvo / iStock / Getty Images Plus via Getty Images

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

Are cameras TSA-approved? Photo: Abby Ferguson

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

Important things to know about flying with a camera

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

Photo: Abby Ferguson

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

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

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

Can you fly with film? Photo: Abby Ferguson

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

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

Image: Leica

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

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

Leica Image: Leica

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

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

Image: Leica

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

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

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

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

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

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

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

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

Nikon Image: Nikon

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

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

Hasselblad

X2D 100C update 4.1.1 (Download and instructions)

• Fixed stability-related issues.

Lenses Image: TTArtisan

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

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

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

• Fixed known issues.

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

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

Images: Nikon, Viltrox, TTArtisan

Firmware Friday is back, and there are a few minor, but necessary, updates for Nikon's Z30, especially if you're a blogger or content creator on the go. Lenses from Viltrox and TTArtisan also received some updates, though the actual fixes for the former are pretty vague. A reader also tipped us off to the Hasselblad X2D 100C update, released early this morning (thank you). Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.

Nikon

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

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

Hasselblad

X2D 100C update 4.1.1 (Download and instructions)

• Fixed stability-related issues.

Lenses Image: TTArtisan

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

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

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

• Fixed known issues.

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

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

Photo: Capture One

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

Retouching with Capture One

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

Image: Capture One

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

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

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

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

The Retouch Faces tool offers multiple settings.

Image: Capture One

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

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

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

The Retouch tool will work during tethered sessions as well.

Photo: Capture One

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

Workflow updates

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

Image: Capture One

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

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

A new logo Logo: Capture One

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

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

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

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

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

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

Photo: Dale Baskin

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

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

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

"We have a foundation as a still camera system."

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

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

Upward trend after a difficult period

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

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

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

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

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

"When you look at the compact camera users today... these are a new generation of younger people, taking cameras in their hands for the first time"

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

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

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

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

PowerShot V1 Image: Canon

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

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

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

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

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

Developments for stills photographers

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

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

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

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

A future for HDR photography

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

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

Action Priority for everyone?

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

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

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

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

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

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

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

Third-party lenses

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

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

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

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

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

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