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Sony is set to announce a new model of its RX10 enthusiast long zoom compact next week, according to a teaser video. Captioned "The wait is over. A new RX10 is coming 7/9/2026," it shows off a silhouette of what appears to be the camera's lens and body.

The reference to a wait is apt. The RX10 IV, which featured a 20MP Type 1 sensor (116mm²) and a 24–600mm equiv. lens, was released in late 2017, and hasn't been available to buy new for a while now. That absence has been felt even stronger because of the lack of other cameras in this class. Panasonic's FZ1000 II was one of its closest competitors, but is also now unavailable.

Other bridge cameras, like the Nikon P1100 or Panasonic ZS300, fill similar roles of offering a ton of zoom range, but with different sets of trade-offs. The P1100 offers a massive 24–3000 mm zoom range, but uses a Type 1/2.3 (28mm²) sensor that makes even the RX10 IV's look massive by comparison. And while the ZS300 also uses a Type 1 sensor, its 24–360mm is decidedly less ambitious with an aperture range of F3.3–6.4, compared to the RX10 IV's F2.4-4 (equivalent to F9-17.4 and F6.5-10.9, respectively).

Sony's teaser has essentially no other information on what upgrades it has made to the RX10 IV's formula in the near decade since it launched, but we don't have long before we find out. According to the video, the announcement will be at 07:00 Pacific / 15:00 BST on July 9th.

Canon EOS 5D | F8 | 3 sec | ISO 250
Photo: Rishi Sanyal

This weekend, people and cities across the US will be celebrating the Fourth of July with the traditional large firework displays. If you're trying to capture those, there are a few things you'll want to keep in mind if you want to get pictures that truly sparkle.

We've outlined the most important ones in a video, which you can watch below:

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If you're looking for a more in-depth look at how to shoot fireworks, including tips from someone who's done it professionally, we have a few articles you can dive into, too. Stay safe, have fun, and get some great shots!

Read: a tutorial from the official photographer for the London New Year fireworks

PS: not American? These tips will work just as well on November 5th, December 31st or any other day with big fireworks displays. It's never too early to start planning!

Slideshow: Fireworks 101

Photo: Fujifilm

Fujifilm is celebrating the 40th birthday of the QuickSnap series of single-use 35mm film cameras. To mark the occasion, the company has announced two new additions: the QuickSnap Black and White and Active.

The QuickSnap Black and White is Fujifilm's first one-time-use camera that uses monochrome film. That perhaps isn't too surprising; while Fujifilm has produced black and white film under its Neopan brand since 1952, the line has been whittled down over the years to just a single stock, Neopan 100 Acros II.

The simply named QuickSnap Black and White is the company's first monochrome single-use film camera in the lineup.
Image: Fujifilm

The new disposable camera uses 400 speed film, but Fujifilm hasn't specified an emulsion. Given that Fujifilm's only black and white film in production right now is 100 speed, it isn't that. But it isn't clear if this is a proprietary emulsion made for the camera, or if it's sourced from a third party like Ilford. Either way, Fujifilm says the film stock is "designed to capture rich contrasts, tones and textured grains."

The black and white camera uses a 1/140 sec shutter speed and a plastic, 32mm lens with fixed focus and F10 aperture, as is typical on single-use film cameras. It features a built-in flash with a range of roughly 3 meters (10'), and a switch to turn the flash on and off. It offers 27 exposures and can be developed with C-41 chemistry.

The QuickSnap Active replaces the QuickSnap Waterproof, though it is functionally the exact same.
Image: Fujifilm

The QuickSnap Active replaces the previous waterproof QuickSnap. It's designed to withstand rain and underwater adventures up to 10 meters (33'), thanks to an integrated waterproof housing. It also uses a 32mm plastic lens with F10 aperture and fixed focus, though a slightly slower 1/125 sec shutter speed.

The Active uses an 800 speed color negative film. The previous waterproof camera likely used Superia X-TRA 800, but it isn't clear yet if that continues in the new Active. Unlike the black and white offering, the Active does not feature a flash. It is capable of 27 exposures and can be developed with C-41 chemistry.

The Fujifilm QuickSnap Active and Black and White will be available for purchase in early September for $25 and $23, respectively.

Press release:

FUJIFILM QuickSnap™ One-Time Use Cameras Celebrate 40 years with New Product Announcements

New Black and White Variety and an Updated Waterproof Camera Introduced

VALHALLA, N.Y., June 30, 2026 — FUJIFILM North America Corporation, Imaging Division, is celebrating the 40th anniversary of the introduction of its QuickSnap™ one-time use camera line with the introduction of two new varieties of its popular portable camera lineup – QuickSnap Black and White™, and QuickSnap Active™, which replaces the current waterproof QuickSnap™ camera.

"For 40 years, FUJIFILM QuickSnap™ cameras have been trusted companions for people making images on the go," said Bing Liem, division president, Imaging Division, FUJIFILM North America Corporation. "In the age of endless smartphone imagery, one-time use cameras have always offered something unique – intentionality. A dedicated device in your hand solely used for image-making – a departure from the constant beeping, buzzing, or alerts from our electronic devices. QuickSnap™ reminds us to take a breath, be authentic, and capture a raw moment, filter-free. These latest new varieties take that intentionality a step further, bringing users the artistic flair of black and white photography, or the go-anywhere capability of a durable all weather camera."

Key features of QuickSnap Black and White™:

• Designed to capture rich contrasts, tones, and textured grains with its integrated ISO 400 135 Black and White negative film
• Built-in flash with a range of approximately 10 feet
• Switch for flash
• 27 exposures
• 35mm film (film processing not included)
• Developed with C-41 chemistry for easy developing

Key features of QuickSnap Active™:

• Designed for unpredictable, all-weather, all-terrain adventures with a protective housing and wrist strap
• ISO 800 135 Color negative film
• No flash
• 27 exposures
• 35mm film (film processing not included)
• Developed with C-41 chemistry for easy developing
• Waterproof up to 35 feet

Pricing and Availability

FUJIFILM QuickSnap Black and White™ is expected to be available early September 2026 at a Manufacturer’s Suggested Retail Price of $22.90 USD and $34.99 CAD. FUJIFILM QuickSnap Active™ is expected to be available early September 2026 at a Manufacturer’s Suggested Retail Price of $24.75 USD and $36.99 CAD.

For more information on FUJIFILM QuickSnap Black and White™, please visit https://quicksnap.fujifilm.com/en/lineup/black-white/.

For more information on FUJIFILM QuickSnap Active™, please visit https://quicksnap.fujifilm.com/en/lineup/active/.

Back in April, we shared some big news: for the first time since DPReview went live in 1998, we've been rebuilding the entire site from the ground up. This isn't just a cosmetic update or a new coat of paint, but a rebuilding of the entire codebase and migration to a modern web platform we can support for years to come.

After months of work, we're ready to make the switch. This has been a massive undertaking. Beyond building everything that's new, we've had to migrate more than 25 years of content, product databases, widgets, and more to an entirely new system.

It took a little longer to wrap up than we expected, and that was deliberate: we wanted certain things working properly out of the gate rather than rushed. A good example is our Image Comparison Tool, the widget that lets you compare studio scene images between cameras. We haven't just rewritten it for the new site; we've redesigned it to work well on phones and tablets, too.

Here's what to expect over the next few days, and how the change might affect your use of the site.

What to expect

The migration begins tomorrow, Friday, July 3. You can keep using the site as usual during this period, with a couple of limitations:

• Comments on articles will be frozen so we can migrate them to the new system.
• Creation of new DPReview accounts (including forum accounts) will be temporarily unavailable.

On Wednesday, July 8, we plan to flip the switch and turn on the new site. From that point, you'll see the new DPReview website in place of the current one.

The forums will not be directly impacted by the migration. If you're already a registered forum user, you can carry on as normal.

Once the new site goes live

Launch day is the start, not the finish line. As with any project of this scale, some things will take some additional time to wrap up. We'll make sure to share a list of work still in progress, along with FAQs covering the new site and how to get support.

We will also set up a dedicated forum thread to log known issues and provide a place to report bugs and ask questions. Some bugs will inevitably slip through, and we appreciate your patience as we track them down and fix them.

In the meantime, we're re-sharing the FAQ we published a few weeks ago, in case anything comes up before launch. Once the new site is live, we'll add more FAQs to cover additional questions we know you'll have.

None of this would have been possible without you. Your feedback over the years – including all comments, direct messages, emails, and the occasional rant – helped shape the new site. We're looking forward to sharing the results and building the next phase of DPReview alongside you.

FAQs Is the current site broken? If not, why change?

Not broken, but overdue. The site has been running on the same aging codebase for over 25 years, and maintaining it has become increasingly costly and limiting. Moving DPReview onto a modern shared platform with our sister site Gear Patrol means we can invest in new features and improvements far more efficiently than we could on legacy infrastructure while keeping DPReview's editorial identity fully intact. The old system was a ceiling. This removes it.

Will this affect DPReview's editorial content?

Our editorial mandate isn't changing. We'll continue to bring you the same authoritative, unbiased coverage of cameras and photography you've come to depend on, written by the same people.

When can I see what the new site looks like?

We hope to share some sneak peeks in the weeks leading up to launch. You'll be able to see the full site on launch day.

Will the new site be faster?

Yes, the new site will be faster and more reliable for most things. That said, some functions are limited by factors outside our control. Downloading a large sample image, for example, still depends on your connection speed. We can make the site faster, but we can't speed up the entire internet :)

Will the review archive and the camera and lens databases be available at launch?

Yes. We are migrating all our existing content, including articles, reviews and the camera and lens databases.

Will the site still be optimized for desktop users with large monitors?

Absolutely. While mobile is an important part of the new design, we have no intention of short-changing desktop users. We love big, beautiful photos, and if you're on a large monitor, we want you to get the full benefit of that experience.

Will my saved bookmarks still work?

Yes, existing bookmarks will continue to work.

Why do you need to freeze the Challenges system?

The current Challenges system will not be carried over to the new site – we're building a new one that will launch after the site goes live. To avoid any challenges starting under the old system that can't be completed during the transition, we're freezing new challenge creation on April 25th. Any challenges already underway will complete normally before the switchover.

Will this affect the forums?

The new website will not change how our forums work. There may be minor cosmetic updates to align with the new site design, but the forum experience will remain fundamentally the same.

Will the new site have ads?

Yes. Advertising is one of the ways we fund DPReview's operations, and that won't change with the new site.

Will my account and post history be preserved?

Yes. Your account, comments, forum posts, and history will all carry over to the new site.

Will there be further updates after launch?

This is the beginning, not the end. We'll continue to make improvements after launch, and the new codebase will make it significantly easier to introduce new tools and features going forward.

How can I provide feedback?

You can leave a comment below or reach us at community@dpreview.com. Once the new site is live, we'll have a dedicated area of our forums where you can ask questions, discuss the changes, and share feedback.

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

Rainbow Lorikeet eating a fig

Nikon Coolpix P950 | 714mm (2000mm equiv.) | F6.5 | 1/400 sec | ISO 450
Photo: Kathie Thomas

Community member, Kathie Thomas, loves birds. She greatly enjoys getting that shot that shows off a bird's unique color palette and physique, and fortunately lives in an area with hundreds of beautiful bird species.

"Birds are my #1 genre – I just love them. I'm always trying to get that better shot, and when I get a really good one, it's not long before I'm trying to do even better. I am blessed to live in a region with many bird species year-round. Some live here, some are seasonal and some are just passing through. I keep a daily eBird record of the birds I've seen and heard, and of course, a photo with it."

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

Male Zebra Finch

Nikon D7100 | AF-S Nikkor 200-500mm F5.6E ED VR @ 500mm | F5.6 | 1/1250 sec | ISO 320
Photo: Kathie Thomas

Meet Kathie Thomas

Home base: Dandenong Ranges, Victoria, Australia

"My uncle was a wedding and portrait photographer and often shared with me what he'd been doing when I was in my early teens. My parents bought me my first camera for my 14th birthday. It's been a journey ever since! My uncle is long gone now, but my aunt tells me that he always wanted to do the type of photography I do, which is nature photography – he never got around to it, sadly."

