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Image: Fujifilm

Fujifilm has announced that it's bringing another hybrid camera to its popular Instax lineup. The Instax Wide Evo builds on the success of the smaller Instax Mini Evo, which the company released in 2021. As the name implies, the new camera uses the larger Instax Wide film, producing prints that are twice as wide and have a 115% larger area than the Mini film.

Like its little sibling, the Wide Evo's main selling point is that it combines some of the convenience of digital photography with the tactility of instant film. A 3.5" display on the back lets you see the image you've taken before committing it to film, saving you from the experience of taking a picture, waiting for it to develop, and then discovering that it's not quite right and that you've wasted a relatively expensive shot. It can store around 45 photos on its internal memory, though you can expand that capacity with a microSD card.

The camera's display lets you apply effects, manage photos saved to the camera's memory and preview your shots and prints.

Image: Fujifilm

To take those photos, the Wide Evo has a 16mm (equiv) F2.4 lens, which Fujifilm says is "the widest lens on any Instax instant camera." By default, the camera doesn't seem to make use of the entire field of view – there's a switch to activate "Wide Angle mode," which the company's press release says "maximizes Wide Evo’s lens capabilities." It doesn't say what kind of focal length you can expect to see in standard mode.

Image: Fujifilm

The camera also lets you apply lens effects such as vignetting, light leaks, and soft focus, as well as film effects that change the colors of the image. The Wide Evo takes the customizability a step further than the Mini, letting you change how strong your selected lens effect is. It also adds five "Film Styles," letting you add "cinematic" black bars to the top and bottom of your image, a film strip effect, a date and time stamp, a "retro contact sheet look" and a "collodion process effect" that lets you emulate wet plate photography.

The Wide Evo adds new "Film Styles" to push your photos' vintage aesthetic even further.

Image: Fujifilm

Design-wise, the Wide Evo carries on the Mini Evo's tradition of a retro-inspired design. While the Mini Evo featured a print lever – reminiscent of a film advance lever – the Wide Evo's physical print control takes after a film rewind dial. The company hasn't provided exact dimensions for the camera, but we'll be sure to update this story with them when they're available.

Image: Fujifilm

Fujifilm says the integrated battery should let you print up to 100 images per charge. Those 100 images need not all be taken with the Wide Evo; an app lets you connect your smartphone and print images from its camera roll onto film. It also lets you remotely control the camera, adds "additional image enhancement options," and gives you access to what Fujifilm calls the "Discover Feed," which lets you see images that other Wide Evo owners have uploaded and apply the effects they've used onto your own images if you see an aesthetic that you like.

The Instax Wide Evo will be available in February and will cost $349. An accessory case with a shoulder strap will be available for $49, and the company is also releasing a new edition of Instax Wide film – called "Brushed Metallics" – alongside the camera. A 10-exposure pack will cost $24.99.

Press release:

The Instant Evo-lution Continues:
Fujifilm Introduces instax WIDE Evo Hybrid Instant Camera

VALHALLA, N.Y., January 20, 2025 – FUJIFILM North America Corporation, Imaging Division, today announced the latest addition to its popular instax line of instant cameras and smartphone printers with the introduction of its instax WIDE Evo Hybrid Instant Camera (Wide Evo), whose unique hybrid format combines the excitement and satisfaction of traditional instant camera functionality with the capabilities of digital imaging technology to select, share, edit and store photo images. Wide Evo takes these capabilities a step further, with the ability to create wide format images that print onto instax WIDE instant film (sold separately), along with a host of other advanced capabilities designed to enhance the photographic image taking experience.

“Like the groundbreaking instax mini Evo Hybrid Instant Camera that came before it, Wide Evo offers a creative way to chronicle life’s milestones, creating a bridge between digital and analog photography,” said Bing Liem, division president, Imaging Division, FUJIFILM North America Corporation. “Hybrid photography gives the photographer the flexibility to choose which images to instantly print, which images to share, and which images to store for later access. Wide Evo does all of that, in a new wide format body, and with a host of new and improved lens and film effects and modes to enhance the user experience even more.”

Wide Evo outputs high-quality prints directly from the camera. Images can also be printed from a user’s iOS or Android smartphone camera roll using the free instax WIDE Evo Smartphone App. The app also features remote shooting capabilities and additional image enhancement options. Additionally, to inspire creativity and encourage image sharing, the instax WIDE Evo Smartphone App offers the newly introduced “Discover Feed”. The feed allows the user to view images uploaded by other Wide Evo users in a photo gallery format and apply their lens, film, and degree effects and film style settings to their own images.

The main features of Wide Evo include: Integrated Wide Angle Option

Wide Evo features the widest lens on any instax instant camera, at 15.67mm. Users can choose to take images at the standard width, or opt for Wide Angle Mode, which maximizes Wide Evo’s lens capabilities to get all of the action into the photo.

10 Lens Effects x 10 Film Effect Options = 100 Combinations of Creative Expression, Now with Added Degree Control

Like the instax mini Evo instant camera, Wide Evo features 10 lens effects and 10 film effect options, offering 100 different combinations for users to express themselves. Wide Evo adds Degree Control, which allows the user to determine the degree to which each lens effect is applied to their image.

5 Film Styles to Enhance the Look of the Image

In addition to the lens and film effects, Wide Evo offers 5 film styles to customize images even further, with options including a cinematic look with black bars across the top and bottom of the image, a classic film strip look, a traditional date/time stamp format, a retro contact sheet look, or a vintage collodion process effect.

Selfies, Storage, and More

Wide Evo also features a 3.5-inch LCD Monitor on the back of the camera to allow users to select images, add effects, edit, print, and adjust image settings, supported by a built-in Lithium-Ion battery which enables the camera to print up to 100 images per charge, depending on the specific use case. A Micro SD card slot (Micro SD Card sold separately) ensures there’s plenty of room to store additional images for later enjoyment (approximately 45 images can be stored in the camera’s internal memory), while the Selfie Mirror helps users nail selfies every time.

In addition to the new camera, new accessory and film options have also been introduced:

New instax WIDE Evo Hybrid Instant Camera Case

Accompanying the introduction of the Wide Evo is the instax WIDE Evo hybrid instant camera case (sold separately). Made from premium faux leather, the case features an adjustable shoulder strap for optimal carrying comfort and portability. For added convenience, the top portion can be removed, allowing users to keep the camera in its case during use.

New instax WIDE Brushed Metallics Instant Film Pack

The instax WIDE Brushed Metallics instant film pack features a metallic, dark gradient border. Available in a 10-exposure pack, the film is compatible with all instax WIDE instant cameras, the instax Link WIDE Smartphone printer, and the WIDE Evo.

The instax WIDE Evo Hybrid Instant Camera will be offered in a classic black and gray combination finish at a manufacturer’s suggested retail price of $349.95 USD and $479.99 CAD.

The instax WIDE Evo Hybrid Instant Camera Case will be offered in black at a manufacturer’s suggested retail price of $49.99 USD and $69.99 CAD. The instax WIDE Brushed Metallics Instant Film Pack will be offered at a manufacturer’s suggested retail price of $24.99 USD and $17.99 CAD.

All are expected to be available for purchase in the U.S. and Canada in February 2025. For more information, visit https://www.instaxus.com/cameras/instax-wide-evo/.

Graphic: Rentovault

Canadians now have a new way to access gear and earn money, thanks to the launch of an Ontario-based startup called Rentovault, as reported by EIN Presswire. Rentovault is a peer-to-peer gear rental option offering photography and outdoor equipment. It aims to provide better access to outdoor and photography gear by connecting those who own it with individuals seeking to rent. It's essentially like Turo or Airbnb but for outdoor and photography gear.

According to the company, "Rentovault is an outdoor gear rental platform dedicated to connecting Adventure and Photography enthusiasts. By facilitating the sharing of high-quality equipment, Rentovault empowers individuals to explore their passions without the burden of high costs." It serves as an alternative to renting from companies like Lensrentals in the U.S. and Vistek in Canada.

Rentovault isn't the first peer-to-peer photography gear rental company created, though it is the first Canadian company, as far as we've been able to ascertain. In the U.S., those looking to rent gear peer-to-peer style have more options, with the two most well-known being KitSplit and ShareGrid. KitSplit operates in Canada, though its options are extremely limited at the time of writing. ShareGrid doesn't currently operate in Canada.

Of course, any peer-to-peer rental structure depends entirely on users putting up their equipment for rent. People won't bother checking the site if there isn't much selection. Even though Rentovault is so new, is does appear to have a fairly good selection already, at least in major cities. There's still plenty of room to grow, though, so don't expect to find an expansive selection right off the bat.

Rentovault charges a 20% commission on rentals, but even so, if you have gear you aren't using regularly, this could be a useful way to help pay for the cost of said piece of equipment. To provide those who are putting their stuff up for rent with some peace of mind, Rentovault says it "assumes full responsibility to reimburse you, the lender, to cover damages or loss during the rental period provided that there is proper proof of damages."

One benefit to such a website over a larger rental company like Lensrentals (which doesn't operate in Canada) is that you aren't stuck waiting for something to ship. Rentovault is designed as a local pick-up option, so you can schedule a time and place to pick up what you're renting instead of waiting a few days or even a week to receive it. Finding the exact piece of kit you need may be harder, but it could provide a lot faster access. Additionally, Rentovault is unique because it has outdoor gear. If you're looking to get into outdoor adventure but don't want to buy everything right away, this could be a convenient option.

