Image: Sigma

Sigma has announced pricing and availability for the AF Cine Line 28-45mm T2 FF, its first autofocus cinema lens for full-frame cameras, which it teased earlier this year. The lens is based on the company's mirrorless 28-45mm F1.8 DG DN Art lens, but Sigma says it has "completely redesigned electrical and mechanical parts to provide the focus and aperture drive features required for use with cinema cameras."

The company says the lens has a clickless aperture ring and standard gears for use with follow-focus systems. Its autofocus system is driven by a linear motor, the same one found in the mirrorless version. Sigma says the E mount version will be compatible with Sony's Direct Manual Focus and AF Assist features, and with L mount cameras' AF+MF system.

Despite the much chunkier housing and gears, the cinema lens only weighs 60g more than the Art model.

The Sigma AF Cine Line 28-45mm T2 FF will be available in early November and will retail for $3399, a roughly $1900 premium over the mirrorless version.

Sigma Announces Pricing and Availability of First Lens in New AF Cine Line: 28-45mm T2 FF

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma AF Cine Line 28-45mm T2 FF, the first lens in the AF Cine Line and first Sigma Cine lens to feature autofocus capabilities.

Based on the optical formula of the 28-45mm F1.8 DG DN | Art lens, the 28-45mm T2 FF is designed to support full-frame camera sensors with completely redesigned electrical and mechanical parts to provide the focus and aperture drive features required for use with cinema cameras. In addition, the appearance and build quality are representative of a premium cinema lens, with exceptional dust- and splash-resistant performance for use in varied environments.

Similar to the 28-45mm F1.8 DG DN | Art, the autofocus of the 28-45mm T2 FF is driven by a High-response Linear Actuator (HLA) motor. For manual focus operation, this lens features a focus ring with a distance scale and fixed rotation range. It is compatible with DMF (Direct Manual Focus) and AF Assist on Sony E-mount, as well as the AF+MF function on L-Mount.

Weighing in at 960g*, the 28-45mm T2 FF is only 60g heavier than the 28-45mm F1.8 DG DN | Art, and both lenses are the same length. The 28-45mm T2 FF is also compatible with 82mm front filters, as well as commercially available matte boxes with the addition of the optional clamp-on ring (sold separately).

The Sigma AF Cine 28-45mm T2 FF lens will be available in early November at authorized Sigma Cine Lens dealers in the US for Sony E-mount and L-Mount for a retail price of $3,399 USD.

* Measurements are for L-Mount

AF Cine Line 28-45mm T2 FF

• Advanced optical design and outstanding rendering performance
• Professional-grade mechanical design and operability
• AF system with excellent tracking capability and near-silent operation

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Front Cap LCF-82 IV, Rear Cap LCR III, Lens Support Foot SF-91

Launch: November 6, 2025

* Product appearance and specifications are subject to change.

* L-Mount is a registered trademark of Leica Camera AG.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

Revolutionizing cinema with the autofocus cine line

As the first AF-compatible Cine Lens series from Sigma, the Sigma AF Cine Line brings innovation to the film production scene.

Building on the optical system of Sigma’s Art lenses, the AF Cine Line offers exceptional rendering performance, along with high-precision autofocus with excellent tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses.

The AF Cine Line, which embodies Sigma’s latest technology, expands the possibilities of visual expression and brings new possibilities to future film production.

KEY FEATURES

Advanced optical design and outstanding rendering performance

The optical systems of the Sigma 28-45mm T2 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting.

Professional-grade mechanical design and operability

Inheriting the rendering performance and reliability of Sigma’s Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands.

AF system with excellent tracking capability and near-silent operation

Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various situations.

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The LK Samyang / Schneider Kreuznach AF 24-60mm F2.8 FE

Photo: LK Samyang / nullnullphotos

LK Samyang has announced an autofocus 24-60mm F2.8 full-frame zoom for Sony's E-mount. It's the second lens co-developed with German lensmaker Schneider Kreuznach.

The AF 24-60mm F2.8 joins the 14-24mm F2.8, announced earlier this year. A mockup of the 24-60mm was shown at the CP+ trade show in Japan, in February.

The company hasn't provided full specifications of the lens, but the product images show it to be relatively compact, presumably helped by its shorter-than-usual reach, at its long end. At 102mm long and 500g, it sits directly between Sony's larger, heavier 24-70mm F2.8 GM II and its smaller, lighter 24-50mm F2.8 lenses.

The lens will be formally unveiled at the International Broadcasting Convention in Amsterdam, The Netherlands on September 12th. We'll add more details as they become available.

Press release:

LK Samyang to Unveil Second Co-Developed Zoom Lens with Schneider-Kreuznach – AF 24-60mm F2.8 FE at IBC 2025


5th IBC Participation Marks Strengthened Compact High-Performance Zoom Lineup

Seoul, 12 September 2025 – LK Samyang, formerly known as Samyang Optics, is Korea’s only optical company that designs, manufactures, and markets interchangeable lenses under its own brand. With over 50 years of Korean optical heritage, LK Samyang has built a trusted reputation for delivering innovative and high-quality lenses worldwide.

Alongside its photographic lens business, the company also operates XEEN, a dedicated cinema lens brand that celebrates its 10th anniversary this year. Together, the two brands embody the vision:


“LK Samyang & XEEN – Trusted Technology, Empowering Creators Worldwide.”

At IBC 2025 in Amsterdam (September 12–16), one of the world’s leading exhibitions for broadcasting and film equipment, LK Samyang will officially unveil its latest innovation: the AF 24-60mm F2.8 FE. Co-developed with Germany’s renowned optical manufacturer Schneider-Kreuznach, this release marks the company’s second collaborative zoom lens and highlights LK Samyang’s 5th participation at IBC, demonstrating its commitment to advancing optical solutions for photographers and creators worldwide.

Earlier this year, LK Samyang and Schneider-Kreuznach launched the AF 14-24mm F2.8 FE, the world’s first front-filter-compatible super-wide zoom lens for Sony E mount, which gained strong global recognition. Building on this success, the new AF 24-60mm F2.8 FE extends the lineup to the standard zoom range, offering uncompromised optical quality in a compact and lightweight design tailored for both photography and video creation.

Key Features of AF 24-60mm F2.8 FE


• Versatile Standard Zoom: Covers the essential 24–60mm range

• Constant F2.8 Aperture: Delivers exceptional low-light performance and creative depth of field

• Compact & Lightweight: Designed for portability without sacrificing professional performance

• Creator-Centric Design: Perfect for photography, videography, vlogging, and versatile content creation

Together with the AF 14-24mm F2.8 FE, the new AF 24-60mm F2.8 FE embodies LK Samyang’s philosophy of delivering “Compact High-Performance Zooms,” completing a strengthened zoom lens lineup that empowers photographers and creators to explore new perspectives and storytelling possibilities.

Mr. Piet Thiele, Head of Photo / Cine at Schneider-Kreuznach, stated:
“

At the beginning of the year, we laid the successful foundation for our partnership with LK Samyang with the AF 14-24mm F2.8 FE. With the new AF 24-60mm F2.8 FE, we are now following up quickly on our collaboration and taking the next step: a versatile zoom lens that gives creative minds even more freedom to realize their ideas and discover new perspectives.”

Mr. Bonwook Koo, CEO of LK Samyang, commented:


“The AF 24-60mm F2.8 FE is the second zoom lens co-developed with Schneider-Kreuznach and represents a significant milestone in completing our zoom lens portfolio. By combining over 50 years of optical expertise with the proven experience from our collaboration with Schneider, we continue to deliver innovative solutions that inspire creators worldwide. We are proud to present this lens at our 5th IBC participation and look forward to the excitement it will bring.”