What's in Kathie's bag Kathie's camera bag

Photo: Kathie Thomas

Favorite camera: "Nikon is the brand I've been using for over 20 years now. In fact, my husband gave me my first digital camera in the early 2000s, a Nikon, of course. I later upgraded to a D90, which I wore out after about 6 years, having taken almost 100,000 images with it. I've been a Nikon girl a long time now! I currently have a Nikon D7000, D7100, Coolpix P950 and a variety of lenses. The P950 is my favorite – it's lightweight, and I get excellent bird shots with it."

• Support gear: Kathie typically carries spare batteries for her P950, as its battery life can be limited during long birding sessions, along with a water bottle and a few snacks for time spent out in the bush or along the coast.

• Camera bags: "I use a simple, colorful backpack with a zippered compartment against my back, so no one can open it while I'm wearing it. It's big enough to carry my camera, although that's usually hanging at my hip on a shoulder strap."

Barking Owl in flight

Nikon D7100 | AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR @ 300mm | F8 | 1/2000 sec | ISO 800
Photo: Kathie Thomas

How has your photography changed since you started?

"It's improved heaps – I understand so much more about it now. I chose to do a Diploma of Photography Course back in 2014, just for the sake of doing it, so I could learn more. But it's the regular usage and learning from other photographers that have really helped me improve. I also belong to a local photography club."

"I learned from a professional nature photographer some years ago, that when tracking a bird, don't look it in the eye, look around elsewhere, move slowly towards it, take a shot now and then, and keep moving slowly without eye contact. It often has helped to get the shots I've wanted – especially before I got my P950."

What trip memories come to mind where you discovered a new bird?

"Many! Before we retired, we used to take overseas trips by plane and by cruise ship, visiting many places. But since retiring, my husband and I have invested in a campervan (motorhome) and have begun traveling around our own country, Australia, and exploring a bit more consistently. My goal is to record as many different species of birds as I can."

Australasian Darter

Nikon D7100 | AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR @ 18mm | F6.3 | 1/1600 sec | ISO 500
Photo: Kathie Thomas

"Don't underestimate your abilities and work at surprising yourself. Move out of your comfort zone and try different things. A friend thought she wasn't very good, but she recently got a Highly Commended in our photography club exhibition. I could tell she was really choked up about it and thrilled. I told her I always thought she did well."

Kathie really enjoyed participating in this spotlight article and would be grateful if you could join her in the forums.

Kathie's work

You can check out her other work on Instagram. Thanks, Kathie, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Image: Capture One / Hasselblad

Capture One and Hasselblad are partnering up: a new update is adding support for editing Raw files from some of the camera-maker's medium format models.

At launch, Capture One will support Raw files from the X2D II 100C, the X2D 100C and the CFV 100C digital back. Support for tethering is coming later in 2026 as well.

Capture One long declined to support Hasselblad Raw files, and the company was fairly candid about why. The roots of the tension trace back to Capture One's origins as part of Phase One, a direct Hasselblad competitor in the medium format space, before the two were split into separate companies by private equity firm Axcel in 2019.

In an official support article, CEO Rafael Orta said that the decision came down to both technical considerations and "the nature of our relationship with the manufacturer." He went on to say that "the relationship between Phase One and Hasselblad was notoriously antagonistic, and as I’m sure you’ll know from life experience, it takes a second to blow up a bridge and a very long time to rebuild it."

Image: Capture One / Hasselblad

It seems that the bridge has now been rebuilt, and the relationship is strong enough for a partnership. While the tension between the two companies may have eased since Capture One became its own entity, it wasn't a simple step to add support for Hasselblad Raw files. In an interview with Orta ahead of the partnership announcement, he told DPReview that it "takes quite a bit of work to support super-capable cameras, especially the latest generations."

Orta explained that Capture One only adds support for cameras after the team has had a chance to use them and create thousands of images. He said they work to develop a deep understanding of how individual image sensors, file formats, and each brand's color science work.

The process involves very close collaboration with the partner companies, and adding support for Hasselblad Raw files was no different. "Every camera and every manufacturer is special," said Orta. "Each one has its own take on color science and how they process sensor data inside its cameras. We're very dedicated to making sure that when you open that file, you're seeing colors that are true to our standards."

Photo: Capture One / Hasselblad

"The way we see it, it's a labor of love, to be honest," Orta said. "We give each individual device the same process, but we also understand that each device has its own technology."

"Tomorrow is the start line, and we're excited to see where photographers take this"

The new Raw support and upcoming tethering won't be the extent of Capture One's partnership with Hasselblad, according to Orta. "Tomorrow is the start line, and we're excited to see where photographers take this," he said.

Raw support for the X2D II 100C, the X2D 100C and the CFV 100C digital back is available starting today. Users will need version 16.8.3 of the desktop app and version 3.3.4 for the mobile app. A free seven-day trial is available from the Capture One website.

Press release:

HASSELBLAD AND CAPTURE ONE PARTNER TO BRING NATIVE HASSELBLAD RAW SUPPORT

Photographers can now develop their Hasselblad medium format RAW files natively in Capture One. Tethered capture support follows later in 2026.

GOTHENBURG, Sweden, and COPENHAGEN, Denmark — July 2, 2026 — Hasselblad and Capture One today announced a partnership that brings native support for Hasselblad medium format cameras to Capture One. Photographers can now import, organize, and develop their Hasselblad RAW files (.3FR) directly in Capture One, with the full toolset of layers, masks, color editing, and precision adjustments. Support spans three of Hasselblad’s 100-megapixel models from day one: the X2D II 100C, the X2D 100C, and the CFV 100C digital back.

Tethered capture will follow later in 2026.

A native workflow, years in the asking

Native Hasselblad support has been one of the most frequently requested additions to Capture One for years, raised by photographers across community forums, feature-request boards, and social channels.

Until now, bringing those files into Capture One meant conversions and workarounds that cost photographers color fidelity and editing latitude. That step is gone – Hasselblad images now open natively, ready to develop with the same tools photographers use for the rest of their work.

"Since the beginning, Hasselblad has been driven by a passion for photography and a commitment to giving photographers the tools they need to realize their creative vision. We are excited to make Hasselblad technology accessible to a wider audience. Together, we are empowering more creatives with best-in-class tools to bring their vision to life and create exceptional photography."

Bronius Rudnickas, Global Marketing Manager, Hasselblad

Built specifically for Hasselblad

Hasselblad cameras are known for their image quality, and the integration is built to preserve it.

The support is bespoke, not generic: dedicated color profiles were created for each model, so Hasselblad files render with the same true-to-life color Capture One users know and love, while dedicated lens profiles for Hasselblad XCD lenses correct distortion, chromatic
aberration, and light falloff.

"Photographers have asked us to bring Hasselblad’s image quality into Capture One’s platform for years. This partnership delivers exactly that, empowering even more photographers with everything they need, from initial inspiration to final image. It’s a collaboration the photography community has wanted for a long time, and we’re glad it’s finally here."

Rafael Orta, CEO, Capture One

Tethered capture to follow later in 2026

At launch, the partnership covers native RAW file support, so photographers can develop both existing and new Hasselblad images in Capture One. Tethered capture, which connects a Hasselblad camera directly to Capture One for live, on-set shooting, is planned
for later in 2026. [Exact timing to be confirmed.]

A step for both companies

For Capture One, the partnership continues a long commitment to supporting the professional camera systems photographers rely on, now welcoming Hasselblad alongside the many brands already supported in the software. It reflects a shared priority: giving photographers the freedom to pair the cameras they love with the software they trust.

Availability

Native support for Hasselblad RAW files is available today in Capture One from version 16.8.3 and Mobile version 3.3.4. for the three supported models. Tethered capture is planned for later in 2026. A free 7-day trial of Capture One is available here.

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

When we wrote our review of the Panasonic L10, we tried to make sure we put the studio comparison into context. For mirrorless cameras and DSLRs we use good prime lenses, stopped-down to the point that their performance is reliably excellent: zoom lenses and, in particular, the downsized, retractable zoom lenses in compact cameras, can't match up to this standard. As a result, compacts don't look quite as impressive.

Our test scene lets you compare images in incredibly fine detail, revealing differences that you wouldn't see in most real-world situations: they exist but that doesn't mean they matter. That's exactly why we also post a gallery of real-world sample images so that you can relate the things you see in the studio scene to their photographic impact.

We'd gone through our usual processes for compact cameras: carefully align, shoot a series of images, compare to cameras we'd expect to perform similarly, then do it again at a different focal length, to make sure we were representing the camera fairly.

However, we still saw some concerns expressed that we were testing a "faulty" or sub-standard copy. Just to be certain, we requested another L10, to see whether we'd get a significantly different result.

Test and retest Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

It didn't. With the first copy, we found that the 75mm setting looked better than the 50mm we'd used on the LX100 cameras. The difference was much smaller on the second copy. Both copies could be a touch sharper at the center at 75mm whereas 50mm equiv was less sharp at the center, more consistent out to the corners, which is presumably why we chose it for the LX100s.

Multiple focus attempts, using both manual focus and autofocus, appear to suggest that a lot of the softness in the corners is a result of curvature of field: a non-flat focus field, meaning it's not possible to get the whole of the chart in focus at the same time. The images with the sharpest center focus had worse looking corners than the images with slightly miss-focused center.

Ultimately we were able to shoot some images that are sharper at the center than the ones displayed in our image comparison tool, but they have visibly less sharp corners. The second copy of the camera also appears less consistent, with what appears to be slight decentering sometimes affecting the top left corner.

The images between the two cameras are similar enough (decentering aside) that we don't think we can get consistently better images from the second copy than the ones already in the scene. Those images already exhibit aliasing – a sign that the lens is resolving detail beyond the level the sensor's resolution can accurately capture – suggesting the lens is doing a good job. You just need to consider the context of how finely you're scrutinizing them and how impossibly the high the standards set by good, prime lenses are.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Was it worth the effort?

We re-tested the L10 because we want to make sure our image comparison tool shows all the cameras in it in as fair a light as possible. And if that means re-doing some of the work and re-checking our assumptions to ensure our standards are maintained, then it's worth doing.

See how the L10 looks in the real world

Photo from a Question of the week entry that didn't make it into the original article. This is a photo of community member, Blufftonian's memorable camera collection.

Photo: Blufftonian

A ton of great content and related photography is created by the DPReview community in our forums: lively discussions, sharing of gear and photography in spotlight articles, collaborative photo events and more. In this "What you missed" roundup for June, we highlight community forum activity from the past month, including some of the photography that didn't make it into articles.

Scroll down to the section of interest as previewed in this list:

• Article of the month: Joining a local photography group
• 'What's in your bag?' community member spotlights
• Question of the week
• Join our collaborative photo chain
• Discussion of the month: Why is it so difficult to buy a first camera today?

Article of the month: Joining a local photography group

"A group shot (excluding me) of that first meetup that I attended."

Photo: Abby Ferguson

DPReview's Features Editor, Abby Ferguson, wrote a great piece about the benefits of joining local photography groups. As a community manager, I naturally found this article fascinating and the kind of advice I feel all of you would find a great insight into photographers outside our forums. After reading her article, I even took it upon myself to look up some photography groups in my local corner of Texas, United States.

"Despite my reluctance, I knew meeting other photographers would only be a good thing. Plus, as this is a place my husband and I will be for the long term, I wanted to set down some roots and finally make some connections here. And so, last fall, I finally put aside my reservations and attended a meetup." - Abby

What's in your bag? A community member spotlight

Every week, we spotlight a community member's unique photographs and gear in our 'What's in your bag?' series. The series highlights a reader's favorite camera gear and how they use it. You'll also get tips and tricks on capturing your own photography.