Canon has announced the 'Live Switcher Mobile' app, designed to let you livestream from multiple iOS devices, providing multiple angles "without the need for special equipment or complex wiring." 'Special equipment' apparently also includes Canon's cameras, as the app will currently only take in videos from iOS devices.

Let's break down what using the app will look like: you'll have one iOS device – an iPhone or an iPad – that acts as the control device. Using it, you can switch between wireless video streams coming from multiple iOS devices, and from the host device's own cameras as well. You'll also use the device to manage your stream, adding and adjusting layouts and overlays that include text and still images. The company says it'll also be able to show you user comments.

The app is free, but you'll have to pay $17.99 to unlock its full capabilities

The video sent from the external devices can either be footage from their cameras, or screen capture. As an example setup, you could have an iPad set up as your switcher, have a smartphone pointed at you as your face cam, and be playing a game on a second smartphone. Using the controlling iPad, you could set up a picture-in-picture layout, with the face cam in the corner of the screen, overlaid on top of the gameplay footage. The company also uses the example of livestreaming from your kitchen using phones to capture multiple angles – you could use an iPhone to control it all without taking up valuable counter space with a laptop running streaming software.

The app is free, but you'll have to pay $17.99 to unlock its full capabilities. The paid version is required if you want to add still image overlays to the stream, change the size and / or position of your picture-in-picture overlay, remove a watermark, or work in 1080p Full HD instead of 720p 'HD.' The free version will also display Google ads on your device's screen, though they won't appear on your livestream itself.

Overall, the app seems relatively powerful despite the fact that it's being pitched toward people who don't want to manage a streaming computer or hardware switcher. It can create recordings, mix audio from your sources, take in external audio, and output your stream directly to platforms like YouTube or Facebook, as well as via RTMP. It also has a feature that will automatically cycle through the different sources you have set up every 8, 12, 16, or 20 seconds if you don't want to manually switch up your angles.

It is worth noting that the $17.99 price tag for the paid version is relatively expensive, given that much of the livestreaming world revolves around a free piece of software called OBS, that can be used with a variety of input devices – including iPhones and Andriod phones. However, OBS has a relatively steep learning curve and has to be run on a computer, adding to the complexity that Canon is promising to resolve with its app.

Canon launches "Live Switcher Mobile" iOS app for one-person multi-angle livestreaming with single touch camera switching

TOKYO, January 20, 2025—Canon Inc. announced today that it will begin providing "Live Switcher Mobile," an iOS app for livestreaming, free of charge1 on January 20, 2025.

With the increase in video content on social media, there has been a growing demand for livestreaming video content, such as cooking, gaming, and product reviews in which content creators can simultaneously communicate with the viewers. The “Live Switcher Mobile” app2 meets this demand by providing multi-camera switching between up to three devices, such as iPads or iPhones, all connected under the same Wi-Fi network. Simply by downloading the app to an iPhone or iPad acting as a camera, users can broadcast the footage through a livestream platform3 of their choosing.

“Live Switcher Mobile” drastically facilitates setting up a livestreaming environment. By eliminating the needs for bulky additional equipment including PCs and complex wiring, users can freely position the devices to achieve the most effective angles. Additionally, users can specify the number of seconds4 before the shooting device automatically changes over to another to broadcast video with dynamic flow even when they are working alone and cannot manually operate multiple devices.

Users can harness the app to customize their livestreams to make them more engaging. By freely adding text and graphics5 to the screen, users can create a unique and original livestream screen that makes their content stand out. They can also check6 comments from viewers in real time, thereby achieving two-way communication.

The app can also livestream the screens of the devices to easily produce videos showing live gameplay or application operations with just an iPhone or iPad. Additionally, video from another device camera can be layered on top of the livestream screen so that viewers can see the streamer’s facial expressions and reactions alongside the video of the smartphone screen.

“Live Switcher Mobile” will also support digital camera connection in the future to make high quality live streaming easier and more flexible.

1 Although the app can be used free-of-charge, some functions may require registration (at a cost) for periodic use.

2 Compatible with iOS 16/17/18 and iPadOS 16/17/18. The application is not guaranteed to work on all devices. For more information, please see the following website: https://ssw.imaging-saas.canon/lsm/faq.html
Please note that the app must be downloaded to all devices in use.

3 Livestreams can easily be made on YouTube and Facebook. For streaming on other platforms, users must enter the streaming URL issued on each platform.

4 The available settings are 8, 12, 16, and 20 seconds

5 Adding graphics aside from those including in the application requires a fee.

6 Comment display function is limited to YouTube and Facebook

Japan is a street photographer's paradise, but it's the rain that really transforms Japanese cityscapes into something magical. City lights reflect off wet pavement, creating depth and dimension that only exist when it rains, and everyone carries umbrellas, creating captivating shadows and silhouettes. This image, taken in Tokyo during a downpour last year, encapsulates the feeling of wandering through the city's intimate side streets and alleys on a rainy night.

Panasonic S5II X and Panasonic 28-200mm F4-7.1 lens | ISO 1600 | 1/100 sec | F4
Photo: Dale Baskin

Show us your black-and-white street photography!

The January edition of our Editors' Photo Challenge is now open for submissions. Our theme this month is 'B&W Street'. We want to see the city through your lens, whether it's an unexpected scene, a candid portrait, or some other "decisive moment." Our favorites will be featured on the DPReview homepage later this month.

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! (Hint: the caption for the photo above is a good example.)

Photos can be submitted between Sunday, January 19, and Saturday, January 25 (GMT). This challenge is open to photos taken at any time.

Visit the challenge page to read the full rules and to submit your photos for consideration.

Enter your photos here

Also, don't forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.

Open challenges:

• Lights at Night (closes Jan. 20)
• Restaurants, bars, taverns, pubs (closes Jan. 24)
• Abstract (closes Jan. 24)

Upcoming challenges:

• Fortnight 43: My Best Non-bird Photo Shot after 2025-01-06 (opens Jan. 20)
• Show us METAL! (opens Jan. 20)
• Street Festival (opens Jan. 21)
• Fruits (opens Jan. 25)
• Use Light to Help Tell Your Story (opens Jan. 25)

Images: Westcott, DJI, Datacolor, ThinkTank

We're back with another accessory roundup! This weekend, we're taking a look at some big flashes, new bags, color calibration tools, and more, but first – as always – let's see what's on sale.

Sales of the week Photo: Richard Butler

The Nikon Z8 – a powerful camera that essentially stuffs the company's sports / action flagship Z9 into a smaller body – is currently on sale for $600 off. At $3,400 it's still an investment, but you'll be getting a ton of camera for your money.

Buy now:

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

For anyone who's focused more on video, Panasonic's GH7 is also on sale, going for $200 off MSRP.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Big flashes Image: Westcott

Lighting company Westcott has introduced two new flagship-tier flashes: the FJ400 II, which is an update to an existing model, and the FJ800. Both feature OLED touchscreens that display your settings, give you access to a guide, and let you control the flash.

The FJ400II, as its name implies, has 400Ws of power, which it can recycle in 0.01 to 0.9 seconds. The FJ800 puts out 800Ws, and can recycle in 0.01 to 1.8 seconds. Both feature a 30W, bi-color modeling light, include a rechargeable battery, and have a Bowens mount for attaching accessories like softboxes or reflectors.

The FJ400 II costs $599, while the FJ800 is $999.

FJ400 II

Buy at Amazon Buy at B&H

FJ800

Buy at Amazon Buy at B&H ThinkTank goes tactical Image: ThinkTank

ThinkTank has released two new backpacks, the DarkLight 14L and DarkLight 20L. The bags, which come in black or green, feature the standard suite of photography-focused features you'd expect from the company: they come with padded dividers, let you access your camera from the top or back of the bag, and have points for attaching tripods.

If you're into hooking other things onto your bag, though, the DarkLights give you far more options than most of the company's other backpacks. The front panel is covered in MOLLE loops that let you attach standardized pouches and other accessories, and also features a few hook and loop strips for attaching patches. The side of the bag has additional webbing for strapping things down.

The 20L can hold more gear but weighs 600g (1.32lb) more.

Image: ThinkTank

The company says the 14L model, which has a detachable waistbelt made out of webbing, can hold a "standard-sized camera body with lenses attached and 1–3 standard zoom lenses." The 20L model, which has a removable padded waistbelt, can hold a 16" laptop and "two bodies with lenses attached and 2–3 lenses, or one body with lens attached plus 3–5 lenses." They cost $169 and $199, respectively.

DarkLight 14L

Buy at Amazon Buy at B&H

DarkLight 20L

Buy at Amazon Buy at B&H Anniversary colors Image: Datacolor

25 years ago, Datacolor came out with its first Spyder color calibrator tool, and now it's created a "Spyder Celebration Kit" to commemorate the anniversary. The company says the kit is a celebration of "the essentials of precision color management for photography from capture through editing."

It gathers three of the company's products – the 2024 Spyder calibrator, a Spyder Checkr 24 color chart, and the "Spyder Cube" white balancing tool – and puts them into a metal carrying case. And, as a bonus, the kit's $199 price is around $70 less than you'd pay for the products if you bought them separately.

Buy at Datacolor An inexpensive lens Image: 7Artisans

We don't generally talk about lenses in the accessory roundup, but if any lens counts as an accessory, it's this one. 7Artisans has released an 18mm F5.6 pancake lens made for full frame cameras with E, L, or Z mounts... and it costs just $89.

Image: 7Artisans

Of course, you'll have to cut some corners to make a sub-$100, 146g full-frame lens – the lens is manual focus only, and the aperture is fixed – but it's hard to complain about those things when the lens doesn't cost that much more than a good SD card. If you've never shot with wide-angle prime before or have always wanted to play around with a low-cost, compact lens, it may be worth picking this one up.

