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Hopefully it's not too cold on this mountaintop.

Image: Sony

Sony has expanded a free repair program for some of its CEA-G Series "Tough"-branded memory cards, saying that some units failed to work properly in the extreme conditions they're designed for.

According to a notice spotted by Digital Camera World, some of the Tough CFexpress Type A cards could stop being recognized or, worse, fail to finish writing data in "low-temperature conditions" that are "around the lower limit of the recommended operating temperature range." Sony specifies that the cards are intended to be used in conditions ranging from -10° to 70°C (14° - 158°F), and its page for the cards touts that they're "designed for extended professional use in the most challenging environments – from snow-covered mountains to sand-blown deserts."

The company initially reported the issue last summer, but the version of the notice that appears on its Japanese site says that it found more units that are eligible for free repair. Sony's various sites list the affected lot numbers, which you can check against the one printed on the back of your cards. We've listed the model numbers below, but only specific units are eligible for repair. The additional numbers added this week, which are for 320GB and 640GB models, appear on the Japanese and UK notices, though not the one for the US.

The affected card models are:

• CEA-G80T
• CEA-G160T
• CEA-G320T
• CEA-G640T

If you have one of the affected cards and your lot number is one of the ones eligible for repair, Sony recommends backing it up before you send it in since any data will be deleted. The company says it'll repair cards "free of charge until June 29, 2029," though it's probably one of those issues that's best to solve sooner rather than later.

Image: Samsung

Samsung has announced the Galaxy S25, S25 Plus and S25 Ultra, its latest flagship smartphones. The phones have a heavy emphasis on AI, but also feature the company's highest-end camera systems.

The Ultra is the highest-end model and has a 6.9" display and four rear-facing cameras. The company says the phone's ultrawide camera is an upgrade from the previous generation and uses a new 50MP sensor behind an F1.9 lens – the S24 series' ultrawide camera used a 12MP Type 1/2.55 (5.6 x 4.2) sensor. The company hasn't released specifics on the new sensor's size, but we've reached out for details and will update this story if we hear back.

The S25 Ultra, shown here, features four rear cameras. The S25 and S25 Plus have three cameras, with the same 10MP 3x telephoto, but lower resolution wide and ultra-wide sensors.

Image: Samsung

Beyond the ultrawide, the S25 Ultra's camera layout appears to be relatively unchanged compared to the S24 Ultra. It still has a 200MP F1.7 main shooter – the S24 Ultra used a Type 1/1.3 (9.8 x 7.4) sensor, which is likely unchanged – as well as two telephoto cameras: a "3x" F2.4 lens in front of a 10MP sensor, and a "5x" F3.4 lens in front of a 50MP sensor. In the S24 Ultra, these cameras used Type 1/3.94 (3.7 x 2.7) and Type 1/2.52 (5.7 x 4.3) sensors, respectively.

The cameras on the 6.2" S25 and 6.7" S25 Plus, however, appear to be unchanged. They still use the previous-generation 12MP ultrawide, and the main camera and 3x telephoto appear to be the same 50MP Type 1/1.56 (8.2 x 6.1) and Type 1/3.94 (3.7 x 2.7) models as their predecessors.

Main Camera Ultrawide Camera Telephoto Camera S25 / S25 Plus 50MP, F1.8, OIS 12MP, F2.2 3x - 10MP, F2.4 S25 Ultra 200MP, F1.7, OIS 50MP, F1.9 3x - 10MP, F2.4, OIS
5x - 50MP, F3.4, OIS

Many of the S25's camera improvements come from software, such as the Virtual Aperture feature.

Image: Samsung

While there may not have been many hardware updates, the company did announce some new software tricks for the phones. A feature called "Virtual Aperture" lets you control how much simulated depth-of-field your image has, and the S25 now features a Galaxy Log color mode, which should help anyone who hopes to color grade the footage they take with their phones. The company also says it's updated its image processing, saying that it's upgraded its object recognition system and improved how it handles skin tones.

The custom filter feature attempts to replicate the look of a reference photo, which you can then apply to your other shots.

Image: Samsung

The S25 also features filters that the company says are inspired by classic film photos. In addition to the pre-made options, it allows you to create your own custom filter based on a photo that you give it; it'll try to tweak parameters like saturation and color balance to match the reference image.

The 25 Plus and Ultra also include a feature called "ProScaler," which the company says "delivers a high-definition viewing experience without having to adjust the display settings."

The phones are powered by a chipset called the "Snapdragon 8 Elite for Galaxy," which utilizes Qualcomm's latest technology. Samsung says it delivers "a performance boost of 40% in NPU, 37% in CPU and 30% in GPU compared to the previous generation."