"Soot-blackened steam traction engine driver – the youngest in the country. Seen at the Pickering
traction engine rally in the north of England."

Photo: Mark Lamb

Mark Lamb shared his portrait photography in celebration of our week of portrait-themed community content. Below is an interesting excerpt from Mark's story about his fondness for portrait photography in Britain. The photo above is a new one he provided us that we couldn't fit into the article.

"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."

Check out this month's other reader spotlights:

• Brian Ach: From Prince to NYC streets: A photographer's life in two worlds
• Giacomo Farabegoli: This DPReview reader backpacks with a Sony a7R IV in the mountains
• Alberto Tanikawa: Knives, whiskey, and RGB light: Inside one photographer's obsessive still-life work

See all 'What's in your bag?' spotlights

Question of the week: we ask, you tell

Every other week, we ask the community a question about their photography, usually on a specific topic, with the results spotlighted on DPReview's front page and in the forums the following week. There are often many great photos submitted that we don't get a chance to spotlight them all in a single article.

Here is a newly revealed reader's photo and excerpt of their story from the latest question.

What camera is your most memorable? Photo: thorstenwulff

Featured quote: "My first love was the F3. In the summer of 1987, she went to New York with me and a box of T-Max 400. Paired with a 24mm F2.8 lens, it was my perfect combo for street photography, even if you had to get a bit closer. The other lens was the 105mm F2.5. In early May this year, I took them back to Manhattan, but was put off a bit by the flood of gimbal-toting influencers everywhere Instagram deems worthy of a shot. This couple is one of my favorite pictures from 39 years ago. I love the tenderness between them." - thorstenwulff

See what other questions we ask

Participate in community-led photo initiatives

Seattle boat parade

Photo: Dale Baskin

Every week, new community-created photo discussions and mini-challenges pop up across the forums. Usually, these start as a discussion about a particular camera brand or type of photography. For the month of June, we wanted to highlight Alan WF's invitation to take fresh photos with your adapted lens cameras.

Visit our Community photo threads index for the latest opportunities to share a photo from your collection. We would also love for you to participate in DPReview's own initiatives: Weekly photo exhibitions and the new Collaborative photo chain.

Discussion of the month: Why is it so difficult to buy a first camera today? Photo: FrancoD

Community member, BernardoSC, asked a great question in the forums that has gained quite a bit of traction. He asked everyone, "Why is it so difficult to buy a first camera today?" This is an excellent question, BernardoSC! I have asked this question of myself recently about various purchase interests, from cameras to computer equipment.

Here is a peek at what others had to say:

JT26: It's hard as there are so many options now. New cameras and new versions of the above are using new tech and are not sold in millions like they used to be, so they are naturally more expensive.

ahaslett: The optical viewfinder is what limits your choice. Apart from retro designs, cameras these days are nearly all mirrorless. There isn’t much between a phone and a camera for £1,000, given how fast phones have improved.

Plankowner110: In the 1960s, you simply adjusted aperture, shutter speed, and focus ring, and it didn't matter if you were using an inexpensive Sears Tower (camera) or a rugged pro-body Nikon F. The major variable was selecting which film to use. Cameras all operated basically the same way, and one could easily pick up any brand of camera and begin shooting. We didn't have to peruse a myriad of menu settings or press tiny re-programmable buttons all over the camera body.

Discuss buying a first camera today

What community content did you enjoy reading, and what more would you like to see in these regular updates? Let us know in the comments below.

For even more content directly from our readers, join the discussion forums and share your camera gear and photography curiosities!

Editor's note: Future editions of this article may include camera use and photo-taking tips and tricks, additional quotes from community members in various discussions and more. If you are interested in seeing community content presented this way, please let me know.

Hasselblad Masters 2026 winners Photo: Kevin Boyle

Hasselblad has announced the winners of the Hasselblad Masters 2026 photography competition. The contest awarded 7 photographers from 70 finalists, chosen from more than 108,000 submissions across 160 countries.

Winners were selected across seven categories: Landscape, Architecture, Portrait, Art, Street, Wildlife, and Project//21. The winning photographers were selected by the Hasselblad Masters Grand Jury, which included representatives from National Geographic, Magnum Photos, Aperture Magazine, Getty Images, Foam, The Metropolitan Museum of Art and the Three Shadows Photography Art Centre. Images were chosen based on their conceptual strength, originality, creativity and technical excellence.

The competition drew some attention earlier this year when Hasselblad confirmed it had disqualified one shortlisted photographer for including AI-generated elements in violation of competition rules, replacing them with a new finalist. It's worth noting that the finalists were selected through an internal selection process at Hasselblad, not by the acclaimed photographers on the Grand Jury. A representative has confirmed that all of the winning images were "thoroughly vetted, and EXIF data was confirmed," and that they are all authentic photographs.

Each winner receives the title of Hasselblad Master, a Hasselblad medium format camera, two XCD lenses, and a €5,000 creative fund. Their work will also be featured in the commemorative Hasselblad Masters book.

We're showing one image per winner below, but you can view all three selected images for each photographer on the Hasselblad Masters website. Traditional captions and EXIF data were not available, and the descriptions and jury quotes accompanying each image are taken directly from Hasselblad's competition materials.

Art winner: Yudha Kusuma Putera

Yudha Kusuma Putera | Waste Colonialism (Sapi-Sapi Piyungan) | Indonesia

Rooted in everyday life and inspired by its complexity, Yudha Kusuma Putera turns a keen eye toward the social issues that hide in plain sight, exploring the tensions between humans, nature, and the systems we build around us.

The winning images are part of a project examining how developed nations export their waste to developing countries, where labor and costs are lower. This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Yogyakarta's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill.

'He photographed the backs of these cows stacked together, with their forms mirroring the landscape of trash around them. The work does not seek to assign blame, but to invite collective reflection on the waste we produce, and the futures we are building from it.

"On the surface, the images appear direct and unambiguous, and yet they consistently resist easy reading, generating a sense of visual uncertainty that keeps the viewer engaged and questioning. The images do not announce themselves loudly, but reward sustained attention with a slow-building sense of strangeness that is both intellectually stimulating and visually striking," says Kalle Sanner, Executive Director at the Hasselblad Foundation.

Architecture winner: Kevin Boyle

Kevin Boyle | DaySleeper | Movieland | Canada

Kevin Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear. For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.

The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal 'portrait' of once important gathering places. Through his lens, these forgotten spaces become vibrant, glowing symbols of community heritage and shared human connection.

"The composition, and the fact that the images are empty of people, triggers our imaginations, taking us back to a time when these buildings would have thrived with the community meeting for evening entertainment. By making this series, the photographer invites us to consider the myriad of small venues that make up the social fabric of small communities," says Sonia Jeunet, Photography Consultant and Education at Magnum Photos.

Portrait winner: Svetlana Jovanovic

Svetlana Jovanovic | Otherness | The Netherlands

With a psychology background, Svetlana Jovanovic's portraiture is driven by a deep curiosity about identity – how we experience the world, construct our sense of self, and see ourselves through the eyes of others. Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning.

The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work. Each portrait is a collaboration, shaped as much by the relationship between the twins as by the photographer's own vision, inviting viewers to reflect on how we define ourselves both apart from, and through, one another.

"Through precise use of light and composition, this portrait series explores the themes of mirroring and duality. Whether capturing two sides of the same face or the closeness of two kindred souls, the images reveal subtle layers of emotion with quiet precision," says RongRong, Co-founder and Artistic Director at The Three Shadows Photography Art Center.

Landscape winner: Rohan Reilly

Rohan Reilly | Ephemeral Visions | Ireland

Rooted in the discipline of a composer, Rohan Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness. His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation. The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned.

This winning series captures a row of poplar trees planted along the banks of the River Po in Italy, which are natural guardians against flooding, now standing immersed in perfectly still water beneath soft, diffused light. What was once a purely functional landscape transforms into something surreal and dreamlike. In this quietly breathtaking scene, the photographer's vision can find its fullest expression: nature distilled to its core, and time momentarily held still.

"A forest of birch trees could be a monotonous subject. But these photographs are hypnotic objects of meditation, creating something expansive through repetition and ostensible sameness," says Zack Hatfield, Managing Editor at Aperture Magazine.

Project//21 winner: Panitbhand Paribatra Na Ayudhya

Panitbhand Paribatra Na Ayudhya | Dwellers of the Night | Thailand

Panitbhand Paribatra Na Ayudhya is a young underwater photographer and scuba diver from Thailand. His work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

His winning series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness. Using slow shutter speeds to capture the elegant motion of his subjects, and carefully chosen coloured lighting to reveal their form and beauty, he illuminates a world rarely seen. For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject – crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating. There’s a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction," says Alex Pollack, Director of Photography at National Geographic.'

Street winner: Gosse Bouma

Gosse Bouma | Morning Ritual | The Netherlands

Gosse Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather. Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.

His winning series, taken across the Netherlands, turns to the street market as its subject, a space where people of all ages and backgrounds meet, exchange a few words, share warmth, and move on. In capturing these small, unhurried encounters, Bouma preserves something increasingly rare in contemporary life: a genuine sense of togetherness.

"The photographer understands atmosphere, scale and timing. The small lit kiosks within the vast blue urban emptiness create images that feel both intimate and monumental. Here, genuine photographic tension emerges. The series uses color structurally, not decoratively. Mist, artificial light and architecture form one coherent world," says Aya Musa, Senior Curator at Foam.

Wildlife winner: Alfred Minnaar

Alfred Minnaar | The Forest I Roam | South Africa

Alfred Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behavior, environment, and relationship with the surrounding ecosystem. Over a decade of global exploration, his fine-art philosophy has evolved from a traveler's passion into a powerful voice for conservation, capturing fleeting deep-sea and wildlife narratives to inspire the preservation of our planet.

The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer. Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.

"The vibrancy of the palette immediately draws you in, and the way the small fish are framed against their environments creates a sense of scale that almost reads as landscape. There’s a nice balance here between detail and composition, with the micro subjects holding their own within a larger, almost abstracted environment," says Alex Pollack, Director of Photography at National Geographic.

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When I reviewed the Panasonic S1II, one of my biggest complaints about it was the price. It's a very capable camera, but it was also competing against other very capable cameras that were several hundred dollars cheaper, and which didn't ask you to give up much in return.

Now, though, things have changed a bit. Instead of selling for $3200 in the US, it's currently listed as $2900, an approximately 9% reduction. That makes it the same price as the Sony a7 V, and only $100 more than the Canon EOS R6 III. While Panasonic's website lists this as a sale, there's no clear indication of an end date. B&H's website, meanwhile, implies that this is just the new price, and, indeed, price tracking site CamelCamelCamel reports that it's been selling at this price for about a month.

The same has happened to the S1II's higher-resolution sibling, the S1RII. When that camera launched in February 2025, a few months before the S1II, it was listed at $3300. It's now an even $3000, putting more distance between it and cameras like the Nikon Z8 and Canon EOS R5 II (though those cameras' benefits over the S1RII are more obvious than with the S1II's competitors).

Cameras frequently get cheaper as they age

In some ways, this isn't unusual. The S1II and S1RII are over a year old now, and cameras frequently get cheaper as they age. The Nikon Z6 III is a perfect example; it launched at $2500, and is currently available for just under $2000 (which, despite its few minor flaws, is a screaming deal). This will happen to the EOS R6 III and a7 V, too, and at that time the S1II may go back to seeming like not as great a value, unless you specifically need the relatively niche features it offers that the others don't.

This is why we typically base our pricing analysis around MSRPs; it's not because the street price of the camera won't change over its life, but that they typically tend to change by around the same amount, relative to the camera's launch price and age. Still, it means that if you need to buy a camera right this moment and aren't currently wedded to a system, the S1II makes a lot more sense than it did before. And if this truly is a change to its MSRP, and it'll at some point go on sale even further, that could make it a very interesting option indeed.