Buy at Amazon Buy at B&H Buy at Pergear Find your next shot Photo: Fujifilm

Fujifilm has been adding stabilization to its cameras' sensors, but it hasn't stopped there; this week, the company announced two new pairs of stabilized binoculars, the Fujinon Techno-Stabi TS-L1640 and TS-L2040. Their respective 16 and 20x magnifications give you a lot of reach when you're surveying the landscape, whether you're doing so for fun or you're looking for an interesting subject for your next shot.

Despite packing the electronics and motors used to stabilize the optics while you're looking through them – powered by two AAA batteries – the binoculars are still relatively compact and lightweight. The company says they're IPX7 certified, so you won't have to worry about them if you suddenly get caught in a rainstorm.

The technology and optics don't come cheap, though. The TS-L1640 comes in at $1,199, and the TS-L2040 costs an extra $100. But if you're serious about your binoculars and are willing to pay the price, they'll be available starting January 31st.

Air Traffic Control Image: DJI

DJI may sell its own first-person view, or FPV, drones, but that hasn't prevented it from making tools for the enthusiasts who want to build their own. It recently announced the O4 Air and O4 Air Pro, kits that let you attach a DJI camera and transmission system to a DIY drone. The company says the regular model is the "smallest and lightest 4K digital video transmission solution available" and says the Pro model is aimed towards people who want to capture high-quality video without the need for a separate camera like the GoPro Bones.

Both units can transmit 1080p 100fps footage back to the pilot and support the DJI Goggles 2, Goggles 3, Goggles N3, and Goggles Integra, as well as the second and third-gen DJI FPV Remote Controllers.

The regular O4 air costs $109 and can record 4K 60 fps video from its Type 1/2 (6.4 x 5.8mm) sensor. It has a range of 10 km (6.2 mi) and can transmit video with as little as 20ms of latency. The Pro, meanwhile, can record 4K footage at 120fps from its Type 1/1.3 (9.6 x 7.2mm) sensor, supports DJI's 10-bit D-Log color mode and can be fitted with the ND filters DJI makes for its Avata 2 drone. It has a range of 15 km (9.3 mi), a minimum latency of 15ms, and costs $229.

DJI O4 Air

Buy at B&H Buy at Amazon

DJI O4 Air Pro

Buy at B&H Buy at Amazon

Read last week's roundup

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The Nikon Z-mount version of the Voigtländer Nokton 28mm F1.5.

Image: Cosina

In December last year, Cosina announced the Voigtländer Nokton manual focus 28mm F1.5 prime for Sony E-mount. It released an update last week that the lens will be available beginning January 23. Now, the lens maker has announced a Nikon Z-mount version of the same lens, which is expected to be available sometime in February. Cosina currently lists the suggested retail price of both versions at ¥130,000, or around $833 at the time of writing.

The two lenses are mostly identical, though there are some noteworthy differences. Naturally, the lens Cosina had to adjust each model to account for the different mounts, resulting in slightly different sizes. The Z-mount weighs 360g (12.7oz) and measures 67.6mm (2.7") in diameter and 57mm (2.2") long, while the E-mount weighs 320g (11.3oz) and measures 62.6mm (2.5") in diameter and 55mm (2.2") in length. Naturally, there is a difference in filter size as well. The Nikon Z-mount model features a 52mm filter thread, while the Sony E-mount uses a 49mm filter. The knurling texture is also slightly different between the E-mount and Z-mount versions.

While both versions feature an aperture control ring, which photographers will need to use to manually control the aperture, it does appear that one is more tailored to video than the other. Interestingly, the page for the Sony version specifies that the aperture ring can be de-clicked to operate silently while recording video, while the Nikon version does not mention this.

The Sony E-mount version of the Voigtländer Nokton 28mm F1.5.

Image: Cosina

The 28mm F1.5 is designed for full-frame cameras (though they can be used on APS-C models) and offers an aperture range of F1.5 to F16 with a 12-blade diaphragm to help produce round bokeh. It features ten optical elements in eight groups.

The lens is manual focus only, as we would expect from a Voigtländer lens. It is, however, equipped with electronic contacts, which provide Exif data and support in-body image stabilization when paired with a camera that offers it. Additionally, the contacts communicate focus distance, which allows for focus assistance features, which vary depending on what camera you're using them with.

Voigtländer Nokton 28mm F1.5 for Nikon Z-mount manufacturer sample images Photo: Jima for Cosina Photo: Jima for Cosina Photo: Jima for Cosina Photo: Jima for Cosina Voigtländer 28mm F1.5 Aspherical specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length28 mmLens mountNikon Z, Sony E, Sony FEApertureMaximum apertureF1.5Minimum apertureF16Aperture ringYesNumber of diaphragm blades12OpticsElements10Groups8FocusMinimum focus0.28 m (11.02″)AutofocusNoDistance scaleYesDoF scaleYesPhysicalWeight320 g (0.71 lb)Diameter63 mm (2.46″)Length55 mm (2.17″)SealingNoColourBlackFilter thread49 mmHood suppliedYesTripod collarNo

Photo: Mitchell Clark

Astronomy photographers, your time to shine is here. The 2025 Astronomy Photographer of the Year contest is now open for entries, giving you the opportunity to submit your favorite images of the night sky. The contest is hosted by the Royal Observatory, Greenwich and seeks to highlight epic space photography. Participants have the chance to win cash prizes, the chance to have their image displayed in an exhibition at the National Maritime Museum and a year's subscription to BBC Sky at Night Magazine. Entries are open until March 3, 2025, at noon GMT.

The contest includes eight categories for adults (anyone 16 and older). While some categories require powerful magnification, others focus on the night sky more broadly, so you don't need a powerful telescope to participate. A separate Young Competition is open to those 15 and younger. The Young Competition is completely open and has no individual categories.

The Astronomy Photographer of the Year website defines the adult categories as the following:

• Aurorae: Photographs featuring the northern and southern lights (Aurora Borealis and Aurora Australis)
• Galaxies: Photographs of deep-space objects beyond the Milky Way galaxy, including galaxies, galaxy clusters and stellar associations
• Our Moon: Photographs of the Moon, including lunar eclipses and the occultation of stars and planets. Images of the Moon alongside earthly scenery may also be entered into this category, or into Skyscapes
• Our Sun: Photographs of the Sun, including solar eclipses and transits. Images of the Sun alongside earthly scenery may also be entered into this category, or into Skyscapes
• People and Space: Photographs of the night sky that include people or elements that show the presence or influence of human beings
• Planets, Comets and Asteroids: Photographs of objects in our solar system, including planets and their satellites, comets, asteroids and other forms of zodiacal debris. Images of the Moon, Sun and Earth should not be entered into this category
• Skyscapes: Photographs of landscapes, seascapes and cityscapes in which the night sky or twilight sky is a prominent feature. Star trails and images of noctilucent and nacreous clouds, halos, meteors and other upper atmospheric phenomena may also be entered into this category
• Stars and Nebulae: Photographs of deep-space objects in the Milky Way galaxy, including stars, star clusters, supernova remnants, nebulae and other astro-photographic targets within the Milky Way galaxy.

The overall winner across all adult categories will win a prize of £10,000 (roughly $12,231 at the time of writing) and the title of Astronomy Photographer of the Year. The judges will also select a winner, runner-up and one highly commended entry from each category for the adult categories, plus a winner, runner-up and three highly commended images in the Young Competition. Prizes are £1,500 ($1,835), £500 ($611) and £250 ($305), respectively.

Additionally, there are two special prizes available. The Sir Patrick Moore Prize for Best Newcomer is for new astronomy photographers who have only been practicing in the genre since January 2024, are 16 or older, and haven't entered the competition before. The Annie Maunder Open Category is for rewarding innovative approaches to astronomy art. Both offer a prize of £750 ($917).

Image: Honor

Honor has announced global availability for the Magic7 Pro, a flagship phone that features a 200MP sensor on its telephoto lens. While the phone has been available in China since October, it's now available many more countries.

Despite having the highest resolution, the 200MP camera actually isn't the phone's main shooter. The Magic7 Pro's 'wide' camera uses a 50MP Type 1/1.3 (9.8 x 7.4mm) with optical image stabilization and an aperture that can switch between F1.4 and F2, depending on the situation. The ultrawide camera also uses a 50MP sensor, though it's a smaller Type 1/2.88 (5.0 x 3.7mm) model, attached to an F2 lens that provides a 122° field of view.

Image: Honor

The 200MP Type 1/1.4 (9.1 x 6.9mm) sensor is used for the phone's 3x F2.6 telephoto lens, which rounds out the phone's trio of cameras, not counting the 50MP selfie camera. It likely uses the Omnivision OVB0A sensor, so likely utilizes an oversized 4 x 4 Bayer color filter array, similar to quad bayer technology found in many other phones. The Magic7 Pro isn't the first phone we've seen with a 200MP sensor. Some of the company's previous offerings have featured one, as have phones from competitors like Samsung and Xiaomi.

However, it does show that the company is at least somewhat serious about people being able to use the Magic7 Pro as a photographic tool. While a high resolution isn't an automatic sign of quality, it should give you a fair amount of flexibility when you run out of optical zoom and have to start cropping in. The company says you can achieve a "100x digital zoom," though by that point, the image will likely be noticeably softer despite all the megapixels.

Honor's site presents this image as an example of the Magic7 Pro's 100x digital zoom.

