When you don't have a studio but love using light, you go through a whole series of gear changes before landing on something that actually works. For the self-taught photographer, that usually means progressing through the ‘strobist’ journey, learning off-camera flash with small speedlights before gradually realizing their limitations.

Your typical early setup might include three speedlights, a few lightweight stands, some white shoot-through umbrellas and maybe a snoot. It's compact, accessible and barely takes up any room. I definitely went through this phase, with additional radio transmitters and receivers back before they were built into flashes.

The trouble starts outdoors on a bright day. You're at full power with all three flashes zoomed into one umbrella – and it's still not enough to balance against the daylight.

Worse, you're shooting at f/22 just to keep your shutter speed below 1/250 sec – the dreaded sync speed. Go above that and the flash doesn't cover the whole frame. Bare flash almost cuts it, but it's not flattering and everything is in focus.

So you investigate higher-power lights and the modifiers to go with them. I went to the Elinchrom Quadra pack-and-head system – a 400Ws setup that I still have in boxes around the studio – but these are long out of vogue and there are far more options available now.

You discover high speed sync for creamy, shallow-focus portraits or start using neutral density filters to the same end. Both techniques eat into your power budget, pushing you into 400-600Ws territory. You need heavier light stands and, because you're still working on location, you need modifiers that pack down compactly.

So where does that leave things now?

I run two location setups: one very compact kit for indoors and a main system for most commercial jobs. Both are built around a three-light configuration: key light, fill / separation and background.

The compact kit started with three Godox V850II speedlights, but I've since moved to using two Godox AD100 Pros for more power in a smaller package. The key modifier here is the SMDV Flip 32, a wonderful octabox that opens in seconds, has a built-in stand adapter, and can be angled to suit your shot – similar in concept to the Profoto Clic system.

The stands are Manfrotto Nanos. A specific ring locks the AD100 in place on the Flip 32, though equivalent rings are available for V850-style speedlights. Depending on the shoot I might bring additional modifiers – a Godox snoot and a SmallRig FS30120 strip softbox (a 30x120cm box, hence the numbers!).

These are shared with the main system, mounted via Godox S2 brackets for Bowens-mount compatibility. The SmallRig in particular uses a quick setup and release system unlike anything else I've used. If I need additional light, I use one of the V850IIs I still have.

The main system is built around the Godox AD600BM (also sold as the rebranded Pixapro Citi600). These take Bowens modifiers directly and are more compact than the Elinchrom ELX 500s I use in the studio.

Alongside the FS30120 strips shared with the compact kit, I use the LA-90 Octa, which has a similar fast-assembly system. Stands are Neewer air-cushioned. Usually I travel with two lights, but I do have a third as backup, and sometimes I want a three-light setup (coupled with an additional FS30120.

I also use a version where I have the octa in front with an eye-lighter and a Lastolite (now Manfrotto) Hilite. Both systems are triggered by the Godox X3 – a compact touchscreen unit that handles the whole setup cleanly.

The weak point is transport. The main system currently splits across two Neewer bags – one for stands and umbrellas, one for lights and softboxes – which works for easy trunk storage but isn't ideal, no wheels for getting to the location from the car being the main issue.

The plan is to consolidate into a Think Tank Production Manager 40 rolling case, once I've confirmed the fit with the trunk of the car.

For a today version of this, you could reasonably use the AD100Pro II versions for the compact setup and the AD600Pro II for the main system – or even the AD400Pro II if you want a smaller size for about two-thirds lower power.

Best of all, you can use all the lights I’ve listed together, for those shots where you need more control or practicals on set. I’m not really sure I need eight lights on set, but you never know!

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Take a look at the best flashguns and strobes along with the best photography lighting kits. And if you're not confident with flash, check out the best LED light panels.

Color photography got its start from an unusually bland source: Potatoes. The first attempts at color photography date all the way back to 1861, but while the very first color photograph sparked an interest in capturing color, it wasn’t until the early 1900s that an easily repeatable, beginner-friendly form of color photography would emerge – and from a basic vegetable no less.