New generations of AI can give you tips on how to improve your pictures of your pets.

Image: Samsung

The company's announcement also placed a heavy focus on AI. In a demo of Google's Gemini Live AI, Samsung showed a person asking the assistant about how they could improve a photo they took, with the assistant giving tips on how to improve composition and color, as well as suggestions on what type of edits the person could make.

The company also announced that it's working with the Coalition for Content Provenance and Authenticity (C2PA) to ensure that AI-generated images from its phones will have metadata marking them as generated imagery.

Image: Samsung

The phones will be available starting on February 7th. The standard S25 starts at $799 and comes with 128GB of storage, while the S25 Plus costs $999 and comes with 256GB. The S25 Ultra will start at $1,299 – by default it has 256GB of storage, but you can upgrade it up to 1TB.

Details of the phones are currently being announced via a Samsung live stream, which you can watch here.

Developing story... please check back for updates.

Logo: Adobe

Adobe has announced the latest updates for its video platforms, including Premiere Pro, After Effects, and Frame.io. The company says this update aims to "accelerate postproduction and address common pain points that filmmakers face today." The new features and tools aren't entirely groundbreaking, but there are some worthy additions. You can read the full details in the press release below.

These changes are available to use as of today, though the Premiere Pro and After Effects features are only available in the beta apps for the time being. You'll need to be an Adobe Creative Cloud member to access the beta apps, but no additional workarounds are necessary to use the new features.

AI-powered search results and Caption Translation in Premiere Pro beta

One of the most significant updates is Premiere Pro beta's Media Intelligence and AI-powered search panel that aims to make it faster to find clips. This new tool automatically analyzes video content, identifying objects, locations, camera angles and more. Then, using the new Search panel, you can use natural language to find the content you're looking for without hunting down the specific file on your own. The system can pick up on visuals, spoken words or metadata like shoot date and camera type, which should provide more flexibility in how you search.

This new search tool and media analysis happens locally on your system, meaning you don't need to be connected to the internet to use it. Adobe also clarified that, like all of its AI-powered tools, your content remains your own and isn't used to train its AI models.

We haven't used the feature yet, so we can't comment on how successful the new tool is. However, if it works as well as Adobe suggests, it should make it much easier for those working with massive video libraries to find the individual clips they need while working on videos.

Screenshot: Adobe

Beyond faster searches, Adobe also aims to make it faster to generate captions with this update. Adobe announced its Text-Based Editing feature in September 2023, which provided automatic transcriptions using Adobe Sensei. Now, the company is expanding functionality to translate those transcripts and generate captions in multiple languages. Premiere Pro beta will offer automatic translations in 17 different languages. You can also have multiple caption tracks visible simultaneously to display multiple languages.

Faster playback and more HDR support in After Effects beta

After Effects users also get two updates (in the beta app), the most significant of which allows for faster playback due to what Adobe describes as a "more modern caching system that uses both your computer's RAM and high-performance attached hard disks." It says that this means you won't be limited by the amount of RAM on your computer, making it feasible for older computers to play back entire compositions for the first time. There should be no need to pause for caching or rendering since once it is cached, you can simply press play and watch.

Adobe is also bringing HDR monitoring to After Effects beta. Promising that it will be "as easy to work in HDR as it is to work in SDR with the latest version of After Effects beta."

Press release:

Adobe introduces major new updates in Premiere Pro (beta), After Effects (beta), & Frame.io ahead of 2025 Sundance Film Festival

For filmmakers, “hurry up and wait” has always been part of the movie-making process, and nobody knows that better than the filmmakers heading to Park City for the 2025 Sundance Film Festival. Crafting the perfect story takes time. Tedious tasks like holding for sound, chasing the golden hour, or watching a status bar crawl across the screen make it harder to see the big picture and have creative breakthroughs.

We’ve been working hard to reduce tedium for video professionals, which means you’ll spend less time hunting for the perfect clip, transcribing and translating footage, waiting for motion graphics to playback, or troubleshooting color pipelines. Leaving you more time to do the things you love.

Today we’re excited to introduce new features in Premiere Pro (beta), After Effects (beta), & Frame.io that will make editors and motion designers faster than ever.

Find footage faster with AI-powered Media Intelligence and the new Search panel in Premiere Pro (beta)

For editors, finding the perfect shot is hard. Every editor has their own delicate, fastidious system for reviewing, logging, and finding their favorite moments as they piece together their timeline. But if you’re like me, you’ve also had this experience: you’ve finished your edit, handed it off – then found the one magical shot you should have used after everyone starts watching it. It’s the worst.

