Image: Nothing

Mobile World Congress 2025 is in full swing, running through March 6. As a result, phone announcements are coming out right and left. Xiaomi already announced its new 15 and 15 Pro phones. Now, there are new options for those who enjoy something a bit different thanks to British tech company Nothing. The Phone (3a) and Phone (3a) Pro keep Nothing's unique styling with upgrades to the cameras across the board. Nothing says it is the company's "most advanced camera system to date."

Nothing Phone (3a) and Phone (3a) Pro camera details

Naturally, the more expensive (3a) Pro promises the most complete camera system. The 50MP main camera on the (3a) Pro features "advanced sensor technologies" that Nothing says result in 43% faster autofocus and "double the pixel full well capacity" compared to the standard 3(a). That means the maximum amount of charge a single pixel can hold before reaching saturation has increased, which should translate to improved performance in bright and otherwise challenging lighting situations – though how much of that translates to improved image quality in real-world situations remains to be seen.

Also on the Phone(3a) Pro is a periscope telephoto camera. It relies on a 50MP Type 1/1.95 (6.5 x 4.9mm) sensor with a 70mm equiv. focal length and F2.55 aperture. The telephoto camera offers optical image stabilization and a mode that crops in to the central portion of the sensor to provide a "6x" field of view. A 60x field of view is also possible with "AI clarity-enhancing algorithms." AI-based upscaling programs can produce some impressive results, but 60x is quite a significant level of magnification to make up in software. The telephoto camera on the Phone (3a) Pro is also capable of focusing as close as 15cm for macro captures.

Image: Nothing

The Nothing Phone (3a), meanwhile, features a 50MP telephoto camera that is not a periscope design. It offers a 50mm equivalent focal length and F2.0 aperture with 2x optical zoom and 4x in-sensor zoom. Like the Phone (3a) Pro, it provides AI-powered ultra zoom for up to 30x.

Image: Nothing

Finally, the Phone (3a) and (3a) Pro feature the same ultra-wide camera with a 120-degree field of view, though Nothing didn't provide any details beyond that.

All of the cameras on both of the Nothing Phone models are reliant on AI processing. They are powered by TrueLens Engine 3.0, which Nothing says is a combination of "advanced computational algorithms, AI processing, and multi-frame technology." Taking things even further, the sensor in both of the main cameras, which was co-engineered with Samsung, integrates "on-sensor deep learning processing software algorithms" to "enhance image clarity, reduce noise, and provide true-to-life accuracy." In short, expect lots of heavily processed imagery, though that is very much the norm these days on smartphones.

On the selfie side of things, the Phone (3a) features a 32MP front camera. The Phone (3a) Pro uses a 50MP front camera that's capable of 4K video with "adaptive AI stabilization and night video enhancement." Nothing says that these AI-powered features will improve brightness by 74.4% and reduce noise by 33.7%.

Image: Nothing Additional Nothing Phone (3a) and Phone (3a) Pro details

Outside of the cameras, the Nothing Phone (3a) and Phone (3a) Pro feature the Snapdragon 7s Gen 3 system on a chip. Nothing says that the Phone (3a) Series will be 92% better at processing AI tasks than the previous model, which could provide some headroom to support AI features down the road. Aiding this is the fact that Nothing says the phone will get updates for six years from the launch date, which includes three years of Android updates and six years of security updates on top of corrective and functionality updates.

The 6.77-inch displays offer Full HD+ resolution with a 120Hz adaptive refresh rate. They both offer 1300 nits of brightness on auto or peak brightness up to 3000 nits, which Nothing says is a 131% increase over the Phone (2a). Both phones use 5000mAh batteries that Nothing promises will provide up to two days of life on a full charge. They also provide fast charging at 50W, so you can get a full day of power (50% battery) in under 20 minutes.

Finally, Nothing has introduced a button that it calls the "Essential Key" on the side of the phones, which acts as a shortcut to the company's new Essential Space, an "AI-powered hub for notes, ideas, and inspirations." This early access feature makes it easier to log and recall content and will be available to all who purchase the Phone (3a) or Phone (3a) Pro.

Image: Nothing Nothing Phone (3a) and Phone (3a) Pro pricing and availability

The Phone (3a) is available in black, white and blue in three storage configurations, starting at 8GB of RAM and 128GB for €329. The Phone (3a) Pro is available in gray and black and in three storage configurations. Nothing only has a price in Indian Rupees for the lowest tier, which is 8GB of RAM and 128GB of storage and costs ₹29,999. The company says the version with 12GB of RAM and 256GB of storage will be available for €459.

While US customers can buy the Phone (3a) and Phone (3a) Pro, it is only available through the Nothing US Beta Program. It's important to note that the phone, within that program, is primarily for testing purposes and does not support most networks. You can find more details on the Nothing US Beta Program website.

The phone is available for pre-order today for most global customers at Nothing's website.

Nothing Unveils Phone (3a) and Phone (3a) Pro

The Phone (3a) Series delivers an enhanced all-around experience, featuring a significantly upgraded camera system with optical zoom, boosted performance, a refined design, and Nothing OS innovations, including Essential Space.

London, UK, 4 March 2025 - Nothing today introduced the Phone (3a) Series, elevating its mid-range lineup with advanced features. Building on the acclaimed Phone (2a), it boasts in advanced triple-camera system with optical zoom, a powerful Snapdragon® processor, a brighter, more responsive display, and Nothing OS innovations like Essential Space—all wrapped in two uniquely refined designs.

Design

Both the Phone (3a) and Phone (3a) Pro feature a more sophisticated look and feel, with upgraded glass back panels, enhanced symmetry in the internal structure, and refined visual details and elements throughout the finish. The design celebrates each new camera system through Nothing’s trademark exposed aesthetic and cutting-edge engineering, while meticulously optimising the integration of advanced hardware. The Phone (3a) Series also upgrades its durability to an IP64 rating and achieves Nothing’s lowest carbon footprint on a smartphone to date, with 51.3kg of CO2e.

Camera

The Nothing Phone (3a) Series introduces Nothing’s most advanced camera system to date, featuring an upgraded 50MP main sensor and a Sony ultra-wide sensor, along with optical zoom for the first time. All powered by TrueLens Engine 3.0 combining advanced computational algorithms, AI processing, and multi-frame technology to deliver professional-grade, true-to-life photography.

Phone (3a) telephoto camera

Ready to pull you closer to your subject, Phone (3a)’s telephoto camera features a powerful 50MP sensor combined with a fast f/2.0 aperture for detailed shots at its 50mm equivalent focal length. The 2x optical reach lays the foundation for a quality zoom, while the high resolution enables up to 4x lossless in-sensor zoom. When you need to zoom in even further, the Phone (3a) harnesses AI clarity-enhancing algorithms for 30x ultra zoom.

Phone (3a) Pro periscope camera

Flagship telephoto zoom meets ultimate versatility with Phone (3a) Pro’s powerful periscope zoom. A total upgrade in hardware, it combines a large 1/1.95-inch Sony LYTIA 600 sensor with a 70mm equivalent focal length and a fast f/2.55 aperture. All this translates to excellent zoom and much more.

With optical image stabilisation, Phone (3a) Pro’s periscope camera can capture quality photos across lighting conditions, whether indoors or at night, while the optical 3x zoom is a photographer-favourite, portrait-perfect focal length.

The high-resolution 50MP sensor delivers lossless in-sensor zooming at up to 6x and when boosted with AI clarity-enhancing algorithms, it unlocks 60x ultra zoom. Where Phone (3a) Pro surpasses even flagship smartphones is its telemacro capture. Able to focus as close as 15cm from a subject, it breaks through periscope limitations that hold back flagship phones.

Main camera

The Phone (3a) features a 50MP main sensor co-engineered with Samsung, integrating on-sensor deep learning processing software algorithms trained on millions of photography scenarios to enhance image clarity, reduce noise, and provide true-to-life accuracy.

The Phone (3a) Pro’s 50MP main sensor further elevates the experience with advanced sensor technologies, offering 43% faster auto-focus and double the pixel full well capacity, allowing for more detail in harsh lighting conditions. Zooming out, the Phone (3a) Series' ultra-wide camera boasts a 120º field of view, enabling you to capture more in each frame, while the upgraded Sony sensor enhances low-light performance.

Front camera

Finally, the Phone (3a) boasts a 32MP front camera, while the Phone (3a) Pro features an upgraded 50MP front camera capable of recording high-quality 4K videos with adaptive AI stabilization and night video enhancement, improving brightness by +74.4% and reducing noise by 33.7%.

Performance

The Snapdragon® 7s Gen 3 Mobile Platform, with breakthrough performance powering select Snapdragon experiences and turbo-charged by Nothing OS optimisations, is on hand to cut down on waiting and level up living. Phone (3a) Series also games faster, delivers more stable frame rates, and goes for longer, thanks to the powerful Snapdragon processor. Getting into some numbers, the CPU is up to 33% faster than Phone (2a), while the Qualcomm® Adreno™ GPU delivers 11% better graphics. Plus, you get select Snapdragon Elite Gaming™ features typically reserved for flagship devices.

Phone (3a) Series is 92% better at processing AI tasks than Phone (2a), making it more future-proofed for whatever AI developments are on the horizon. It also takes full advantage of Nothing OS and Essential Space, saving you time with things like on-device voice to text transcription.

RAM Booster uses a combination of physical and virtual RAM to allow users to access up to 20GB, plus a larger 4,500 mm² vapor chamber reduces temperature by 23% vs. Phone (2a).

Battery and Charging

Phone (3a) Series also lasts longer. With the optimised Snapdragon 7s Gen 3 mobile platform using 8% less power for typical tasks, enjoy 30 minutes more power every day.

Phone (3a) and Phone (3a) Pro both have large 5000mAh batteries, delivering up to two days of use on a full charge. With upgraded fast charging now at 50W, Phone (3a) Series delivers a full day’s power (50%) in under 20 minutes.

Display

Balancing size and quality, Phone (3a) and Phone (3a) Pro’s displays are immersive and brilliant. At 6.77 inches, their flagship size means on-screen content has room to breathe. Slightly taller and with less rounded corners than past Nothing phones, Phone (3a) Series’ displays represent a maturity and confidence befitting of a second-generation device.