The AF 24-60mm F2.8 FE will be officially unveiled on September 12, 2025 at IBC Amsterdam, and will be made available to global markets following the exhibition.

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If you've been following closely at this point, you've already seen plenty of sample images from the Hasselblad X2D II, and probably have a pretty good idea of how well it performs. Of course, we've also put it in front of our studio scene to make it easier to directly compare its image quality to that of other cameras.

As a note: the out-of-camera JPEGs were shot using the camera's Ultra HDR JPEG mode, which adds a gain map on top of a standard JPEG. The comparison tool doesn't support dipslaying them in a way that highlights the bright areas of the image, but you can view them by downloading the original file, and opening it on a device with an HDR display.

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

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Unsurprisingly, the X2D II's Raws provide superb amounts of detail at low ISOs, besting the single-shot performance of the a7R V's 61MP sensor and matching the GFX 100S II. At its base ISO of 50, it provides the cleanest image of the bunch; the GFX 100S II has slightly more noise, but still outperforms the a7R V thanks to its larger sensor.

Its JPEGs, however, don't seem to quite do that level of detail capture justice, with the finest parts of the image looking a little softer than they do with the GFX 100S II. The details are generally still present in the JPEG, but they don't stand out as much, at least when viewed 1:1 (though that's likely to be a very unusual use-case for images taken on this camera).

The X2D II's Raws continue to look good even at higher ISOs, though its chroma noise is more noticeable than Fujifilm's. And while the JPEG engine doesn't reduce noise as aggressively, that means it does a better job at preserving details.

We had no issues capturing vibrant colors with the X2D II.

Click here to view the original file, which will display in HDR if you have a compatible device.

Hasselblad XCD 35-100mm E | 60mm | F3.5 | 1/500 sec | ISO 100

Back at lower ISOs, the Hasselblad's colors are generally less saturated than Fujifilm's or Sony's, though in our use outside the studio, we found that it still produced pleasing skin tones for portrait work. We also didn't have any issues with getting images that popped with vibrant colors, especially with HDR switched on.

Dynamic Range

As we've come to expect from this sensor, the X2D II has excellent dynamic range at its base ISO, with very little read noise. This means you won't face much penalty for taking an image at ISO 50 to get the maximum DR, then boosting it in post, compared to taking an image at a higher ISO to achieve your desired lightness.

Its files also hold up well when you're boosting shadows, which is helpful if you're shooting at lower ISOs to protect your highlights with plans to brighten the image in post.

Exposure Latitude | ISO Invariance

Photo: Mitchell Clark

Many photographers rarely consider memory card care. We tend to use and abuse our cards, with little thought about how to keep them working at their best. And while memory cards are quite robust and durable these days, there are some best practices to keep in mind to prevent corrupt files or data loss.

Is deleting files on-camera okay?

Most of us have been there: You're out taking photos and your memory card is full, but you don't have another with you. Or perhaps you took some photos that you know you don't want. Deleting a handful of files from the camera can be tempting, but is that a smart move?

With modern cameras and cards, the biggest risk with deleting files in-camera is accidentally getting rid of files you actually want. After all, the displays on cameras are small, so it's hard to tell the difference between images. It's also challenging to see fine details that may help you determine if an image is a keeper. You're better off uploading your photos to a computer and selecting which ones you want to keep, then.

While card manufacturers used to caution against deleting photos straight from your camera, citing concerns about their competence with managing a file system, that's less of a risk with modern cameras. If you only ever manage your photos through the camera's UI, you may eventually run into issues, so do so sparingly if you're extra cautious. But deleting the occasional batch of photos from your camera in between formats should be fine.

How should you delete files from a memory card? Format your cards in-camera, not on a computer.
Photo: Mitchell Clark

Instead of deleting files one by one using the delete button on your camera, you're better off formatting your memory card. You can do so by finding the 'Format' option in your camera's menu. Formatting your card resets the file structure and reduces fragmentation. It essentially restores the card to a clean, original state for new data, which helps prevent any file system errors. Keep in mind, though, that formatting a memory card will wipe all data. Only format your card after you have safely backed up your files.

It's also important to format the card only in the camera you'll be using it in, not on a computer or a different camera. Formatting a memory card in the camera rewrites the file structure and prepares it for files from that specific device. Using a card formatted by a different device can risk file system corruption or card errors. It may also cause compatibility issues, resulting in the camera not writing files at all.

If you have a card that's acting up, or you want a truly clean slate, you may want to do a deep rather than a quick format. A deep format irretrievably deletes all the data, but puts more wear on your SD card. There's not much reason to do it unless it's a last-ditch effort to save a card that's having issues after a regular format, or to make sure sensitive images are gone for good.

How often should you format your card?

It's smart to format your card after each shoot (or each time you transfer files) simply to make sure you don't accidentally delete photos that you haven't backed up. There's no worse feeling than going to transfer images you thought were on the card, only to realize you formatted it before copying the files to the computer. Formatting regularly can help minimize the risk of errors, but the bigger benefit is helping you keep track of all of your images.

When you use DPReview links to buy products, the site may earn a commission. Image: 7artisans

7artisans has announced the AF 35mm F1.8, a wide-angle full-frame prime for Sony E mount. While it's not the cheapest or smallest autofocus lens of its type for the system, it's reasonably priced and has some nice quality-of-life features that more budget options don't.

The lens is made of 11 elements in 8 groups, with two aspherical lenses, two high-refractive elements and one ED element. It has an 11-bladed aperture, and a minimum focusing distance of 0.4m (15.7").

Its body is made of metal, which likely contributes to it being relatively heavy at 426g. The lens can take 62mm filters, and is 94mm (3.7") long. Its autofocus system is driven by a stepper motor.

As for the features, it has a clickless aperture ring, an auto/manual focus switch and a customizable function button. There's also a USB-C port on the bottom for firmware updates.

The lens costs $299 and is available now.

Buy Now:

Buy at 7artisans Buy at Amazon

Pedestrians explore the Pavilion at Riverfront Park in Spokane, Washington, built for the Expo '74 world's fair.

iPhone 11 Pro | F1.8 | 1/25 sec. | ISO 640
Photo: Dale Baskin

Our September Editors' photo challenge theme is "Pixels in Your Pocket."

This month, we’re celebrating the camera that’s always with you: the smartphone. As we all know, sometimes the best camera is the one you have with you. Wow us with the best images captured on a phone or tablet, and show us how small sensors can tell big stories, anywhere, anytime.

Photos can be submitted between Sunday, September 7, and Saturday, September 13 (GMT). The challenge is open to photos captured at any time.

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

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

Visit the challenge page to see all the rules

Camera images: Ricoh, Sony and Nikon

Whether you're looking to capture daily life, start a new hobby or hoping to build a professional career, choosing the right camera is an important first step. Cameras come in various sizes and formats, but compacts, DSLRs and mirrorless cameras are three of the most common options. Those choices can feel confusing if you're relatively new to the photography world, though.

Each type of camera provides a different balance between convenience, image quality and creative control. Understanding those differences will help you narrow down which device might best match your needs.

Compact cameras Compact cameras are very small.
Photo: Richard Butler

As the name suggests, compact cameras (or compacts) are small, easy-to-carry devices. They feature integrated lenses that can't be changed out, saving you from spending additional money on lenses. Some compacts offer a zoom lens, whereas others use a fixed focal length with no zoom capabilities.

Compact cameras are often called point-and-shoots, too. This is because many are designed to be very simple to use with fully automated settings. However, there are also more premium, advanced compact models that still offer some creative control, so not all are meant for casual users.

