A recently published marine biology study shines a light on yet another damaging effect of the global illegal drug trade.

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Category: Biology, Science

Tags: Marine Biology, Drugs, Cocaine, Sweden

While collecting fish samples in the field in Africa recently, behavioral ecologist Shun Satoh made an intriguing discovery. When he gazed towards a group of emperor chichlids, the fish seemed to be more alert and aggressive. This personal intuition became the starting point for a study to determine whether the fish could detect when a diver was directing visual attention toward their offspring.

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Category: Biology, Science

Tags: Marine Biology, Behavior, Fish

Photographing rocket launches presents distinct challenges; you get one shot at a seconds-long window, the environment is extreme and the flexibility for creativity is limited. Photographer Jared Sanders has made this his specialty, and for Artemis II, the first crewed Moon mission since Apollo 17 in 1972, the pressure was unlike anything he had experienced before.

Despite that pressure, Sanders came home with some striking images and videos of the launch, including an unplanned moment of a newly engaged couple celebrating in front of his lens. To learn about what it takes to create images worthy of the moment, we sat down with Sanders to talk about his background, gear, logistics and more.

Sanders didn't start his career photographing rockets or even using a camera at all. Instead, he went to school for visual effects in 2008 and went straight to California after graduating to work for VFX studios, where he was far from any camera work or filming. That changed when he started working for a rare end-to-end studio – one that pitched, produced and delivered its own projects – and became a visual effects supervisor.

For the first time, he was on set alongside directors and camera operators. "There was no pressure on me to be part of the production in that capacity, but I was still able to absorb all of that knowledge," he said. "Instantly, I was hooked."

In 2017, Sanders wanted something different and co-founded a creative marketing agency with a friend. With just two employees and clients to serve, there was no budget to hire a photographer, so Sanders handled the visuals himself. "It turned out all the knowledge that I had learned over the years actually was useful," he told me. "The skill set that I had from working in the studio of how to light things and properly pitch, how to write and direct a project, all that started coming together."

During the pandemic, a second child, a parting of ways with his business partner and a desire to get out of Los Angeles sent him back to the Florida Space Coast, where he had grown up. Starting from scratch, he looked around for what he could capture consistently without traveling far. "I grew up here, I knew about rocket launches, and during this whole time, it had started ramping up with SpaceX, especially," he said. "I was like, I really want to start shooting rocket launches."

Getting to the press site involves some logistics, including buses and a security check of gear.

Photo: Jared Sanders

With that goal in mind, Sanders reached out to local photographers to ask about getting access to NASA and how they take their shots. Those photographers pointed him toward Space Explored, a space-focused publication in the 9to5Mac network that was looking for photographers and videographers. He pitched himself, got the green light, and went through NASA's formal media credentialing process.

Access is one thing, but the harder part is getting the shots. His earliest attempts were off-site long-exposure shots from the beach, trying to capture the rocket's arc across a four-minute exposure. Keeping the camera perfectly still for that long, firing at the right moment and waiting while the screen blacks out during exposure and processing made for a steep introduction. "The rocket's gone, and you're like, did I get it?" he said. Frequently, the answer was no.

Photographing launches at night is especially difficult due to the extreme contrast, as shown in this image of the Artemis I launch.

Photo: Jared Sanders

Sanders told me that rocket photography has a few big challenges: the short duration of the event and the intensity of the plume. "Even as an experienced photographer, the thing that is really tricky with rockets that I have I've never experienced with anything else... is the speed because you only get one shot at it per attempt," he said. "You get this 30-second arc, and then it's sort of out of sight."

The engine plume also complicates things. "It's so bright. At nighttime, especially, you're literally exposing for night and the sun at the same time. So you have to pick and choose your battle," he explained. "Obviously, camera technology has gotten a lot better. So you can sort of fix some of that with modern technology. But at the same time, you're going to lose something in that battle. You're going to lose either your highlights or you're going to lose your shadows. It's just what are you gonna pick?"

For photographers shooting from public sites rather than the press site, location is most of the creative work. From the press lawn, though, everyone is pointing in roughly the same direction across the same arc, three and a half miles from the pad. "It's so hard to make your stuff look different from any other photographer out there," he said. "You either get lucky and pick a spot no one else has, or you figure out a way to treat your footage and photos so they look just a little bit different."

Sanders also photographed the astronauts walking out to the rocket, using his Super 8 camera.