Read our Panasonic S1II review

Panasonic S1II

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Photo: Leonp

Happy World Camera Day! In honor of the day, we are sharing your responses to last week's Question of the week. We asked you which camera was (or is) your most memorable, and to share a photo of the camera and an interesting story about it. This is a spin-off of another question asked a couple of months ago about which camera brand was your favorite, but this time, it may not have been your favorite camera brand that took the spotlight.

Several of you, as expected, mentioned more prominent brands like Canon, Nikon and Sony, but others made unique selections dating back to brands that no longer exist. While the technology of those cameras is now dated, dusty and rusty, the photographs and the memories they conjure up are forever, as they say. With our community over 25 years old and its members' collective experience spanning well beyond that, there were plenty of memories shared.

Keep reading to see which cameras our readers chose as their most memorable.

Your most memorable camera

Leonp: "In the late 1970s, my nephew bought a Pentax camera. My father was jealous, so he bought one for himself, too. My father wasn’t really into high-tech stuff and never made it through the manual, so I must have sneaked into his bedroom to take the above photo in the mirror using a diving lamp as a light source, which, if you look closely, is also a selfie of me. It took years for it to become my camera, and it changed the way I looked at the world forever."

Daithi: "The Nikon D850. It was a troubling time for the birth of mirrorless cameras. They were all basically the ugly litter of the well-established DSLR world. For me, this camera kept on truckin' for many years. The D850 had peerless resolution/image quality, and still does to a large degree."

GruberSrb: "Minolta Dynax 9xi (with booster). It was hated in photography circles, but its tech and fabulous design remind me of a ballerina in 'Swan Lake'. It still works flawlessly with a carbon shutter 1/12000sec like new, despite very heavy usage over the last 30 years in some of the worst conditions on Earth, from Patagonia to Kamchatka."

Thorstenwulff: "My first love was the F3. In the summer of 1987 she went to New York with me, and a box of T-Max 400. Paired with the 24/2,8 it was my perfect combo for street photography, even if you had to get a bit closer. The other Lens was the 105/2,5."

Photo: lonewolf1983

lonewolf1983: "I present you the Sony A850. I had been shooting with the Sony APS-C SLT cameras (A57/A77/A77ii) and picked up the A850 to complement them and check out what the full-frame thing was all about. I took it soon after on a trip to New Zealand, and captured some amazing images with its 24mp sensor, rock solid build quality, amazing OVF and IBIS, clicking that shutter and hearing the mirror/shutter was just glorious."

LJ - Eljot: "Canon G3: My first digital camera. Introduced in 2003, a 4MP digital compact. This one was aimed at enthusiasts and featured RAW images. Unusual at that time. Base ISO is 50, and it is basically unusable at the max ISO of 400. It takes about a full second to take a picture after pressing the shutter button. A terrible camera, but I learned to love the tilt-screen. And at ISO 50, the images look quite good, actually. Good macro capability as well. And a hot shoe with full flash compatibility."

fatplanediaries: "The Sony a6300. It overheated like crazy and had rolling shutter only comparable to the most wobbly of jelly, but it was the camera where I honed my photography and learned videography. I shot my film school application film with it on a homemade gimbal."

GeoffRG: "The Olympus OM1: I bought it in 1979, and it traveled with me to Seattle, Tanzania, Trinidad, and Australia. I sold it in 1990, along with my OM2n, a pair of OM4s, and a pile of lenses and accessories. I still don't understand why Olympus discontinued the motor drive system."

wood_gnome: "The Certo SL 110, because it was my very first camera. I bought it secretly and conspiratorially from pocket money when I was 9 (!) in March 1980."

Photo: Gato Amarillo

Gato Amarillo: "Always my favorite, my Deardorff. The above is a 5x7 model, but I used it with a 4x5 back. The lens is a Schneider Symmar 180mm, a longish normal for 4x5. Contrary to what most might expect, I used it mostly as a portrait camera. The camera was a basket case when I got it. My partner said it looked like something that had fallen off a truck on the freeway. You may notice a couple of odd knobs - I was never able to get together a full matching set."

Don Sata: "I loved my X-Pro1 to the point that I sold a Sony full frame prize camera from the Sony World Photography awards to get this gem with three primes (18, 27 and 60 mm). In this picture, the camera is posing with a set of Zeiss lenses lent to me for a month. I shot the camera, banged it on rocks, got it splashed, scratched and dented until the shutter died."

Otto Union: "Without a doubt, my long-gone Leitz Minolta CL with 40/2 Rokkor and 90/4 Elmar lenses. I bought these with tax refund money in April 1978. It was my first real camera and a real gem. It was extremely pocketable and accompanied me to many concerts in the late 70s / early 80s. It was stolen from my residence in 1983, and I'm still gutted about it."

cbf_si: "I was introduced to photography at 17 during the era of the first AF film cameras in the second half of the 1980s. My classmates were enthusiastic about cameras like the Canon EOS 650 and the Minolta Dynax 7000, but the Minolta X-700 caught my eye. I only got a used one when I got a job in 1998. Like many others, I initially equipped myself with the classic three focal lengths, 28 mm, 50 mm, and 135 mm. Today, I have lenses with focal lengths from 7.5 mm to 250 mm."

Photo: RLHN

RLHN: My most memorable (and first serious) film camera was the Petri 7S, a rangefinder film camera with a selenium cell meter that required no batteries and used "match needle" metering, which made it trivial to tweak exposure. I bought it "used" at a local camera store with my high school graduation gift funds, after someone traded it in because it was "too complicated". It was barely used, if at all. I took many great photos with it for years, until the photo cell sadly died.

BobKo: I've had many cameras, but the camera I remember most fondly is a Panasonic Lumix GH5. I primarily shoot video, and the GH5 was just a video beast. It made shooting really high-quality video a pleasure, and it really upped the quality of my YouTube uploads. Suddenly, my videos looked as good as the big boys. I got my GH5 in 2018, and it still works fine today -- I use it for a back-up camera and to shoot time lapses. What a great camera!

Gramar: The one stand out camera from the many I've owned over the past 50 + years has to be the original Sony RX100. I bought mine new in 2016 four years after they were launched. I found it ticked every box and was always my go to camera until I sold it in 2024 for almost what I paid for it new. It went everywhere with me despite owning a number of other camera during those times.

So many other stories we couldn't fit in this article are shared in the forums. Thanks to everyone who took the time to explain what your most memorable cameras are and why.

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

Share your most memorable camera!

Photo: Mykim Dang

After teasing the Osmo Pocket 4P at the Cannes Film Festival in May and giving media and influencers hands-on time with the device at the beginning of June, DJI has finally fully unveiled its higher-end camera gimbal via its Chinese and Southeast Asia platforms.

DJI has yet to give Western media a clear timeline when full details can be published; we were told we could only post hands-on photos of the device, without any information about it. This is particularly unusual, since outlets in China have already been allowed to post their reviews, and it's available for purchase in China and Southeast Asia, making much of the information we're not allowed to share – specs, pricing information, test footage, etc. – public.

Like the Osmo Pocket 4, the 4P features a 20mm equiv. camera with a Type 1 (116mm²) CMOS sensor and F2.0 aperture. In addition to that is a dedicated 60mm equiv. telephoto camera, allowing for greater flexibility than a single camera (contentiously, it's not the only gimbal camera to offer this). The telephoto camera uses a Type 1/1.28 (75mm²) sensor (only 35% smaller than the main sensor) and a slightly faster F1.8 aperture.

Photo: Mykim Dang

The camera supports up to 12x digital zoom for video and 9x for stills. The company's subject tracking (ActiveTrack 8.0) is compatible with the 12x zoom range as well, helping to keep subjects centered in the frame even when fully zoomed in.

As usual with DR claims, we'd take that figure with a massive grain of salt.

DJI claims the 4P's main camera provides 17 stops of dynamic range, which is 3 stops more than the Osmo Pocket 4. As usual with DR claims, we'd take that figure with a massive grain of salt; 17 stops would be exceptional even for a much larger sensor. The company has developed a new, flatter Log curve, D-Log2, which can encode a wider dynamic range, explaining the increased claim, compared to the Osmo Pocket 4, despite its use of the same camera. It's important to note that D-Log2 is only available with the main camera.

The camera can shoot at up to 4K 240p, enabling dramatic slow motion footage. It also offers a "Pro" mode that gives users control of the shutter speed from 1/16,000 sec to 1/4 sec, allowing for more creative control. As a gimbal camera, it benefits from three-axis mechanical stabilization for smooth footage even when you're moving. It also supports gesture control to start tracking and recording, and the ability to rotate the touchscreen to power the camera on and start recording.

Photo: Mykim Dang

While primarily meant for video use, the Osmo Pocket 4P does provide some photo features, too. It is capable of 37MP photos and can take images in 1:1 or 16:9. It also features a Live Photo mode, recording 1.5-second clips for every photo.

The Osmo Pocket 4P offers 103GB of integrated storage and supports microSD cards up to 1TB. It promises 210 minutes of runtime on a charge and is compatible with the existing Osmo lineup of accessories. It will be available in white and black

Unfortunately, there's still confusion about the timing of the full release of the DJI Osmo Pocket 4P. It is available in China as of today for ¥3799 (roughly $559), but full global availability – and whether it will come to the US – is still unclear.

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The Tamron 17-70mm F2.8 Di III-A VC RXD is a versatile, fast lens that's great for activities like family vacations.

Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/2000 sec | ISO 160
Photo: Dale Baskin

Last week, Tamron announced new versions of its 17-70mm F2.8 Di III-A VC RXD zoom for Canon RF and Nikon Z mount APS-C cameras. While the lens has been around for several years in E-mount and X-mount versions, this news brings an exciting new zoom option to Canon and Nikon shooters.

The 17-70mm F2.8 delivers a 26-105mm equiv. range on Nikon APS-C cameras, and 28-112mm equiv. range on Canon's APS-C bodies. Most other F2.8 zooms for APS-C cameras in this range top out around 50-55mm, making the Tamron a distinctive option for those who want extra zoom reach with a constant F2.8 aperture.

That range makes it a great walk-around or travel lens, but the extra reach to 105mm equiv. also makes it well-suited to events, portraits, and street photography in ways the shorter 50-55mm competitors aren't.

Canon EOS R7 | Tamron 17-70mm F2.8 Di III-A VC RXD | F2.8 | 1/100 sec | ISO 320
Photo: Dale Baskin

We had a chance to borrow the RF-mount version of the lens, which we shot on a Canon EOS R7. Build quality and handling are pretty typical of Tamron's product line; the lens is relatively light for its size, and the zoom ring is well-balanced and easy to turn. There's no zoom lock, but I experienced virtually no lens creep during my use.

Notably, the RF-mount version of the lens gains two hardware controls not found on the other versions: manual switches to turn autofocus and optical image stabilization on or off – a nice touch, in our opinion.

Optically, the Tamron 17-70mm F2.8 delivers solid performance throughout its range. While it doesn't deliver the same level of sharpness as the most premium zooms on the market, it doesn't command a premium price, either, making it accessible to a lot of people.

To learn more about this lens, see our detailed launch coverage. In addition to the gallery below,you can also check out our earlier sample gallery, captured when the lens was launched for E-mount.

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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; we do so in good faith, so please don't abuse it.

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Looking for an original take in a scene set up by Pat Domingo, I asked the model if she could get into the driving seat of the car on the set. I wanted to see how much of the huge strobe outside would make it through the narrow windscreen. I asked her to look forward, as if driving, then turn to her right, as if something had caught her attention. This is the moment she did.

Leica SL3-P | Summilux-SL 50mm F1.4 | F5.6 | 1/200 sec | ISO 64
Photo: Richard Butler

The launch event for the Leica SL3-P included not only the chance to get trackside at the famous Nürburgring motor racing circuit and a studio setup by fashion photographer Pat Domingo but also the presence of famed photographer Steve McCurry.