With new Media Intelligence and the Search panel in Premiere Pro (beta), the power of AI helps you find exactly what you need, when you need it. The content of your clips is automatically recognized, including objects, locations, camera angles, and more. With the new Search panel, you can use natural language to find visuals, spoken words, or content with embedded metadata like shoot date or camera type – all at the same time.
That means you can search footage for descriptive terms like “person skating with a lens flare” or “close up of person running at sunset” and see relevant moments I can quickly scrub through or load in the Source monitor. Or I can search for “California” and find related visuals, transcript mentions, and embedded metadata with shoot location all in one place!

Plus, media analysis is super-fast and happens entirely on your own system, so you don’t need an internet connection to use it. And as with all our AI-powered tools, your content is never used to train any AI models.

Go global in seconds with Caption Translation in Premiere Pro (beta)

Since we launched our popular Text-Based Editing workflow, we’ve had fantastic feature requests like bulk removal of pauses and filler word detection. Now that we’ve added those, we’re working on the next most popular request: caption translation!
Captions have become increasingly critical for accessibility and engagement on social media. Now you can more easily expand your global audience with fast, accurate translations in 17 languages. Plus, you can have multiple caption tracks visible at the same time to display various languages, or even assist you through editing in a different language.

Fast, seamless playback in After Effects (beta)

Everyone wants to work faster and save time. After Effects (beta) is rising to meet that demand with new performance improvements that let you preview more of your comp than ever before.

We’re introducing a faster, more modern caching system that uses both your computer’s RAM and high-performance attached hard disks to preview and playback larger and more complex projects faster than ever before. It makes motion design more interactive, responsive, and fun.

You’re no longer limited by the amount of RAM on your computer when you play back your work. That means even older desktops and laptops can now play back entire compositions in After Effects for the first time, without having to pause for caching or rendering. As soon as a comp is cached, press play, and spend more time watching creative work with less time spent waiting.

Go end to end in HDR in After Effects (beta)

Additionally, we’re bringing HDR monitoring to After Effects (beta). With support for PQ and HLG video, motion designers can now view their HDR comps accurately with improved video scopes that support HDR. Whether you’re working on a laptop or using professional I/O hardware to send an HDR signal to a calibrated reference monitor, it’s just as easy to work in HDR as it is to work in SDR with the latest version of After Effects (beta).

Frame.io Camera to Cloud: Now available for select Canon cameras

We've partnered with Canon to deliver an exciting new integration between Frame.io Camera to Cloud (C2C) and Canon’s C80 and C400 cameras. With a recent firmware update in December, you can now automatically upload proxy files directly from your Canon camera to Frame.io, giving your post-production teams and creative stakeholders access to footage from anywhere within moments of image capture. And since Premiere Pro supports raw camera formats from these cameras, this integration allows teams to get the best of both worlds: speed and quality. Send proxy files to the cloud quickly to start an edit and relink to the camera originals before your final delivery.

This seamless connection between production and post-production enables a whole new way to collaborate in real-time that unlocks faster project turnarounds and the ability to address potential issues before production wraps. By addressing problems as they occur, you can avoid costly reshoots and have greater confidence that everything you’ve captured is securely stored and accessible regardless of location.

With just a Frame.io account, a Canon C80 or C400, a network connection, and a simple six-digit pairing code, you can get started uploading your video files to the cloud within minutes. Whether you’re working on an independent project, or a large-scale production, this integration offers a streamlined, more efficient workflow from capture to edit.

Everything you need, for everything you’ll make.

No matter your workflow, genre, content, or delivery platform, we’re focused on making tools that reduce the tedium so you can focus on what you love: telling your story. And as more professional editors and motion designers than ever choose Premiere Pro, After Effects, and Frame.io, we’re continuing to prioritize core workflows so you can tell your story with powerful industry standard tools.

Many of our Video Team members – product managers, engineers, marketers, and designers – are also editors, motion designers, and filmmakers who are passionate about delivering features that solve everyday pain points. We worked through iterating designs, testing ideas, and incorporating feedback based on real world use cases over months of development, and we’re excited these features are available for you to use today.

We encourage you to try these new features in beta and give us your feedback! If you’re a Creative Cloud member, you have access to beta apps. You can even install the betas side-by-side with the current releases of Premiere Pro and After Effects.

Availability

All these features are available now in beta. For more information on how to access the beta apps, please visit the Premiere Pro (beta) page.