Image: Honor

Beyond the cameras, the Magic7 Pro seems like a very capable phone. It features Qualcomm's flagship Snapdragon 8 Elite processor, a 5750 mAh battery that you can quickly charge at up to 100W, and a 6.8" display that's capable of reaching a brightness of 1600 nits across the entire screen. Honor will also provide owners with five years of updates, according to GSMArena. While that's not best in class – Samsung and Google both promise to update their flagships for seven years, and Apple has been known to support phones for even longer than that – it's still nothing to sneeze at.

The phone starts at €1299, or £1099, and is available in "Europe, the Middle East and Africa, and Asia Pacific regions." The base model – which appears to be the only one currently available in some countries – comes with 12GB of RAM and 512GB of storage.

The Laowa 24mm T8 2X Macro Pro2be lens doesn't offer zoom like Laowa's upcoming lens but will share the tubular and attachment-based design.

Image: Laowa

Venus Optics announced that it will be releasing an innovative new zoom probe lens under its Laowa brand, set to come out sometime in Q2 of 2025. The Zoom Probe Lens builds on Laowa's unique series of probe macro lenses, including the probe that kicked it all off, the 24mm f/14 Probe.

Laowa is treating this announcement as a teaser of sorts, and as such, it shared little information regarding specific details of the lens. What we do know is that it will offer an ultra-wide 15mm focal length with 2.3x zoom. Venus Optics didn't share the full focal range beyond the widest focal length, but 2.3x zoom implies roughly 35mm when zoomed in.

The company says it will deliver "unmatched versatility and creative control for cinematographers and photographers alike." Given that macro photography can be challenging to set up in the first place, having the flexibility to simply zoom in or out to adjust the photograph could be a big time saver for macro photographers. The new zoom probe will be parfocal and offer direct, periscope, and 35-degree tilt views due to interchangeable parts, just like the Pro2be released in 2023.

The timing of the announcement is interesting as DZOFilm announced its X-Tract 18-28mm T8 Probe Zoom on the same day, as PetaPixel reported. The DZOFilm zoom probe is primarily intended for macro cinematography and offers a focal range of 18-28mm. It's available for pre-order now for $3,499 and is expected to start shipping next week.

Image: Laowa

Those interested in the Laowa Zoom Probe will need to wait a bit longer, though. The company simply says that "the forthcoming Laowa Zoom Probe Lens will be officially announced with more detailed specifications." It only mentions that it will be available for shipment sometime in Q2 2025, with no specific dates or pricing information.

Press release:

Laowa Sets the Stage for a Zoom Probe Lens with an Ultra-Wide 15mm Perspective, Broader Focal Range, and Dynamic Angles

Anhui, China, 15th January 2025 – Laowa, the originator of the 24mm f/14 Probe, Periprobe, and 24mm T8 Pro2be, is set to launch a groundbreaking Zoom Probe Lens in Q2 of 2025. Building on its legacy of innovation, this new lens combines the signature advantages of its predecessors with industry-first features, delivering unmatched versatility and creative control for cinematographers and photographers alike. Designed to outperform competitors and exceed market expectations, it offers:

• 15mm Widest Perspective for Enhanced Storytelling Possibilities
• Powerful & Par-focus 2.3x Zoom Range for Greater Framing Flexibility
• Direct, Periscope, and 35-degree Tilt View for Dynamic Angles
• Up to 2x Magnification for Finer Details
• Unrivaled Sharpness and Superior Image Quality
• Waterproof Tubular Barrel for Confident Shooting in Challenging Environments

Laowa’s previous probe lenses revolutionized macro videography by capturing intricate details in hard-to-reach places, while also offering a unique, bug-like perspective that plunges viewers into a new and immersive world. Laowa is grateful that the probe lenses have been widely used and appreciated by professionals across the industry for decades. We listened closely to our users' feedback and remain committed to advancing our products. With the upcoming Zoom Probe Lens, Laowa once again pushes the boundaries of innovation—delivering a wider field of view and broader focal range to meet the ever-evolving demands of professional creators.

Availability
The forthcoming Laowa Zoom Probe Lens will be officially announced with more detailed specifications. It will be available for shipment in Q2 2025. Stay tuned for more exciting news from Venus Optics.

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Product photos: Richard Butler

The Leica SL3-S is the company's fast 24MP full-frame L-mount mirrorless camera, sitting alongside the high-res SL3 and superseding the SL2-S.

Key Specifications

• 24MP BSI CMOS full-frame sensor with on-sensor phase detection
• Up to 30fps shooting
• IP54 weather sealed body
• 96MP Multi-shot high res mode
• 6K full-sensor 'open gate' video up to 30p
• Full-width 4K video up to 30p, 60p with APS-C crop
• ProRes 422 HQ internal capture, output to SSD and Raw over HDMI
• 'Camera-to-cloud' compatibility with Frame.io collaboration platform
• CAI Content Credentials authenticity metadata

The Leica SL3-S will be available immediately at a recommended price of $5295.

Index:

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

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica What's new Speed

Leica describes the SL3-S as its fastest-ever camera, able to shoot at up to 30fps. This can be done with Raw capture (12-bit), including full use of the camera's subject recognition and tracking autofocus.

In terms of autofocus, the SL3-S gains on-sensor phase detection and the ability to detect people (head/face/eyes) and animals.

In concert with this added speed, the SL3-S's Wi-Fi has been updated, now offering 2x2 Mimo for parallel connections. This allows transfers at up to eight times the speed offered by the SL2-S, with 40MB/s transfer allowing DNGs to be sent in around half a second.

High Resolution multi-shot

The SL3-S includes a multi-shot high resolution mode. Generally we find these to be of quite limited use (they tend to be fiddly and require absolutely static subjects to gain their full benefit) but, as part of the L² partnership with Panasonic, this is one of the better implementations.

You have the choice of a tripod mode or a handheld mode, which doesn't have such precise control of sensor movement, so doesn't give such detailed results. There's also a choice of how any motion in the scene is dealt with: either by combining shots to give blurred motion or by selecting a single frame to hide any intra-shot movement (but with lower detail in the areas of movement, as a result).

The nature of combining multiple shots gives a noise performance boost and this implementation has the benefit of letting you combine the images in-camera, rather than requiring desktop software.

Video

The SL3-S offers an extensive array of video modes, many of which map very closely to those offered by Panasonic's S5IIX model. So there's 6K Open Gate capture at up to 30p or 4K at 60p if you use the APS-C region of the sensor.

Open-gate shooting, which uses the whole sensor region, gives flexibility in the edit, letting you choose different crops from a tall 3:2 area, so you can add some movement to your framing by re-positioning the crop, apply post-shot stabilization, or cut both vertical and horizontal crops out of the same clip, if your target is social media.

Options include internal 5.8K ProRes 422 HQ capture or 4K/60 without record limits to a CFexpress card. Alternatively, 5.9K Raw at up to 30p or 4.1K Raw data from the APS-C region can be output over the HDMI socket for encoding by off-camera recorders. There's also the ability to capture compressed footage direct to an external SSD using the camera's USB-C output.

Content Credentials

The SL3-S also becomes one of the first publicly-available cameras to be able to embed 'Content Credentials,' the cryptographically-signed metadata authenticating the source of images it produces.

This lets you embed evidence that the image was taken using an SL3-S, in a manner that's becoming increasingly widely adopted. Popular editing tools such as Photoshop, Lightroom and Photo Mechanic can then add details of any edits they've conducted, letting you present a chain-of-custody to prove that no AI elements have been introduced.

The scheme has wide-enough backing across the industry that we'd expect some news services to start demanding content credentials on submitted images, and it's not impossible to imagine some photo contests going down the same path, if it becomes widely adopted.

Camera-to-cloud

Like recent Fujifilm models and several recent Panasonics, the SL3-S will gain the ability to upload images and footage directly to Adobe's Frame.io collaborative working platform. Once you've given the camera the login details for a Wi-Fi network, it can directly upload to a folder in Frame.io. In recent months, Adobe has been improving the integration between Frame and its other cloud-based applications, meaning images uploaded to Frame can then be ingested into a Lightroom catalogue, for instance.

Leica says this feature will be added during 2025.

Leica Looks

The SL3-S gains the latest 'Leica Look,' downloadable using the company's Fotos app, these include the 'Brass' look added in Fotos v.5.0.

The app now allows you to combine looks, with an option for the intensity with which each one is applied.

How it compares

As usual with Leica, the pricing of its cameras is inherently out-of-step with competing cameras with comparable specs from more quotidian brands. Here, we compare it with the Panasonic Lumix DC S5IIX, simply because they share a sensor, along with a fair number of features and capabilities, thanks to the L² tech-sharing partnership with Panasonic.

We also compare with the Nikon Z6III, which is a comparably fast 24MP full-frame camera. In terms of price, the more expensive Z8 is also relevant, but we're primarily looking at bodies that offer comparable resolution here.