In 1861, the color-obsessed researcher James Clerk Maxwell proved that mixing red, green and blue light would allow the human eye to see a full color photograph. But early attempts to capture color in photographs were complex and impractical.

The French brothers Auguste and Louis Lumière took the idea of using red, green and blue dots to create a full-color photograph and started looking for the materials to create a transparent color filter. The material needed to have uniform, microscopic round particles, but it also needed to be relatively easy (and affordable) to find – and that’s where the potato comes in.

Potato starch has microscopic round particles. The Lumière brothers found that adding dye to potato starch in separate batches of red, green, and violet and then mixing the solution together and painting over a sticky glass plate created a color filter. Charcoal powder was used to fill in any gaps and help create contrast. Light went through the tri-colored dyed potato starch coating on one side of the glass to hit the light-sensitive chemicals on the other side of the glass plate.

The result was a glass photograph like many of the glass-based images of the era – only these photographs were in color. Better yet, the Autochrome Lumière plates worked with existing cameras.

The Autochrome overcame a number of hurdles that earlier color photography attempts did not, making a process that was easy enough and affordable enough to create a sellable photography process. But, the Autochrome wasn’t without its challenges. The glass plates needed to be held up to light to view, with the best way to see the glass images through a diascope stand with a mirror. Autochromes also tend to fade when exposed to too much UV light, so these photographs weren’t something that could just be hung on a wall.

Autochromes were known for having a rather startling dreamlike feel to them. In fact, one article from the Photographic News in 1908 described the process this way: “Witchcraft would have been but a feeble, almost complimentary term, for anything so realistic and startling.”

While the autochrome is considered the first commercially successful form of color photography, the plates were more expensive than monochrome ones and required a much longer exposure time – even a sunny day would have still required a one-second exposure, longer on a cloudy day.

Multi-layer color films eventually replaced the fragile glass plates. But the autochrome also helped prove a concept that is still in use today: that dots of red, green, and blue can create a full color image.

Digital camera sensors use a similar idea. A colored filter array arranged with tiny green, red, and blue filters is what allows a camera sensor to see colors – without this arrangement of red, green, and blue, the camera sensor would be black-and-white.

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While we’ve all become accustomed to the seemingly never-ending stream of negative AI headlines, once in a while the technology is used for something good – and this is one of those times.

Researchers in the US have implemented camera traps hooked up to an AI photo analysis tool to recognize and document different bee species, validating that these cheap yet effective platforms can replace traditional lethal or time-consuming manual pollinator research methods.

The scientists, based at Oregon State University, built the traps using low-cost, commercially available components ($100-$200 in total each) housing them in weatherproof containers with a solar panel and battery setup.

Then they positioned the cameras at a fixed focal distance, aimed at colored platforms that served as non-rewarding visual lures.

Across 18 days, multiple camera units recorded continuous time-lapse frames during all daylight hours (approximately 06:00-19:00), capturing footage of 6 bumblebee species, closely matching the bee diversity previously documented in the area by traditional methods.

Some 70,000 of these images were then fed into a pair of different AI analysis models. Over 6,000 original-resolution, full-frame images were analyzed by one model and over 66,000 tiles – which came from cropping the full-frame shots – were analyzed by the other.

The AI models then identified and classified the species, flagging and discarding images containing no insects, which reduced raw field data by over 90% without requiring human effort.

Experts then only needed to review a small subset of pre-filtered, cropped insect images to confirm species-level identification, suggesting that continuous multi-day field monitoring can be scaled feasibly.

What a fantastic use of AI to free up the scientists from mundane tasks to focus on the work that truly matters. In my view, this is exactly how AI should be implemented in photography – not to replace the photographer or create slop.

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I hate carrying things. I try to keep my photography kit as light and minimal as possible, but sometimes (well, a lot of the time) I need a tripod.

Travel tripods are usually an exercise in deciding which compromise will annoy me least. The lightest models can feel flimsy, the reassuringly solid ones are too heavy to carry all day, and the clever designs that balance both often come with a price that makes me reconsider whether I really need a tripod at all.