This meant I found myself in the frankly ridiculous position of asking to shoot a portrait of one of the world's most famous portrait photographers, as well as the more familiar challenge of trying to find a unique shot in a pre-staged studio scenario.

Included in the gallery are a handful of shots taken with the new 50mm F1.4 and 100mm F2.8 Macro lenses.

Here's Leica SL3-P (and I) got on:

Leica SL3-P sample gallery

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

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Since it was released two months ago, Olivia Rodrigo's music video for the song "drop dead" has already garnered 42 million views. There are probably a lot of reasons it's been so popular: it's the lead single for a very popular artist's new album, was shot on location in Versailles and clips from it have been popular on social media sites like Instagram. But the aesthetic of the video probably helps too; it has a dreamy, old-school look to it that taps directly into 90s VHS nostalgia.

While that's well-trodden ground for modern music videos, the effect is very convincing... because it's real. A recent video from the YouTube channel Frame Set goes deep on how the video, directed by Petra Collins, was shot, in a wide-ranging interview with its cinematographer, Todd Banhazl.

The interview also covers how the team captured the dreamy, undercranked effect used in the striking opening scene.

The video obviously covers the mix of cameras used, going into why the crew chose to use BetaCam, VHS and MiniDV, and the different situations where they needed to go with one over the other. There are plenty of interesting details in it for camera nerds, but it also doesn't slack on discussing craft; a lot of the video is focused on the interesting lighting setups needed to film in a historic building with limited control while using cameras with very low sensitivity.

It also touches on other technical aspects, like the difficulties of editing interlaced footage that will eventually be shown using a platform designed for progressive video, and deeper topics like the rise of the lo-fi aesthetic in the age of AI-generated imagery. Even if you're not into music videos or Olivia Rodrigo's brand of pop-rock singer-songwriting, the interview is well worth a watch just to see a clearly talented creative talk about their process.

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Earlier this year, Nikon introduced a new version of one of its professional workhorse lenses: the Nikkor Z 70-200 F2.8 VR S II. We've now had the chance to spend some time with it, shooting portraits, firefighting aircraft and more. You can jump straight to the gallery to see the results for yourself, or read on to see what we thought about how it feels to use and the images it produces.

In Use Three of the Z 70-200mm F2.8 VR S II's states. Left: its smallest and lightest configuration (998g / 35oz). Middle: the lens with the cosmetic bayonet cover (1028g / 36.3oz). Right: the lens with its foot and hood (1248g / 44oz).

The big (or rather, not so big) selling point of this lens is its size and weight. Without the tripod foot and cosmetic sleeve installed, it's only 998g (35.2oz); the lightest full-frame 70-200mm F2.8 for a mirrorless system. With that said, I typically preferred to use it with the tripod foot; it's Arca-Swiss compatible, making it very easy to mount to a tripod, and the lens isn't quite light enough that I feel terribly comfortable toting it around without a solid handle to remind me that I'm carrying a camera attached to a lens, not the other way around.

Even with the foot, the lens’s weight is competitive with that of its lightest competitors, and is a substantial improvement over the original. The lens's center of gravity is also remarkably consistent as you move through its zoom range, so you don't have to shift your grip as you change focal lengths.

The tripod foot and decorative bayonet collar are toollessly removable using a button and a bit of a tug.

In terms of features and controls, this lens has most everything you could want, with the exception of the top-display from the previous generation that some – though not I – may miss. And as someone who has long disliked clickless control rings, it's good to see Nikon providing the option to click or declick the one on this lens, even if I’d still personally prefer a dedicated aperture ring.

I also appreciate the ample number of function buttons, which are available no matter what orientation you're holding the lens in. The manual focus and zoom rings are also satisfying to turn, and the latter is a relatively short throw, letting you move through the range quickly if need be. While the pattern on them provides plenty of grip, I do wish they were just a bit softer, but not enough that I'd be willing to accept any trade-off in durability.

The tripod collar can be freely rotated, making it easy to switch from portrait to landscape, even when mounted on a tripod. I do wish it had detents or clicks at 90° intervals, though, as those make it easier to tell when you're perfectly aligned.

Nikon says the lens has an upgraded autofocus system, and I found it always kept up with the camera, snapping into focus very quickly. It never felt like the lens’s autofocusing motors were bottlenecking the body, or like I would have gotten a shot if only it had moved a bit faster.

When working in concert with a stabilized sensor, this lens's optical stabilization is among the most impressive that I've used in a full-frame zoom. It's so effective, in fact, that it can occasionally be a bit difficult to precisely recompose your image with it on, though I only really noticed that in a few situations.

Optics

With the lens wide open at F2.8, there's noticeable vignetting at the corners throughout its focal range (though it's most noticeable at the long end). It mostly clears up by F4, though you'll see further improvements going to F5.6. While this can easily be corrected using the lens's profile, this will come at the cost of having fractionally more noise visible in the corners of the image.

You can gain a small sharpness advantage in the corners by stopping down, too, but in our experience, this lens is very sharp corner-to-corner no matter what focal length or aperture you're shooting at.

70mm F2.8 F4 F5.6 F8.0 200mm F2.8 F4 F5.6 F8.0

I find the lens's bokeh to be very pleasing, rendering even busy backgrounds relatively smoothly. The specular highlights are also quite clean, without distracting aberrations, which is exactly what we'd want to see in a professional lens destined to shoot a lot of weddings with trendy lighting.

Nikon's latest coatings are also quite impressive. There was one time when I was shooting pretty much directly into the afternoon sun, which produced a somewhat washed-out image, but things improved as soon as I was shooting even a little off-axis.

1 2 3 Even with the sun directly outside of, or even in the frame, the lens was able to hold onto a fair amount of color and contrast.

Nikon Z8 | Nikon Z 70-200mm F2.8 VR S II | 200mm | F8 | ISO 64 | Processed in Capture One

The lens makes use of minor software corrections for geometric distortion – there's a very mild amount of pincushion distortion at the long end and barrel distortion on the short end – but we wouldn't consider using them mandatory. And, indeed, neither does Nikon; with the 70-200mm F2.8 VR S II attached, the camera allows you to turn off Auto Distortion Control, which isn't the case with every Z mount lens, such as the Nikon 24-120 F4 S.

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

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Thank you to Nikon for the loan of a Nikon Z8 to capture this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no correction of vignetting.

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Image: Adobe

Adobe is acquiring Topaz Labs, the company behind widely used image and video enhancement tools, including Topaz Photo, Topaz Video and Topaz Gigapixel.

The announcement follows a previous partnership between the two companies, unveiled at Adobe Max in October 2025. At the time, Adobe integrated some of Topaz's popular upscale, denoise and sharpen models directly into Photoshop, providing access to the tools using Adobe's AI credits rather than a separate paid subscription for each app. Topaz Gigapixel was also added to the cloud-based version of Lightroom in February 2026.

With the acquisition, Adobe says it plans to expand Topaz's AI enhancement models – which include upscaling, noise removal, sharpening, stabilization, frame interpolation and footage restoration – across its Firefly AI generation software, Firefly Services, and Creative Cloud products. Adobe also highlighted the integration of Topaz's proprietary Neurostream technology, which enables large AI models to run locally on consumer hardware rather than requiring cloud processing.

What this means for existing Topaz customers isn't totally clear. Adobe says Topaz products will continue to be available as standalone offerings through Topaz's own website after the deal closes, and that Topaz Labs CEO Eric Yang will remain with the company. It adds that customers "can expect continued support and investment in future innovation." However, the announcement makes no mention of pricing, subscription structure or how Topaz's tools will be positioned relative to Creative Cloud subscriptions going forward.

The transaction is expected to close in the second half of 2026, pending regulatory approval (which isn't always a given).

Adobe to Acquire Topaz Labs

• Adobe has seen strong demand for its AI products for creatives, including Adobe Firefly, the all-in-one creative AI studio, and Firefly Services, a collection of creative and generative APIs and services for enterprises
• The combination of Topaz Labs, which specializes in developing industry-leading video and image enhancement models, with Adobe's leading creative products will provide creators, designers, video professionals, photographers and enterprises the tools to achieve exceptional quality across every format and workflow
• Topaz Labs brings deep expertise in optimizing large, complex AI models to run directly on device, a capability that will allow Adobe to deliver faster, more responsive creative experiences for customers and make advanced AI more accessible and cost effective for creatives

SAN JOSE, Calif. —June 25, 2026 — Adobe (Nasdaq:ADBE) — the global technology leader that unleashes creativity, productivity and customer experiences through innovative tools and platforms — today announced that it has entered into a definitive agreement to acquire Topaz Labs, an AI company specializing in industry-leading video and image enhancement models.

Adobe empowers everyone from first-time creators to creative professionals and enterprises with groundbreaking AI tools and technology across every stage of the creative process. Adobe's creative AI portfolio brings together industry-leading AI models in Adobe Firefly the all-in-one creative AI studio, and Adobe Creative Cloud applications including Photoshop, Lightroom, Premiere and more, delivering creative professionals pixel-level control and precision tooling.

As AI rapidly reshapes video and image creation, creatives are increasingly working across hybrid workflows that combine traditionally captured footage with AI-generated content, and they are expected to deliver high-quality results across a growing range of formats, devices and production methods. Topaz Labs provides a broad array of advanced AI models for video and image enhancement that analyze and improve existing visual content by sharpening detail, removing noise, restoring footage and increasing resolution, making them essential for any workflow that combines real-world capture with AI-generated imagery.

Topaz Labs develops professional quality AI video and image enhancement models and tools that are trusted by creative professionals such as Asteria Film Co, award-winning filmmaker Robert Stone and enterprises to deliver exceptional fidelity and high-quality results across professional filmmaking, documentary restoration, social content creation, photography and archival workflows. The company has developed proprietary AI models to support professional video use cases such as upscaling, sharpening, stabilization, frame interpolation, noise removal, footage restoration and more.

"Adobe Firefly, Firefly Services and Creative Cloud offer the industry's best creative tooling and top AI models for creators and brands, and we're excited to build on the strong demand for these products with Topaz Labs," said David Wadhwani, President, Creativity & Productivity Business, Adobe. "Creators are creating more content by mixing captured and generated images and video, and with Topaz Labs we will give every creator the quality and control to easily produce that content at higher quality and resolution."

"Building technology to make images and videos look their absolute best has been our life's work for more than twenty years," said Eric Yang, CEO of Topaz Labs. "We've always believed that technology should serve human creativity rather than replace it — and so has Adobe. Together, we believe we can dramatically expand what's possible for filmmakers and creators everywhere."

With Topaz Labs, Adobe will expand its video and image model offerings with state-of-the-art AI enhancement models in Adobe Firefly, Firefly Services and Creative Cloud apps, giving creators, designers, video professionals, photographers and enterprises the tools to achieve exceptional quality across every format and workflow. With millions of customers, Topaz Labs and its Emmy Award-winning AI technology will be integrated across Adobe's creative AI portfolio, giving creatives the ability to enhance footage, restore and remaster archival content, and blend AI-generated and traditionally captured content into seamless final productions. Topaz Labs will also bring its proprietary Neurostream technology that enables large, complex AI models to run locally on consumer devices, democratizing advanced image and video models previously limited to high-end systems or cloud-only usage and positioning Adobe to tap into the growing opportunity for efficient, on-device AI video.

After the transaction closes, Topaz Labs customers of all sizes can expect continued support and investment in future innovation and Topaz Labs products will remain available as standalone offerings through the company's website. Upon close, Topaz Labs CEO Eric Yang will continue to lead the Topaz Labs team.

Transaction Details

The transaction is expected to close in the second half of 2026, subject to the receipt of required regulatory approvals and the satisfaction of other customary closing conditions.

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"The horse is symbolic of that ridden by Hussein, the great-grandson of the Prophet Muhammad, who was slaughtered over 1400 years ago and still revered in the modern era. This is an important day in the Muslim calendar – the ‘Muharram Jaloos’ procession."