Leica SL3-S Leica SL3 Panasonic S5IIX Nikon Z6III MSRP $5,295 $6,995 $2,199 $2,496 Sensor 24MP BSI Full-frame 60MP BSI Full-frame 24MP BSI Full-frame 24MP 'Partially Stacked' Full-frame Maximum burst speed 30fps (12-bit)

5fps (14-bit, AF-C)
15fps (14-bit, AF/AE locked)

30fps (12-bit)

20fps Raw
60fps JPEG

Viewfinder res/mag

5.76M dots
OLED
0.76x

5.76M dots
OLED
0.76x

3.68M dots
OLED
0.78x

5.76M dots
OLED
0.8x Rear screen 3.2" tilting
2.3M dots 3.2" tilting
2.3M dots 3" fully articulated
1.84M dots 3.2" fully articulated
2.1M dots Max video res 6K 'open gate' up to 30p UHD 8K up to 30p 6K 'open gate' up to 30p 6K 16:9 capture up to 60p in N-Raw Other video options 4K/60 (APS-C) 4K/60 (line-skipped) 4K/60 (APS-C) 5.4K/60 ProRes Media types CFexpress Type B
UHS-II SD
SSD (via USB) CFexpress Type B
UHS-II SD 2x UHS-II SD
SSD (via USB) CFexpress Type B
UHS-II SD USB 3.2 Gen 2 (10Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 2 (10Gbps) 3.2 Gen 1 (5Gbps) Battery life rating (EVF / LCD) – / 315 – / 260 370 / 370 360 / 390 Wi-Fi 2.4/5Ghz 'ac'
2x2 Mimo

2.4/5Ghz 'ac'

2.4/5Ghz 'ac' 2.4/5Ghz 'ac' Weight 852g 854g 740g 760g Dimensions

141 x 108 x 85 mm

141 x 108 x 85 mm 134 x 102 x 90mm 139 x 102 x 74mm

On paper, the SL3-S looks very expensive, compared to its peers. Part of this is because a specs comparison isn't very good at capturing some of the things that Leica brings to the table: the SL3-S's exceptionally solid-feeling build (backed up by an actual, albeit relatively modest, IP rating), and its distinctive, photo-focused user interface. Then, of course, there's the mythos of the Leica name and the promise of being "handmade in Germany." Ultimately, along with the exclusivity that the price ensures, that's one of the things you're paying for.

Our tables only mark green and red factors that are unarguably beneficial or disadvantageous; it's up to each individual to decide how important pixel count or brand history are to them.

Body and handling

The SL3-S has essentially the same body as the original SL3: an impressively imposing and solid-feeling lump of metal. It's an unusually large camera by modern standards and one that's hard to miss, despite its distinctly minimalist aesthetic.

It uses the same control system as the SL3, which is one of the most focused interfaces we've encountered in many years. The SL3 is full of options and special functions, but the main control points are primarily geared towards the core exposure parameters.

A large dial on the top right of the camera and a command dial on the rear right shoulder handle most of your exposure controls, with a third dial on the left shoulder being customizable to cover a third parameter.

Beyond these, there are a series of customizable buttons whose function can be re-assigned by holding them down for a couple of seconds. The list of functions then available to be assigned can be modified in the camera's main menu, meaning you only see a list of the features you're likely to want quick access to.

The SL3-S gains a 2.3M dot tilting touchscreen without reducing its IP54 protection rating.

Photo montage: Richard Butler

As with the SL3, swiping your finger right-to-left across the settings screen switches the camera from stills to video mode, indicated by all the highlighting in the menu switching from red to yellow.

The menus are comparatively sparse despite the presence of complex, multi-option features such as high-res mode. And, while I still get confused by pressing left, taking me one tab to the left in the menus but pressing right not having the opposite effect (it selects or changes the current option), overall, it's one of the cleanest, most focused user interfaces in the industry.

Video mode selection

Where the camera's behavior becomes very odd or, at least, very unfamiliar is in the way you select video modes. You can select a video mode based on any basic parameter: resolution, frame rate, chroma-subsampling method and so on. Unlike most cameras, this doesn't then filter your list of other available options: if you then choose another parameter that's incompatible with one you've already selected, the camera simply overrules your existing choice.

With the 6K option 'locked,' the other parameters are then limited to options that are compatible with that choice.

If it's important to you, you can choose to 'lock' your selection. Doing so indicates that you've made an inviolable choice, and only then are the other options filtered so that you can only make selections compatible with your 'locked' selection. It's a very unfamiliar way of working, but it means you don't have to wade through a long list looking for a specific combination of settings and can instead just filter the options based on which properties are most important to you.

Battery

The SL3-S uses the same battery as the SL3, and is also compatible with the HG-SCL7 accessory grip and DC-SCL6 dummy battery options designed for it.

Photo: Richard Butler

The SL3-S uses the newer, larger BP-SCL6 battery from the SL3 and Q3s. It's a 15.8Wh capacity battery, up around 20% from the 13.4Wh of the SCL4. That's enough to drive the SL3-S to a rating of 315 shots per charge, using CIPA's standard testing protocol.

We always point out that CIPA numbers tend to significantly under-represent most people's real-world use, but are usefully comparable between cameras of a similar type. And, while we typically say you can expect at least double the rated value, Leica has developed its own variation of testing, which extends the number to over 1000.

Either way, it's a reasonable – but not great – number for a camera this big. And you'll probably want to think about a second battery or a USB-charging pack of some sort for more intensive shoots.

Initial impressions

The SL3-S takes its blacked-out minimalism from its predecessor which, unfortunately, is the approach that Panasonic has subsequently taken with its similarly-specced S5IIX model.

Photo: Richard Butler

From Leica's position, this is a lower-resolution, faster SL3 for $1700 less. But these cameras don't exist in a vacuum.

The very nature of being a luxury brand is that the price premium is part of the appeal. This will sound absurd to some people. But the exclusive price tag, along with the distinctive design, innovative UI and use of impressively high-quality feeling materials, is part of what sets it apart from other products.

What risks undermining this is partly the commoditized nature of many of the components modern cameras are built from (they're primarily using sensors, EVF panels and LCD screens purchased from a very small number of suppliers), but also the explicit technology tie-up with Panasonic.

Full-sized HDMI, headphone and mic sockets suggest Leica is serious about the SL3-S's use as a video tool

Photo: Richard Butler

This isn't, in any way, to take away from Panasonic, but if you can count through the features on a $5000+ Leica camera and identify how many of them have come from this Panasonic collaboration, then the temptation is to look at the Lumix lineup and ask yourself how close to this camera could you buy, if you don't need the super-premium build or superbly focused user interface.

Even for the ultimate heart-over-head purchase, the existence of the S5IIX risks amplifying the 'head' voice in the conversation.

It's somewhat unfair to solely focus on the Leica's price, but it's also not really possible, from a reviewer's perspective, because it's essential that I acknowledge that it'll immediately rule the camera out for a decent proportion of readers. But it is worth acknowledging the effort that's gone into the SL3-S compared with its predecessor: the faster Wi-Fi and powerful Fotos app, the full-sized HDMI port and CFexpress card slot that have been added to support its more advanced video features. All these improvements, as well as the L²-sourced features such as multi-shot mode make it a much better camera.

The SL3-S is a beautifully-built camera with a genuinely compelling user interface. Our impressions of its autofocus are that, as with Panasonic, its dependability in terms of continuous AF and subject tracking is somewhere behind the best of its peers. But overall it's a well-designed, feature-packed camera. The question is, does it have enough Leica stardust to make it appeal to you?

A short loan period and Seattle winter weather meant we weren't able to shoot a sample gallery with the SL3-S, but the experience of the test shooting we did do was hugely enjoyable.

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica

When you use DPReview links to buy products, the site may earn a commission. Photo: Insta360

It's been less than a year since the Insta360 Flow Pro smartphone gimbal came out, yet the company is already releasing a follow-up. The Insta360 Flow 2 Pro builds on the features of the first iteration, promising improved Apple DockKit compatibility and adding even more tracking options and useful features. Insta360 aims to bridge "the gap between professional-grade tracking and user-friendly convenience" with the Flow 2 Pro, offering an all-in-one design for mobile creators.

The primary differentiating factor between Insta360's Flow and Flow Pro was the compatibility of the Apple DockKit. Insta360 says it updated Apple DockKit with the Flow 2 Pro, allowing for native subject tracking with the iPhone's built-in Camera app and more than 200 third-party apps, including Blackmagic, the Final Cut Camera app, Momen, Instagram, YouTube, Zoom and WhatsApp. The feature allows you to use photo, slow-motion, and Cinematic modes with tracking without additional software or workarounds. Insta360 wasn't clear on what it updated on the Flow 2 Pro's DockKit compatibility, simply promising that it offers extended integration, though the number it lists for compatible apps remains the same.

Photo: Insta360

Beyond tracking with Apple DockKit, Insta360 also updated its Deep Track AI-powered tracking technology to Deep Track 4.0. This feature is available in the Insta360 app, so it isn't applicable if you use other apps for content creation. The Flow 2 Pro adds the ability to zoom in up to 15x while tracking a moving subject, an ideal feature for capturing sports or working with subjects far away. Additionally, the new Multi-Person Tracking mode allows you to track multiple people at once, keeping your whole group centered and in the shot.

Also new with the Flow 2 Pro is the Pro Framing Grid feature. This AI-assisted feature, found when recording with the Insta360, incorporates the Golden Ratio into every shot, helping to guide your framing and composition. There are nine grid options to select from, prompting the gimbal to automatically analyze the subject position and composition, adjusting the framing accordingly. While this feature could be useful as you learn, it could also become a crutch, limiting creativity based on sticking to preset composition rules.

Photo: Insta360

Insta360 says it improved the build of the Flow 2 Pro, resulting in a sturdier design with a stronger tripod. However, whether this results from new materials or design choices is unclear. Many users complained about how flimsy the tripod portion of the Flow Pro was, so we hope this is addressed in the new iteration.

Additionally, the tilt function was an area of frustration for some with the Flow Pro. The mechanical range of the Flow Pro is -100° to 82°. Insta360 added what it calls "Free Tilt Mode," opening up the opportunity for crane shots, tilt shots and crane and tilt combinations. The specifications for the gimbal specify the mechanical range for tilt on the Flow 2 Pro is -99° to 231°, so in theory, tilt should be significantly improved from the original model.