At Full HD+ resolution, visuals look crisp with 387 pixels in every inch of screen, and with a fluid 120Hz adaptive refresh rate. The standard touch sampling rate is 480Hz, a 100% increase from Phone (2a), and 1000Hz touch sampling rate when in Gaming Mode, swiping through Phone (3a) Series is smooth, and responsive.

Fire up auto brightness and your Phone (3a) climbs up to 1300 nits all by itself, making it viewable under a scorching sun. But peak brightness now reaches 3000 nits, a 131% increase from Phone (2a).

Nothing OS

Nothing OS 3.1 is a fast, smooth foundation tuned for stability, utility and customisation, built with Android 15 at its core - there have also been updates to the Nothing Gallery, Camera and Weather apps. Phone (3a) Series peels back a new level of personalisation. Dial distraction back with a monochromatic theme, hide app labels to clean up your home screen, customise the lock screen and quick settings so everything you need is at your fingertips, and you can even shake up your apps. Phone (3a) Pro also supports eSIM (excluding India).

Phone (3a) Series will get updates for 6 years starting from when the device first became available on nothing.tech. This includes three years of Android updates and six years of security updates in addition to corrective and functionality updates.

Essential Space (early access)

Essential Space is a new, AI-powered hub for notes, ideas, and inspirations. Taking the friction out of logging and recalling content, it can capture, process and remember - just like a second memory.

To make sure Essential Space is always a click away, Nothing created the Essential Key. Easy for a thumb to find and press, it’s on the right side of Phone (3a) Series. Press the Essential Key to capture and send content to Essential Space, long-press to record a voice note, and double-tap to head straight to all your saved content.

Nothing is made better by its community, and so too is Essential Space. That’s why Essential Space Early Access will be available to all customers who purchase a Phone (3a) or Phone (3a) Pro. Early Access will open the doors to the full Essential Space experience, including upcoming features set for launch in the coming months such as Camera Capture, Smart Collections, Focused Search and Flip to Record.

Availability and Pricing

• Phone (3a) is available in Black, White, and Blue (not available in the US)
  • 8+128GB - £329 / €329 / ₹24,999
  • 8+256GB - ₹26,999
  • 12+256GB - £379 / $379 / €379
• Phone (3a) Pro is available in Grey and Black
  • 8+128GB - ₹29,999
  • 8+256GB - ₹31,999
  • 12+256GB - £449 / $459 / €459 / ₹33,999
• Most global customers will be able to pre-order Phone (3a) today (4 March) via nothing.tech
• Phone (3a) Pro pre-orders start from 11 March via nothing.tech
• Nothing Store Soho (London) will be one of the first places in the world where Nothingfans can purchase Phone (3a) Series from 11:00 AM GMT on Saturday 8 March
• In the US, the Phone (3a) series will be accessible to users exclusively through Nothing’s US Beta Program. Participants will be provided a Phone (3a) / Phone (3a) Pro and are encouraged to provide feedback on their experience. More information can be found on nothing.tech
• Phone (3a) will go on Open Sales via nothing.tech and partners on 11 March
• Phone (3a) Pro will go on Opens Sales via nothing.tech and partners from 25 March onwards

A full list of specifications and features can be found on nothing.tech. To stay updated on all the latest information, please follow Nothing on Instagram, TikTok, and X.

Xiaomi just updated its flagship smartphone, filling it with even more Leica camera tech, but apparently, that's not enough. The company has also announced a concept called the "Modular Optical System," which asks: "what if you could magnetically attach a Four Thirds sensor and lens to the back of your phone?"

A video posted to Xiaomi's YouTube channel shows the module, which includes a sensor with a "Light Fusion X sensor" that "delivers true 100MP clarity," paired with a 35mm F1.4 lens in a relatively small package. The company says it produces "strikingly sharp images" despite its size. The module magnetically attaches to the back of your phone, with no mechanical latching system or pairing process required.

Image: Xiaomi

While an increasing number of phones include magnetic rings on the back thanks to the Qi 2 charging standard, the system will still require a specially-designed phone. That's because it uses – no joke – lasers to get data from the camera module to the phone. Xiaomi says this allows it to produce Raw files with 16EV of dynamic range, with mere nanoseconds of latency, which is important when you're trying to preview your image. Of course, that means your phone has to have a window for the laser to travel through, as well as hardware to receive the signal.

There are no details on when this system will make it into a commercial product if that's even in the cards at all. However, it does make it seem like Xiaomi is one step closer to achieving the dream of smartphone photography: dedicated camera quality from a device that you already own and always have with you.

It's a goal that many other smartphone makers have pursued through similar means: Sony was mounting camera modules to phones in 2014 with its QX series, and companies like Samsung and Zeiss have experimented with devices that were hybrid Android phones and compact cameras. But while the concept may not be new, Xiaomi's concept is one of the slickest we've seen.

That doesn't mean that it's absolutely seamless. Of course, it still requires a separate component that you must carry around. However, it's still substantially smaller than a whole separate camera, and it doesn't require its own batteries or storage. It also gives you all the upsides that come with phone photography, such as the immense image processing power and the ability to share your photos instantly. If Xiaomi can pull this off, it could be a big step in the evolution of smartphone photography, especially if it expands on the system, adding additional lenses, or even giving you just a bare sensor and a lens mount, letting you use traditional glass with your phone.

Image: Xiaomi / Leica

Xiaomi has announced its 15 Series smartphones, promising exceptional image-making abilities thanks to a partnership with Leica, and the Ultra's inclusion of a Type 1 (13.1 x 9.8mm) sensor. The two companies originally partnered in 2022, bringing Leica camera technology to the Chinese smartphones. That collaboration continues, with the brand promising these latest models will be "the ultimate professional imagery flagship."

Xiaomi 15 Ultra

The Xiaomi 15 Ultra sits at the top of the company's lineup, combining "supreme build quality with a sense of refined sophistication," according to Xiaomi. It features a WQHD+ 6.73" AMOLED display with a 3200 x 1440 resolution and 522 ppi. The display offers 3200 nits of peak brightness. The 5410mAh battery is slightly improved over the 14 Ultra, though the China-only model gets an even better 6000mAh.

The device runs on Qualcomm Snapdragon 8 Elite and is available with either 12GB or 16GB of RAM and 256GB, 512GB or 1TB of memory.

For durability, it features the Xiaomi Guardian Structure, which uses Xiaomi Sheild Glass 2.0, an upgrade from the previous model. The company says this results in 16 times better drop resistance. Meanwhile, the entire camera module is covered in Corning Gorilla Glass 7i to protect it from scratches and features a dual anti-reflection (AR) coating to improve optical performance.

The phone comes in black, white, and silver chrome, with the latter being the most distinctive of the bunch. With aerospace-grade glass fiber and PU leather, it is more reminiscent of classic Leica cameras when held in landscape orientation than typical smartphones. Each color variation features Leica prominently on the camera module.

Image: Xiaomi Camera details

The 15 Ultra's camera array is the main feature that makes it stand out from the Xiaomi 15 since it uses four different sensors for each lens. Starting with the main camera, the latest flagship keeps the same 50MP Type 1 (13.1 x 9.8mm) LYT-900 sensor with the Leica Summilux 23mm equiv. F1.63 lens that was used on the 14 Ultra. That same camera supports 28mm and 35mm focal lengths, albeit with a crop, as they rely on digital zoom. Xiaomi says this camera provides a 14EV dynamic range, which should help with photographing in low-light conditions.

Next up on the 15 Ultra is a 50MP, 70mm equiv. F1.8 Leica floating telephoto camera with a Sony Type 1/2.51 (5.7 x 4.3mm) sensor. The 14 Ultra featured a 75mm equiv. telephoto camera. It keeps the close focusing distance of 10cm, though, making it suitable for macro photography as well as portraiture.

For even more reach, the 15 Ultra features a 200MP, 100mm equiv. F2.6 Leica-branded periscope telephoto camera using the Samsung Isocell HP9 Type 1/1.4 (9.1 x 6.9mm) sensor. This is the most significant change from the 14 Ultra, which featured a 50MP, 120mm F2.5 equivalent periscope camera. That big jump in resolution may seem impressive, but it doesn't necessarily mean there will be a massive increase in image quality. It's also worth noting that Xiaomi claims the ultra-telephoto camera "captures 136% more light than Xiaomi 14 Ultra." That's about the difference we'd expect, given that the 14 Ultra used a much smaller Type 1/2.51 sensor paired with a slightly faster lens. The ultra-telephoto camera is also capable of shooting at 200mm (equiv.) with digital zoom.

Image: Xiaomi

The wide-angle lens, a 50MP 14mm equiv. F2.2 lens with a Type 1/2.76 (5.2 x 3.9mm) sensor, rounds out the camera array. It provides a slightly tighter field of view than the 14 Ultra (115 degrees compared to 122 degrees).

Both telephoto cameras and the main camera offer optical image stabilization (OIS) and electronic image stabilization (EIS) to smooth out shake. The phone is capable of recording at 4K 120fps or 8K at 24 and 30fps. It supports Dolby Vision recording at 4K 60fps and 10-bit Log across all focal lengths, providing smartphone videographers with plenty of options and control.

Alongside the Leica lenses, the phone features "Leica color technology and the Leica brand’s authentic visual language."

Pushing the focus on photography even more, Xiaomi also launched a Xiaomi 15 Ultra Photography Kit Legend Edition. It includes a "signature red decorative ring" so everyone knows it's a Leica collaboration, plus a "custom-designed UI under camera's Fastshot mode, detachable thumb support and shutter buttons, a multifunctional 67mm filter adapter ring, and an integrated 2000mAh battery for extended usability."

Image: Xiaomi Xiaomi 15

The Xiaomi 15 is smaller and cheaper than the 15 Ultra, featuring a 6.3-inch AMOLED (2670 x 1200) display. Still, it offers many features similar to the more premium model. That includes the Summilux lenses with anti-reflective coating. It also offers Dolby Vision, 8K 30fps and 4K 60fps recording, plus 10-bit Log recording at 4K 60fps across all focal lengths.

The Xiaomi 15, though, only features three cameras. The main camera is a 50MP 23mm equiv. F1.6 camera with a smaller Type 1/1.31 (9.80 x 7.35mm) Light Fusion 900 sensor. The telephoto camera offers slightly less reach, coming in at 60mm equiv. F2.0. Finally, the wide-angle is the same as the one found on the 15 Ultra.