So when I got a chance to test the Heipi 3-in-1 W28S Travel Tripod, I jumped at it. A lightweight carbon fiber tripod with all the bells and whistles, but for half the price of Peak Design’s version – sounds great!

Its defining feature is the unusual three-pillar center column. Pull it out and it becomes a second, aluminum mini tripod, complete with adjustable leg angles and accessory threads.

The supplied low-profile ball head reveals a spring-loaded smartphone holder hidden beneath its Arca-type plate. And at 1.4kg, it is light enough to travel; it folds to 45cm long and just 7.5cm across, yet reaches 152cm and carries a quoted 20kg payload.

In our review, my colleague Matthew Richards called it “very good value for a tricked-up carbon fiber travel tripod,” and that is where the W28S really wins me over.

It costs $399 / £349, compared with $599 / £599 for Peak Design’s carbon fiber Travel Tripod and $900 / £800 for the newer Peak Design Pro Tripod. Peak Design’s models remain beautifully engineered and more polished, but the Heipi offers an enormous amount of functionality for considerably less.

It is not flawless. The 12 fliplocks on the legs are stiff and slower to open individually, while the 5-section legs taper to fairly spindly 14mm lower sections.

Our tests found some flex and vibration near maximum height, although Matthew still judged it “more sturdy and rigid than many travel tripods on the market.” The mini tripod can also flex when its legs are spread especially wide.

However, in my endless quest for something light enough to pack, solid enough to trust and more reasonably priced, the W28S balances all three better than almost anything else I have seen. My travel tripod search might finally be over.

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If you're a high-end creator or videographer, you've probably got one question on your mind: Sony FX3 vs FX5, which do I get?

Chances are, you've probably already got a Sony FX3. Launched back in 2021, it's been an absolutely monster success story for Sony and has been the go-to camera for creators, videographers and even filmmakers for the past half-decade.

But it's definitely a camera with room for improvement, which is why Sony finally pulled back the curtain on the Sony FX5.

While it's keen to stress that this isn't a replacement for the FX3, and isn't just an FX3 II by a different name, the FX5 offers a clear upgrade path for existing users – and a compelling proposition for those using other brands how might be considering a Sony system.

So, stick with the familiar face or drop the not insignificant extra bucks on the new kid in town? Here's my Sony FX3 vs Sony FX5 at-a-glance comparison.

Sony FX3 vs Sony FX5: At a glance

Sony FX3 vs Sony FX5: What's the ACTUAL difference?

I'll try to make this as straightforward as possible.

The Sony FX3 is a 4K 120p camera that doesn't shoot internal RAW, but can take photos (12.1MP). It has dual base ISO (800 and 12,800), good for 15 stops of dynamic range. It has 5.5 stops of in-body image stabilization and a last-gen autofocus system with human-only subject detection (with birds in stills mode). It has a 3-inch, 1.44 million-dot rear screen and no native viewfinder options. It tops out at 24-bit audio and uses dual SD cards.

The Sony FX5 is (or rather, will be) a 5K 120p / 4K 60p open gate camera that doesn't take photos but shoots internal RAW, including X-OCN. It has three-base ISO (800, 4,000 and 12,800), good for 15 stops of dynamic range (before using Dual Gain Shooting). It has "equivalent" 8.5 stops of stabilization and an integrated AI processor with human, animal and bird algorithms. It has a 3.5-inch, 2.76 million-dot screen with optional Sony EVF. It 32-bit float (with the right accessories) and has dual hybrid SD / CFexpress A slots.

But of course, there's a bit more to it than that.

Sony FX3 vs Sony FX5: Buyer beware

Crucially, the FX3 includes the XLR handle – and does so for an all-in price tag of $4,298 / £3,579 / AU$5,999. The FX5 does not include the handle, despite its higher $4,898 / £4,700 / AU$7,849 asking price – you'll need to shell out considerably more for the $5,498 / £5,200 / AU$8,849 bundle.

Neither camera comes with an EVF. Third-party options are available for the FX3, though they use the HDMI feed. Sony offers a first-party option for the FX5, with 7.07 million-dot resolution and 90° tilting, which will cost you an extra $698 / £650 / AU$999.