Otherwise, physically, the two models are nearly identical regarding specifications. The primary difference is that the Flow 2 Pro's weight decreased very slightly from the first version, coming in at 357g (12.60z) compared to 366g (13oz). There's the addition of a selfie mirror to aid in recording shots while using the primary camera on your phone, but the rest of the gimbal is very similar to the Flow Pro.

Image: Insta360

The Insta360 Flow 2 Pro is available now and comes in Stone Gray and Summit White. The Standard Bundle is $159, while the Creator Bundle is $189.

Press release:

Meet Insta360 Flow 2 Pro: Revolutionary Smartphone Filmmaking with Advanced AI & Seamless iPhone Integration

Insta360 is excited to unveil the latest evolution in smartphone stabilizers: Insta360 Flow 2 Pro.

Designed for creators, solo adventurers, and professionals alike, this next-generation AI-powered gimbal combines groundbreaking technology with an all-in-one design to transform your smartphone into the ultimate content creation tool.

With extended Apple DockKit integration, all-new Deep Track 4.0 AI tracking, and professional-grade features like Active Zoom Tracking and Multi-Person Tracking, Flow 2 Pro pushes Insta360’s innovations in the mobile content creation space to new heights. Upgrades to its built-in tripod, power bank, and selfie stick, and Flow 2 Pro sets a new benchmark for smartphone filmmaking.

“The idea of Flow 2 Pro is simple: Bridge the gap between professional-quality tools and everyday accessibility,” shares JK Liu, founder of Insta360. “We're bringing our cutting-edge AI tracking to the table, with even more enhancements, as well as seamless iPhone and Android integration.”

Unprecedented Tracking Capabilities

Insta360 Flow 2 Pro elevates mobile videography by integrating Apple DockKit, an industry-first innovation that bridges the gap between professional-grade tracking and user-friendly convenience.

Designed exclusively for iPhones, Flow 2 Pro uses Apple DockKit to unlock seamless native subject tracking for iPhone’s built-in Camera app, as well as Blackmagic (including SmartWheel use) and over 200+ third-party iOS apps. From Photo and Cinematic modes to Slow Motion, Flow 2 Pro eliminates the need for additional software, offering a user experience that combines simplicity with performance.

DockKit transforms your device into a powerful production tool—perfect for content creation, virtual meetings, video calls, live streaming, and more.

Meet Deep Track 4.0

Flow 2 Pro introduces Deep Track 4.0, the ultimate evolution in AI-powered tracking technology. Available in the Insta360 app, the latest rendition is built for creators who demand the best, bringing a host of cutting-edge capabilities that ensure your shots are always perfectly framed and effortlessly smooth.

New Active Zoom Tracking

Zooming in up to 15x while tracking a moving subject is now possible thanks to Active Zoom Tracking. Perfect for capturing dynamic sports or distant scenes, this feature is a game-changer for creators looking to hone in on the action. Unlike competing products that cap zoom capabilities and are unable to track effectively at range, Flow 2 Pro ensures your shot is crystal clear and perfectly framed, no matter how the distance.

Multi-Person Tracking

Capture every moment—Flow 2 Pro tracks multiple people in real time, keeping your whole group perfectly framed. From family photos to group dancing videos, AI automatically adapts to your environment and keep up with every movement so your whole group is centered and in shot.

Pro Framing Grid

Storytelling is made richer with the built-in Pro Framing Grid, an AI-assisted feature designed to incorporate the Golden Ratio into every shot. By guiding your framing and composition, Flow 2 Pro helps even novice creators achieve professional, cinematic results.

When shooting in the Insta360 app, simply tap one of the nine grids, and the gimbal will automatically analyze subject position and composition to get a better result. Perfect for cinematic moments.

An All-in-One Content Creation Tool

Whether you're filming on the go, setting up a professional shoot, or exploring new creative angles, Flow 2 Pro has you covered. Its upgraded features ensure every creator can bring their vision to life, easier.

Sturdier Build, 360° Tracking and Free Tilt Mode

Flow 2 Pro's sturdier build offers enhanced durability with a stronger tripod, while the Free Tilt Mode unlocks creative potential for filmmakers and vloggers. With this feature, creators can achieve breathtaking shots like:

• Crane Shots: Sweeping vertical and horizontal movements for cinematic storytelling.
• Tilt Shots: Elevate perspectives with smooth, controlled angles.
• Crane + Tilt Combinations: Combine movements for even richer narratives.

Flow 2 Pro also supports complete 360° Infinite Pan Tracking, which allows it to rotate endlessly for uninterrupted tracking. Whether you're following fast-paced sports, capturing live events, or experimenting with creative transitions, this innovation ensures you never miss a moment.

Advanced HDR and Codecs

Flow 2 Pro supports Dolby Vision and Apple ProRes for cinematic clarity, color depth, and dynamic range. Highlights include:

• Dolby Vision: Boost brightness and color contrast for a vibrant, lifelike look.
• Apple ProRes: Capture in HDR, SDR, or Log for detailed, professional-grade editing flexibility.

The result? Every shot, whether spontaneous or planned, shines with incredible visual fidelity.

New Selfie Mirror

The gimbal now sports a mirror right on its body, ensuring creators can frame without a screen, perfect for selfies or vlogging when using the rear camera of your phone for better image quality. The mirror’s adjustable angle ensures you look your best in every shot.

Teleprompter

For live streamers or content creation, forget memorizing lines or awkward pauses. With Flow 2 Pro’s Teleprompter Mode, creators can integrate scripts directly into their filming or livestream workflow.

Remote Control via Apple Watch or Second Smartphone

Control Flow 2 Pro remotely using either an Apple Watch or a second smartphone. This allows creators to adjust angles, start/stop recording, or manage tracking—all without interrupting the shot. Perfect for dynamic filming setups or solo creators who need flexibility.

New Accessories and Essentials

Expand your creative possibilities with Flow 2 Pro’s lineup of dedicated accessories, including:

• Magnetic Phone Mount: Snap on for an easy setup. Doubles as a desktop stand.
• Magnetic Cooling Mount: Optimized for iPhones with two sizes to fit different models.
• Backpack Mount: Hands-free filming on the move.

Available Now

Insta360 Flow 2 Pro will be available globally starting January 16th 2025 in two colors: Stone Grey and Summit White. The Standard Bundle is priced at USD $159.99, and the Creator Bundle at USD $189.99. For more details and to purchase, visit Insta360.com, Amazon, and more.

Photo: Kara Murphy

Just days after news came out regarding a drone collision with a firefighting plane working to control the wildfires in California, DJI announced that it will no longer enforce its No-Fly Zones, as reported by PetaPixel. The company shared the news in a blog post, saying that the update follows a similar change put in place in the European Union last year.

For over a decade, DJI drone pilots have been somewhat limited in where they could fly drones, as the company's software would automatically stop users from flying over areas such as active runways, power plants, the White House and wildfires. These areas were defined as Restricted Zones, though they were commonly called No-Fly Zones, and they were a result of DJI geofencing datasets in the company's flight apps.

DJI claims that user awareness has evolved, suggesting that such boundaries are no longer needed.

Now, DJI is removing those geofencing datasets and will instead display Enhanced Warning Zones. DJI says this is "aligning with the Federal Aviation Administration's (FAA) designated areas" and is "placing control back in the hands of the drone operators, in line with regulatory principles of the operator bearing final responsibility." Instead of relying on "ICAO Annex 14 configurations for airspace around airports," which the company says "did not always align with official FAA data," it will now use the boundaries officially provided by the regulator.

DJI says that when it first implemented the GEO system in 2013, it did so because rules and regulations were sparse since consumer drones were novel at the time. It says the system was put in place "as a voluntary built-in safety feature to help foster responsible flight practices and prevent DJI drone operators from unintentionally flying in restricted airspace, such as around government buildings, airports, or prisons."

"The GEO system has always been an educational - not an enforcement - tool"

DJI claims that user awareness has evolved, suggesting that such boundaries are no longer needed. In a follow-up blog post, the company says that the geofencing tool was always meant to educate users about the law rather than enforce it and emphasizes that "warning zones and in-app alerts remain in place."

It also says the change could make things easier for commercial operators and "public safety agencies," as they will no longer need to wait for manual approval from DJI before being able to fly in restricted zones they've been permitted to operate in.

However, drone incidents are still clearly a problem, as the strike last week with the SuperScooper airplane shows. While that drone was a sub-250-gram model – made by DJI, according to photos released by the FBI – and thus not subject to the Remote ID rules that control No-Fly Zones, it highlights significant safety concerns due to poor understanding of flight safety.

This is a remarkable shift in drone safety strategy with a potentially enormous impact, especially among drone pilots who are less aware of airspace restrictions and high-risk areas. https://t.co/YJOpe2gcZe

— Brendan Schulman (@dronelaws) January 14, 2025

Even the former DJI head of global policy, Brendan Schulman, doesn't think this is a wise move, as The Verge shared. Shulman has shared numerous posts on X (formerly Twitter) about how this could be problematic. Another user shared that the DJI Fly app says his drone could take off from Runway 27L at Philidelphia Public Airport, which certainly would not be a good situation.

Image: DJI

Regardless of whether this was a good move, the new process went live on January 13. To see the change, users will need to connect their flight app to the internet and select "Update" on the FlySafe pop-up notification.