Photos: Jared Sanders

Most photographers at the press sites are there capturing typical news shots, which means very minimal color correction and editing. It's what press wires need, but he had the flexibility to try something else. "I edit my rocket photos the way I would edit my normal photography," he said. "The coloring just looks a little bit different. It may lean a little more toward the normal color palette I'd use for my landscape photos or whatever other photos I'd be taking in that series."

Sanders has also brought film to launches to create something different. For Artemis II, he said he was the only person at the press site recording video with Super 8 film. He put a roll of Kodak 500T through the camera, which he recently sent off and is waiting to see if it worked out. "Those are the kind of things that I try to do differently, to set myself a little bit apart from the other photographers."

Sanders didn't have remote cameras for Artemis II, but he did have remote setups for the first Artemis launch.

Photos: Jared Sanders

Remote cameras come with their own logistical challenges. NASA buses credentialed photographers out to preset zones about a half mile from the pad, where cameras are left unattended until after the launch. Sanders explained that focus is locked manually, and most photographers use sound-activated triggers (Sanders and many others use Miops), which fire the camera the moment the rocket's acoustics reach them.

For a mission like Artemis, installing remote cameras means journeying to the Cape multiple days before launch. "You have to go through a whole security check with your camera gear," he told me. "Then you get on the bus. So it's like a whole day event to get out there and set the cameras up." If the mission gets scrubbed, you'll have to go back out to pick up your gear and set it up all over again at a different date.

Protecting the camera is also critical. Sanders said you have to bag the camera or have it in a box so that it doesn't get rained on, and he also uses hand warmers to keep the intense Florida humidity out. There's also a physical risk to the gear from the launch itself. "You're definitely putting your gear at risk," Sanders said. "You're still within a half mile of the rocket. I've seen a lot of pitted lenses from like fuel or just debris."

Sanders knew he would lose highlight detail on the plume, but was more concerned with balancing the exposure of the clouds and rocket.

Photo: Jared Sanders

In terms of camera settings, Sanders explained that some photographers use aperture priority and let the camera adapt to rapidly changing light. He, however, shoots full manual, preferring greater control and a more consistent sequence of exposures that he can cut together almost like a time-lapse. Choosing the exact settings comes down to the priorities of each shot. For the remote cameras, "that's where you're like, 'Okay, I really want to see detail in the engines and the flames,'" Sanders explained.

The shots from the press sites, which are farther from the launch, serve different purposes. "When you're far away, to me it's more about the story you're telling with the scenery and where you are," he said. That might mean letting the brightest parts of the engines and plume lose detail. "Even from my still shots, I think that the exhaust and the engines were a little bit blown out... The clouds were really nice that day, and I wanted to make sure you could see the clouds and the rocket contrast against the sky."

Sanders went into the Artemis II launch with a specific plan and an extensive kit in tow to execute. He arrived at the press site with six cameras: a Red Komodo X for a landscape-oriented video, a Nikon ZR for a portrait-oriented video, a Fujifilm GFX 100 II with a 500mm lens for stills, a 360° camera and Insta360 Ace Pro 2 for behind-the-scenes footage and the Super 8 setup on a tripod (which differed slightly from his plan laid out in the video above).

Sanders also packed two lenses for his video cameras: a 1995 parfocal broadcast lens and a Tamron 35-150mm F2-2.8 Di III VXD. He put the Tamron on his Komodo and planned to use the broadcast lens on the ZR. However, when he arrived on site, he discovered that Nikon had a tent with gear available for anyone to borrow for the launch.

He walked over just to check it out, without any intention of borrowing anything, since he already had so much gear with him. But the Nikon representative mentioned he had the 600mm F4 with him. "It's like a $16,000 lens, and I was like, well, I gotta use it because I'm not gonna buy this lens ever, and I'm not going to rent it. So, I'm going to use it," he said.

A post shared by Jared Sanders (@hyprlyte)

That 600mm ended up being the key to getting a clip that stood out from the rest, which you can see above (it was also what got my attention and sparked this interview). He knew he had a wide view covered with the Komodo, so he wanted something different from the ZR with the 600mm lens. "I have this prime lens. It's going to have tons of compression. I can at least get some people in the foreground," he explained. "It would be cool to see some scale of the rocket. And that was my main intention." So he set up the camera at a distance from one of the angles that people usually shoot from and chose a low-angle shot looking up.