Note that you will not natively be able to use the XLR handle and the EVF simultaneously on the FX5, due to a conflict of space and outputs on the top plate. The Sony has hinted that a third-party solution may soon be available for those who need it.

Perhaps most importantly, a number of headline features – namely full open gate and RAW recording functionality – are not available on the FX5 at launch. On day one the camera will only be capable of 5K 60p open gate and 4K 120p capture; the full 5K 120p / 4K 60p open gate and 4K 240p shooting will only be available with firmware v2, which won't come until 2027.

It should also be pointed out that Sony does not provide an official CIPA rating for the stabilization in the FX5 "because it's a Cine Line product", but explained that its performance is "equivalent" to the Sony A7R VI (rated 8.5 stops at the center and 7 stops at the periphery).

Sony also offers an irreversible service to disable the stabilization unit completely on the FX5, if your work requires hard mounting or drone use where IBIS is unhelpful or even problematic. The camera will be labelled as such on the bottom plate, to make it clear that the IBIS system has been deactivated to prevent confusion (particularly, I assume, on the resale market).

Sony FX3 vs Sony FX5: Verdict

Obviously this isn't a verdict on the performance of both cameras; I think it's pretty clear that the FX5 outperforms the FX3 in every category, unless you want to take a photograph.

Ultimately, if you're reading this, you want to know whether the FX5 is worth the considerable extra expenditure – and there are obviously a whole bunch of provisos and asterisks to consider, both for the camera itself along with your work and the way you shoot it.

If money is no object, of course – go straight for the FX5, there's nothing to discuss. Otherwise, you need to ask yourself if you really need what it offers that the FX3 doesn't.

Do you really need 5K open gate? Does the resolution you get at 16:9 shooting genuinely limit your work and the way you deliver content? How often do you truly need to use the same shots for vertical and horizontal output, and would an L-bracket and an extra take be better value? Do you even have the storage and processing power in your workflow to handle open gate files?

Do you really need three more stops of stabilization or AI-powered autofocus? Or do you use your camera on a gimbal, with a focus puller or even manual-focus lenses?

I think, if most creators and video shooters answer honestly, the answer is no to most of those questions. Or at least, no to the $1,200 difference between the like-for-like cameras. In truth, I think the biggest and most important considerations aren't the headline attractions at all.

Okay, I'll grant you that three-base ISO is important if you're not able to control the lighting where you shoot. There's a gaping chasm between ISO800 and ISO12800, so splitting the difference with an ISO4000 option can be a pretty big deal depending on your typical shooting conditions.

But far more important to me are things like 32-bit float, which is guaranteed to save your audio ass at least once in your career (and might single-handedly justify the purchase). The dramatically improved battery life is another big bonus, boosting continuous recording by around 35 minutes.

I'd also argue that switching to CFexpress cards is a pretty huge upside, as we all know how fragile the SD format can be. And obviously, internal RAW recording is an enormous plus if that's what your content requires.

In all, if you've been bumping into its limitations and the FX3 has been actively impeding your work, upgrading to the Sony FX5 is a sensible option for serious, high-end videographers. Remember, this is a hybrid product that boasts features and interfaces from the Venice and Burano lines. Are you really that caliber of shooter?

Otherwise, despite its age, the Sony FX3 still offers fantastic features and powerhouse performance – and at a much lower price point. And hey, if all you want is the option to use a nice EVF, you can buy the Sony FX2 for less than both of these cameras.

Once in a while you see an image that just stops you in your tracks. It makes you put on the brakes, drop whatever it is you were doing and just look. This image of a solitary mangrove tree silhouetted against the glistening Milky Way night sky while being reflected in the shallow tidal water is one of those.

It must have had a similar effect on the judges at the 2026 Mangrove Photography Awards – a competition that draws attention to these vital marine ecosystems and their conservation – as it won first place in the Landscapes – On The Ground category.

For me, everything about this image – taken in Indonesia by Japanese photographer Ryuhei Suguri – is spot on. The mangrove is placed perfectly in the center, with just enough space dedicated to its reflection in the water while leaving ample space to masterfully juxtapose the tree against the star-abundant expanse above.