Image: Xiaomi

Beyond the camera hardware, there are some useful software features on the Xiaomi 15. That includes a Fastshot mode, which it says enables a capture speed of 0.6 seconds at all focal lengths. Additionally, Leica explained that it developed software optimization that allows users to choose between the "classic 'Leica Authentic Look', characterized by warm colors and fine contrasts, and the 'Leica Vibrant Look', providing a dazzling depth of color."

Pricing & availability

The Xiaomi 15 is available in two storage variants at a starting price of EUR 999 ($1030). The Xiaomi 15 Ultra also comes in two storage variants and starts at EUR 1499 ($1550). Unfortunately, both of the Xiaomi Series 15 phones are not available for purchase through retailers in the US or Canada.

Image: Atomos

Atomos, maker of on-camera monitors and recorders, has announced a new entry in its lineup: the Shinobi Go. The Go is a 5-inch display that can show video previews at 1500nits and supports exposure aids like false color, waveform displays, and vector scopes.

The monitor can be powered using a Sony NP-F battery or via USB-C and has a full-size HDMI port for receiving video from your camera. It also has a headphone jack. It comes with a locking cable adapter, which can help make sure the monitor doesn't get disconnected from your camera during a shoot.

The Go is, essentially, a version of the Shinobi II with some features removed. Perhaps the most notable is the lack of touch-to-focus support, which lets you control your camera's focus point using the monitor. If you want that feature or support for EL Zone exposure mapping, you'll have to pay the extra $100 for the Shinobi II. However, if you just need a bigger display when you're shooting video, the Go could be a decent option.

The Shinobi Go is available now for $250.

Press Release:

Atomos Introduces New Shinobi GO Monitor

Professional monitoring at an affordable price

Melbourne, Australia: Atomos announces a new addition to the award-winning Shinobi range of professional monitors with the new Shinobi GO, a slim, lightweight, high brightness, 5-inch 1500nit HDR monitor that’s perfect for content creators and photographers.

Shinobi GO follows the successful launch of Shinobi II last year, offering some of the same high quality monitoring tools as its more advanced best-selling sister product, but without camera control, touch to focus, and other pro monitoring features like EL ZONE.

The new model includes professional monitoring features like false color, zebra, histogram, waveform, and vector scope. It is powered by Sony NP-F type batteries (purchased separately) or via the USB-C port using a power bank, offering flexibility for extended shooting sessions.

“Shinobi GO is designed for people who either do not need camera control or own a camera that supports it. It offers a high-quality, daylight viewable monitor at an affordable price,” commented Atomos CEO Jeromy Young. “Priced at just USD/EUR 249 excluding sales taxes, Shinobi GO provides exactly what photographers and videographers need without compromising on quality, despite its lower cost. And it comes from a brand trusted by professionals worldwide.”

The monitor comes with a locking connector adaptor for the HDMI and USB-C ports. When used in conjunction with Atomos locking cables (purchased separately) it prevents accidental disconnections during shoots.

Both Shinobi GO and Shinobi II share the same size sunhood and other accessories, making it very convenient to share batteries, cables, rigs and other attachments for professionals that own a variety of equipment and need the flexibility to be able to mix and match between their camera set-ups.

Shinobi GO costs USD/EUR 249 (GBP 215, AUD 399), excluding local sales taxes, and is available to buy now from the Atomos web store and from authorized resellers.

For professionals requiring camera control, touch to focus and EL ZONE, these advanced features are available in the Shinobi II at the MSRP of USD/EUR 349 (GBP 295, AUD 545), excluding local sales taxes.

Logo: CP+

This week was the CP+ show, where camera and lens manufacturers showed off their latest products and made some major announcements. The action actually started well before the show; in the days leading up to it, we saw two new cameras announced from Sigma and Panasonic, as well as a handful of lenses from Sigma, Zeiss and Sony.

It's been a lot to keep track of, but don't worry. We've rounded up all our coverage in this one article so you can get caught up.

Monday Photo: Dale Baskin

Monday belonged to Sigma, with the company holding a major event to announce several new products, plus a new look for its branding.

The biggest announcement was its new BF camera, a full-frame camera with a Bayer sensor and a "radically simple" design. It does away with almost all the buttons and controls we expect from modern digital cameras. It doesn't even include a card slot in service of cutting out "everything that distracts from your interaction with the image." You can see some sample images we've shot with the BF in our sample gallery.

Read our Sigma BF coverage

Sigma also shared a ton of lens news:

• It announced a 300-600mm F4 full-frame lens for sports and wildlife shooters
• There's also a do-it-all 18-300mm F3.5-6.7 lens for APS-C shooters
• It updated all nine of its I-series primes with a new look

Alongside those announcements came an acknowledgment that it was done developing lenses for DSLRs. That's not necessarily a surprise, but if you're feeling nostalgic for the HSM days, be sure to check out our mini tour of the museum at Sigma's factory.

Tuesday Photo: Mitchell Clark

We also got a new camera on Tuesday: the Panasonic Lumix DC-S1RII, a high-resolution hybrid camera with a 44MP sensor capable of shooting at up to 40fps. It supports up to 8K video capture and 32-bit float audio, and Panasonic says it's improved the autofocus system's ability to recognize and track humans. We'll be testing it out much more in the coming weeks.

Read the S1RII Initial Review

Image: Zeiss

Zeiss also had news on Tuesday, announcing its first new stills lenses since 2019. The Otus ML line is the company's first foray into making mirrorless glass and is being introduced with two F1.4 primes, 50mm and 85mm for E-mount, RF-mount, and Z-mount. We were able to shoot a sample gallery with the 50mm model and interviewed Tony Wisniewski, Senior Manager, Creative Arts, Zeiss Cinema and Photography, about what the company's been up to and what it has planned for the future.

Also on Tuesday: a new version of Photoshop mobile and a meter from DataColor that promises to measure both light and color temperature.

Wednesday Photo: Sony

On Wednesday morning, Sony announced two new lenses: a 16mm F1.8 prime that aims to be portable and relatively affordable and a 400-800mm F6.3-8 super-telephoto that offers the furthest reach of any Sony lens. Nikon also quietly released updates for the Z6III and Z8, adding some pro video features previously only available on the flagship Z9.

Thursday

Thursday marked the official start of the CP+ conference, and our editors Dale Baskin and Richard Butler all but kicked down the doors in order to be the first to get hands-on time with Canon's new video-focused compact, the Powershot V1, which was announced last week.

Watch the video

DxO also announced a new version of its PureRaw Raw processing software, and TTArtisan announced its first camera: a folding instant camera with fully manual controls, which takes Fujifilm Instax film.

The bulk of the CP+ news came later in the day, though, as we started to hear about all the new offerings from third-party lens makers. Here are all the lenses we heard about, some of which we were able to go hands-on with.

Photo: Richard Butler

Viltrox

• AF 35mm F1.2 LAB FE - a flagship full-frame prime lens for E-mount
• AF 85mm F1.4 Pro FE - a full-frame portrait lens for E-mount
• AF 50mm F2.0 Air - a budget full-frame prime that the company says will have the "best IQ of the AIR series," available for E-mount, Z-mount and X-mount.

Viltrox also announced that it'll bring its AF 135mm F1.8 LAB lens to Z-mount.

Photo: Richard Butler

Laowa

• 8-15mm F2.8 Fisheye Zoom - a full-frame manual focus zoom for E, Z, RF and L-mounts
• 15mm F4.5 - a wide-angle macro lens
• 35mm F2.8 - a tilt-shift lens for Fujifilm's medium format GFX mount

Photo: Richard Butler

7Artisans

• 24mm F1.8 - a full-frame prime for E, Z and L-mount
• 35mm F2.8 - a full-frame prime for the same mounts
• A series of autofocus APS-C F1.8 primes for E, X and Z-mount: 25mm, 35mm, 50mm
• 35mm F1.4 - an autofocus prime for E, X and Z-mount

The company also announced L-mount versions of its 50mm F1.8 and 85mm F1.8 lenses.

Photo: Richard Butler

Samyang

Samyang announced an autofocus 14-24mm F2.8 wide-angle full-frame zoom for E-mount in collaboration with Schneider Kreuznach. It also promises more lenses later in the year: a standard zoom, telephoto prime and wide-angle prime.

Friday Image: Viltrox

By Friday, the news was winding down, but Viltrox couldn't help but sneak one more announcement in: the release of its 25mm F1.7 Air, an APS-C lens for E, X and Z-mount. Unlike many of the things available at the show, it's actually available for purchase right now, which could be good news if you're looking for an affordable, lightweight, wide-angle prime.

Buy now:

Buy at Amazon.comBuy at B&H Photo

Female in Focus 2024 winners

Image credits: Female in Focus x Nikon vol. 5 / Florence Bass, Camilla Greenwell, Victoria Ruiz, Alice Poyzer, Margarita Galandina, Rebecca Dorothy, Asma Elbadawi, Eloise Genoud and Dale Rio

Editor's note: Image #5 (6th in the gallery) features nudity and may be considered NSFW, so proceed with caution accordingly.

The winners of the Female in Focus 2024 contest have been announced. It was hosted in partnership with Nikon, which allowed photographers to enter one portrait for free. This year's judges included photographer and Nikon Ambassador Heather Agyepong; curator, critic and journalist Charlotte Jansen; co-founder and director at DECK Photography Art Centre Gwen Lee and more.

Now in its fifth edition, the contest aims to "discover, promote and reward the remarkable work of women photographers." In August 2024, the British Journal of Photography surveyed 1,000 respondents from its audience to examine gender inequality in the photography industry. This survey revealed that "women in photography earn 30% less than their male counterparts, and, 55% of the women had experienced gender discrimination in the workplace." It also found that only 34% of major photography award winners over the past five years have been women.

Entries to Female in Focus are centered on a specific theme each year. This year, the theme was Renewal. The contest website explains it is about "delving into the transformative process of rejuvenation and rebirth. This theme captures the essence of starting anew, whether through personal growth, environmental restoration, or societal change. Through evocative imagery, it explores the beauty and strength found in moments of revival and regeneration, highlighting the hope and possibility inherent in beginning again."