Instagram announced that it is launching its own free video editing app named Edits. The move makes sense for a platform that's been pushing video content for quite some time, yet lacked any refined editing tools. The timing, however, is interesting, as it coincided with the ban on a very similar free editing app, CapCut.

Instagram head Adam Mosseri shared the news about Edits in an Instagram post on Sunday, covering some of the features we can expect. The description of the app and its features sounds remarkably similar to CapCut, with a long list of tools for creating videos and finding ideas for new content.

View this post on Instagram

A post shared by Adam Mosseri (@mosseri)

Instagram built the app with a tab-based approach, with tabs for inspiration, trending audio and for keeping track of ideas. It also provides access to what it says is a "much higher-quality camera." The app features all the editing tools most people would use in a phone-based editing app, including the ability to edit down to single-frame precision, settings for resolution, framerate and dynamic range, background adjustment tools, fonts, filters and more. It can also generate captions automatically, hopefully with more accuracy than the auto-generated captions in Instagram Stories.

Beyond editing tools, there will also be insights into how your Reels are performing with a live insights dashboard. Plus, you'll have access to the various metrics available in Instagram, such as a breakdown of engagement, what impacts if your Reel gets recommended and more.

Screenshots: Instagram

Instagram says it supports videos up to 10 minutes long, so this is only a tool for short-form videos. Mosseri stressed in his video announcement that this app is not a replacement for desktop editing tools or a good option for those who rely on templates. Instead, it is very specifically created for creators who edit videos on their phones. Mosseri also stressed that the first version will be incomplete and asked people to be patient as it works on the app.

Screenshot: Abby Ferguson

Many of these features are also currently found in CapCut. It's not unusual for people to edit their Instagram Reels using CapCut, as it has a reputation for being much more user-friendly than the integrated Instagram Reels editor. CapCut, though, is owned by TikTok parent company ByteDance, which meant that it was also part of the ban that took effect (briefly) on Sunday. While TikTok returned very quickly, as of Monday morning, CapCut users were still unable to access the app unless they were in Airplane mode, though it seems that it has returned to functional as of this afternoon. If you didn't already have the app downloaded, though, that is still unavailable at the time of writing, as The Verge reports.

The Instagram Edits app is now available for pre-order in the Apple App Store. The App Store listing says it won't be available for download until March 13, but Mosseri said it will launch in February. The Android app is supposedly "coming soon" with no specific date mentioned as of yet.

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

Tamron has announced a firmware update for its 50-400mm F4.5-6.3 Di III VC VXD lens, which will allow users who pair it with a Sony a9 III to shoot at up to 120fps. The company says the update also improves the lens' autofocus performance while zooming in continuous autofocus mode.

The lens is the latest in Tamron's lineup to get the capability; the company added it to its 70-180 F2.8 G2 last year. Like with that lens, the ability to shoot at 120fps using the 50-400mm does come with a notable exception: it doesn't work with continuous autofocus like some of Sony's first-party lenses. Instead, you'll only be able to use the blistering shooting rate in single autofocus, manual focus, or direct manual focus modes.

Still, it's nice to see that Tamron's continuing to update its lenses to add additional functionality, even to lenses that have been out for a while – the 50-400mm was announced in 2022.

Buy at Amazon Buy at B&H Buy used at MPB TAMRON Lens Firmware Update Enhances AF Performance During Zooming and Supports Continuous Shooting with Sony α9 III

For 50-400mm F/4.5-6.3 Di III VC VXD (Model A067)

Commack, NY, January 20, 2025 – TAMRON announces a new firmware update scheduled for release on January 20, 2025, 11pm ET, for the TAMRON 50-400mm F/4.5-6.3 Di III VC VXD (Model A067) for Sony E-mount.

With this new firmware update, AF performance during zooming is improved when shooting videos and still images in AF-C mode. Additionally, with the Sony α9 III, when the focus mode is set to AF-S, DMF, or MF, the lens will support continuous shooting at up to approximately 120 frames per second.

Users can update to the latest firmware by visiting the TAMRON Lens Utility Download Page on TAMRON’s global website.

As one of the few brands to still make rangerfinder cameras, there's no question that this is a Leica.

Photo: Barney Britton

The Leica SL3-S is an interesting camera in many respects, including being one of the first mirrorless cameras to make Content Credentials metadata available to the general public. But that's not the factor that caught a lot of people's attention.

Instead, the SL3-S ends up putting a spotlight on what it means for a camera to be a Leica. And, by extension, raises interesting questions about what branding means in the modern camera industry.

Just what makes it a Leica?