“Although small against the vast scale of the universe, mangrove forests play a critical role in protecting coastlines and supporting biodiversity,” Suguri told the competition organizers.

“By placing the tree beneath the Milky Way, I wanted to express a sense of connection between the ancient rhythms of the cosmos and the fragile ecosystems along Earth's shores.”

Surprisingly, Suguri didn't take the overall competition crown with this shot. He faced stiff competition at the 2026 edition of the awards, with the title of Mangrove Photographer of the Year going to Gaurav Patil. His frame of a UV light-illuminated “ghost fishing” net caught on a mangrove embodied a strong composition and conservation narrative.

Still, Suguri's photo is second to none in my eyes – and it can't have been easy for the judges when choosing who to crown as the overall winner for 2026.

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With a vertical sensor and Film Camera mode, the Fujifilm X Half could easily take the title of Fujifilm’s most unusual X-Series compact camera. But unusual cameras tend to come with mixed reactions – and the X Half launch was met with more mixed reactions than a bag of trail mix.

On the one hand, the Fujifilm X Half has a one-inch sensor that bests the typical cheap compact camera. With a secondary screen built just for Film Simulations and an actual “film” advance lever, the X Half is also the embodiment of the retro camera trend.

But photographers have long been asking the company to bring back older compacts like the Fujifilm X70 – a smaller, more affordable alternative to the X100 series from 2016 that, despite a lower price, still boasted an APS-C sensor, RAW and manual modes.

The Fujifilm X Half is no X70 – beyond the smaller sensor, there’s no RAW capture at all, a serious sticking point for many photographers, myself included.

But then, a year after the X Half first arrived, I finally got to try one. And as I spent weeks with the little camera, I began to dread the moment that I would have to pack it back up in a box and send the sample back to Fujifilm.

The X Half has a Film Camera mode that I put to use when I gave up camera screens for nearly two weeks, since the function locks the screens. The X Half's feature list may pale in comparison to the X100VI, but it looks like War and Peace compared to most simple screen-free digital cameras like the Camp Snap CS-Pro and the Flashback One35 V2.

Most basic screen-free cameras have fixed focus. The X Half has an actual autofocus system with eye-detection autofocus and the ability to take close-ups. And it can still shoot video (just not in the screen-free mode).

But perhaps my favorite feature from the X Half is that the camera not only packs in Fujifilm’s famous Film Simulations, but several special effects too. I love the light leak and diffusion modes, which bring two of my favorite film “imperfections” to digital, and there are even double exposures.

In that way, the X Half feels more like a grown-up version of the Instax Mini Evo – a cheap camera that I’ve even seen pro wedding photographers carry because the special effects and built-in instant film printer are so fun – but with a larger sensor and more resolution instead of an Instax printer.

I was disappointed when I read the X Half’s features and read that it couldn’t shoot RAW photos at all, but then I started taking pictures with one and I didn’t really miss the advanced file type. The X Half puts the joy of photography over technical perfection.

Yes, my own Fujifilm X-T4 cameras still bring me joy, but my giant to-be-edited pile does not.

The built-in creative tools and the Film Camera mode on the X Half felt like giving myself permission to take imperfect photographs. The imperfect moments often make the best memories.

I want the Fujifilm X Half not to replace my Fujifilm mirrorless kit, but to grab when I want to capture memories without the pile of edits, without the bulk of a larger system and with more creative tools than my iPhone.

I do still think Fujifilm made a mistake with the X Half: the price. It was about $850 / £650 at launch, which I think is too close to options like the Fujifilm X-M5 given the X Half’s shorter feature list. But the list price has since dropped by $200 / £100 and occasional sales may push it even lower than that.

After I tried the Fujifilm X Half, I ended up adding the little retro camera to my wish list – my biggest hesitation is whether to spend my next gear budget on a fun compact camera or the Fujifilm 23mm f/2.8 R WR to turn the mirrorless that I already have into a “compact camera.”

The X Half isn’t the advanced compact I was expecting, but the retro effects and Film Camera mode are a just-right balance between the joy of photography and photo quality.