Fuji X-H1 | Fuji 16mm F1.4 | F5.0 | 1/125 sec | ISO 200
Photo: Mark Lamb

Mark Lamb, known as Dark Inventions on the forums, serendipitously submitted a portrait photography spotlight to us right before we announced our community self-portrait mini challenge. This is a great capper for a week of luminous portrait photography among multiple community initiatives. Be sure to stop by the community forums to check them all out. In the meantime, see Mark's story and the people he photographed below.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

"Another image from the Whitby goth gathering – one of the regular attendees."

Sony a7R V | Sony 85mm F1.4 | F1.4 | 1/400 sec | ISO 400
Photo: Mark Lamb Meet Mark Lamb

Home base: United Kingdom

"Photography has been part of my life for over forty years. What began as an interest in recording people and places gradually became an exploration of memory, identity and the passage of time. I have always been drawn to portraits because they allow me to connect with people from every walk of life."

"In recent years, my work has become centered on a long-term project called One Thousand Contemporary Portraits, an attempt to create a broad and inclusive portrait archive of contemporary Britain. The project has taken me from fishing communities and military veterans to Goths, performers, campaigners, artists and ordinary people whose stories might otherwise go unrecorded."

What's in Mark's bag Mark's camera bag

Photo: Mark Lamb

Favorite camera: Sony a7R V

"The camera has become less important than the conversation that happens before the photograph. The image is often the final stage of a much longer process of listening and understanding."

• Lenses:
  • Sony FE 24mm F1.4 GM
  • Sony FE 35mm F1.4 GM
  • Sony FE 50mm F1.2 GM
  • Sony FE 85mm F1.4 GM
  • Sony FE 135mm F1.8 GM
  • For the Olympus PEN-F: 12mm and 17mm lenses (equivalent to 24mm and 35mm full-frame).

• Support gear: Mark typically carries a silver/white foldable bounce board and, when using the Olympus PEN-F, its compact flash unit. Away from photography gear, he considers a notebook and pen essential, along with calling cards featuring contact information and samples of his work. He keeps the kit flexible primarily by changing lens combinations rather than adding equipment, usually choosing either a 24mm/50mm/135mm trio or a lighter 35mm/85mm pairing.
  
  
• Camera bags: Peak Design Everyday Sling 10L and a second Peak Design sling.
  
  "I use two Peak Design slings, but usually only carry one of them on a shoot. Despite its modest size, the 10-liter sling will fit an a7R V with a 50mm lens and another a7R V with a 135mm lens. If I'm carrying a third body with the wide-angle lens, it will be on a QD sling outside the bag. I love these bags because I'm never tempted to overload them, and they are reassuringly waterproof."

"The girl’s precious rabbit was initially hidden, but a cooperative mom negotiated an appearance
from him. Whitby Goth Gathering."

Sony a7R V | Sigma 65mm F2 | F2 | 1/3200 sec | ISO 200
Photo: Mark Lamb

"I am primarily a portrait photographer. I am interested in people who carry visible traces of their lives in their faces, clothing, surroundings and personal histories."

"Many of my photographs are taken in northern England, particularly around Scarborough and Whitby. Whitby has been especially important because it brings together people from remarkably diverse backgrounds. The annual Goth events provide opportunities to photograph individuals who have consciously created identities that challenge conventional ideas of age, beauty and self-expression."

"My aim is always the same: to create portraits that are honest, empathetic and respectful."

"Alongside this, I photograph travelers (gypsies), circus, religious groups, family members, veterans, theatrical performers, dancers, and any of the charismatic people I encounter in my everyday life. My aim is always the same: to create portraits that are honest, empathetic and respectful."

"Beamish, near the city of Durham in the north of England."

Sony a7R V | Sony 24mm F1.4 | F2.8 | 1/250 sec | ISO 2500
Photo: Mark Lamb

How has your photography changed over the years?

"I'm not getting any younger (my vintage is 1956), so I'm in a constant battle with myself to lose weight from my bag by shedding all but essential gear. I'm definitely more patient than I used to be and make a lot of effort to engage fully with my subjects."

"I tend to use a simpler visual language these days, and I think it helps give my work a recognizable stamp. I've been fairly successful in the last year or so since I made an effort to put my work out there (rather than sitting on a hard drive) and, as a result, found success in the Taylor Wessing Portrait Prize, when a portrait of my wife was selected in the English National Portrait Gallery in London. I've also had exhibition success and appeared in a few magazine articles."

"My wife and dog, Enid and Molly. This is entitled ‘Precious Things in the Stream of Time’ and was exhibited at the National Portrait Gallery in London."

Leica Q2 Monochrom | Summilux F1.7 28mm ASPH | ISO 200
Photo: Mark Lamb

Portraits don't always reveal the surrounding scene. What places are your favorites to take these photos in?

"I'm a frequent attendee at the Whitby Goth Weekend, which happens twice a year, in the historic streets of this old fishing village. I also attend community events, special-interest meetings such as comic cons, and turn up regularly at cultural events such as gypsy horse fairs, religious processions and so on. In short, I will go anywhere that I can expect to find interesting people."

"As a younger man, I traveled the world extensively (circa 170 countries), but these days I don't feel the need to leave the UK in my search for subjects. I'm pretty certain that if I lived closer to London, I wouldn't need to travel outside the M25 (the motorway that encircles the city). Instead of traveling, I prefer to spend my effort in returning repeatedly to the same communities, which allows me to build relationships over time."

"Joan was ninety-three when this portrait was shot. She had just been running (!!) to catch a bus and had narrowly missed it. Luckily for me, she then had plenty of time for a portrait session."

Sony a7R IVa | Sony 50mm F1.2 | F1.2 | 1/640 sec | ISO 100
Photo: Mark Lamb

Is there such a thing as "the perfect portrait"?

"The perfect portrait usually happens after the planned photograph. Once the subject believes the session is over, the performance often drops away and something more truthful emerges. I pay close attention to conversation, body language and silence. Technical decisions are important, but the most important part of portrait photography is creating an environment in which people feel comfortable enough to reveal themselves."

"The perfect portrait usually happens after the planned photograph."

"The only advice I could possibly offer to someone I don't know is to shoot what you know and not what you'd like to be seen shooting. That's how I view my ongoing One Thousand Contemporary Portraits project. I'm also continuing work on memory, aging, and identity, and I have a burning desire to create a lasting portrait record of contemporary Britain."

Mark really enjoyed participating in this spotlight article and would be grateful for you to join him in discussion in the forums.

You can check out his other work at darkinventions.com.

Thanks, Mark, for being featured!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

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Product photos: Mitchell Clark

The Leica SL3-P is a high-speed, high-resolution full-frame camera built around a 44MP BSI CMOS sensor. It's the latest in the company's SL range and perhaps the most polished and all-round capable camera in the series so far.

Key specifications

• 44MP BSI CMOS full-frame sensor with phase detection
• up to 40fps shooting with AF in 12-bit mode. Up to 15fps in 14-bit.
• Subject recognition AF
• 8K open-gate video up to 24p (7.2K open-gate up to 30p)
• Full-width 8K (UHD or ∼DCI) up to 30p
• Full-width 4K up to 30p, 4K/60 and 4K/120 with increasing crops
• Content Credentials image certification
• Battery rated to 383 shots per charge
• IP54-rated all-metal construction

The Leica SL3-P will be available at a recommended price of $6695 excluding tax in the USA, or Euro including sales tax.

Index:

• What is it?
• How it compares
• Body and handling
• Video
• Autofocus
• In use
• Initial impressions
• Specifications
• Leica press release

What is it? That 44MP BSI CMOS sensor will be familiar to anyone that's been following Panasonic's recent launches.

Thus far, Leica has produced high-resolution SL models and high-speed SL-S versions. The SL-P appears to be something of an attempt to merge the two lines, offering both high speed and high resolution.

The result is something akin to Sony's recent a7R VI or, perhaps more pertinently, the Panasonic S1RII: not an out-and-out sports camera but more a studio and landscape camera that's happy to venture further afield. That Panasonic comparison is unavoidable as the 44MP, 40fps headline spec is shared between both cameras, as are their processors, even if the branding of them differs.

However, our experience of the SL3-P and the S1RII reminded us of how different you can make two cameras, even if you start with many of the same components and have similar destinations in mind.

Leica talks a good game about building cameras that last, and that's immediately apparent in the feel and heft of the SL3-P. But what's really striking is how few control points the Leica seems to have. That minimalism, honing the camera down to its core functions and little more extends to the menus and interface, meaning it gives a very different experience to the Panasonic. Or, indeed, any other mainstream camera.

How it compares

Although it offers both high speed and high resolution, the SL3-P doesn't match the do-everything levels of capability of the Nikon Z8 and Canon EOS R5 II, with their stacked CMOS sensors. Instead it's closer in ethos to the Sony a7R VI or, perhaps unsurprisingly, the Panasonic S1RII, essentially delivering a studio and landscape camera that isn't scared of a little action, rather than a camera you might pick for sports work.

We've also compared it here to the SL3, which offers higher resolution but less speed, if absolute image quality is more important to you than the added speed.

Leica SL3-P Panasonic S1RII Sony a7R VI Leica SL3 MSRP at launch $6690 $3300 $4500 $6995 Resolution 44.2MP 44.2MP 66.5MP 60.3MP Sensor type BSI CMOS BSI CMOS Stacked CMOS BSI CMOS Max frame rate 7fps mech., 14-bit
25fps elec., 14-bit
40fps elec., 12-bit 9fps mech, 14-bit
40fps elec. 10fps mech., 14-bit
30fps elec., 14-bit* 5fps mech., 14-bit (AF-C)
15fps e-shutter, 14-bit. (AF fixed after first frame) Rolling shutter rate (14-bit still) 37.5ms 37.5ms 19.6ms 100.5ms Viewfinder res/mag/eye point 5.76M dot
0.76x
21mm 5.76M dot
0.78x
21mm 9.43M dot
0.9x
25mm 5.76M dot
0.76x
21mm Rear screen 3.2", 2.33M dot
Tilting 3.0", 1.84M dot
Tilt / Fully articulating 3.2", 2.1M dot
Tilt / Fully articulating 3.2", 2.33M dot
Tilting AF subject recognition Human
Animal
Car Human
Animal
Car
Motorcycle/Bike
Train
Airplane Auto
Human
Animal
Bird
Car/Train
Airplane
Insect Human
Animal Video resolutions

8K/24 open gate
UHD/DCI 4K/120 (up to 1.17x crop)
4K/60 (up to 1.1x crop)
4K/30 full-width

8K/24 open gate
UHD/DCI 4K/120 (up to 1.17x crop)
4K/60 (up to 1.1x crop)
4K/30 full-width

UHD 8K/30
UHD 4K/120 (1.1x crop)
UHD 4K/60 full-width UHD/DCI 8K/30 (up to 1.24x crop)
UHD/DCI 4K/60 (up to 1.24x crop) Video options ProRes 422
H.265
H.264 (All-I / L-GOP) ProRes Raw
ProRes 422
H.265
H.264 H.265
H.264 (All-I / L-GOP) ProRes
H.265
H.264 Connectivity Wi-Fi 5
1x 10Gbps USB-C
HDMI
Mic / Headphone jacks
Flash sync

Wi-Fi 5
1x 10Gbps USB-C
HDMI
Mic / Headphone jacks
2.5mm remote

Wi-Fi 6E
1x 10Gbps USB-C
1x USB-C PD
HDMI
Mic / Headphone jacks
Flash sync

Wi-Fi 5
1x 5Gbps USB-C
HDMI
Mic / Headphone jacks
Flash sync

Media Type

1x CFexpress Type B
1x UHS-II SD
External SSD

1x CFexpress Type B
1x UHS-II SD
External SSD 2x CFexpress Type A / UHS-II SD 1x CFexpress Type B
1x UHS-II SD Battery life (LCD / EVF) 383 shots 340 / 280 shots 710 / 600 shots 260 shots Weight 852g (30oz) 795g (28oz) 713g (25.1oz) 853g (30oz) Dimensions 141 x 108 x 85mm
(5.6 x 4.3 x 3.3") 134 x 102 x 92mm
(5.3 x 4.0 x 3.6") 133 x 97 x 83mm
(5.2 x 3.8 x 3.3") 141 x 108 x 85mm
(5.6 x 4.3 x 3.3") * Autofocus performance reduced when shooting at 30fps in 14-bit

It probably shouldn't come as a surprise to find that the SL3-P's specs are a very close match for those of the S1RII. The differences between the two cameras aren't something readily captured in a specs table.