The rest of the shot was pure serendipity. "I pointed it up, and these people walked in front, and I had no idea anybody was going to be there just yet. But when these people walk in front, they start hugging, and the rocket's right in between them," Sanders recounted. "I'm like, 'Oh, oh my gosh.' If they're there hugging when this thing goes off, that's going to be pretty cool."

Sanders has shot enough previous launches to know that people always react to the wall of sound, and said that the first Artemis launch was especially crazy. So he had high hopes for a cool reaction if they stayed in front of his camera, but it was still a wait-and-see situation. "The press site's really big, so I'm probably like a football field away from the camera where I'm actually shooting," he told me. "I run over at like six minutes to go, and I hit record, hoping I have a full battery. And I was recording at 6K Raw, so I was like 'oh my gosh, I hope it doesn't run out of memory.'"

Three behind-the-scenes images from the launch. You can see a behind-the-scenes video here.

Photos: Jared Sanders

He went back to his main spot and captured the launch with the other cameras, taking only a brief moment to look through the viewfinder to revel in the view without taking photos. When he went back to the ZR and reviewed the footage, he saw that the couple who had been hugging before the launch were jumping and cheering during the launch right in front of his camera.

While everyone else rushed to get their clips and photos up as soon as possible, Sanders opted to go home, spend time with his family and then color grade, finally getting the video up around midnight. He assumed he missed the magical window, but the video blew up on Instagram. At some point, the woman in the video was tagged. She reached out and told him that she and her fiancé are both in the space program, and that they had just gotten engaged at the Artemis II rollout. She even asked if she could use the footage in their wedding video (to which he said yes). "It ended up being a story within a story," he said.

There's also more of that clip that he hasn't released yet: after the rocket clears the frame, the two of them standing still, hands together, staring up at the dissipating plume. "They're like two kids seeing Disney for the first time," he said. He plans to put a reel together around it eventually. For now, it's sitting on a hard drive; it's the kind of footage, he said, that makes you want to back it up in fifteen places.

You can see more of Sanders's work at his website, on his YouTube channel or on his Instagram account.

Downsizing is always a challenge, but the Knoll tiny house makes the jump more manageable than most. Featuring a spacious layout with plenty of storage, the towable home would be a good fit for a couple or even a small family.

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Category: Tiny Houses, Outdoors

Tags: Building and Construction, Tiny Footprint, House, Home, Micro-House

Along the rocky Atlantic shoreline of Nova Scotia, Canadian studio Omar Gandhi Architects has completed a home that looks like it’s floating above the landscape. The East River Residence, which is suspended on thin columns, stretches across the valley like a bridge between two embankments, letting the terrain flow underneath it like water.

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Category: Architecture, Engineering

Tags: Home, House, Building and Construction, Canada

The all-new Mohab Altus is a vehicle rooftop shelter series like nothing we've covered before. Using an electric-lift system, it rises into a boxy cabin that lives atop your vehicle. With four hard walls of solid weather protection and available heating and air conditioning, the Altus blurs the line between tent and RV, turning any pickup truck or 4x4 into a comfy camping rig with rock-solid all-season protection.

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Category: Tents, Gear, Outdoors

Tags: RV, Pickup, Truck, SUV, roof-top tent, Tent, Cabins, Off-road, Camping, Outdoors and Camping, Overland Expo

"Ancient Japanese Art Brings Spineless Robot To Life!" Sounds very much like a movie plot summary. In reality, it perfectly describes the work of Princeton University engineers who have created a robot that moves without a single motor or gear, using heat and the principles of origami instead. Their soft robotic system relies on a combination of heat-sensitive advanced materials, flexible embedded electronics, and carefully designed folding structures to produce motion, ditching traditional mechanical components.

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Category: Robotics, Engineering

Tags: Soft Robotics, Princeton University, Origami

The community of bacteria living in the intestines could be one of the drivers of memory loss in old age, at least in mice. As rodents age, shifts in their gut microbes weaken the signaling pathway connecting the gut to the brain, a study published in the journal Nature finds.

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Category: Biology, Science

Tags: Gut Bacteria, Gut health, Gut-brain axis, Stanford University, Memory, Cognitive functioning

Minamata (2020) movie trailer cover

Image: Samuel Goldwyn Films

Featured films are not necessarily the first thing you consider when selecting a topic for a photography discussion, but we did just that last week when asking our community about their favorite photography-related shows and movies. We were blown away (a bad pun intended, related to the suggested movie, Blowup) by the wide range of results.