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Sony announced its first firmware update of the new year, bringing changes to the a9 III (Ver. 3.00), a1 (Ver. 3.00) and a1 II (Ver. 2.00). The bulk of the update surrounds various shooting, movie and transfer functions of the three camera models. Perhaps more significant is the update to Sony's Camera Authenticity Solution, which aims to improve the implementation of the Coalition for Content Provenance and Authenticity (C2PA). The update will be available sometime in January 2025, though Sony didn't provide a specific date. You can check the status of the firmware availability on Sony's downloads page.

Camera Authenticity Solution updates

Sony is a member of the C2PA Steering Committee, playing a leading role in developing and implementing industry standards for digital content verification. As we all know, there are growing concerns with image manipulation and AI imagery, resulting in misinformation. The C2PA aims to provide publishers, creators and consumers with "flexible ways to understand the authenticity, and provenance of different types of media," according to a press release in March 2024.

Sony says that the latest firmware update expands the Camera Authenticity Solution compatibility with the a9 III, a1 and a1 II with the launch of an Image Validation Site and the Digital Signature Upgrade license developed for select news organizations and their staff photographers.

Sony says this "service is designed to enhance the implementation of C2PA (Coalition for Content Provenance and Authenticity), particularly within the news industry, by providing additional authenticity information and introducing a streamlined workflow for professionals requiring higher content verification standards." The expanded initiative will allow photographers to add digital signatures to their images, which allows for confirmation that the photographs haven't been tampered with.

Sony had previously only made this feature (on the a1, a7S III and a7IV) available to select news agencies, with a promise to expand it at a later date. It's slightly unclear from the current wording whether it's now more broadly available.

Chart: Sony Sony a9 III Ver. 3.00 firmware update

The a9 III is the only camera of the three to receive a completely new function. With the Ver. 3.00 update, there will be a newly added option to use shutter speeds up to 1/80000 seconds at all aperture values when the Exposure Value Expand function is set to "On." This feature will be most helpful for sports and action photographers shooting at wide apertures in bright conditions.

The a9 III will see updated support for the Focus Magnifier and Auto Magnifier in MF in Bright Monitoring mode, making it easier to get precise focus in tricky lighting situations. Additionally, Sony says that users should see an improvement in image quality when applying user LUTs. There are also updates to the notification display when the latest software is available, an update to "scheduling of FTP transfers while writing data to the camera's storage media" and "improved operability including continued shooting during image transfer to the Creators' app."

Sony a1 Ver. 3.00 firmware update

The Sony a1 doesn't get any new features, but gets quite a few updates to existing features. First, it will see an update to focus bracketing support for continuous shooting while automatically shifting the focus position. Sony says there will be additional settings for exposure value adjustments and the number of shots in exposure bracketing. It will also see the same updates as the a9 III to the Focus Magnifier and Auto Magnifier usability.

Also like the a9 III, the a1 will see updates to new software notifications, FTP transfer scheduling, and continued shooting during image transfer. It will also have an update on the "use of the Custom Key settings on the AEL button and Delete button during playback."

Sony a1 II Ver. 2.00 firmware update

The a1 II sees the least updates of the three cameras, with no new features available and only a single function updated. With this firmware update, Sony promises an improvement in image quality when applying user LUTs, just like the a9 III.

Press release:

Sony Electronics Announces Firmware Updates for Alpha 1 II, Alpha 1, and Alpha 9 III

Updates include shooting function improvements and additional support for the Camera Authenticity Solution

SAN DIEGO, Jan. 14, 2025 – Today, Sony Electronics Inc. announces new firmware updates for the Alpha 1 II (Ver. 2.00), Alpha 1 (Ver. 3.00), and Alpha 9 III (Ver. 3.00) cameras. These firmware versions bring varying updates to shooting, movie, and operability functions, as well as added compatibility for Sony’s evolving Camera Authenticity Solution.

Shooting, Movie, and Operability Updates Per Model: Camera Authenticity Solution Updates:

The new firmware updates bring compatibility with the Alpha 1 II, Alpha 1, and Alpha 9 III for Sony’s expanding Camera Authenticity Solution. This expansion includes the launch of an Image Validation Site and the Digital Signature Upgrade License¹, created for select news organizations and their staff photographers. The service is designed to enhance the implementation of C2PA (Coalition for Content Provenance and Authenticity)², particularly within the news industry, by providing additional authenticity information and introducing a streamlined workflow for professionals requiring higher content verification standards. As a member of the C2PA Steering Committee, Sony plays a leading role in developing these standards and driving their broader implementation.

Availability:

Alpha 1 II (Ver. 2.00), Alpha 1 (Ver. 3.00), and Alpha 9 III (Ver. 3.00) firmware downloads will be available in January 2025.

To check the status of the latest firmware availability, please visit: https://www.sony.com/electronics/support/cameras-camcorders-digital-cameras/downloads

For more information on Sony’s Camera Authenticity Solution, visit: https://www.sony.net/cas/

1 Only still images in JPEG/RAW (.ARW) format are supported.

2 A standards organization that develops open standards and technical specifications for the origin and authenticity of digital content.

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

We've spent a bit more time with the Leica D-Lux 8, an enthusiast compact camera that captured our imaginations last year. As part of our continued testing, we've put it in front of our standard studio test scene, to get a sense of what kind of image quality we can expect from the up-to 17MP crops it takes from a 21MP Four Thirds sensor.

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

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When shooting Raw, the D-Lux 8 captures a touch more detail as the Sony RX100Va, but falls behind the Fujifilm X100 VI and Ricoh GR III. Its base ISO Raw noise performance, viewed at a comparable size, generally follows sensor size, with the D-Lux 8 exhibiting less noise than the Sony, but more than the Ricoh and Fujifilm, an trend that continues at higher ISOs.

Leica's JPEG engine is roughly on par with Sony's when it comes to pulling out fine details, though the RX100 V's processing is a bit more aggressive, occasionally bordering on oversharpening. At higher ISOs, the Leica does a good job of removing noise, though at the cost of smoothing out some details.

The Leica's JPEG colors are similar to the Ricoh's, but slightly more saturated. They appear to hew towards accuracy, which doesn't necessarily result in the most pleasing skin tones, something you can see in our sample gallery for the D-Lux 8.

It's worth noting that our copy of the D-Lux 8 couldn't quite match the peak sharpness that we achieved with the Panasonic LX100 II, despite repeated attempts at focusing and the two cameras using the same sensor and lens combination. This is likely to be a result of copy-to-copy variation.

Dynamic Range

The D-Lux 8 offers a fair amount of image processing flexibility for those looking to pull shadows up. The results from our exposure latitude test can only be used to compare cameras with the same size sensor, which is especially tricky with the D-Lux 8 given that it doesn't use the entirety of its Four Thirds sensor. When raised, you can expect its shadows to have a bit more noise when you push them by several stops, though the results are arguably still quite usable even after quite large pushes.

The decent, but not class-leading, performance trend continues when looking at its ISO behavior. The camera's added read noise becomes relatively noticeable in more extreme situations, like if you were trying to protect your highlights by shooting at an ISO 3EV below what you'd normally use for a given aperture and shutter speed and then brightening parts of your image in post. The D-Lux 8's competitors generally fare better in this respect, but if you're making smaller changes in post, the difference won't be as obvious.

ISO Invariance | Exposure Latitude

Buy now:

$1595 at Adorama$1595 at B&H Photo

'Life in Another Light' infrared photography contest 2024 winners

The winners of the fourth Life in Another Light photo contest have been announced, showcasing unique views captured with infrared photography. The Biennial contest is hosted by Kolari Vision, a company specializing in infrared photography gear, camera conversions, and tips. This year's contest drew over 3,000 submissions across 11 photography categories and a short film category, a first for the contest.

While the main aim of the contest is to highlight infrared photography, Kolari Vision also included some categories focused on traditional visible light, opening up the competition beyond the niche of infrared imagery. Additionally, there was a category for ultraviolet light and categories specifically for Kolari Vision's Candy Chrome Infrared Lens Filter and IR Chrome FIlter.

The contest was judged by seven judges, including guest photographers Pierre-Louis Ferrer and Yann Philippe, who helped judge the filter-specific categories. Kolari Vision explains that each image was evaluated "based on technical execution, composition, and creativity in three rounds of judging before selecting the finalists." The resulting images are otherworldly examples of what's possible with this method of photography.