The original SL3 offers a slight boost in resolution capture but at the cost of a lot of the new camera's flexibility. Sony's a7R VI offers both though: higher resolution and competitively fast shooting with excellent autofocus and slightly wider dynamic range. It's hard to imagine how two user interfaces and user experiences could be more different, for two cameras ultimately trying to do the same thing, though.

Body and handing The SL3-P's design is as simple and solid as the huge sans serif branding across its viewfinder hump. And with a vague sense that this is how it's always been.

The SL3-P uses the same body as the existing SL3 models: a solid, angular block of a thing with a few large control points and a substantial grip to wrap your hand around. The Leica branding across the viewfinder hump is so beautifully proportioned that it's easy to assume that this series (and, perhaps, a series of film cameras before it), have always looked this way. So it was a shock to see the original SL in the company's archives and see how far the design has evolved.

There are two buttons on the front of the camera, two on the top and one on the back, none of which have marked functions. Instead they can be re-programmed with a long press. In addition there are three marked buttons on the back of the camera: Play, Fn and Menu.

Then there are the three large command dials: one towards the front of the top plate, one protruding from the rear of the right shoulder and a third on the top left of the camera (which I kept forgetting about, as it's such an unorthodox place to find one).

Beyond this there's a small rubber joystick on the back of the camera, and that's about it. Relatively few control points and still fewer dedicated ones. No switches for focus mode or AF area, not even the seemingly obligatory stills/movie switch: that's controlled by swiping left or right on the rear screen.

Rather than making you dig through an incredibly long list of formats, the SL3-P makes it easy to filter down to the video modes that fit your shooting scenario.

We'll touch more on the user interface in the 'In use' section of the review, but Leica is continuing to refine the rather elegant and focused interface it introduced in the SL3. For instance, in this latest camera, the company has re-worked the way you select a video mode: letting you select the parameters that are most important to you: frame rate, resolution, codec, etc, then filtering down the available list from a seemingly unmanageable 193 down to the handful that fit your requirements. It sounds obvious once you've seen it done, but it's cleaner and simpler than most cameras we use.

Viewfinder and screen

The SL3-P has the same viewfinder as the other SL3 models: a 5.76M dot OLED panel (1600 x 1200px) with 0.76x magnification and a 21mm eyepoint. A large circular rubber cushion makes the camera comfortable to use if you wear glasses and there's a -4 to +2 diopter adjuster set behind that cushion.

The rear screen is a 2.33M dot (1080 x 720px) panel mounted on a tilt up/down mechanism.

Ports

The SL3-P has the same port arrangement as its sister models, with 3.5mm headphone and mic sockets and a full-sized HDMI socket under a large, rubber flap on the left flank of the camera. Below these is a USB-C socket that can be used for data transfer (10Gbps), tethering (including to an iPhone) or charging.

Battery As has become standard for Leica, the base of the battery includes the outer surface of the camera. There's a sprung silver lever on the base to release the battery and a stepped latch to prevent it just dropping onto the floor when you do.

The camera uses the same BP-SCL6 battery as its siblings: a 15.8Wh unit that powers the camera to a rating of 383 shots per charge, when tested to the CIPA protocol. As always, this tends to significantly under-represent the actual number of shots you can expect to get, but a rating of nearly 400 shots per charge is the sort of number that should means an enthusiast photographer rarely has to worry about topping-up on a day's shooting. It's only intensive shooting such a weddings, or anything involving a mixture of video and stills that are likely to call for you to have a spare to hand.

Autofocus

The Leica's autofocus behavior is as innovative and unconventional as the rest of the UI.

The camera has three AF area modes, but offers more than three AF areas. The first is called "Spot / Field," the second is called "Multi-Field / Zone" and the last is called Tracking.

There are three AF area options available, but two of them represent a series of different AF area modes.

The clue is in the forward slashes. Spot / Field lets you select a single AF point of various sizes, while Multi-Field / Zone lets you choose between an adjustable AF zone and all-area AF, where the camera selects a subject from anywhere within the frame. Once you've chosen an AF zone mode, you can adjust it by pressing the AF area on your rear screen or long-pressing anywhere on the live preview. This then lets you use the rear dial to adjust the focus area size.

You can't adjust the size of the tracking AF target but you can, in the menus, reconfigure it so it doesn't keep jumping back to the center of the screen.

Like Panasonic's recent cameras, the camera will track recognized subjects when you have subject recognition turned on, but won't track non-recognized subjects at all. So you'll need to turn subject recognition on and off depending on what you're trying to photograph. We'd definitely recommend configuring a button to do this.

By default, the camera's Tracking AF mode gives you a small rectangle that resets to the center of the frame at the end of each burst. However, while you can't change the size of the initial target, you can configure the tracking target to revert to wherever you last triggered it. So, for instance, if you want to track a car down through a series of curves, across your frame, then have the camera jump back to where the next car is likely to arrive, you can.

In use

One of the Leica's most compelling aspects isn't something you can see from product photos or interpret from the spec sheets: the user interface.

The SL3-P uses the latest iteration of the back-to-basics interface Leica has been refining over the past few years.

Pressing the menu button brings up this status panel, which can be customized with a long press of any of the virtual buttons. You can even customize the list of available options, to make selection faster. Pressing the menu button again takes you into the main menu, which is impressively concise for a modern camera.

At its heart, it's designed around putting the key photographic parameters at your fingertips and minimizing the extent of, and need for, menu options. For instance, holding down a customizable button or long-pressing any of the on-screen icons brings up a list of other functions you can assign to it. In fact one of the few options present in the main menu is one to filter-down which options are presented to you, when you long-press a control point to customize its function.

The result is an interface very focused on the fundamental settings of photography. It affords you the luxury of just ignoring what's going on in the interface, much of the time, and just letting you concentrate on the settings assigned to the two big dials, and what you're seeing in your viewfinder.

The Play, Fn and Menu buttons on the back of the camera are the only ones with marked functions: the rest are designed to be configured (and reconfigured) to suit your shooting style and preferences.

This minimalist approach extends to the body and its control points, too, with a smattering of custom buttons, a joystick and three large, solid-feeling command dials being your points of contact. It's remarkable how few dedicated control points there are and while, for my shooting, I found myself sometimes wishing for an AF mode selector, with a little work it's very likely that you can set the camera up in a way you find very quick and easy to work with.

Because it's such a different way of working, the interface takes a little bit of getting used to, though. It rewards you for taking the time to adjust to its design philosophy. One aspect of which is learning to save your setup as a user profile, or risk discovering that selecting the default profile erases any customization you've started applying.

It's also worth recognizing what is and isn't included in these profiles. Exposure mode is, but specific exposure settings aren't, so my attempt to build a profile for freezing the action and another one, with a slower shutter speed, for panning ended up being unsuccessful. Likewise, it's worth carefully planning your profiles before saving them: I thought it would be handy to define a custom button to switch between profiles. Which was great until I pressed the button and switched to a profile with different custom buttons settings, so couldn't get back.

Overall it works very well, though, giving a very photo-focused shooting experience where, for all the cleverness that modern cameras have brought, you end up remembering that the only things that really matter are shutter speed, aperture value, composition and where you're going to focus.

Video

Despite us saying that the SL3-P has a very photo-focused interface, it's probably better to say that it's a very exposure-focused. Swipe left on the camera's settings panel and you get a similar but now video-centric display, with yellow, rather than red accents.

The SL3 offers an incredible range of video modes: 157 in total. These range from 8K open-gate capture, that uses the full extent of the sensor, via 8K in either 1.89:1 or 16:9 aspect ratios and on to 4K capture, again with a choice of aspect ratios. But the camera also offers a selection of other resolutions for each of these capture regions, letting you strike a balance between resolution capture and speed.

Like Panasonic's S1RII, the SL3-P doesn't quite have enough pixels to capture DCI 8K (8192 x 4320px) footage so instead outputs 8132 x 4288px footage. UHD 8K is no problem, though, so you can also select the more conventional 7680 x 4320 resolution, if you prefer.

As you'd expect of a modern camera, you get the choice of 10-bit Log or HLG, or 8-bit if you don't plan to color grade, and you're targeting SDR displays.

Video options: Output dimensions Frame rates Crop MOV ProRes DR Exp 1.89:1 modes C8K 8128 x 4288 30, 25, 24 1.0 4:2:0 – Yes C6K 5760 x 4030 30, 25, 24 1.0 HQ 60, 50, 48 1.04 – – C4K 4096 x 2160 30, 25, 24 1.0 4:2:2 HQ Yes 60, 50 1.04 – 30, 25, 24 1.52 Yes 60, 50, – 120, 100 1.09 4:2:2 – – 16:9 Modes 8K 7680 x 4320 30, 25, 24 1.0 4:2:0 – Yes 6K 5888 x 3312 30, 25, 24 1.0 – Yes 60, 50, 48 1.11 – – 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 – Yes 60, 50 1.11 – – 30, 25, 24 1.52 – Yes 60, 50 – – 120, 100 1.17 4:2:2 – – 3:2 Modes 8K OG 8064 x 5376 24 1.0 4:2:0 – Yes 7.2K OG 7200 x 4800 30 1.0 4:2:0 – – 25 – Yes 6.4K OG 6432 x 4288 30 1.0 4:2:0 – – 25, 24 – Yes 4:3 Modes 4.7K 4736 x 3552 30, 25, 24 1.71 4:2:0 HQ Yes 60, 50, 48 – – - MOV boxes marked green offer All-I compression options
- Red boxes have a ProRes option

As with the Panasonic S1RII, the SL3-P has a Dynamic Range Expansion mode in video, which reads each exposure in both low conversion gain mode for maximum highlight capture and in high conversion gain mode, for cleaner shadows, and combines the two, to boost DR.

This is available in any resolution mode but only at frame rates up to 30p. In each case it increases the readout rate by around 33%. So, for instance, the UHD 8K/24 mode increases from 23.9ms to 31.9ms.

Initial impressions

The Leica SL3-P is the fastest-shooting camera Leica has ever made and should, in principle, be the only SL model they need to persist with. It offers an awful lot of what the SL3 offers, in terms of resolution, and it outperforms the more speed-focused SL3-S.

The subject recognition AF performs impressively well: finding subjects very quickly and following them well (especially when it's a subject the camera has been trained to recognize). Just as the user interface as a whole takes some getting used to, it's worth digging around in the menus and familiarizing yourself with the SL3-P's AF logic before you go out shooting. Without an instruction manual it wasn't obvious that Leica had grouped its AF area modes, or how to switch between them, nor that you can override the camera's default behaviour when it comes to AF tracking.

Some issues you can't overcome, though. The sensor is fast, but it's not as quick as the best stacked CMOS sensors. So the camera will start showing a slideshow of the images you've just shot, when you're shooting at its fastest rates, making it very difficult to keep pace with the action. Similarly, we were advised to shoot Raw-only and to disengage Content Credentials, to get the best performance.

Rolling shutter can become visible if the camera or subject moves too quickly. The camera makes clear whether it's shooting in 12 or 14-bit readout mode, which significantly affects the rolling shutter rate.