Unfortunately, compact cameras aren't as prevalent as they used to be, as smartphones have largely replaced them. As a result, there are limited new models available. There have been some releases in the past year, but they are typically quite pricey for casual users. Many of the newer models are designed for vlogging with more video-centric features that aren't great for pure photographers. Alternatively, you can still find older compacts second-hand, though there are some risks with buying aging cameras.

Who are compact cameras best for?

Because of their simple operation and limited need for additional accessories, compact cameras are great for casual photographers who want something other than their phone to make photographs. The small size also makes them ideal for travel use, since you can easily fit them in a jacket pocket or small purse.

However, compact cameras aren’t just for beginners. A basic point-and-shoot can be a fun outlet for those who already have advanced, technical gear. Plus, there are premium compact models, including a medium-format camera with a larger sensor. Experienced photographers who simply like the idea of a convenient camera with an integrated lens may also enjoy these compact devices.

DSLRs Image: Nikon

Digital single-lens reflex cameras (DSLRs) are probably the most widely recognized digital interchangeable lens cameras (ILC). Unlike compact cameras, DSLRs don't use an integrated lens, so you'll need to buy one separately (or as a kit with the camera). This adds cost, but also adds flexibility and creative control, as you can choose the lens(es) that allow you to achieve the look you're after.

The other key component of DSLRs is a mirror that directs light from the lens into an optical viewfinder. That style of viewfinder gives you a real-time, direct through-the-lens view. It also results in longer battery life since the viewfinder isn't a display that uses up power. The mirror mechanism adds bulk, however.

While DSLRs are still widely used, they are past their heyday. For the last five years, major brands have been entirely focused on mirrorless technology for both cameras and lenses. Canon and Nikon last released DSLRs in 2020. Additionally, Sigma hasn't released a new lens for DSLRs since 2018 and recently changed its lens naming strategy to ditch the label that was used to identify its mirrorless lenses. Only Pentax remains committed to the DSLR format at this time.

Who are DSLR cameras best for?

Because DSLRs represent older technology, they are available at relatively affordable prices. The same is true for DSLR lenses. As a result, they are a popular choice for beginners looking to buy their first dedicated camera. Some professionals also opt for DSLRs because you can get a lot of image quality for the price at this point.

Investing in a DSLR today will leave you with outdated technology right out of the gate.

However, it would be wise to consider carefully if you want to invest in a DSLR system right now because they are end-of-life systems. They are well supported for now, but investing in a DSLR today will leave you with outdated technology right out of the gate. After all, even entry-level mirrorless cameras offer much more reliable autofocus and advanced features. New features, firmware updates and compatible accessories will also be increasingly rare for DSLRs.

Additionally, it's important to remember that you're also investing in lenses. While there are adapters that allow you to use DSLR lenses on mirrorless bodies, this adds additional bulk and can reduce the functionality of some lenses. Plus, mirrorless lenses are significantly improved over DSLR lenses, so you'll also be missing out on the latest advancements in lens technology as well.

Mirrorless cameras Photo: Richard Butler

Mirrorless cameras are the more modern take on the interchangeable lens format. They ditch the bulky mirror mechanism found in DSLRs, allowing for a more compact, lighter body. The sacrifice, for some, is that they use an electronic viewfinder (EVF), instead of an optical one. EVFs consume more power, and there may also be a subtle lag in low light conditions (though it's rare for that to be noticeable for most users).

Since mirrorless cameras are newer than DSLRs, they offer more recent technology. That includes faster and more advanced autofocus with subject detection and tracking, faster burst shooting rates and real-time exposure simulation. They also provide better video capabilities.

Who are mirrorless cameras best for?

Mirrorless cameras are available for just about every need and preference. There are entry-level beginner models, video-centric options and high-end, professional-grade mirrorless cameras. In short, mirrorless cameras are best for anyone who wants an interchangeable lens camera for the flexibility and creative control. They are also ideal for those who need relatively compact camera bodies, advanced autofocus or greater video capabilities.

The best camera is the one that fits your needs

When shopping for a new camera, you'll hear a lot about what the best cameras are. At the end of the day, though, the best camera for you is entirely dependent on your particular needs and how you plan to use it. Each of the formats above has pros and cons and is suitable for different situations. Be sure to consider what you want to get out of the camera and what the most important features are before narrowing in on one particular device.

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

Nikon has temporarily suspended its Nikon Authenticity Service program, which provided Z6III owners with the ability to sign their images with C2PA Content Credentials. In a notification, the company says it "confirmed that an issue has been identified in the Nikon Authenticity Service," and that "the service has been temporarily suspended while we work diligently to resolve the issue."

While the company didn't specify what the issue was, it seems likely it's related to a discovery made by DPReview forum member Horshack, who got the camera to sign an image it hadn't exactly taken by using the Multiple Exposure function. Yesterday, Nikon told DPReview it was investigating that issue.

The Z6III's ability to create these Content Credentials, which theoretically help prove that a photo was authentically taken with a camera and keep a record of edits made to it, was a headline feature of the Z6III's v2.0 firmware update. However, the company did tell users that it was being released as a beta, so it's not necessarily surprising that there have been a few bugs.

In its news post, Nikon promises to provide an update "as soon as the corrective measures are complete," and apologizes for any inconvenience.

Special thanks to Horshack for alerting us to Nikon's news post.

It takes a lot these days to make a music video or visualizer stand out, but that's exactly what Deftones and UK-based artist and researcher Edd Carr were able to do. The video for Cut Hands, seen above, was created with more than 2100 hand-printed cyanotypes, an analog process that required a massive undertaking by Carr. We were curious how Carr tackled this project and what led him to use an analog process for the video, and he was gracious enough to chat with us about his work.

Carr began by photographing landscapes with a DSLR and editing them extensively in Lightroom, but eventually realized something was missing. "I would go out, focus on the live view screen to get a perfect composition, then come back, and focus on the digital edit in Lightroom," he explained. That process left him feeling completely disconnected from the natural world he was trying to document.

Around the same time, Carr started reading about radical ecology and was drawn to the idea of using analog processes to feel more connected to the physical world. Since then, Carr has been deeply involved in analog photography, including alternative processes like cyanotypes, because of the feeling of connection that he gets from the tactile.

Cyanotype is a photographic printing process that results in striking blue-toned images. The technique involves coating paper with a light-sensitive solution of potassium ferricyanide and ferric ammonium citrate, which is yellowish green when initially brushed on. To make an image, you expose the coated paper to UV light (typically sunlight) and rinse it to reveal the final image. It's a very hands-on process that aligns closely with Carr’s desire for a physical connection to his art.

Image: Edd Carr

As an artist who focuses on nature, working in analog adds another layer of connection as well. "From an ecological perspective, analog processes allow me to incorporate natural elements into my work, and connect the living landscape to the themes of my pieces," Carr explained. To that end, sometimes he develops his film in plants or buries it in soil. "I try to give voice to the land through my work," he said.

While analog is central to Carr's work, digital is also a significant component. For the music video and his other animation work, the projects begin as digital cuts based on stock footage. They are then translated to analog to create the imagery, and back to digital for the final animation.

Carr explained that creating the imagery for the Deftones project was a painstaking process. Sourcing the stock footage was just step one. "Then [I] compile it in a way to create a narrative, and also for the visuals to flow through techniques such as match cutting (matching similar shapes, such as the snake’s eyes and the eclipse), or matching movements," he said. "It is sort of like making a sculpture from found objects."