Our Reviews Editor, Mitchel Clark, got the jump on the community by suggesting the documentary Side By Side (2012):

"Oh boy, a chance to promote one of my favorite documentaries, 2012's Side By Side. Keanu Reeves talks to a bunch of filmmakers about how the movie industry is transitioning from film to digital, and goes into the pros and cons of each. Obviously, 14 years later, there's been a lot of progress made, especially on the digital side, but I still think it's a fascinating watch." - Mitchell

Check out the top suggestions below, and then let us know in the comments what your favorite photography-related show or movie is!

Lee (2023) film poster

Image: Brouhaha Entertainment and Juggle Films

Morris Trichon: "My favorite Photography movie is Blowup, released in 1966. Blowup had a significant effect on me, and so I wanted to minor in photography. I was majoring in Aerospace Engineering. My advisor would not sign off, telling me I would spend too much time in the darkroom and probably flunk out of engineering and become a starving photographer. In the end, I completed my engineering degree, but have been involved in photography my entire life. Thank you, Blowup."

Swerky: "Alfred Hitchcock’s Rear Window with James Stewart in his chair and his Exakta VX 35mm SLR."

AbrasiveReducer: "Pecker. The problem is, most movies about photography show the impossible, like prints developing instantly under bright red safelights (bleach & redevelop) or handheld cameras doing surveillance from a quarter mile away, which is then enlarged to show a person's name tag. Even Sony can't do that."

Progman: "The 2024 film Civil War was chilling when it first came out, and even more so when rewatched more recently, given the current political climate. Seeing war photographers putting themselves in harm’s way, and experiencing the accumulated trauma they experience, is moving."

Ansel Adams (2002) documentary poster

Image: Steeplechase Films and Sierra Club Productions

Tunnan: "War Photographer is an Oscar-nominated documentary following James Nachtwey shooting on location and in the darkroom. It is a fascinating film showing his approach to his life and work. I saw it in the cinema 25 years ago when I was just starting out as a press photographer, and although my career has never taken me to war, the film was a great inspiration. While researching this reply, I noticed it has been uploaded to YouTube, so I would give it a watch."

Don Sata: "Sebastiao Salgado's The Salt of the Earth. A beautiful retrospective documentary on the greatest photographer ever."

Lensmate: "Music Through the Lens is an eye-opening, six-part, thrill ride through the amazing world of music photography."

Kodachrome (2017) movie poster

Image: 21 Laps Entertainment

There were many other great show and movie recommendations shared in the forums. You'll have no shortage of nostalgic photography-related content to watch.

Keep ready for the next Question of the week to participate in this series. New questions are posted here on the homepage and in the forums every other week. We can't wait to read and share your stories!

Share your favorite photography-related shows and movies!

People often muse over catching lightning in a bottle, and what an amazing feat it would be. But have you ever wondered what comes next if we do it? Well, researchers at Northwestern University have bottled lightning and are using it for something just as remarkable: clean fuel. Their technology uses plasma in glass tubes to produce methanol from methane gas, a process that typically requires enormous amounts of energy.

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Category: Energy, Engineering

Tags: Northwestern University, Lightning, Plasma, Methanol, Methane

I remember the various iterations of the family TV pretty much always being the focal point of our living room, but it never dominated the space like big flat panels can today. Some of the time the huge flat panel is hypnotizing watchers with the latest blockbuster movie, current viral sensation or – if you're lucky – an in-depth documentary or two. But much of its life it's just an unattractive dark presence looming large.

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Category: Home Entertainment, Consumer Tech, Technology

Tags: Projectors, Laser TV, Google TV, 4K UHD, Reviews

This high-end park model tiny house isn't intended for frequent travel. Instead, it uses its increased width to create a roomy apartment-style home on wheels that includes a spacious living area and even a porch.

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Category: Tiny Houses, Outdoors

Tags: Building and Construction, Tiny Footprint, Micro-House, House, Home

Northrop Grumman is teasing us again with another glimpse of its candidate for the US Navy's F/A-XX fighter program. The company posted a brief video on X (formerly Twitter) that gives the most complete look yet of the 6th-Gen aircraft.