Twenty individual images and two winning series were chosen as winners. These works will be exhibited in the UK. You can see all of the images included in the series and additional winners on the Female in Focus website.

Series winner: Margarita Galandina - Ovoo

Credit: Female in Focus x Nikon vol. 5 / Margarita Galandina

Series title: Ovoo

Image: Coffin Bearers, 2022

Grounded in Mongolian shamanistic tradition, the title refers to the ritual Ovoo (or Obo in
Buryat) – a sacred totem pole marking spiritually significant land. These structures, serving as conduits to the spiritual realm, embody the Buryat people’s post-nomadic worldview in Siberia. Through this project, I seek to explore how the presence of Ovoos in today’s landscape marks Indigenous presence, especially within a post-colonial context. The project combines photography, archival research and personal history to challenge conventional historical narratives and reassert Indigenous identity.

The project began as a personal investigation into my maternal Buryat heritage, where I
sought to integrate familial and state archives with photographic reenactment and self-portraiture. By mimicking ethnographic research, I aim to recontextualise Indigenous Siberians’ complex and often hidden history. Focusing on the early 1930s – a period during Soviet collectivisation that devastated Indigenous identities in North and Central Asia – the work examines how historical narratives are shaped, contested and often erased within the post-colonial framework.

My research began with the discovery of a demolished Buddhist monastery, where one of my ancestors – a Buddhist lama – served before being repressed and sent to a Soviet work camp. His survival and eventual return to Buryatia sparked an effort to salvage the region’s Buddhist cultural heritage. This personal discovery in the local archive in Buryatia in 2023 made me question the fragile positioning of Indigenous history, prompting me to use photography to intervene in such a process. To engage with this erasure, I began creating self-portraits that mimic ethnographic photos from family records and institutional archives, such as those in the Kunstkamera Museum. By juxtaposing these images with historical photographs, I aim to open a conversation about the contested nature of history and reverse the alienating gaze of otherness.

You can see the full series on the Female in Focus website.

Series winner: Alice Poyzer - Other Joys

Credit: Female in Focus x Nikon vol. 5 / Alice Poyzer

Series title: Other Joys

Image title: Kernow Cat Club

Image caption: This photograph depicts one of the winning cats at a local
Championship Cat Show in 2024.

Other Joys is a body of work that explores the intensity of my special interests as an autistic woman, through a careful balance of self-portraits, documentary shots and constructed imagery. The feeling that surrounds special interest is almost indescribable. This heavy sensation of warmth, euphoria and excitement is something many in the autistic community can relate to. Consequently, I wanted to make this body of work as a way to communicate that feeling.

While Other Joys was made to shed light on the concept of special interests, the making of it additionally acts as a way for me to understand my autism better. Throughout, the project comments on my own autistic traits, such as my need for rigid routine and my innate ability to constantly mask my autism. Simultaneously, the work nods to the idea that there is still a desperate need for further autistic representation, especially in relation to autistic women.

The process of making these photographs provides me with a safe space to be my true self, allowing me to unmask and experience my autistic joy to the fullest. What was once a fear of being deemed different and unusual has now become a celebration of self-acceptance and understanding.

You can see the full series on the Female in Focus website.

Single image winner: Asma Elbadawi

Credit: Female in Focus x Nikon vol. 5 / Asma Elbadawi

Image title: Renewed Vows

A woman stands in a vintage white wedding dress, ironing bright green tracksuit bottoms. This striking contrast symbolises the blending of marital expectations with contemporary life, representing a woman who honours the significance of marriage while embracing her
modern identity.

The image reflects the evolving roles of married women, where traditional marriage ideals coexist with new forms of self-expression. The wedding dress signifies grace and heritage, while the tracksuit represents renewal and personal ambition. Together, they illustrate a
complex identity where marital tradition and individual progress intertwine. This quiet domestic scene captures the nuanced journey of redefining women’s roles within marriage, emphasising that tradition and modernity can coexist harmoniously.

Through this quiet domestic scene, the image captures the journey of redefining one’s place in the world. A blend of strength and softness, reverence and reinvention, capturing the power in balancing marital roles with a sense of self that transcends eras. It is a reminder that marriage and modernity can coexist beautifully, adding depth and richness to the tapestry of identity.

Single image winner: Camilla Greenwell

Credit: Female in Focus x Nikon vol. 5 / Camilla Greenwell

Image title: Gertraud Platschek

This summer, I travelled to Germany to create a series of images and a short film with Gertraud Platschek, an artist whose work I’ve admired for years. She transforms everyday materials, such as cardboard, into sculptures and wearable art, often drawing inspiration
from her surroundings in the Bavarian Forest. Her pieces often become part of performances that blend humour with the absurd, and I was particularly interested in creating something with her which felt part documentary but also part performative in itself.

In many ways, her approach embodies the essence of renewal. The materials she uses – seemingly discarded or undervalued – are given new life and purpose in her hands. This process of transformation mirrors the renewal of the self that Gertraud has experienced
throughout her life. She shared stories of how her journey as an artist has evolved, shaped by motherhood, artistic influences and the passage of time. In a world often obsessed with youth and the rapid rise to artistic fame, meeting someone like Gertraud – who’s followed her own path and continuously evolved – was inspiring.

Her work also speaks to the renewal of the land itself. The Bavarian Forest, which serves as both her muse and backdrop, is a place of constant change – where nature’s cycles of growth, decay and rebirth are ever-present. There is a deep respect for the land within her work, alongside a knowledge of what it means to reuse and repurpose materials in a sustainable way. Through her eyes, I saw how art and life intertwine in an ongoing process of renewal, on a personal and creative level.

Single image winner: Hanna Wolf

Credit: Female in Focus x Nikon vol. 5 / Hanna Wolf

Image title: Fiona

I met Fiona as part of an ongoing series exploring the stories of mothers who were unable to hold their children at birth. After the unexpectedly traumatic birth of her twins, Fiona faced the devastating diagnosis of breast cancer. The lost moments of holding her newborns on her chest echoed in ways she could never have imagined as she underwent a double mastectomy. When we met, six months after her surgery, Fiona shared that she was ready to be photographed with her scars. What began as the absence of touch transformed into a profound journey of grief, resilience and triumph – reclaiming her body not just as a place of healing but as a space where motherhood and selfhood can be reimagined.

Single image winner: Alessia Rollo

Credit: Female in Focus x Nikon vol. 5 / Alessia Rollo

Image title: Water Cures

This is a portrait of a possessed woman, at least how I imagined a ‘tarantolata’ could be before photography and before north Italian culture colonised south Italian culture, where I am from.

It represents the ritual of ‘cure’ that women affected by nostalgia or melancholy (often confused with possession and hysteria) were practising to take care of their bodies and minds.

The image is part of a more complex series about visual and cultural
colonisation in south Italy.

Single image winner: Victoria Ruiz

Credit: Female in Focus x Nikon vol. 5 / Victoria Ruiz

Image title: El Bravo Pueblo (The Brave People)

‘El bravo pueblo’ holds deep significance in Venezuela as a symbol of the nation’s resilience, strength and spirit. The phrase translates to ‘the brave people’ and it is often used to honour the Venezuelan population’s unwavering courage and defiance in the face of hardship. Historically, it has been associated with Venezuela’s struggles for independence, beginning with the fight against Spanish colonialism and continuing through modern-day challenges, including political oppression, economic collapse and social instability.

‘El bravo pueblo’ represents more than just resistance; it embodies the pride and determination of Venezuelans to stand up for their rights, freedom and dignity, even in the most challenging circumstances. It is a rallying cry that reflects both the collective memory of the country’s past struggles and the ongoing battle for justice, democracy and survival in the present.

Single image winner: Fatimah Mujtaba

Credit: Female in Focus x Nikon vol. 5 / Fatimah Mujtaba

Image title: The Lutadoras of London

As part of a series celebrating young women in martial arts, this image reflects on new beginnings through physical fitness. Not every activity is started in a joyous manner, and in this case the subject confided how boxing became a way to navigate anger and fears
through a difficult period of her life. The women-only boxing lessons at East London’s Fight for Peace offered a space for vulnerability and growth, allowing for personal development of character.

Weekly sessions are something to look forward to and with every session skills, speed and confidence continue to grow. The importance of buying the boxing kit contributed to this shoot, as we reflected on the excitement of finding wraps and shorts in matching colours to celebrate the beginning of this journey. While the male-dominated space of martial arts can often feel as if it pushes out expressions of femininity entirely, we found we were able to express it within the club and the photographic series was a way to commemorate this. In fact, this series manifested with my friend’s first boxing session, where I demonstrated how to wear the hand wraps and we noticed they matched the colour of her nails, after which we took some photos together to commemorate the moment.

Single image winner: Rebecca Dorothy

Credit: Female in Focus x Nikon vol. 5 / Rebecca Dorothy

Image title: Manas

This series is called Manas (short for hermanas/sisters). It’s the beginning of an ongoing collection of pictures celebrating the importance of family. Sometimes, especially if we live abroad, we might forget how little expressions from our beloved ones can be so meaningful. In this case I wanted to capture some simple routine gestures between sisters, sharing their love and taking care of each other. Sisterhood is fundamental to make you learn how to share not only material things, or moments, but also the hardest and deepest feelings. Sisterhood means being partners for life.

Single image winner: Elizabeth Brown

Credit: Female in Focus x Nikon vol. 5 / Elizabeth Brown

Image title: Baptism

Kataragama Temple complex, in Sri Lanka’s Southern Province, is apilgrimage destination for Muslims, Hindus and Buddhists from across Sri Lanka and India. Outside the temple complex lies the Menik Ganga, a river which becomes crowded with weary pilgrims and their families. The various temples are what draw people to Kataragama, but in the intensely hot and humid climate it is the water that allows for the rebirth and renewing of spirits.

Single image winner: Basia Woźniczka

Credit: Female in Focus x Nikon vol. 5 / Basia Woźniczka

Image title: princess and the pea

Bleeding away into the world. The beginnings of entering adulthoodwere nothing like I had imagined. From a rebellious teenager, I imperceptibly became a naive and confused young adult, torn between expectations and reality. This common story of coming of age, closing and reopening chapters, became the axis of the project, trying to visualise an awkward and difficult stage in life, filled with confrontation with dreams that do not always come true and imaginations that are created in our heads. The atmosphere of fairy tale, irony and grotesque adds to this slightly strange, slightly sad world, of which we all inevitably become a part.