Image: Edd Carr

Once Carr makes the digital video, he splits it into individual frames, usually at 12 frames per second. "This means I end up with a stream of digital still images, comprising the entire video – in this case over 2,100 images," he explained.

After establishing the narrative digitally, Carr begins the process of transforming each frame into a cyanotype. For some of Carr's work, he uses a DLP projector to expose the cyanotype. The bulb has a trace amount of UV, and it allows him to project the image onto the paper without first printing a digital negative. However, exposures take a lot longer, so it isn't feasible for animation projects with lots of prints.

For high-volume projects like the Deftones video, Carr first creates digital negatives for each frame. Since he was dealing with so many images, he opted to make contact sheets with between 9 and 16 images per A4 sheet. Each sheet then produces roughly one second of footage.

Image: Edd Carr

Once the negatives are ready and paper is coated, he uses an artificial UV LED light to expose the prints. The artificial light allows him to fully control exposure, which enables more consistent prints. "If they aren’t consistent, you get a lot of flashing, due to the variance in exposure," he explained. "Indeed, you can see some in this Deftones video, even with controlled UV."

The sheer number of prints in an animation project like the Deftones video makes the process daunting. "The volume of prints is always a challenge, especially in a commercial context, as you often have tight deadlines to meet," Carr explained. For the Deftones video, he was making 100 prints a day, which he says was incredibly intense. He explained that he would coat the cyanotypes in batches of eight, print two rounds, wash and dry and then print again. He said it resulted in printing for 12 hours a day, which was a very physical process.

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After the cyanotypes are created, Carr scans each frame back in, does some editing and drops them back into the video editor. He said that, in theory, it should play smoothly, but there are often one or two frames missing or out of order. Finding those frames and getting them back into place is a time-consuming process. He says he spent more than 12 hours a day editing, and said it was "a bit brain melting."

Carr says he wanted to channel the rock music video aesthetic he grew up with in the '90s, both in subject matter and the visual effects. The look that results from the cyanotype animation leans into that grunge look, thanks to scratches, folds, paper texture and other imperfections coming through. Carr said the unpredictability is one of the things he enjoys most about analog processes. "It is one of the reasons I love analogue; a thumbprint of mine may make its way into the animation unexpectedly, or a certain scratch or fold in the paper may give an additional exciting texture to an otherwise typical image," he said. "I can’t imagine losing this in digital, or artificially adding it with AI."

You can see more of Carr's work at his website or on Instagram.

Image: Adobe

Thanks to Adobe, content creators and video editors will soon have access to another editing app on their phones. The company has announced that it is bringing Premiere, its computer-based video editing software, to iPhones for free.

Premiere Pro is a widely used video editing platform that offers an extensive list of advanced features suitable for professionals. Adobe says it reimagined Premiere for mobile, promising pro-level control without pro-level complexity. It describes the app as "intuitive and uncluttered." As an added benefit, unlike many other popular mobile-based video editing apps, Premiere for iPhone won't add watermarks or feature ads.

Adobe says the app allows users to start an edit on their phone and finish on the desktop version of Premiere Pro. Alternatively, it supports export directly to TikTok, YouTube Shorts, Instagram and more. It can even automatically resize videos for each specific platform, promising to keep the main content in the frame.

Despite the streamlined UI, Premiere on iPhone will still offer familiar features for those who use the desktop version. That includes a multi-track timeline and dynamic audio waveforms. It also supports automatic captions with stylized subtitles, unlimited layers, support for 4K HDR and more.

Additionally, the Premiere iPhone app offers Generative Sound Effects, which allows users to create sound effects using a text prompt and their own voice. The app also features an AI-powered tool to record voiceovers that Adobe promises will be clear even when recording in noisy environments.

Images: Adobe

Adobe Firefly is built into the app for AI-generated assets, and users will also have access to millions of free Adobe Stock assets. The app will also enable Adobe Fonts and Lightroom presets. Creatives will be able to easily find, create and add music, sound effects, photos, text, graphics and videos to their content.

Adobe stated that the Premiere iPhone app is free. Users will only need to pay if they want to use generative credits or cloud storage.

The Adobe Premiere iPhone app will be available at the end of September, but you can pre-order it now in the App Store. The Android version is in development, so hopefully Android users don't have long to wait for access.

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We're working on the studio test scene of the Hasselblad X2D II 100C and will be working towards a full review in the coming weeks. But, in the meantime, thought we'd add a couple of high ISO and low-light images shot after the camera's launch to our sample gallery.

As before all the JPEGs include a brightness map that allows more convincing rendering of bright tones and highlights on HDR displays. The versions presented in our gallery system have had the brightness maps discarded, so you'll need to download the JPEG listed next to the word "Original" on the right of the page, and view on a compatible device.

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.

Not all of the Pro Res Zoom results are terrible. This image was taken at 52.7x zoom.
Photo: Abby Ferguson

When Google announced the Google Pixel 10 series last month, it highlighted the 'Pro Res Zoom' feature. While the capabilities it offers certainly sound nice on paper, and Google has shown a few impressive results, we had to put it to the test to see what it's actually capable of.

What is Pro Res Zoom?

Traditionally, phones have used a process of cropping and enlarging an image when the user chooses to zoom in past its maximum optical setting. However, digital zoom typically results in images that are very low quality, with little in the way of detail. That's especially the case when trying to photograph something far away, as the more you crop in (and the less of the sensor you use), the worse the quality gets.

Google's latest Pro Res Zoom tool also uses cropping and enlarging, but combines it with generative AI; the first use of the tech in the company's camera app. Google says Pro Res Zoom will retain detail by generating information to fill in the gaps.

The standard Pixel 10 offers Pro Res Zoom up to 20x, while the 10 Pro and 10 Pro XL allow up to 100x. On the two Pro models, Pro Res Zoom doesn't kick in until 30x. Anything below that uses the more traditional method of digital zoom, while anything above 30x gets the AI treatment.

Real-world Pro Res Zoom tests

We've all seen botched AI image generation plenty at this point. So when Google said that the Pixel 10 models would be using generative AI for the Pro Res Zoom feature and that it enabled 100x zoom, I was a bit reluctant. I've spent some time testing the feature, and it can be a bit of a mixed bag.

When you take a photography using Pro Res Zoom, Google gives you the unprocessed file along with the AI processed image. You will see both versions in the examples below, illustrating what changes the AI is making.

This image was taken with 32x zoom, so the bird wasn't terribly far from me. On the left is the unprocessed image, and on the right is the Pro Res Zoom processed image.
Photo: Abby Ferguson

I tried out Pro Res Zoom on quite a few birds, as that seems like a natural use case for the feature. It handled things okay at the lower zoom levels, such as in the example above. Details remained fairly natural-looking, and it indeed appeared to be higher quality than the version that wasn't processed with AI. However, as I zoomed in more, things started to fall apart.

The original, unprocessed image, 100x zoom. The first attempt at Pro Res Zoom at 100x. The second attempt at Pro Res Zoom at 100x. You can see the bird in question as a tiny white spec in this image taken with the main camera.

In the examples above, I zoomed in to 100X. As you can see, the results leave quite a bit to be desired. The top right image is the result of my struggling to hold the phone steady while zoomed in so far, which could be the reason for the intense ghosting and three legs. The bottom left image was a second attempt at holding still, and it at least turned out better, though detail is still lacking on the bird's body.

At times, I found that Pro Res Zoom resulted in some classic generative AI results, including misshapen animals or missing parts. For example, in the duck photo below, the duck now has feathers on its beak. Pro Res Zoom handled the rest of the image fairly well, but struggled with that area.