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Category: Military, Engineering

Tags: Northrop Grumman, Aircraft, Fighter

With the sheer preponderance of flappy, fabric-walled pop-up truck campers, hard-sided pop-up pickup camping systems feel cutting edge, even today. But they actually have a long, proud history dating back to the mid-20th century. And no manufacturer then or now has been as integral to that history as Alaskan Campers, a true pioneer that's been building telescopic-roofed pickup campers for over 60 years. Now the company takes a detour and turns its attention to a different style of camper, launching a fixed high-roof composite camper meant to save weight and expand availability to more truck platforms. The all-new HS640 kickstarts a new era in Alaskan truck camping.

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Category: Pickup Campers, Adventure Vehicles, Outdoors

Tags: Pickup, Truck, RV, Camping, Outdoors and Camping, Off-road, Lightweight

You don’t just turn up at Nürburgring Nordschleife with an eye on Corvette ZR1X’s record. And who better to do it than the manufacturer who lost that record to Corvette itself? Well, Ford did exactly that with the new Ford Mustang GTD.

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Category: Automotive, Transport

Tags: Ford, Mustang, Ford Mustang, Nurburgring, Record, World's Fastest, Mercedes-Benz, Chevrolet, Corvette

Earbuds are small, which is great for comfort, but their tininess is a serious limitation for actually doing things other than letting you hear and talk. You can’t use them to fly, fry, pry, or purify. Compare them with a smartphone and they’re one-hit (two, actually) wonders, right? They’ll never even compete with a Swiss Army Knife. Pathetic.

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Category: Wearables, Consumer Tech, Technology

Tags: University of Washington, Smart Glasses, Earbuds, Artificial Intelligence

The latest small electric vehicle (EV) to join the crowded battle for European family car buyers has arrived. It’s important, firstly because the Ioniq 3 is from Hyundai, the world’s third biggest auto manufacturer, and secondly, because it looks pretty darn cool.

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Category: Automotive, Transport

Tags: Hyundai, Hot hatch, Electric Vehicles

Let's be honest … tools that are made to be gun-like are generally pretty childish. They can also be practical at the same time, however, which is where the rifle-inspired Dream Knight ratcheting screwdriver comes in.

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Category: Around The Home, Consumer Tech, Technology

Tags: Tools, Kickstarter, xxKickbooster

The Panasonic Lumix S 40mm F2, pictured on an S1II body

Photo: Richard Butler

Panasonic has announced the Lumix S 40mm F2, a small, fast lens for L-mount that recalls its much-loved 20mm F1.7 prime for Micro Four Thirds.

The lens gives a fractionally-wider-than-normal field of view on full frame sensors and has been designed to match the dimensions of the 18-40mm F4.5-6.3 kit zoom for the S9, in its retracted, carry-around state.

Panasonic described it to us as "more of a muffin lens than a pancake."

The $400 lens features seven elements in six groups, with three of those elements being aspherics. Its relatively modest price results in a 7-blade aperture design, but despite this, sees seals deployed at all the key points around the lens to provide dust, splash and freeze resistance down to -10°C (14°F).

Likewise, while Panasonic has avoided the cost of including a lens hood (and the costs of designing one to match it), it's made sure to include a lens function button on the side of the barrel. The focus ring has the usual options to control focus throw and focus direction, or act as a control ring.

The S 40mm F2.0 weighs just 144g (5.1oz). It accepts the same 62mm filters as the 18-40mm and its front element has a fluorine coating.

The 40mm F2 will be available from Early June at a recommended price of $399, exc sales tax.

We've been shooting with the 40mm for a while and, even paired with an S1RII, found it plays a big part in making the camera/lens combination more carryable.

While a distortion correction profile is embedded in the lens, and we've applied it to the images in the gallery, its effects are extremely subtle. The lens is not utilizing high levels of correction.

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.

News Release

Newark, N.J. (April. 21, 2026) – Panasonic is pleased to introduce the new LUMIX S 40mm F2 (S-S40), an interchangeable lens based on the L-Mount system standard.

A compact, lightweight prime designed for everyday versatility, the LUMIX S 40mm F2 delivers natural-looking images with beautiful bokeh — ideal for street photography, portraits, and landscapes.

Featuring a 40mm focal length, often regarded as close to the field of view of the human eye, this single focal length lens delivers a natural perspective suited to a wide range of scenes. Its bright F2 maximum aperture creates soft and beautiful bokeh for strong subject separation in portraits and helps maintain faster shutter speeds in low-light to keep clear images without pushing ISO unnecessarily.