Leica Vario Elmarit 24-90mm F2.8-4.0 @ 75mm | 1/320 sec | F6.3 | ISO 100
Photo: Richard Butler

And, even with that done, the camera's approximately 20ms (1/5 sec) readout rates in 12-bit mode mean that rolling shutter will be apparent if you're trying to follow really fast action.

In this respect it's a lot like the Sony a7R VI we recently reviewed: very fast for a high-res studio/landscape camera, meaning it'll handle itself very confidently in a much broader range of circumstances than that. It's not quite the high-res, high-speed all-rounder that Canon's EOS R5 II and Nikon Z8 are, but it'll still be more than enough camera for a very broad range of photographers, taking a very broad range of photos.

The challenge, as ever with Leica, is the price. It's a beautifully built object, constructed in Portugal and Germany, that wears the Leica name and is likely to sell in relatively small numbers, when compared to the volumes of the large Japanese manufacturers. As such, the price is high.

For that money you get the fruits of some very clever design work, in a body that feels like it's designed to last decades. However, parts availability and the continued march of technology (we can already see that sensors and AF will continue to get faster), will make it difficult to match the sense of longevity that a Leica film camera gave you. So, as always, part of the calculus comes down to: how important are those five letters to you?

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Alongside the SL3-P, Leica has announced two new full-frame L-mount lenses: the Summilux-SL 50mm F1.4 Asph., and the APO-Macro-Elmarit-SL 100mm F2.8. The former is an update to an existing model, offering the same focal length and speed in a much smaller and lighter package, while the latter is a new addition to the company's mirrorless lineup.

The 50mm F1.4 features an optical design with 11 elements in 6 groups, with 2 aspherical lenses. It has an 11-blade aperture, and can focus as close as 0.5m (19.7").

The 100mm F2.8 Macro.
Photo: Leica

The 100mm F2.8, meanwhile, can focus as close as 0.29m (11.4"), providing 1:1 reproduction. Its optical formula consists of 17 elements in 12 groups, and Leica says its apochromatic correction lets it provide "outstanding imaging performance right to the edges." It has a 9-blade aperture.

Leica SL3-P | Leica APO-Macro-Elmarit-SL 100mm F2.8 | F3.5 | 1/200 sec | ISO 250 | Processed in Capture One
Photo: Richard Butler

The company says the 100mm F2.8 is designed to honor one of its classic designs, the 1987 APO-Macro-Elmarit-R 100 F2.8. It's 138mm (5.4") long, and weighs 862g (30.4oz)

The 50mm F1.4 is 76mm (3") long, and weighs 584g (20.6 oz). This is compared to Leica's previous Summilux-SL 50 F1.4 Asph., which was 124mm (4.9") and 1065g (37.6oz), making the new much nicer to carry around.

Leica SL3-P | Leica Summilux-SL F1.4 Asph. | F5.6 | 1/200 sec | ISO 64 | Processed in Capture One
Photo: Richard Butler

Both lenses feature an aluminum build painted black, and are sealed against dust and splashes. The 50mm features an extremely minimal design; its only control is the large focus ring. The 100mm has one too, as well as a focus limiter switch. Both are threaded for 67mm filters. For the 50mm, this represents a substantial downsizing from its predecessor, which used 82mm filters.

The Summilux-SL 50mm F1.4 Asph. will retail for $4950, and the APO-Macro-Elmarit-SL 100mm F2.8 will cost $2700. Both lenses are scheduled to launch at the end of the year.

Press release:

New: The Leica SL3-P

Leica is expanding its SL-System for performance-oriented photography and videography with the release of its most advanced full- frame camera to date, accompanied by two new SL-Lenses, offering greater creative freedom

Teaneck, June 25th, 2026 – When it launched the SL-System in 2015, Leica set a new standard for creative photography and video production. Based on the L-Mount, the system combines technological innovation with the precision and quality that the company is known for. Developed in close consultation with professional users, the SL-System continues to be refined, drawing on practical experience. The result is an expanding full-frame system that meets the highest photographic and cinematic standards, while also offering non-professional users easy access to high-quality image and video production thanks to its convenient, intuitive operation. Looking to the future, Leica is now significantly strengthening the SL-System by presenting the Leica SL3-P, the brand’s most comprehensive full-frame camera to date, alongside the innovative Summilux-SL 50 f/1.4 ASPH. and APO-Macro-Elmarit-SL 100 f/2.8 lenses.

The New Leica SL3-P

At the heart of the SL3-P’s features are a new sensor and a new hybrid autofocus system. The 44- megapixel BSI full-frame sensor provides an ideal balance of high resolution and exceptional image quality. With a dynamic range of up to 14 aperture stops, even the finest tonal gradations are captured. The Multishot mode delivers extremely high-resolution, detailed images with up to 176 megapixels. The ISO range of 50 to 200,000 ensures high image quality and flexibility, even in challenging lighting conditions. The new hybrid autofocus system combines three focus technologies – phase detection (PDAF), depth mapping (object detection AF), and contrast detection (contrast detection AF) – to achieve quick, precise, and reliable focusing. With continuous shooting at up to 40 frames per second with full autofocus support, improved tracking performance with 819 AF points, and smart subject recognition, the SL3-P can handle even the most dynamic of subjects with ease.

In terms of video, the latest addition to the SL3 family enables recording at resolutions of up to 8K. This includes 8.1K Open Gate in 3:2 format at up to 24p, HDMI RAW 8K Open Gate, and 8K at 30p. For smooth motion rendering, the camera offers 5.9K recording at up to 60 frames per second as well as detailed slow-motion footage in 4K at 120p. Integration of the Apple ProRes codec at up to 5.8K guarantees outstanding image quality. Together with the two new in-camera LUTs – Leica Pure and Leica Cine – for the L-Log color space, this provides maximum freedom in professional post- production. This not only makes the SL3-P suitable for demanding film productions but also for high- quality hybrid workflows. It allows footage to be optimized for various channels and formats, and framing to be determined retrospectively without any loss of quality.

Manufactured in Germany, the SL3-P features a deliberately minimalist design with black control elements and without the red Leica logo. Its solid, full-metal body ensures maximum stability and reliability, while IP54 certification provides effective protection against dust and water splashes. The SL3-P also features the L-Mount, offering maximum flexibility for photography and filming with the exceptionally wide range of compatible lenses from L-Mount Alliance partners.

The SL3-P offers a unique combination of outstanding image quality, precision, feel, reliability, and speed as well as an unrivalled Leica user experience. This is based on well-conceived ergonomics, fully customizable controls, and a captivatingly clear user interface. The minimalist icon and menu design, which strictly separates photo and video modes, ensures particularly efficient navigation. A special color code – red for photos and yellow for videos – visually distinguishes between the two modes. In addition, the user interface automatically adapts to the camera’s orientation, displaying all information clearly and legibly on the high-resolution tilting screen in both vertical and horizontal positions. The exceptional Leica user experience is maintained through ongoing, uncompromising development. Regular firmware updates based on customer feedback are conveniently made available for the SL3-P via the Leica FOTOS App. This means that the camera embodies both modernity and longevity – from the choice of materials and continuous software improvements. It is a future-proof investment that offers a complete Leica experience from the very first use.

The SL3-P’s comprehensive connectivity ensures a seamless professional workflow. The Leica FOTOS App uses fast Wi-Fi and Bluetooth connections to link the camera directly to mobile devices. This enables fast downloads of DNG, JPG, and video files as well as full remote control via a smartphone or tablet.

Leica Looks can be applied as soon as the shutter is released, and their intensity can be adjusted either in the camera or later in the Leica FOTOS App. Native tethering support for Lightroom Classic and Capture One provides a stable, direct connection between the camera and computer, facilitating immediate image review in the studio. With Camera-to-Cloud via Adobe Frame.io, photos and videos can be transferred directly from the camera to the cloud, making them available for post-production immediately. In addition, the SL3-P is equipped with pioneering Content Credentials technology, developed in line with the Content Authenticity Initiative (CAI), which enables images to be signed with tamper-proof metadata if desired, thereby protecting creative professionals’ intellectual property.

The New Summilux-SL 50 f/1.4 ASPH.

The Leica SL-System is renowned not only for its high-performance cameras, but also for its range of lenses offering exceptional optical quality. With the Summilux-SL 50 f/1.4 ASPH., Leica once again demonstrates its innovative strength in lens manufacturing by presenting the world’s most compact autofocus lens with this focal length and a lens speed of f/1.4. The large aperture lets you capture high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh. Its compact dimensions are the result of state-of-the-art manufacturing processes, ensuring “Made in Germany” finesse. With a diameter of 74 mm (2.9″), a length of just 75.5 mm (3″) and a weight of 584 g (1.3 lbs.), it combines maximum portability with the exceptional image quality for which Leica is renowned. Eleven aperture blades, two aspherical lens elements, and perfectly matched, high-quality glass types produce the lens’s distinctive image aesthetics. The fast autofocus enables rapid operation and focuses by means of a particularly quiet mechanism. With a close focus distance of just 50 cm (1.6 ft), an E67 filter thread, and an L-Mount, the new Summilux-SL is a highly versatile standard focal length lens. The precision-crafted, full-metal lens body forms a unit with SL-Cameras that is protected against dust and water splashes as per the IP54 standard. The AquaDura coating also ensures reliable protection even under demanding conditions.

The New APO-Macro-Elmarit-SL 100 f/2.8

The Leica APO-Macro-Elmarit-R 100 f/2.8 was a milestone in optical craftsmanship when it was released in 1987. To honor this classic lens, Leica is now introducing the new APO-Macro-Elmarit-SL 100 f/2.8. Like its predecessor, this SL-System macro lens delivers outstanding imaging performance right to the edges thanks to apochromatic correction. With a close focus distance of just 30 cm (1 ft) and a maximum reproduction ratio of 1:1, this lens reveals details that are invisible to the naked eye. It is also ideal for use as a telephoto lens in portrait photography. The nine-blade aperture, in conjunction with the entire optical design, ensures a harmoniously rendered background. The robust, full-metal L-Mount body is 137.6 mm (5.4″) long and weighs 862 g (1.9 lbs.), including the supplied lens hood. The front element is protected from external influences by an AquaDura coating, while the E67 filter thread opens up additional creative possibilities.

Starting June 25th, 2026, the Leica SL3-P will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers. The retail price is $6,690.00 Leica is also offering three attractive kit deals for the SL3-P to mark its launch, providing customers savings up to $2,450.00, when compared to purchasing items separately. These are the SL3-P 28–70 Vario Kit, priced at $7,790.00, the SL3-P 24–70 Vario Kit, priced at $8,390.00 and the SL3-P 24–70 & 70–200 Vario Kit, priced at $10,995.00.

The Leica Summilux-SL 50 f/1.4 ASPH. and the Leica APO-Macro-Elmarit-SL 100 f/2.8 will be available worldwide from Leica Stores, the Leica Online Store, and authorized dealers at the end of 2026. The retail prices are $4,950.00 for the Summilux-SL 50 f/1.4 ASPH. and $2,700.00 for the Leica APO-Macro-Elmarit-SL 100 f/2.8.

Specifications:  Leica Summilux-SL 50mm F1.4 ASPH 2026Leica APO-Macro-Elmarit-SL 100mm F2.8Principal specificationsLens typePrime lensMax Format size35mm FFFocal length50 mm100 mmImage stabilizationNoLens mountL-MountApertureMaximum apertureF1.4F2.8Minimum apertureF16F22Aperture ringNoNumber of diaphragm blades119OpticsElements1117Groups612Special elements / coatings2 asphericalFocusMinimum focus0.50 m (19.69″)0.29 m (11.42″)Maximum magnification0.13×1×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight584 g (1.29 lb)801 g (1.77 lb)Diameter74 mm (2.91″)77 mm (3.03″)Length76 mm (2.99″)137 mm (5.39″)MaterialsAluminumSealingYesColourBlackFilter thread67 mmHood suppliedYesTripod collarNo