The unprocessed image on the left, and Pro Res Zoom image on the right.
Photo: Abby Ferguson

When Google presented Pro Res Zoom it clarified that it is meant for landscapes and landmarks. However, Google said that special tuning is applied when people are in the frame to prevent odd images. Naturally, I tried it on a person at 100x to see what would happen, and at least the result was rather entertaining.

The unprocessed image on the left, and Pro Res Zoom processed image on the right.
Photo: Abby Ferguson

Accurately creating text in images has historically been a difficult task for generative AI, so I set out to take some images of signs during my testing as well. On text that was relatively readable when zoomed in without processing, Pro Res Zoom did a decent job of keeping things that way. However, if the text was challenging to read beforehand, the AI processing didn't improve things at all.

The unprocessed image on the left, and Pro Res Zoom processed image on the right.
Photo: Abby Ferguson Final thoughts When an image is created with Pro Res Zoom, the Content Credentials will specify that AI tools were used.

Overall, the lower the level of zoom, the better the Pro Res Zoom results. That's not surprising, given that the same is true of basic digital zoom; the greater the crop, the less actual image data there is to work with. But regardless of quality, there are some additional factors to consider here. First, it's challenging to take a photo when zoomed to 20x, and remarkably difficult at 100x. Framing a shot successfully at such magnification is no easy task, and likely isn't practical for most situations.

Perhaps more importantly, in many of the images above, it's very clear that generative AI was used. Google added Content Credentials to the Pixel 10 phones, so images processed with Pro Res Zoom are tagged as using AI tools, but it still feels like less of a photograph and more of a graphic because of just how much of the detail in the image is generated, rather than captured. Of course, everyone will have their own thoughts on that front, but it is worth considering.

When you use DPReview links to buy products, the site may earn a commission. The Nikon Zf is now available in even more colors.
Photo: Nikon

The Nikon Zf is known for its retro design, but now there's even more ways to get one that looks like a camera of yore. Nikon has announced a silver edition, which features – no points for guessing – a silver top and bottom plate instead of a black one.

Nikon designed the Zf silver edition to resemble the chrome plating on cameras like the Nikon F. The true retro-nod comes in the silver and black model, which offers the same textured black leatherette found on the existing all-black version.

If you prefer something a little flashier, you can get the silver finish version wrapped in some of the existing colors from the black version, including Moss Green, Stone Gray and Sepia Brown. The silver also ushers in three new "premium" color options, which will also be available for the black-bodied version of the Zf as well. The Cognac Brown is a lighter brown than the existing Sepia option. Similarly, the Teal Blue is a brighter, more colorful blue than the existing Indigo. Finally, Mauve Pink is a lighter red.

The colored leatherette extends to the top of the cameras as well.
Photo: Nikon

The total number of Zf color variations will vary by region. For example, the black Zf has been available in four colors in the US, but seven in the UK.

Taking the retro-viber further, Nikon also announced an upcoming firmware update for the Zf that will add a Film Grain feature. As the name implies, the feature will allow users to add grain to photos and videos. It's a customizable option, with three grain size options and six grain strength levels. The feature can be combined with presets created by Nikon and creators and Picture Control color modes. Nikon didn't provide a specific date for the firmware update, but said it will be out sometime in 2025.

The Nikon Zf Silver Edition will be available in late September for $2200. The three premium colors – Cognac Brown, Teal Blue and Muave Pink – will cost $2300.

Press release:

NIKON RELEASES A NEW SILVER EDITION OF THE Z F FULL-FRAME MIRRORLESS CAMERA

Introducing a New Color for the Z f that Combines a Heritage Design with the Performance of a Full-Frame Camera

MELVILLE, NY (September 4, 2025) -- Nikon Inc. is pleased to announce the release of a new silver edition of the full-frame/FX-format Nikon Z f mirrorless camera. The Nikon Z f combines a timeless design inspired by an iconic Nikon film camera with the superior performance of a full-frame mirrorless camera.

Three new Premium Exterior* color options will also be available, providing more choices for users to customize the color of their Z f camera body*. Additionally, the Z f will support a new Film Grain feature that adds grain to photos and videos, further expanding creative possibilities.

Designed to resemble the silver plating on film-era cameras like the Nikon F, the metallic texture creates an authentic feel suited to the premium, full-frame retro design. Three new Premium Exteriors color options have been added: Cognac Brown, Teal Blue, and Mauve Pink – all with an embossed texture. These are subtle, yet elegant tones that complement the silver body, providing more options for customizing the exterior of the camera than ever before. In addition to the three colors, Moss Green, Stone Gray, Sepia Brown are available–allowing for six color variations in total. Additionally, the sophisticated design will help inspire users every time they pick up the camera.

A Film Grain Feature for Film-Like Expression

A future firmware update for the Nikon Z f will offer the new Film Grain feature, which adds grain to photos and videos. Users will be able to achieve more creative imaging expression in accordance with the scene and their intent by adjusting grain size (3 options) and strength (6 options). By combining this feature with Imaging Recipes, (downloadable imaging presets created by Nikon and creators) and Picture Controls, users will enjoy film-like expression tailored to their personal and creative style. This update is scheduled for release within 2025.

Price and Availability

The new Nikon Z f Silver Edition will be available in late September for a suggested retail price (SRP) of $2,199.95, or $2,299.95* for the new premium exterior options. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

*See the following web page for further information on Premium Exteriors: Nikonusa.com/Z f

When you use DPReview links to buy products, the site may earn a commission. Images: Nikon, C2PA

Last week, Nikon released firmware v2.0 for the Z6III, which brought support for C2PA Content Credentials alongside several other features. Theoretically, the cryptographic signature should prove that an image was authentically captured with the camera, and that it hasn't been tampered with since its creation. However, DPReview forum user Horshack has found a way to get the camera to sign an image that it didn't actually take.

You should check out the thread for Horshack's (well-written, as per usual) explanation of how he did it. The summary is that it works by using the Z6III's Multiple Exposure feature. Nikon lets you select a photo as your base, and then stack multiple exposures on top of it. Horshack selected a Raw image taken by another Z6III without the content credentials feature enabled.

This image, created inauthentically, has Content Credentials that claim it was taken with a Z6III. Because it was... but only kind of.
Image: Horshack

He then took a multiple exposure picture with the lens cap closed. The result: the previously unsigned image, now with a Content Credential attached. If you put the JPEG into Adobe's Content Credential Inspect tool, it appears to be a perfectly normal image, signed as authentic by the Z6III.

Horshack theorizes this trick would work even with a Z6III Raw file that had been modified to include, say, an AI-generated image. Stuffing another image into a Raw file isn't necessarily something you can do with standard software, but Horshack believes it could be done, thereby removing the need to take an authentic image in order to get a signed file.

The capture details section doesn't contain any information that the image was created by taking multiple exposures.

The trick isn't completely bulletproof. The image's EXIF data reports that it was created using multiple exposures, though Horshack also discovered that you may be able to edit an image's metadata fields without invalidating the content credential. A few fields, such as the camera's serial number, are stored within the credential itself, but most are not.

We attempted to edit a few metadata fields using exiftool, but each test we did resulted in Adobe's Content Credentials Inspect tool showing that it no longer had credentials.

I assumed Nikon wouldn't sign images taken with the feature

Horshack says he discovered the issue after trying to come up with ways the Content Credentials feature might fail. "When I thought of it I assumed Nikon wouldn't sign images taken with the feature, to prevent the outcome I achieved," he said.

When Nikon announced the Content Credentials feature for the Z6III, it classified it as a beta, so there were bound to be bugs. (In fact, Horshack also seems to have figured out why some users had to wait several hours before their cameras started signing images.) However, being able to use it to sign images taken under different conditions is a pretty big issue, one we hope that Nikon will iron out as soon as possible.