Single image winner: Fikayo Adebajo

Credit: Female in Focus x Nikon vol. 5 / Fikayo Adebajo

Image title: The Interlude

From A Brief History of Love in VII Acts; a defiant song of still beating hearts, an archive of love and rage, of sorrow and solidarity. A Brief History of Love in VII Acts is an exercise in ‘critical fabulation’ that queers the archive by using love as a vehicle to explore alternative histories. Through fabricated historical images, this project between photographer and curator Fikayo Adebajo, and costume designer and painter Poppy Whitehorn, reclaims the narrative imprinted on historical imagery. When the colonial gaze has been returned, we look inwards to form new points of convergence through which we imagine our new realities.

Single image winner: Eloise Genoud

Credit: Female in Focus x Nikon vol. 5 / Eloise Genoud

Image title: River

My photographic work explores water as a vessel for memory and the sensation of touch. I see water as a fluid mirror of memory, holding traces of the past and impressions of contact. For me, it captures the intimate resonance of touch – moments that linger beyond the physical.

Through my image, I seek to make these fleeting impressions visible, to capture the dialogue between water and skin, body and the intangible. Water becomes a poetic medium, revealing the fragility and persistence of touch, like a veil that leaves unseen yet felt traces. My aim is to immerse the viewer in this sensory experience, inviting them into the floating memories and infinite sensations that water evokes.

Single image winner: Deirdre Brennan

Credit: Female in Focus x Nikon vol. 5 / Deirdre Brennan

Image title: The Suitcase

This is from a series of portraits of men awaiting decisions regarding their applications for asylum in Ireland. The men told me about their hopes and dreams of starting a new life in Ireland, why they came to the country, and what they wish to contribute to Irish society.

The asylum seekers had been living in a makeshift campsite outside the International Protection Office for several months. The Irish State stopped offering accommodation to all male asylum seekers – in contravention of international commitments.

Having no toilet or showering facilities, the build-up of rubbish, exposure to the cold and lack of laundry facilities were contributing to the spread of infections, including respiratory illness and scabies.

I always like to include a physical symbol of the story in my images. For this I chose a vintage suitcase to signify the journey the men have been on. I titled this series The Suitcase.

“I am fleeing persecution. My uncle killed my father because of a land inheritance dispute. I came to Ireland because it is a safe place. I read a lot about Ireland, its people, its culture and government. I am a computer scientist. It is not easy living in a tent. But where there is life there is hope. I am happy to be here. The Irish people are very accommodating. In some countries they would see you as their ”enemy.

Single image winner: Florence Bass

Credit: Female in Focus x Nikon vol. 5 / Florence Bass

Image title: The Rock Ceremony

This image is part of a series documenting the Lesbian community in Skala Eresou, Lesbos. It was taken during a ceremony on Sappho’s rock to celebrate Lesbian New Year. During the ceremony the women swim out to the rock with a bag of ashes containing the remains of love letters to old flames that they, for one reason or another, want to leave in the past. Each woman then takes a turn pouring the ashes into the sea with the idea that when they return to the mainland they have left their past behind them and are free to move forward in life and love.

Single image winner: Dale Rio

Credit: Female in Focus x Nikon vol. 5 / Dale Rio

Image title: Madge, Western Massachusetts

From the series Look At Me, in which I collaborate with sexual assault survivors to create environmental portraits that depict them from a place of strength as self-defined.

Single image winner: Wendy Catling

Credit: Female in Focus x Nikon vol. 5 / Wendy Catling

Image title: The handover

From the Nightshade series, which is a photo media project that delves into themes of family violence and intergenerational trauma by exploring my mother’s experiences during her relationship with my father. Over 20 tumultuous years, she endured profound hardship, frequently moving home to escape my father’s stalking, violence and coercive control. The pattern of domestic violence – marked by my father’s charming public facade and private cruelty – is symbolised by the black nightshade, an attractive but toxic plant. The project parallels my mother’s battle against weeds with her resistance to
domestic abuse and coercive control. In creating this work, I mimicked my father’s obsessive stalking by tracking environmental weeds in our area and scrutinising neglected family photographs. My conflicted role as a traumatised witness and confidante to both parents is conveyed through the resonances between contemporary and archival images
and documents. Through these images and texts, I aim to reveal complexity and ambiguity, and to repair a traumatic history.

Despite the relentless pressure of family care and domestic instability, my mother found sanctuary and personal power in her passion for gardening and environmental regeneration. Since their separation in the 1980s, and my father’s death in a car accident, she has dedicated herself to volunteering in suburban natural bush reserves, tirelessly
removing environmental weeds to promote native plant growth. Now in her nineties, she maintains a beautiful, meticulously weed-free garden.

Single image winner: Constanze Han

Credit: Female in Focus x Nikon vol. 5 / Constanze Han

Image title: Titti

Titti in her bedroom in Napoli in front of a photograph of her younger
self.

Single image winner: Kasia Ślesińska

Credit: Female in Focus x Nikon vol. 5 / Kasia Ślesińska

Image title: Basia

Carers, who are often elderly themselves, often suffer from arthritis or diabetes. The reasons why women in Poland choose to work abroad as caretakers are varied. While some seek to improve their appearance through cosmetic treatments such as Botox, or purchase luxury items like new televisions, most migrate because they are unable to achieve a dignified standard of living or receive adequate pay or pensions in their home country. This issue of economic migration is prevalent in Poland, where young people migrate to countries such as England and Germany to earn higher salaries for manual labour than they would upon graduating from Poland.

In my hometown, it is common for a family member to migrate to Germany and work as a construction worker or caretaker. I have had the opportunity to meet many retired women who belong to the caretaker group and travel across the western border, primarily to Germany, to provide care for elderly people in their eighties and nineties.

These caretakers are required to be available 24/7 and remain vigilant to ensure the safety and wellbeing of their clients. They are responsible for a wide range of duties, including washing and changing the clothes of their clients, cooking, administering medication, and even providing IV therapy when necessary. Although these women may not have formal training in nursing or caretaking, they are seeking a better quality of life for themselves and their families back home. The challenges and experiences of these caretakers are worth exploring to understand the broader social and economic issues surrounding migration in Poland.

In this image, Basia takes a bath in the tub for the first time in a month. While caring for the elderly person in Germany, Basia had no time for herself; she had to constantly watch over her, never able to take her eyes off her.

Single image winner: Najla Said

Credit: Female in Focus x Nikon vol. 5 / Najla Said

Image title: Never Too Many

Never Too Many represents a common visual in my hometown, Cairo, of a family, or multiple people, riding on one motorcycle. It summarises the Egyptian mentality of ‘we’ll work it out, everything is possible’. However, what I never saw on the street, is a row of women, or even a woman driving the motorcycle. This image ignites that conversation by reappropriating this element of Egyptian street culture, and recontextualising it in a way empowering womanhood. It attempts to give hope for a new beginning for women to provide themselves the representation they deserve, and the agency to question the norms that limit us.

Single image winner: Bea Dero

Credit: Female in Focus x Nikon vol. 5 / Bea Dero

Image title: Azadi – Freedom

This self-portrait was taken in Iran in the aftermath of the murder of Mahsa Amini by Iranian morality police in September 2022. This image is in solidarity with the Woman, Life, Freedom movement. While mourning the death of innocent Iranian activists, this portrait shows an Iranian woman centre frame, in the spotlight, on a white horse at sunset serving as a symbol of hope. Hope for revolution and hope for a future where women are free to stand in their power publicly, with dignity and choice.

Single image winner: Matilde Piazzi and Nadia Del Frate

Credit: Female in Focus x Nikon vol. 5 / Matilde Piazzi and Nadia Del Frate

Image title: Portrait of Pierangela Cernera, known as Piera

Taken from the series Sorelle d’Italia: The Luxury of Resistance, which tells the story of the female workers of La Perla, a luxury lingerie brand founded in Bologna in 1954 by a pioneer of female entrepreneurship, which was declared insolvent in January 2023. After several acquisitions, the last by Tennor Holding in 2018, the company went into judicial administration, leaving 218 employees on furlough. Among these workers, a group launched a feminist and artistic protest in September 2023 to defend their jobs and autonomy. Photographers Matilde Piazzi and Nadia Del Frate collaborated with 19 of them to create Sorelle d’Italia, transforming their struggle into art to keep media attention alive. Sorelle d’Italia reflects the transformative power these women discovered in each other during a moment of crisis. Faced with hardship, they united and found strength together, realising the profound solidarity and resilience that arose from their shared struggle. The aesthetic of the images is designed to highlight the beauty of this collective renewal, moving away from
traditional photo reportage.

The project includes a photo series inspired by Guido Reni’s Aurora, a portrait series reinterpreting archetypes such as Venus and female saints, and a video portrait. Sorelle d’Italia is a monument to contemporary heroic resistance: a triumph of women “in spite of everything”.

Pierangela Cernera is one of the workers leading the fight. She has been working at La Perla for 24 years in the cutting department. She is still waiting to discover what future lies ahead.

Images: SmallRig, Angelbird, Billingham

Welcome to the weekend, everyone! This week was CP+, which means a ton of news about cameras, lenses, and – you guessed it – accessories. There's a ton to get through, so let's get right to it.

The sales Photo: Dale Baskin

We recently wrapped up our review of Panasonic's video-focused GH7, apparently just in time for it to go on sale. It's currently available for $200 off MSRP.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Photo: Richard Butler

If you're looking for a camera that still has capable video specs but focuses more on stills, the Nikon Z6III is also on sale for $300 off.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H PhotoBuy at MPB Camera tracking Image: Elevation Lab

If you've ever worried about losing your camera or having it stolen, this next product may be for you. The Elevation Lab TagVault Camera Plate is a carbon fiber Arca Swiss tripod plate that has a secret compartment for an AirTag, Apple's small accessory that will track an item's location. The plate attaches to your camera using a security Torx screw.

The theory is that if someone were to make off with your camera, they may not think to take the tripod plate off, which means you would be able to see its location and potentially recover it. The plates are $20 each but are also available in a two-pack for $30.