In the past, Leica made the M-series models itself, then sold badge-engineered versions of Panasonic compacts, with a mark-up. But the distinction has become less clear-cut, with time. The M-series remains distinctively Leica, but the SL series, made from similar components and with ever more feature crossover with Panasonic's L-mount cameras, blurs the line somewhat.

What about this? It's hard to imagine many other brands building a full-frame fixed lens camera, especially one with a lens that works so nicely in manual focus mode. But its lens was designed by Panasonic. So is it a 'real' Leica?

Photo: Richard Butler

The revelation that Panasonic holds the patent to the Q3 43's lens design caused further doubt, despite it being a model that it's impossible to imagine Panasonic ever making. After all, Leica had turned to another company with more experience of AF lens design for the Q3's 28mm lens, but that didn't prompt many people to question whether it was a 'real' Leica.

Finally, we have the D-Lux8, a refresh of the Panasonic LX100 II/Leica D-Lux7. It gains Leica's fairly radical and rather excellent user interface, which makes it feel like a very different camera as you use it, but it's hard to ignore the Osaka origins of so much of its underpinnings. Or the significant mark-up of its price tag.

Red dot, full stop

What about the D-Lux8 (left)? It's clearly developed from the Panasonic LX100 II (right), but Panasonic doesn't make its own version, and again it has Leica's distinctive user interface. Also, it says Leica on the top. And any camera that does so is, by definition, a Leica, whether that fits with your perception of the brand or not.

Photo: Richard Butler

To an extent, the answer to "what makes it a 'real' Leica" is simply "the presence of the red dot*." If the company chooses to let that red dot be put on cameras and phones made by and with other companies, then that's what the brand stands for. It's just snobbery to decide that only the products you respect or revere are truly representative of the brand.

But, once you start asking these questions, it's interesting to apply them more broadly.

Commonality is commonplace

If the concern is commonality, then it's interesting to look across the rest of the market. Every clever feature, from on-sensor phase detection to dynamic range compression (Active D-Lighting, DRO, etc), subject recognition autofocus, pre-capture and eye detection AF get imitated across the different brands.

The specifics differ, whether in terms of the performance of features such as AF or the implementation of more gimmicky add-ons such as multi-shot high res modes, but there are very few fundamental features setting different camera makers apart, at this point.

The Nikon Zf is styled after the company's cameras from the early '80s and is built around Nikon's user interface, right down to its peculiar Auto ISO behavior. Is this somehow less of a Nikon because (like the majority of large-sensor cameras the company has ever made) it uses a sensor from Sony's semiconductor division? Of course not.

Photo: Richard Butler

And look under the hood and the level of common componentry has always been very high. There are only a couple of suppliers of large camera sensors and only one major one in compacts. It's bizarre to see comments questioning Nikon's dependence on Sony Semiconductor for its sensors, when that's where they, and most of the rest of the industry, have been sourcing the majority of their sensors for much of the history of digital photography. Not just coming before Sony's (separate) camera division became a major player, but pre-dating Sony making ILCs at all.

Just as the bulk of camera screens are sourced from a single supplier (which used to be part of Sony) and most viewfinder panels come from a single manufacturer (another parts supply division of guess-which electronics maker), most digital cameras ever made have tended to be based on a small number of sensors.

What is the difference between brands?

And yet the cameras aren't all the same. The things that define what a camera is like to use: from body style and button position to user interface, menu structure and lens choice, still vary significantly. As do the respective lens choices offered by each manufacturer, further differentiating the experience.

And it's always worth remembering that, in the film era, every camera used essentially the same light-sensing medium. Whether you shot with a Leica or the cheapest Russian knock-off, you had essentially the same sensor and probably less difference in user experience.

The differences in handling, in user interfaces and in what lenses a brand chooses to offer (and allow to be offered) are, ultimately, the main differences between any two camera brands. Nikon vs Sony, just as much as Leica vs Panasonic.

So why the focus on Leica?

The L² technology sharing deal between Leica and Panasonic means that their features behave more similarly than we'd typically see across brands, but that's perhaps a relatively minor factor, given how different their cameras are to use.

Instead, I suspect what draws most attention to any Leica / Panasonic similarity is the German brand's luxury pricing model. Much like Swiss watches, Leica's high prices, as well as promises of high quality engineering, are part of the appeal. The exclusivity that it brings is part of the value proposition of Veblen goods.

This has always been the factor that splits opinion about Leica. The commonality with Panasonic simply brings it into stark relief.

*More precisely I mean "have the Leica name on it," I haven't forgotten all the Monochrom and 'P' cameras without red dots.

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

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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.

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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

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