We've reached out to Nikon for comment, and will update this story if we get a response.

Photo: boonchai wedmakawand / Moment via Getty Images

As photographers, one of our worst fears is discovering a failed hard drive or dead computer, resulting in losing countless photographs. Unfortunately, backing up images is an afterthought for many, putting those files at risk. If you fall in that camp, it may be time to consider how to revamp your backup process to protect your images.

The 3-2-1 rule has become the gold standard for photo backup, offering a safe method for keeping your work safe. Here's what you need to know about this method of backup.

What is the 3-2-1 rule?

Photographer Peter Krogh is typically attributed with coming up with the 3-2-1 rule nearly two decades ago. He wrote about his method in his 2009 book The DAM Book: Digital Asset Management for Photographers. While digital storage has changed drastically since then, the general principle remains relevant.

The backup method explains that you should have three copies of your files. Files should be stored on two different types of media, and one copy should be kept offsite. Following that process helps to protect your files from hardware failure and physical disasters like fire or theft.

Components of the 3-2-1 rule

Each number of the 3-2-1 rule refers to a separate component in the backup process. Here are the different parts you should be aware of.

Three copies You should have three copies of your files for the utmost protection, though they shouldn't all be on the same media type.
Photo: Mitchell Clark

The first number of the rule says that you should have three copies of your data. It's important to have three copies so that if something happens to your main storage, you have additional backups. While it isn't likely that two backup sources are damaged, it is possible, and a third gives you an extra layer of protection.

Your primary computer can count as one copy, which may work when you first start out. However, you will likely eventually have far too much to store on a computer, so you'll need another backup option at some point.

Two types of media

Of your three copies, you should use at least two different types of media instead of two separate devices of the same kind. Using different media diversifies the risk, thus lowering the chances of failure for both options.

There are many different types of media at our disposal these days. You could opt for one copy on hard drives and one in the cloud, or you could opt for a Network Attached Storage (NAS) system and portable SSDs. The important thing is to have two distinct systems that you keep updated.

One offsite Image: Andriy Onufriyenko / Moment via Getty Images

Finally, one copy of your files should be stored offsite. Storing a backup of your work in a different location from your other two helps protect against risks like theft or natural disasters. After all, if all of your backups are stored in your home and a fire comes through, all of your work will be gone, no matter how many physical copies you have on hand.

When thinking about an offsite version, it's useful to understand the difference between an offsite copy and an offsite backup. A proper backup is a structured, versioned process that allows for data recovery of the original files. It protects against loss, corruption, accidental deletion and more and allows you to essentially go back in time. DPReview editor Mitchell Clark once had his extensive library of photos saved because he had them all backed up to Backblaze, a cloud backup service he often recommends to friends and family.

"A proper backup is a structured, versioned process that allows for data recovery."

On the other hand, a copy is simply a duplicate saved elsewhere that lacks a version history. Cloud services like Google Drive and Dropbox aren't considered proper backups because they only sync files rather than providing a robust, versioned archive. Those platforms are still vulnerable to ransomware, accidental file deletion or overwriting with the wrong versions. They are fine in a pinch and as a temporary solution, but be aware that they are not intended to serve as true backups.

You may also be tempted to use a hard drive kept at a separate location as your offsite copy. This could work as a limited short-term solution, but shouldn't be used long-term. It's very common to plug a hard drive in only to find that it's dead, as I learned the hard way years ago. There are optical media options, such as M-Disc, which are designed to last a really long time and can hold up to 100GB each, but standard hard disk drives are not considered safe for long-term backup.

Protect your files Photo: Mitchell Clark

The 3-2-1 rule certainly sounds simple on paper, but implementing a robust backup system can be time-consuming and overwhelming. However, the earlier you put this method into practice, the easier it will be, and the less you'll have to worry about losing your hard work. And if you can find ways to automate it to reduce the risk of human error, all the better.

Image: MirageC / Moment via Getty Images

Last week marked the second edition of our 'Question of the week' forum series. Our first question centered around what to consider when buying a new camera, and lenses came up quite frequently. So this time around, we wondered what five questions you should ask yourself when choosing a new lens.

Can I afford it?

First and foremost, just about everyone mentioned cost considerations. Most of you had some variation of "can I afford it" or "how much does it cost?" For some of you, lens cost was the only question you brought up, showcasing the importance of price when choosing a lens.

JohnSil even went further and asked, "If I don't buy this lens today, will it cost more tomorrow?" Given that US customers have been facing repeat price increases across many brands, it's a worthwhile consideration.

Is it a need?

The other most common question we saw related to determining whether you truly need the lens. Again, that was the only question that mattered to some of you. There were some that added provisions for simply wanting a lens, but many of you focused on need rather than want.

Similarly, many of you suggested asking if the lens fills a specific need that your current lens(es) do not. For example, Robin Dr24 said, "Will the new lens fill a gap? The gap could be an uncovered (range of) focal lengths or a wider aperture or alternate physical attribute(s) (smaller size, lighter weight, less focus breathing, tilt/shift capability)." If you're buying a lens that is very similar to something you already have, that may not be a worthy use of money.

We also really liked Jaime100's advice to ask yourself repeatedly over the course of a few weeks if you need the new lens. They added that "if you can hold off on this purchase for 3 weeks, one will be surprised on how much 'you do not need' nor find yourself wanting."

Size considerations

Lens size was also a common refrain. While some pointed out a balance between lens size and features like maximum aperture, others prioritized size and weight above all else. CmB2024 made a great point, asking, "Will I bother to carry it or, due to size and weight, will it get left at home?" If the new lens is large enough that you don't want to use it regularly, there's probably not much point in spending money on it.

Does it have the features I want?

Lens features are another important consideration. There are different preferred features, of course, but reflecting on what type of features matter most is a great suggestion when choosing a new lens. For example, Fabian Joya suggested asking yourself, "Does this lens have the features/ergonomics that I need, e.g. focusing speed, control ring, etc."

Some lenses are very basic in terms of on-lens controls, so asking yourself what features you need on the lens is very useful in making sure you purchase one you'll be happy with in the long run. Additionally, if the new lens adds features you don't have on other lenses, it's worth thinking about whether it might change how you use lenses you already own. To that end, GeoffRG suggests asking, "Will it mean that I use other lenses less?"

Image quality

Finally, but certainly not least, image quality was a common mention. Jefenator posed one such question: "Will the sharpness be sufficient in the appropriate areas at the appropriate settings?" Given that lenses significantly impact overall image quality, it makes sense that this should be a top question to consider when buying a new lens.

The thread is still open if you haven't had a chance to participate yet and would like to. Thank you to everyone who shared their thoughts and insight!

Click here to answer the Question of the week

Sigma's 14mm F1.4 DG Art lens is a superb option for astrophotography. In 2023, it earned Dale Baskin's Gear of the Year pick.
Photo: Dale Baskin

The Sigma 14mm F1.4 DG DN Art lens has been a popular offering since its launch in 2023, so much so that it's been challenging to purchase. In a recent statement, Sigma acknowledged it has had "significant delays in delivery times" for the ultrawide prime and said it will be changing how users purchase the lens as a result.

Sigma explained that it currently doesn't have any stock of the 14mm F1.4 DG DN Art lens, other than what is available in stores. To address this, the company says it is switching to a "made-to-order" system. Users will be able to place orders for a limited time, and the lens will then ship at a later date.