Buy at Amazon The Cape Image: DxO

Many photographers will be familiar with DxO's software, but apparently, the company is also interested in soft goods. As part of its announcement of a "Photographers Club," the company said it was working on what it calls a "photo storm cape." It's essentially what it says on the tin: a piece of clothing designed to keep you and your camera dry, even in heavy rain.

The company hasn't released that many details on it yet – apparently it plans to launch a Kickstarter "soon" – but it has said it uses "premium high-tech materials" and offers "exceptional comfort and style." It also appears to offer a window in the front flap that lets you see your camera's monitor without exposing it to the elements.

The compact camera holster Image: Billingham

Famed camera bag maker Billingham has released what it's calling its "first ever camera bag designed for compact cameras" like the Fujifilm X100V, Leica D-LUX or Ricoh GR 3. The bag, called the Ten-16, is available in a variety of colors, such as red, yellow or green and comes with a removable leather shoulder strap. If you're lucky enough to have gotten one of the compact cameras the bag is designed for, it could be a fashionable way to keep it at hand.

Buy at Billingham SSD To Go Image: Angelbird

Storage company Angelbird has released a new portable SSD, which uses a USB 4.0 interface to sustain write speeds of up to 1600 MBps. It includes a USB 4 cable, which plugs into a recessed port on the drive's aluminium enclosure.

The SSD2GO PKT also has a write protection switch, which you can flip to keep yourself from accidentally making any changes to the data on it. The 2TB model costs $380, while the 4TB one will run $650. You can also get text engraved onto the drive's enclosure for no extra cost.

Buy at B&H Buy at Angelbird Cages for a new hybrid Image:SmallRig

Panasonic just announced its latest high-resolution hybrid camera, the S1RII, but SmallRig already has accessories ready for it. There's a standard cage, a kit that includes both a cage and a top handle, and a substantially taller version of the cage that's compatible with the S1RII's battery grip. Given the S1RII's video specs, it's not surprising to see accessories being made that will make it even easier to use it for shooting video.

Buy at B&H Buy at SmallRig New Manfrotto tripods

The Q90 column makes the 055XPro AS very versatile.

Image: Manfrotto

Manfrotto has released two new ball-head tripods, the 055XPro AS and the 190X AS aluminium. Both are compatible with Arca-style accessories, meaning you can attach your camera directly to them if it's in a cage with an Arca bottom plate.

As the name implies, the 055XPro is geared towards professional photographers and can hold up to 15kg (33lb) of gear, while the enthusiast-class 190X is rated for 10kg (22lb). The 055XPro also lets you quickly rotate the center column 90°, letting you switch between shooting horizontally, vertically, or even top-down.

The 190X AS will cost $299, while the 055XPro AS will cost $399.

F0.38

This week's entertaining/educational video is one by a channel called Applied Science, and it details the process of turning a microscope objective into what is, theoretically, an F0.38 lens. The process involves using oil to couple the glass to a sensor, which has had its protective glass cover removed – a process that apparently resulted in several destroyed sensor chips.

There are a few caveats. The example videos we see – shot using a Type-1/2.5 (5.76 x 4.29mm) sensor – don't show what kind of depth of field or light gathering ability you'd get from an F0.38 lens fitted to a full-frame sensor. However, it's still a fun DIY project and provides an interesting look at exactly what goes into determining a lens' F-stop rating.

Read last week's accessory roundup

Photo: Richard Butler

When we asked which CP+ announcements you wanted us to take a closer look at, we got several responses asking for more information on the many third-party lenses that have been announced at the show. So Richard Butler hit up five booths to get pictures and whatever extra snippets of information that 7Artisans, Laowa, Samyang, TTArtisan and Viltrox would give us.

7Artisans Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

At the 7Artisans booth, we got to see the several new lenses the company announced.

For full-frame there's a 24mm F1.8 for E, Z and L mounts. The company is also creating L-mount versions of its 50 and 85mm F1.8 lenses.

For APS-C, there are three F2.8 autofocus lenses coming out for E, X and Z mounts: a 25m, 35mm and 50mm. There's also a 35mm F1.4, initially releasing for X mount but coming to E and Z later, as well as a 27mm F2.8 lens for X mount by mid-March.

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

Laowa had an interesting array of prototype lenses at its booth. There's the full-frame, manual focus 8-15mm F2.8 fisheye zoom, which will likely be released for E, Z, RF and L mounts, as well as the 15mm F4.5 0.5x wide-angle Macro, which will likely be available for the same mounts. Finally, there's the 35mm tilt-shift F2.8 0.5x Macro lens for Fujifilm's GFX mount.

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

Much of what we saw at Samyang's booth has already been announced, such as the Remaster Slim modular lens and the APS-C AF 12mm F2 lens for Canon's RF mount. However, the company was also showing off its new 14-24mm F2.8 full-frame lens for Sony E mount and teasing some unspecified future lenses.

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

TTArtisan's most interesting CP+ announcement wasn't a lens at all but a folding instant camera with manual controls, which you can read more about here. However, the company was also showing off an AF 23mm F1.8 lens for X mount and an AF 14mm F3.5 lens for E mount.

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

Viltrox had several new lenses at the show this year: there's a new flagship 35mm F1.2 LAB for E mount. Sony shooters will also be getting an 85mm F1.4 Pro lens, while Nikon shooters will finally be getting access to the company's existing 135mm 1.8 LAB lens next month.

The company also showed off its full-frame 50mm F2.0 Air lens, which it claims will have the "best IQ of the AIR series." It will be available in E, Z, and X mounts.

Photo: Lomography

Lomography has announced a new product aimed at making home film development more approachable. The Lomo Daylight Developing Tank 35mm is "an all-in-one developing system" for developing 35mm film without needing a darkroom or changing bag.

Transferring film from the canister to the development reel is one of the most common steps that gets messed up, with many opportunities for problems. After all, fumbling with a roll of film in complete darkness is no easy task, and it is the steepest learning curve of the whole process. It's very easy to end up with frames of film pressed against each other on the reel, fingerprints, creases, wrong cuts and more.

The Daylight Developing Tank eliminates much of that risk by skipping the bag or darkroom and taking the film directly from the canister to the reel. The kit includes a film retriever, developing tank and reel with a built-in film cutter and loading crank. It allows you to pop in a roll of film and load it with the crank system, which Lomography says takes about a minute. This is all done in the developing tank, so when it's loaded onto the reel, you are all set to develop. You can see the full process in the video above.

Lomography says you can process the film using either agitation or inversion development thanks to the included metal buckle that keeps the lid secure. Of course, as with any other development tank, it allows you to experiment with pushing and pulling film, create film soup and more.

Photo: Lomography

The main downside is that the tank only develops one roll of film at a time. If you're a prolific film shooter, this could be more time-consuming than doing the loading part by hand. It's also only compatible with 35mm. But, for new photographers or those who only shoot occasionally, this certainly seems like a handy product.

The Lomo Daylight Developing Tank 35mm Kit is available as of today for $79. You can also purchase a separate reel for $10 or the film retriever for $13.

Buy now: $79 at Lomography

When you use DPReview links to buy products, the site may earn a commission. Sony a7C R | Sony FE 16mm F1.8 G | F5.6 | 1/800 sec | ISO 100
Photo: Mitchell Clark

Earlier this week, Sony announced the FE 16mm F1.8 G, a new, ultra-wide fast prime that focuses on being relatively compact and affordable. We were able to test it in a variety of locations and conditions to get a feel for how it performs. You can see the sample gallery below.

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

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Buy now:

Buy at B&H Photo

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Logo: CP+

As we enter the second day of the CP+ trade show, we'd like to hear from you: are there any announcements that you think warrant a closer look?

Our editors Dale Baskin and Richard Butler are on location in Japan, and have already gone hands-on with Canon's new V1 vlogging compact and the Sigma BF. However, there were several other announcements made during the show, which we've been covering throughout the week. We've started a thread in our forum to see if people have questions about these announcements that could be answered if we went to see them in person – if you have any, be sure to raise them over there.

Also, if you've seen something floating around that we've missed, be sure to let us know!

Photo: studiocasper/E+ via Getty Images

The first day of CP+ has come to a close, and while there were relatively few big announcements from major brands today, third-party lens manufacturers stepped up to fill the void. We already shared that Viltrox announced four new lenses and a Z-mount version of its AF 135mm F1.8 LAB lens. TTArtisan also revealed a retro-looking instant camera. On top of all that, though, Laowa, 7Artisans and Samyang all unveiled new lens offerings.

Details for the new Laowa, 7Artisans and Samyang lenses were essentially non-existent beyond the lens names. Laowa even went so far as to say this is just a sneak peek of what's coming. The lenses apparently are on display at CP+, so we hope to gather more information in the coming days. For now, though, here's what we know.

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According to its Instagram page, Laowa is announcing four new lenses. Those include the Ultima 12-120mm, 35mm F2.8 Tilt-Shift, 15mm F4.5 Wide Angle Macro, 8-15mm Fish Eye and Proteus Zoom. Of all those, we've only been able to find information on the first. A B&H listing for the Ultima 12-120mm T4.0 reveals that it is designed for Arri PL mount with coverage for Super35 sensors. It offers a 10x zoom range, a nine-blade iris, and cine-standard gearing. The B&H page only says Coming Soon, though, with no price or date listed.

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7Artistans will also soon offer four new lenses. Its Instagram page mentions the AF 25mm F1.8 (APS-C), AF 35mm F1.8 (APS-C), AF 50mm F1.8 (APS-C) and AF 35mm F1.8 (full-frame). However, it didn't specify mounts or any other details.

Finally, Samyang isn't left out of all the fun, either. Photos from the event show a 14-24mm F2.8 full-frame E-mount lens that bears the branding of both Schneider Kreuznach and Samyang. According to a sign detailing the lens, it's the world's first 14-24mm for E-mount that allows for front filters. The Nikkor Z 14-24mm F2.8 S accepts front filters but only via the hood. It appears that this Samyang lens features a filter thread on the lens itself. It supposedly offers a minimum focusing distance of 0.18m (7") and weighs just 445g (15.7oz).

Image: Viltrox

Viltrox decided to go big at CP+ this year, announcing four brand-new lenses and a new mount option for its AF 135mm F1.8 LAB lens. In case that wasn't enough, it also unveiled a camera battery charging case with a retro-looking design, which is the only item currently available for sale.