With an overall length of approximately 40.9mm and a weight of approximately 144g, it pairs perfectly with the compact body of the LUMIX S9, creating a lightweight, portable setup that’s easy to carry. The lens shares a similar profile with the LUMIX S 18-40mm F4.5-6.3 when collapsed and maintains the same 62mm filter diameter.

While remaining compact and lightweight, the lens features a dust- and splash-resistant design for reliability in changing weather conditions. The front lens element is coated with fluorine, making it easy to remove dirt and oil from the surface.

To meet the growing demand for video production, the lens also incorporates features such as focus breathing suppression and micro-step aperture control, enabling smooth exposure transitions and high-quality video expression.

Alongside this announcement, Panasonic is also sharing its lens development roadmap, featuring a wide-angle prime lens designed to complement the compact LUMIX S9 body, and a large-aperture telephoto zoom lens to further expand the L-Mount lens lineup.

With the introduction of the new 40mm lens and its continued commitment to future lens development, Panasonic continues to expand creative possibilities for both camera enthusiasts and professionals by delivering a strong balance of image quality and mobility, contributing to the growth of the interchangeable-lens camera market.

1. Natural 40mm View with large F2 Aperture
   • 40mm focal length provides a natural perspective similar to human field of view
   • Large F2 aperture produces soft and beautiful bokeh
   • Suitable for a wide range of shooting styles including street photo, portraits, and landscapes
2. Compact, Easy-to-Carry Design
   • Compact and lightweight design measuring approx. 40.9mm in length and approx. 144g in weight
   • Sized to match the compact LUMIX S9 body for easy portability
   • Shares the same compact size and 62mm filter thread as the LUMIX S 18-40mm F4.5-6.3
3. Enhanced control and reliability
   • Features a control ring and focus button for intuitive operation and enhanced creative control
   • Dust- and splash-resistant design for reliable shooting in various conditions
   • Focus breathing suppression and micro-step aperture control support smooth video recording

The LUMIX S 40mm F2 (S-S40) will go on sale for $399.99 USD and is expected to begin shipping to customers in early June 2026.

Software company DxO has announced the ninth iteration of Nik Collection, its suite of seven creative editing plugins. Nik Collection 9 introduces updated masking tools and new filters for photographers looking to add creative finishing touches to their images.

The most notable update is the addition of more advanced masking tools via the Local Adjustments toolbar. In Nik Collection 8, DxO added the ability to import Photoshop's AI-powered selections (such as Select Subject), but otherwise, selection tools remained rather simple and required direct user input. Now, the company has added AI-powered masking to Nik Collection apps, no Photoshop or manual selections required.

One of the newly added masking tools promises to select parts of a scene based on how far they were from the camera.

Image: DxO

The updated AI masks come in two different forms. First, users can select subjects and objects, just like they can in Photoshop. There's also the new Depth Mask option, which uses AI to create a depth map, allowing users to make adjustments to specific areas based on the distance from the camera. Because it's AI-powered, it works without embedded distance data from the camera.

Both types of masking rely on local processing, so images stay on the user's computer. They can be fully adjusted and fine-tuned as needed. To aid with that, DxO added new Mask Overlays that make it easier to see where a mask is. Masks can also be copied and pasted from one filter to another, saving time from having to reselect that same area for a different adjustment.

Nik Collection 9 also features three new filters. The Chromatic Shift option recreates the look of ink misalignment from magazine days, with full control over the direction and level of shift and the colors shifted. The Glass Effect filter makes it look like your subject is behind a sheet of textured glass, and the Halation filter aims to replicate the look of the glowing highlights characteristic of certain film stocks.

DxO is also giving users more control over how those filters interact with the image. It has added 18 different blending modes to Color Efex and Analog Efex, which will be a familiar option to Photoshop users. There's also a new Preset Hover Preview option, providing instant, real-time previews of presets without clicking back and forth between the options.

A new Color Grading menu aims to make it easier to adjust the colors in a photo.

Image DxO

Lastly, there is now a color grading menu, which keeps all color controls in a single color wheel. Users can select three points for highlights, shadows and midtones, adjusting the color of each area. Additionally, a slider below the color wheel shows the color grade from shadows to highlights and allows users to shift all tones at once.

DxO's Nik Collection 9 is available for download now. It costs $180 for a new perpetual license, or $100 for those upgrading from Nik Collection 7 or 8.