The company says that orders will be open from September 4 through October 31. However, the lens won't ship until March 2026, so users who pick one up during the limited order period will have to wait a while to actually get the lens in their hands.

Photo: Dale Baskin

In addition to adjusting how customers order the lens, Sigma increased the price to $1839 for US customers. This is the second price increase for the lens, as it was bumped from its $1599 original MSRP to $1759 when Sigma increased its prices in the US because of tariffs. Sigma explained the new price is a result of "rising raw material costs and manufacturing and logistics."

Finally, the Sigma said it is updating the external design of the lens, the product name and packaging to fit the company's new visual identity announced this spring. The new name (Sigma 14mm F1.4 DG | Art) ditches the DN, which used to indicate the lens was designed for mirrorless cameras. Given that Sigma is no longer designing new lenses for DSLRs, it makes sense that it wouldn't need that designation anymore.

Press release:

Sigma 14mm F1.4 DG DN | Art: Changes In Sales Method and Pricing

Ronkonkoma, NY, September 2, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), announces changes to the sales method for the SIGMA 14mm F1.4 DG DN | Art, due to the significant delays in delivery times. This is to continue meeting diverse customer needs and ensure stable product supply.

Additionally, we will be changing the product name, refreshing the exterior design and packaging, and adjusting the price accordingly. We sincerely apologize for any inconvenience these changes may cause and kindly ask for your understanding as we strive to continue providing high-quality products and services.

The Sigma 14mm F1.4 DG | Art lens will be available for special order starting September 4th, 2025 at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,839 USD.

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Cover Lens Cap Cap LC1014-02, Rear Cap LCR III, Tripod Socket TS-141, Protective Cover PT-42, Guide Plate GP-11, Shoulder Strap, Pouch

* Product appearance and specifications are subject to change.

* L-Mount is a registered trademark of Leica Camera AG.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

Changes in sales method

Currently, we have no stock of this product except for what is currently available in stores. As a result, we are experiencing significant delays in shipping newly ordered products, and we apologize for any inconvenience this may cause our customers. Going forward, we will transition to a made-to-order system as follows.

• Previously: Regular sales
• Going forward: Made-to-order sales (orders will be accepted for a limited time and shipped at a later, scheduled date)

Schedule

• Order acceptance period (2025): September 4 to October 31
• Shipment of the product: from March 2026

Changes of product name, exterior, and packaging

Starting with products shipped from next year, the name will be changed as follows:

• Previously: SIGMA 14mm F1.4 DG DN | Art
• Going forward: Sigma 14mm F1.4 DG | Art

This change is in line with our new visual identity (VI) announced in February 2025, and we will also refresh the engravings on the exterior of our products and accessories, as well as packaging. Please note that there will be no changes to the optical quality. We will continue to deliver the same imaging performance as before with a new look.

Price adjustment

In light of recent external factors such as rising raw material costs and manufacturing and logistics costs, we have decided to revise our price. The 14mm F1.4 DG | Art will retail in the Unites States of America for $1,839 USD.

Image: Viltrox

On the heels of announcing it had joined the L-Mount Alliance, Viltrox has unveiled a new lens, though not for L-mount cameras. The AF 56mm F1.2 Pro promises "professional-grade" optical design and attractive bokeh for E and X mount APS-C cameras at a budget-friendly price.

The Viltrox AF 56mm F1.2 lens sits in the company's Pro lineup, offering a fast maximum aperture with advanced autofocus. It's designed for APS-C cameras, providing a 84mm equivalent focal length. With the fast F1.2 aperture, it should be an excellent portrait prime lens for APS-C users.

Image: Viltrox

The lens uses Viltrox's HyperVCM motor, which it says is smooth and silent with minimal focus breathing, making it an ideal choice for photo and video. It can focus as close as 0.5m (1.6'). The optical design comprises 13 elements in 8 groups, including three high-refractive index elements, one extra-low dispersion element and one ultra-large precision aspherical lens. Viltrox says the lens is sharp and clear across the frame and promises limited chromatic aberration.

The 56mm lens features an aperture ring that can be clicked or de-clicked, a dedicated Fn button and an AF/MF switch. Viltrox also made the lens to be a durable offering. The aluminum alloy body is weather-sealed, promising to keep out dust and moisture. It is compatible with 67mm filters and features a USB-C port for firmware updates.

The Viltrox AF 56mm F1.2 Pro is available pre-order for E and X mount for an MSRP of $580.

Buy now:

$551 at Amazon.comBuy at B&H Photo

Press release:

Viltrox launches AF 56mm Ultra-large aperture F1.2 Pro E and XF (APS-C) lenses

Masterful control of light and bokeh, ideal for powerful portraits

Shenzhen, China, September 1st, 2025 - Viltrox is pleased to announce the release of the AF 56mm F1.2 Pro E and XF (APS-C) lenses. The AF 56mm F1.2 Pro lenses’ professional grade optical design delivers astonishingly high resolution from center to edge, taking full advantage of the capabilities of higher-megapixel cameras. Even after extensive post-cropping or enlargement, the lens faithfully preserves image detail, with incredible sharpness and clarity. Ideal for expressive portraits, the F1.2 aperture creates stunning depth and dimensional layering for a mesmerizing artistic impact.

F1.2 Large Aperture: Subject highlighting and mastery of light

The F1.2 ultra-large aperture delivers impeccable bokeh, facilitating more layered images through a shallow depth of field, rendering dreamy background blur, and highlighting subjects clearly. There is a smooth transition between in-focus and out-of-focus areas. The large aperture’s greater light intake allows faster shutter speeds and lower ISO, delivering refined, detail-rich images in both low-light and well-lit environments.

Precision optical design delivers stunning results

The precisely engineered optical design of 13 elements in 8 groups achieves peak aberration control and onion ring bokeh control even at 1.2 aperture, delivering consistent sharpness and clarity right across the frame – this is aided by Viltrox’s advanced HD nano coating. The ultra-large precision aspherical lens works together with an ED (extra-low dispersion) lens that effectively corrects axial chromatic aberration, delivering crisp, color-fringe-free images. The 3 HR (High-refractive) elements strike the perfect balance of portability and optical excellence, making this lens a natural fit for compact APS-C camera systems.

HyperVCM motor for quiet high-speed focusing

Viltrox's patented HyperVCM motor provides faster and more precise focusing, while reducing vibration for smooth, silent performance – ideal for quickly capturing shots, and for fast-moving subjects. The silent operation and minimal focus breathing ensure a smooth and professional feel for video.

Tough and durable for all environmental conditions

The lens features high-grade weather-sealed construction with a high-strength forged aluminum alloy body. The matte black finish and protective coatings resist scratches, wear and lens contamination, while rubber seals keep out dust, splashes, and moisture – ensuring reliable performance, even in challenging outdoor environments.

More details and how to buy

For more information, please visit:
Viltrox AF 56mm F1.2 Pro E: geni.us/56Pro_E_Viltrox
Viltrox AF 56mm F1.2 Pro XF: geni.us/56Pro_XF_Viltrox

Amazon US:
Viltrox AF 56mm F1.2 Pro E: geni.us/56Pro_E_AMZ_US
Viltrox AF 56mm F1.2 Pro XF: geni.us/56Pro_XF_AMZ_US

Amazon EU:
Viltrox AF 56mm F1.2 Pro E: geni.us/56Pro_E_AMZ_EU
Viltrox AF 56mm F1.2 Pro XF: geni.us/56Pro_XF_AMZ_EU

MSRP: $580 / €599 / £530

PhotoLab 9 features AI Masks to make retouching faster and easier.
Image: DxO

French software company DxO has announced PhotoLab 9, its latest Raw editing platform. DxO says this is its most powerful Raw editor yet, offering improved masking capabilities, newly added batch renaming and support for iPhone HEIF and ProRaw files.