Landscape infrared – first place

Photographer: Gavin Spooner

Title: Switzerland

Gear used: Panasonic GX85 + IR Chrome Infrared Filter

Type of light: Infrared

Landscape infrared – second place

Photographer: Jonas Hangartner

Title: WA1K345

Gear used: Full spectrum Canon 5D MKII + 720nm filter from Kolari Vision

Type of light: Infrared

Infrared short film – first place

Cinematographer: Lambert Grand

Title: When Earth Took A Breath

Gear used: IR Chrome Infrared filter (camera used not provided)

Type of light: Infrared

Astro landscape – first place

Photographer: Jonas Hangartner

Title: Losing Track Of Time

Gear used: Panasonic GH5

Type of light: Visible light (normal)

Astro landscape – honorable mention

Photographer: Troy Casswell

Title: Luminous Jewels

Gear used: Canon EOS R5 (full spectrum converted) with 365nm UV light to induce fluorescence

Type of light: Visible light (normal)

Black & white – first place

Photographer: Carolyn Hinton Hutchins

Title: Alligator In Morning Mist

Gear used: Nikon Z6

Type of light: Visible light (normal)

IR Chrome – first place

Photographer: Mitja Kobal

Title: Dreams Of Reality, Dream 5: Plaza of Kanagawa, Japan

Gear used: Fujifilm GFX50S + IR Chrome Infrared Filter

Type of light: Infrared

Landscape – visible light – first place

Photographer: Yohan Raintung

Title: Merapi

Gear used: Nikon Z9

Type of light: Visible light (normal)

Aerial – first place

Photographer: Bobby Ritchey

Title: Black Sand Beach

Gear used: Not provided

Type of light: Visible light (normal)

Long exposure – first place

Photographer: Dibakar Roy

Title: People Mixture

Gear used: Not provided

Type of light: Visible light (normal)

Portrait – first place

Photographer: Rob Jemmett

Title: Meg With Scarf

Gear used: Fujifilm X-T2 (converted to full spectrum) + 720nm Infrared Filter

Type of light: Infrared

Ultraviolet – first place

Photographer: Michael Riffle

Title: Magnolia Grandiflora

Gear used: Nikon D750 + UV Bandpass Filter

Type of light: Ultraviolet Reflective

Candy Chrome – first place

Photographer: Ginny Taylor

Title: Bout To Bloom

Gear used: Canon EOS R5 + Candy Chrome Infrared Filter

Type of light: Infrared

Abstract – first place

Photographer: Olga Ivanova

Title: Stairsteps

Gear used: Canon EOS 6D Mark II

Type of light: Visible light (normal)

Image: Adobe

Adobe has announced that it's working on a feature for Photoshop called Live Co-Editing, which lets multiple people view and edit the same document at once. The concept will be familiar to anyone who's worked in a Google Doc with other people, though applied to photo or graphical editing instead of word processing.

The feature is coming next week as a private beta, so it won't immediately be accessible to everyone. If you sign up for the beta and are accepted, you'll be able to use it via the share button, similar to the existing collaboration feature. However, instead of only one person being able to work on the document at once, you'll have the option to turn on Live Co-Editing.

Adobe's press release details some examples of when the ability to work on the same Photoshop document could be useful. The first is the most obvious one, where there's a big project with several pieces that designers can work on at once. It could also be handy if a teacher is trying to explain a specific process to a student or if you're on a call with a client and want them to be able to see your work in as much detail as possible.

To use the feature, the file you want to collaborate on will have to be saved to your Creative Cloud storage – if you try to turn on Live Co-Editing for a file saved locally, Photoshop will walk you through uploading it to Creative Cloud before sending the invitation. At the end of the process, you'll end up with a .PSDL file, rather than the conventional .PSD.

The announcement is Adobe's latest move to present Photoshop and its other products as services rather than simply applications, along with the increasing number of built-in generative AI features. It may hope that these features will help justify the ongoing cost of a subscription, especially as some tiers of that subscription are getting more expensive. To start, Live Co-Editing will be available on the desktop and web versions of Photoshop.

Photo: DJI

DJI has announced a new drone, offering a folding design unique to its lineup. The DJI Flip is the company’s first foldable drone with full-coverage propeller guards, maintaining safety in a compact, portable package. The palm-sized drone combines the simplicity of the DJI Neo with the photo capabilities of the DJI Mini 3. Like both the Neo and Mini 3, it weighs less than 249 grams, so it's more accessible to fly than heavier drones since you don't need a license from the FAA. DJI is calling it an all-in-one vlog camera drone with features ideal for content creators on the go.

Photo: DJI

The standout feature of the DJI Flip is its foldable design. The propeller guards are attached to the rotors using carbon fiber string, and each rotor can then fold down for easier storage. Like the Neo, it offers very simplified flight controls, making it an easy option for those who don’t have drone flying experience. That includes one-tap flight, six intelligent shooting modes (Dronie, Circle, Rocket, Spotlight, Helix and Boomerang) and AI Subject Tracking. It also offers automatic braking with the 3D Infrared Sensing System, making it safer to fly.

Photo: DJI

Regarding camera capabilities, the DJI Flip features a 48MP Type 1/1.3 (9.6 x 7.2mm) CMOS sensor behind a lens with an F1.7 aperture. The sensor has a Quad Bayer-style color filter layout, meaning it can either output 48MP photos, or combine pixels to give 2.4μm "4-in-1" output, just like the DJI Mini 3.

DJI also promises "Dual Native ISO Fusion," which appears to be its branding for sensor maker Omnivision's Dual Conversion Gain HDR feature. This claims to sample each pixel's charge twice, using different conversion gain levels to boost DR, while also combining variable exposures. It appears to be for capturing wide-DR video in a standard DR space rather than true HDR footage for playback on high DR screens. We've asked DJI for more information.

The drone can record HDR video up to 4K 60 fps, supports slow-motion recording at 4K 100 fps, and the 4:3 sensor produces vertical crops up to 2.7K. It also supports 10-bit D-Log M color mode for those who want to dive into color grading.

A sample image taken with the DJI Flip

Photo: DJI

The DJI Flip offers up to 31 minutes of flight time, which is quite a bit less than the DJI Mini 3’s 51-minute flight time (provided you use the Intelligent Flight Battery Plus) but substantially longer than the Neo’s 18-minute max flight time. You can control the Flip with Voice Control or the DJI Fly app, and it is also compatible with the DJI RC-N3 and RC2 controllers. It supports up to 13 kilometers (8.1 miles) of 1080p 60 fps video transmission, so you don’t need to be right next to your subject to record or capture photos.

The DJI Flip is available for purchase as of today. You can opt for only the drone only for $439, buy a kit with the DJI RC 2 for $639 or opt for the Fly More Combo with the DJI RC 2 for $779.

Buy Now:

$439 at Amazon $439 at DJI

Image: TTArtisan

TTArtisan is keeping the lens news coming this year with another lens announcement just a few weeks after its last. The company is following up its AF 35mm F1.8 II with another F1.8 prime lens for APS-C users, as reported by PetaPixel. Priced at just $127, the TTArtisan AF 23mm (35mm equivalent) F1.8 is a budget-friendly option that slots nicely into TTArtisan’s existing lineup of affordable yet fast prime lenses. It is available for Fujifilm X cameras now, with Sony E and Nikon Z mount models coming later, though the company hasn't specified exactly when.

Image: TTArtisan

Like TTArtisan’s other lenses, the 23mm F1.8 features an aluminum body, offering better durability than you may expect for the budget price. It’s also very lightweight, weighing 210 grams (7.4 ounces). TTArtisan doesn’t provide additional details on dimensions, but the lightweight design and 35mm equivalent focal length could make it an ideal street, travel, and landscape lens. The USB-C port for firmware updates is on the rear lens cap, so you won't want to lose that after unboxing the lens.

Image: TTArtisan

While the details about the lens size are minimal, the company did provide information on the optical design. The lens is composed of 11 elements in nine groups. It includes two extra-low dispersion elements and a high index element. Additionally, it features a nine-blade aperture diaphragm. There is no aperture control ring (as is expected on a lens of this price), so all aperture control will be done through the camera. The 23mm F1.8 uses a stepper motor for autofocus, which the company says is fast, accurate and suitable for video applications. Finally, it can focus as close as 0.3 meters (11.9 inches).

$127 at Amazon Sample Images Photo: TTArtisan Photo: TTArtisan Photo: TTArtisan Photo: TTArtisan

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Nikkor Z DX 16-50mm F3.5-6.3 @ 16mm | F6.3 | 1/160 sec | ISO 100

Photo: Richard Butler

As part of our ongoing review, we took the Z50II traveling over the Christmas period, to see what Nikon's little APS-C model is like as a day-to-day camera. We found it small enough to take on a madcap 11-day trip to Mexico and the UK.

The gallery was primarily shot on the retractable Nikkor Z DX 16-50mm F3.5-6.3 VR kit zoom but we also took the Nikkor Z DX 24mm F1.7 and the Sigma 56mm F1.4 DC DN, for a bit of variery.

We've still got some of our more formal testing to do, so the review is still likely to be a few weeks off. But in the meantime you can get a sense of its versatility from our samples gallery.

Buy now:

$1049 w/ 16-50mm at Amazon.com$906 at Adorama$906 at B&H Photo Nikon Z50II sample gallery

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

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Japan is a street photographer's paradise, but it's the rain that really transforms Japanese cityscapes into something magical. City lights reflect off wet pavement, creating depth and dimension that only exist when it rains, and everyone carries umbrellas, creating captivating shadows and silhouettes. This image, taken in Tokyo during a downpour last year, encapsulates the feeling of wandering through the city's intimate side streets and alleys on a rainy night.

Panasonic S5II X and Panasonic 28-200mm F4-7.1 lens | ISO 1600 | 1/100 sec | F4
Photo: Dale Baskin

We've received numerous requests to host an Editors' Photo Challenge for street photography, so our theme for January is 'B&W Street'.

This is your chance to showcase your best black-and-white street photography! We want to see the city through your lens, whether it's an unexpected scene, a candid portrait, or some other "decisive moment." Our favorites will be featured on the DPReview homepage later this month.

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!

Photos can be submitted between Sunday, January 19, and Saturday, January 25 (GMT). This challenge is open to photos taken at any time.

Visit the challenge page to read the full rules and to submit your photos for consideration.

Enter your photos here

Also, don't forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.

Open challenges:

• Hands (closes Jan. 13)
• Dance (closes Jan. 17)
• Reflections on Water (closes Jan. 17)

Upcoming challenges:

• A Big Year 2024-2025 (opens Jan. 13)
• Show us STATUES! (opens Jan. 13)
• Lights at Night (opens Jan. 14)
• Restaurants, bars, taverns, pubs (opens Jan. 18)
• Abstract (opens Jan. 18)