First up is the Viltrox AF 35mm F1.2 LAB FE, which, as the name gives away, is part of the new Viltrox Lab series of lenses. That lineup is the top tier of Viltrox lenses, meant to compete more directly with Sony's G-Master lineup. Viltrox says that this lens is "revolutionizing the 35mm category," promising precise autofocus and strong image quality. The wide aperture also makes it worthy of low-light situations. Next is the AF 85mm F1.4 Pro FE, which is part of the Pro series. Viltrox promises that it "redefines portrait photography with its sharp details and creamy bokeh." Both lenses include FE in the names, so Sony users can expect even more options shortly.

The AF 50mm F2.0 Air is promised as a lightweight, compact option ideal for street and everyday photography. Viltrox didn't specify which mounts it will be available for, but Digital Camera World says it will be coming to Sony FE and Nikon Z mounts. Viltrox also teased that it will be unveiling the AF 25mm F1.7 Air lens at some point today, providing no details beyond the name.

Image: Viltrox

Unfortunately, not much information is available about the new lenses. What we do know is the names of each and, as a result, the different Viltrox lens lineups to which these lenses belong. The company also shared images from its CP+ booth on Instagram, which include some of the new offerings.

"This is the perfect venue to showcase our commitment to innovation and dedication to providing the tools photographers need to capture stunning images," said Viltrox CEO, Daniel Dai. "We welcome attendees to visit our booth, and experience the future of photography."

In addition to the new offerings, Viltrox announced that the AF 135mm F1.8 LAB is coming to Z-mount. This lens was announced back in November for Sony cameras. As a member of the Lab lineup, it offers a premium design, smooth bokeh and sharp performance.

Viltrox didn't provide any pricing or availability information for any of the above lenses, but says it will "soon announce official release dates."

Image: TTArtisan

CP+ is barely underway, but it's already been a busy year for the International Camera and Photo Imaging Show. TTArtisan is adding to the growing list of surprises this year by announcing its first-ever camera. The brand revealed the Folding Instant Camera on its Instagram account, announcing that it is on display at CP+ in Japan.

TTArtisan is best known for its lenses, though it has also dabbled in photography accessories. This is the company's first foray into cameras, however. Its Instagram post says to "stay tuned for the official launch," so details are slim at this point, with no specifics about when that "official launch" may be, even.

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What we do know is that the Folding Instant Camera is retro in more than just looks. As the imagery shows, it uses a foldable design with bellows. It will feature a fully mechanical design with a spring-loaded shutter that doesn't require batteries. The lens uses a Cooke Triplet design, which was patented in 1893. It is made up of three air-spaced elements – two biconvex lenses surrounding a biconcave lens – which helps reduce distortion and aberration. Of course, given there is no power for the camera, it will be manual focus only.

TTArtisan promises soft bokeh and a bulb mode for long exposures. It will use Fujifilm Instax film and looks to be of the Mini variety. The images posted to its Instagram account suggest the camera will come in a range of colors, including blue, orange, pink, and black. TTArtisan didn't provide any information on exposure or metering, but a close look at the lens reveals what appears to be an aperture ring, shutter speed and DoF scale, suggesting full manual control, unlike most modern instant cameras.

The camera looks quite nice, and the idea of manual control with instant film is intriguing. Hopefully, further details aren't too far off.

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This week, our team has been in Japan for the launch of the new Sigma BF, a camera the company calls "radically simple." Distinctively designed, the BF is milled from a single block of aluminum.

Its minimal button layout and single control dial reflect Sigma CEO Kazuto Yamaki's vision, expressed in an interview with DPReview a couple of years ago: "Some customers aren't happy with existing cameras and are looking for something unique. I believe it's our mission to support these types of customers," he told us.

We've been shooting the BF all week, capturing scenes ranging from the bustling streets of Tokyo to the snowy landscapes of Sigma's hometown, Aizu. Our portfolio includes portraits and images processed with Sigma's new Rich and Calm color profiles.

Click here to view our Sigma BF sample gallery

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Photo: ZEISS

In the build-up to the announcement of Zeiss' new 50mm and 85mm F1.4 Otus ML lenses for full-frame mirrorless, we spoke to Tony Wisniewski, Senior Manager, Creative Arts,
Zeiss Cinema and Photography.

The new lenses are Zeiss' first photo-focused releases since the Otus 100mm, nearly six years ago, during which time there were rumors that the company had left the industry.

Where have you been?

Wisniewski says it was more of a pause: "Back before the pandemic, CIPA was being very dire in their projections of where DSLR and SLR cameras were going. The information being shared showed that sales were reducing significantly, and we were watching that. Then, as the pandemic occurred, Zeiss decided to kind of hit pause on photo, to wait and see what happens.

"So we've been holding back, continuing to sell and provide the lenses we currently manufacture, but we didn't take any additional action until just recently.

"The market has found its center, it's starting to increase: it's looking at a four or five percent increase through 2030 year-over-year. We think that now is the time to get back into it, so we've decided to start manufacturing some new equipment."

Who are these lenses for?

While expensive, the Otus ML lenses have been announced at significantly lower prices than their DSLR forebears. The 50mm F1.4 and 85mm F1.4 are priced at $2,500 and $3,000, respectively, rather than the $4,000 and $4,500 launch prices of the original 2013 Otus 55mm F1.4 and 85mm F1.4.

We wondered if this indicated a shift in who Zeiss was targeting with the new lenses.

"We're always interested in professionals who are looking for something different, " says Wisniewski, "something to set themselves apart in sharpness and look and really help them define their look as they build their client base.

"But really, right on down through the continuum, you get into hobbyists who are looking for something different, new and unusual, as well as people who are starting out and are moving from creating their online videos using a cell phone and a ring light, and [finding] that's just really not enough anymore. They're looking for something to stand out, something that sets them apart.

Photographers shouldn't take this statement, or the ability to de-click the aperture ring as a sign that Zeiss is giving too much emphasis to video, though. "This is a photography-first lens," says Wisniewski. "No question about that."

Photo: ZEISS

Another reason for the reduced cost is the move to mirrorless, Wisniewski explains: “We’ve been able to modify the design and update it for a [shorter, wider] mount. This allows us to use less material, essentially, so we can continue to have the same exact quality in a less expensive and much smaller lens.” But, he says, this hasn’t been achieved by adopting digital geometric correction. “Everything that we've done is in the lens.”

Competition

The lens environment has changed a lot since 2013, and we pointed out that the performance level of camera makers' own lenses is constantly rising. "For Zeiss, it's always about the technical quality and the exacting design that we offer," Wisniewski says. "But you're right, there's certainly a lot of competition out there.

"The community is leaning towards lenses. They're choosing [a lens] because of the way it looks and feels on their camera. I think that that's a key right now. It's not just about having the newest, biggest, best lens or camera, but it's really about 'what feels good to me?,' 'what pleases my eye?' and as long as as the price is within a specific range that I can attain, I'm going to get that lens.

"That's really what Zeiss is doing: starting to pivot the way that we present our equipment, not on the technical side, as we've done for years, but really talk about the 'look' and the reason someone would want to shoot with a camera lens rather than a cell phone. And talk about the artistry behind that and the ability that gives you to really, truly think and create."

Manual focus in the mirrorless age

We asked whether they'd had any concerns about the appeal of manual focus lenses, given that the manual focus shooting experience in mirrorless cameras is very different from that on the DSLRs the previous generation of lenses was designed for.

"We wanted to move towards mirrorless because the entire world is moving towards mirrorless; DSLR is just not selling now. We have been working with the manufacturers to secure licenses for the three mounts, so we have the ability to transfer metadata from the lens to the camera... and it does [prompt the camera to] go into focus assist mode.

"There's always going to be people who prefer autofocus, and we've heard a little bit of that. But our philosophy on using the manual focus is that we really want to get back to creating, and back to providing the artist with a toolset that allows them maximum control over what they're trying to capture. The manual [focus] does that; the reality is, and this is mostly my own position, that cameras do everything for you now. Really, a lot of the control you have is over aperture setting for depth of field and where you choose to focus. So we've really provided that back to the creator so that they have full exacting control over those attributes."

What's next?

Despite the announcement of two lenses, we couldn't resist asking what Wisniewski thought the future might hold and whether it might only include manual focus lenses.

"The fundamental position is that we've never left the photography industry," he said. "And we're continuing to look at lenses that can be developed.

"That's within the autofocus arena, maybe? Developing autofocus lenses to continue that familiarity that the Batis [series] provides. Some of our older glass is certainly being looked at, to bring that up to a new standard and offer some of those designs as we move forward. Certainly, nothing's off the table.

"We're starting to talk about providing a 'look and feel,' rather than just tossing lenses out. That's really what's driving us. 'What's the next one in this family?' What is the next look that we want to offer the photographic community?"

Is this announcement, then, only the beginning? "I just want to clear the air," confirms Wisniewski. "We're here. We understand our position in the industry. We understand that we're a niche player, but we know that people are looking for the type of size, quality, and Zeiss look that they've come to know and love."

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Photo: Mitchell Clark

This week, Zeiss announced that it was returning to making lenses after having not released any stills-focused models since 2019. It kicked off its new mirrorless-focused Otus ML line with two manual focus F1.4 models: a 50mm and an 85mm.

We were able to spend some time with the 50mm F1.4 and take a collection of sample images with it, which you can see below. After you've taken a look, be sure to check out our interview with the Senior Manager of Creative Arts at Zeiss Cinema and Photography, where we discuss the new lenses and the company's plans for the future.

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

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The Canon PowerShot V1 is the company's second vlogging compact, following 2023's diminutive V10. It has more in common with the company's G1X series of enthusiast compacts, using a large sensor with technology borrowed from its APS-C cameras.

With vlogging in mind, it has a 16-50mm equivalent F2.8-4.5 lens, meaning it can maintain a wide-angle 22mm equivalent field of view, even when cropped-in 1.4x for its 4K/60 mode.

We raced over to the Canon booth the moment the CP+ show in Yokohama opened, so we could be the first to get our hands on the new camera.

Handling

It feels quite comfortable in the hand: it's quite deep, because of the space needed for the fan and ducting used to keep the camera cool for extended periods of recording, but there's enough of a grip to make it feel secure in the hand.

The body is coated with a soft, grippy rubber coating, adding to a sense of security, as well as giving a bit of a premium feel.