It's no surprise that AI features are at the forefront of the software announcement. DxO added AI Masks tools that use AI to create "pixel-precise selections in an instant." The tool is very similar to Lightroom's AI Masking option, which automatically creates masks of common and prominent subjects for users to select from.

Within PhotoLab 9, users can create these in three ways. They can hover and click on different parts of the photo or draw a box around an area that contains the object. DxO also added Subject Types, a list of predefined objects users can select from, including sky, people, faces and hair. The Subject Type option can also be "intelligently copied and pasted between images" or saved as a preset. When used as a preset, the mask is contextually aware of the selection, so it will automatically adjust for each image. It promises to make retouching much faster.

The AI Masks aren't the only way to make selections, either. DxO's U Point Technology was the predecessor to AI, allowing for intelligent masks based on image content using color and contrast information. DxO combined the new AI Masks with its U Point Technology, allowing for more control over selections.

Local adjustments allow users to adjust noise in only select areas.
Image: DxO

With the help of the new masking and selection tools, PhotoLab 9 gains the ability to make local adjustments for noise reduction (using DeepPrime) and lens sharpness (with DxO's Lens Sharpening Optimization). With local adjustments, users can selectively reduce noise in heavy shadow areas or only sharpen key subjects, for example.

The DeepPrime XD3 engine is now out of beta.
Image: DxO

PhotoLab 9 also adds support for Apple iPhone HEIC/HEIF and ProRAW file formats. Photographers who use their iPhone will now be able to keep their editing in one platform if they are DxO users. Additionally, DxO said that its DeepPrime XD3 engine for intense processing on demanding files is out of beta and compatible with all X-Trans cameras.

Finally, DxO added some workflow functionality as well, including batch renaming. Files can now be batch renamed, including an automatic setting for names using image metadata, EXIF information or custom text.

DxO PhotoLab 9 is available now. A new license costs $240 while an upgrade costs $120.

Press release:

DxO PhotoLab 9 introduces a new era of editing, adding exceptional AI Masks, high-precision local adjustments for DeepPRIME denoising and sharpening, and more

New features also include powerful batch renaming, a host of improvements for a smoother workflow, and support for Apple HEIC/HEIF and ProRAW files.

Paris, France: DxO, a pioneering force in photo editing software for more than two decades, today announces the launch of DxO PhotoLab 9, the world’s most advanced end-to-end RAW photo editing software. Version 9 introduces masking powered by AI that guarantees supremely accurate selections, allowing photographers to create local adjustments with more precision than ever. In addition, new features include: local adjustments for denoising, demosaicing, and Lens Sharpness Optimization; a range of workflow upgrades for a smoother editing experience; powerful batch renaming options that use metadata; and support for Apple HEIC/HEIF and ProRAW images.

"Version 9 is a major step forward in RAW photo editing," explains Jean-Marc Alexia, VP of Product Strategy. "The AI-powered masking offers unmatched accuracy, and when you combine this with all of the other features in PhotoLab 9, it’s probably our biggest upgrade to our flagship editing software of the last twenty years."

Introducing DxO AI Masks, the new standard for automatic object selection

The new AI Masks harness the power of artificial intelligence to create smart, pixel-precise selections in an instant. Users can quickly create masks through three different methods: hovering and clicking on different parts of the photo; drawing a box around the area of an image that contains the object to be selected; or choosing from various Subject Types, a list of predefined objects, including sky, people, faces, and hair.

The list of predefined objects offers more than just quick selection. For example, if a photographer selects "Hair" and makes some adjustments, these changes can be intelligently copied and pasted between images, or saved as a preset that is contextually aware of the selection. Complex retouching becomes faster, smarter, and effortlessly consistent.

Combining DxO AI Masks and U Point Technology™ to achieve unmatched precision

By integrating effortlessly with other Local Adjustments tools, AI Masks deliver an unparalleled level of flexibility and control. Selections can be refined using DxO’s renowned U Point™ technology: using a combination of AI Masks, Control Points, Control Lines, Graduated Filters, and the Brush tool, photographers can create highly complex masks that would otherwise be too sophisticated for even the most advanced AI. This offers a significant advantage over competing tools, where refining complex selections can be laborious.

Exceptional control with local adjustments for targeted noise reduction and Lens Sharpness Optimization

For photographers who demand the most precise control, DeepPRIME noise reduction technologies and DxO’s exclusive Lens Sharpening Optimization can now be targeted using local adjustments. While PhotoLab’s automated processing already delivers outstanding results, this gives users the ability to fine-tune their image with a supreme level of detail, especially given that the new AI Masks — combined with existing local adjustment tools — offer incredible precision.

A smarter, faster workflow

DxO PhotoLab 9 brings a host of workflow improvements designed to make photo organization faster and more intuitive. New features include image stacking, a Favorites system for folders and projects, and direct access to the Project palette from Customize mode. And as part of a cleaner, more versatile editing experience, you can also easily relocate folders that have been moved.

Powerful batch renaming

DxO PhotoLab 9 introduces a powerful new batch renaming tool, giving users full control over how original and processed files are named. Filenames can be automatically generated using image metadata, EXIF information, or custom text, streamlining organization and post-processing. Users can also create and save their own presets, making it easy to apply consistent naming conventions across entire projects or workflows.

Support for iPhone images

Version 9 introduces support for Apple’s iPhone image formats — HEIC/HEIF and ProRAW — making it easier than ever to edit photos taken using iOS devices. This expanded compatibility ensures a seamless workflow for photographers who want to harness the power of DxO’s renowned image processing tools with photos captured on their iPhone.

Unrivaled noise reduction and detail extraction for X-Trans sensors: Introducing DeepPRIME XD3 X-Trans

Two years ago, DxO introduced DeepPRIME XD, the ‘eXtra Detail’ engine designed to use more intense processing for taking on the most demanding files. The technology continues to evolve, ensuring unprecedented results for images captured at extreme ISO levels.

Today, DxO is proud to announce that, following the technology preview released as part of DxO PureRAW 5, DeepPRIME XD3 has emerged from beta and now processes RAW files from all X-Trans cameras.

The image quality is unprecedented, able to recover noise and retrieve details from images captured in very low light like never before.

Price and availability

DxO PhotoLab 9 is available today from the DxO website (shop.dxo.com), for macOS and Windows machines:

New license 239,99 $ - 239,99 € - 219;99 £
Upgrade from DxO PhotoLab 7 or 8 119,99 $ - 119,99 € - 109,99 £

A 30-day trial is available from dxo.com/en/dxo-photolab/download.

Image: Canon

Canon UK has posted a teaser on its Instagram account, saying that "something new is coming" and encouraging people to set a reminder to watch a YouTube livestream on September 9th at 3PM CEST (6AM PT / 9AM ET).

The teaser image is surprisingly revealing, showing what looks like a video-focused camera with a boxy design and potentially 1/4-20" mounting points on the top plate. It also clearly shows a red Record button in place of a shutter and a front-facing tally light.

The design is reminiscent of the EOS R50 V, an APS-C vlogging camera the company released earlier this year which featured a gimbal-friendly form-factor. However, given the several control points shown in the image and what looks to be a red-ring lens attached, it won't be surprising if this is a higher-end offering.

It's also worth noting that the announcement is set right before the start of the IBC (International Broadcasting Convention) trade show, where we typically get a look at company's video-focused offerings.

Whatever Canon has planned, it sounds like we won't have to wait that long to get more details.