Controls

The controls on the camera are pretty small, with a small zoom rocker around the shutter button and a miniaturized exposure dial towards the back of the top plate.

There's a small [Rec] button and two mics on the top plate, along with the power button. The power button risks being somewhat obscured when you mount the supplied 'dead cat' wind screen over the mics.

Just behind the mode dial is a stills/video switch because, while it's been designed primarily as a vlogging camera, it should be pretty capable for stills, too.

Back of the camera

The back of the camera closely resembles the G1 X Mark III and most other Canon compacts, with a little control dial encircling its four-way controller, along with buttons for playback, delete and so forth.

Control dial

The V1 has a control dial around its lens but, rather disappointingly, this is free-rotating. This is great for smooth manual focus or seamless aperture changes in video mode, but it's not ideal for selecting discrete, stepped variables such as exposure compensation, ISO or aperture value in photography and means you don't get any tactile feedback.

By default the function of the dial changes with exposure mode, but you can override this and assign it to control: ISO, Exposure Comp, Focus or stepped zoom.

Ports and flash

For video the V1 has both mic and headphone sockets and can accept a selection of Canon microphones via the connections at the front of its Multi-function hot-shoe.

This shoe can also be used to attach external flashguns because, while it's primarily designed for vlogging, the V1 has an in-lens shutter that should allow it to sync with flash all the way up to its 1/2000 sec max mechanical shutter speed (and it can maintain 1/2000 even at its widest aperture setting).

Raw shooting

The other key feature from a photography point of view is that the V1 can capture full Raw files. As we've got used to seeing on recent Canons, you have a choice of Raw, lossy-compressed C-Raw or the Dual Pixel Raw.

Dual Pixel Raw saves the information from both halves of the camera's split pixels, used to give it depth-aware phase detection from its whole sensor area. In practice we've rarely found the Dual Pixel Raw are worth the extra storage space, and it's a feature that's been dropped from the likes of the EOS R5 II and R6 II, so we're surprised to see it reappear here.

If you don't want to shoot Raw, the camera gives a choice of JPEG or HDR photos for playback on high-dynamic-range displays as 10-bit HEIFs.

Lens and rolling shutter

That 16-50mm equiv F2.8-4.5 lens has an equivalent aperture range of F4.0-8.8 in full-frame terms, if you want to get some idea of the image quality, low-light performance and depth of field it will give. This gives it a distinct edge over the Sony ZV-1 Mark II, the most directly comparable wide-angle vlogging compact on the market: the Sony's lens doesn't go as wide, reaching a maximum of 18mm equiv, and its F1.8-4 aperture is equivalent to F4.9-10.9 in full-frame terms. So the Canon should be able to offer better image quality in both good light and poor.

The Sony's Stacked sensor has faster readout than the V1, so it'll exhibit less rolling shutter. We haven't been able to measure the speed of the Canon yet, but its close relationship to the EOS R7 sensor suggests it won't be super-fast.

Availability

Sadly we haven't been able to get any details of when it might be available in the US or Europe. But we get the impression its announcement for the Asian market was brought forward so that it could be put on display here in Yokohama.

The PowerShot V1 won't be available anywhere until late April, so there's still plenty of time for a rest-of-world release announcement before the camera hits the shelves. We hope to hear more, including when we can get a shootable example, soon, so please stay tuned.

If there are any other details we can check on, while we're here at the show, please let us know in the comments and we'll head back to the Canon booth to check, if we can.

We pretty much broke down the doors of the CP+ Expo in Yokohama, Japan, where we were the first media outlet to get our hands on the new Canon Powershot V1. See our first impressions in this short video.

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Image: DxO

Software company DxO has announced PureRaw 5, the latest version of its Raw processing software. The new iteration promises even better noise reduction, more control over adjustments, new tools for X-Trans sensors and a cleaner interface.

PureRaw 5 includes the new DeepPrime 3. The third generation of its "neural-network-powered RAW processing engine for Bayer and X-Trans sensors" takes advantage of DxO Modules – one of the features it's best known for – to get more out of Raw files. DxO has been working on these modules using custom-made equipment in its Paris lab for the past 20 years, creating a "mathematical model that describes the characteristics of a lens paired with a specific sensor." They allow the software to "enhance the performance of a lens/camera combination and push it beyond the laws of physics."

The previous DeepPrime engine used AI to denoise and demosaic images, while the new version adds a third step. It promises to automatically fix chromatic aberration with the help of the DxO Modules. The company has officially created more than 100,000 Modules at the time of this announcement, providing wide coverage across many lens and camera combinations.

With PureRaw 5, DxO is introducing beta support for X-Trans sensors in DeepPrime XD, its noise reduction software. DxO introduced the DeepPrime XD engine, which refers to "eXtra Detail" in PureRaw 3. It says the engine is capable of producing "incredible results" even for images taken at ISO levels that would typically result in unusable images.

In addition to adjustments across an entire image, PureRaw 5 allows local adjustments for greater control. It will enable fine-tuned denoising and sharpening levels on specific parts of an image using masks.

Finally, DxO focused on improving the app's usability with what it describes as an overhauled, "cleaner, more refined experience." It also introduced custom presets to allow for faster editing based on variables such as camera, lens, ISO or subject.

DxO PureRaw 5 will be available on April 15. Those who pre-order before launch will immediately receive complimentary access to DxO PureRaw 4. You can purchase a new perpetual license for $120 or an upgraded license from PureRaw 3 or 4 for $80.

Press release:

New DxO PureRAW 5, the ultimate solution for RAW image quality, introduces local adjustments, expanded performance for Bayer and X-Trans sensors, and much more

The software that supercharges your cameras and lenses guarantees unprecedented image quality alongside powerful workflow boosts and a brand-new interface.

Paris (France): DxO, the leader in RAW image processing for more than two decades,
announces DxO PureRAW 5, the software that delivers sharper, cleaner, more detailed images, and gives photographers unparalleled freedom. Version 5 introduces powerful local adjustments, allowing photographers to fine-tune noise reduction and lens sharpness
optimization on the most complex and demanding images with absolute precision. In
addition, DxO unveils the third generation of its renowned DeepPRIME technology, a brand-new interface, custom presets for an accelerated workflow, and fresh features for Fujifilm X-Trans photographers.

“The new version pushes noise reduction and detail extraction further than even we thought possible,” explains Jean-Marc Alexia, VP of Product Strategy. “Plus, we have a beautiful new interface that’s quick and easy to use thanks to the ability to create presets to match different cameras or scenarios. And Fujifilm fans will be delighted to see what’s included. X-Trans images have never looked this good.”

New Local Adjustments: Fine-tune with unmatched precision

For images that require detailed fine-tuning, photographers now have the option to focus
the levels of denoising and detail extraction on specific parts of the image, and tailor levels of sharpening exactly as required. PureRAW’s automated processing is unmatched, but when an image needs a precision-focused approach, Local Adjustments provide the perfect solution.

Users can draw multiple masks and adjust the Force Details and Luminance sliders to dial
exactly what they need. In addition, it’s possible to target sharpening more precisely,
focusing on specific parts of the image.

Introducing DeepPRIME 3

DxO PureRAW 5 includes the third generation of DxO’s original neural-network-powered RAW processing engine for Bayer and X-Trans sensors. Four years ago, DxO pioneered the use of machine learning to perform denoising and demosaicing simultaneously, unlocking the potential of AI and far exceeding man-made algorithms. Today, DeepPRIME 3 incorporates a third process: residual chromatic shifts at a pixel level. Thanks to the data it draws from DxO’s exclusive DxO Modules, DeepPRIME 3 resolves chromatic aberration as part of the RAW conversion process.

In addition, users get a significant boost in image quality while also saving time. DeepPRIME 3 is faster than ever.

A brand-new interface

The appearance of DxO PureRAW has been completely overhauled in version 5, giving users a cleaner, more refined experience when using the software. The update makes for a smoother, more streamlined workflow, reducing friction and enhancing usability. Users can spend less time in the software and more time enjoying its spectacular results.

Workflow upgrades: Custom presets for faster editing

Version 5 introduces the ability to create custom presets, allowing users to dial in frequently used settings in a single click. This facilitates the easy application of different configurations according to different variables, such as camera, lens, ISO, or subject matter. Combined with the existing batch processing and batch renaming features, photographers avoid repetitive actions, saving time while maintaining consistency across their workflow.

Introducing DeepPRIME XD3 X-Trans Beta

As an extension of DeepPRIME, DxO’s DeepPRIME XD — ‘eXtra Detail’ — engine was
introduced in DxO PureRAW 3 to offer the most intense processing of the most demanding
files. Since then, it has progressed, promising incredible results for images captured at ISO
levels that had previously been considered unusable.

For owners of Fujifilm cameras, DxO is proud to introduce DeepPRIME XD3 X-Trans Beta,
giving X-Trans photographers early access to the next generation of noise reduction and detail extraction.

DxO Modules give PureRAW 5 the power to push your gear further

Last month, DxO passed a milestone: its exclusive laboratory in Paris has now produced more than 100,000 DxO Modules.

Pioneered by DxO more than 20 years ago, a DxO Module is a mathematical model that
describes the characteristics of a lens paired with a specific sensor. This model is then used by DxO software to enhance the performance of a lens/camera combination and push it beyond the laws of physics.

The quality of the results relies on the precision that DxO’s team of highly experienced
technicians deploys, conducting tests in controlled environments, and using custom-made
equipment and meticulous processes that have been developed over the last two decades.
The DxO Modules in PureRAW 5 ensure that photographers get the absolute best possible
quality from their equipment.

Price and availability

DxO PureRAW 5 will be available on April 15, 2025. Customers who pre-order before the launch will immediately receive a complimentary copy of DxO PureRAW 4. A perpetual license for macOS and Windows machines can be purchased from the DxO website at the following prices:

New license 119.99 € / $ - 109,99 £

Upgrade from DxO PureRAW 3 or 4 79.99 € / $ - 69,99 £

DxO PureRAW 5 comes with unlimited access and no subscription is required. A full, 14-day
trial of DxO PureRAW 4 is available now from the DxO website, and a trial of DxO PureRAW 5 will become available on April 15. Visit https://www.dxo.com/en/dxo-pureraw/download/.