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As a professional photographer, I’ve seen a lot of stunning photographs – but there’s one image in particular that stopped me in my tracks this week: a “fire-breathing dragon of clouds.”

What keeps drawing me back to Maximilien Lamy’s photograph taken along the shore of France’s Lake Lacanau isn’t just the dramatic cloud rising off the Gironde wildfire, but the beachgoers calmly sitting in the sand, relaxing under an umbrella.

The beachgoers are a dramatic contrast to the crisis unfolding in the distance. The eerie contrast feels as if it carries a message, heavy with the reality that with the wildfires raging since mid-July, life continues amid the state of emergency. The contrast also speaks to the cause of the wildfires as the beachgoers cool off amid record temperatures.

This week, wildfires caused France’s first pyrocumulonimbus cloud – wildfire clouds that are hot enough to cause their own thunderstorm. NASA describes the rare weather phenomenon as a “fire-breathing dragon of clouds.”

According to the photograph’s metadata, the image was taken with a Huawei smartphone, a reminder that the right composition can create a powerful image regardless of what gear was used.

Lamy’s photograph may have stopped me in my tracks, but that’s not the only incredible image that I’ve seen coming from photojournalists this week.

Sheltering at a metro station in Kyiv

When I first saw this image by Oleksii Flippov, I had to look closer to grasp what I was really looking at: people taking shelter in a metro station during a missile strike in Kyiv, Ukraine.

The unusual angle taken from the top of an escalator both draws my eye deeper into the photograph and illustrates just how crowded the station was, as the floor of the station is so full there’s even someone resting at the very bottom of the escalator itself.

The photograph, taken on July 30, is a sobering reminder of the continuing conflict in Ukraine.

A funeral from a dramatic angle

The circular shape and architecture in this photograph by Getty’s Kenny Holston immediately drew my eye to the funeral unfolding in the center of the frame. The image comes from the funeral of late US Senator Lindsey Graham on July 28.

The photograph uses the iconic architecture of the Rotunda in the US Capitol to draw the eye to the flag-draped coffin in the center of the frame. Holston used the Nikon Z9 and the Nikon Z 14-24mm f/2.8 S ultra-wide to fit the scene and architecture into the frame.

A dramatic drone shot of a wildfire’s aftermath

This drone shot by Oscar Del Pozo shows the reality of what residents face after a wildfire. In the photo taken on a farm west of Madrid, Spain, goats dot the scorched earth after a wildfire went through the farm.

The shot was taken with a DJI drone. The unusual angle draws attention to not just the goats but the animals' shadows. Another reason that I find the image striking is that the goats seem to match the color palette of the scorched earth.

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Fujifilm has yet to launch an X-Series camera in 2026 so, in the wait for its next generation, rumors are swirling over what’s next for the camera brand. Fujifilm has, however, debunked one particular rumor making the rounds: the demise of the Fujifilm X-T5.

Two major camera stores in Japan recently listed an X-T5 variant as discontinued, or 'sales ended', according to one report, fueling rumors that Fujifilm has already discontinued the X-T5 ahead of the arrival of a successor.

Digital Camera World reached out to a Fujifilm US representative, however, who confirmed, “the X-T5 has not been discontinued.”

It’s unclear why the Japanese stores had the X-T5 marked that way, but Google Translate suggests that it’s the “X-T5 bilingual model” that has been specifically listed as discontinued at some Japanese retailers.

That may ease worry about the availability of one of Fujifilm’s high-end X-Series bodies, but it’s unlikely to dull the anticipation over what’s next for the brand beloved for its retro designs and Film Simulations.

Fujifilm is in the pause between generations, having updated nearly all its X-Series cameras with the 40.2MP X-Trans CMOS 5 HR or the 26.1MP X-Trans CMOS 5 HS sensor. (The X-Pro3 is a notable exception.)

With nearly all Fujifilm cameras seeing a recent refresh, fans are eagerly awaiting the brand’s next reveal. Fujifilm tends to bring new image sensors to one of its flagship models first, so the X-T and X-H series are often among the first with a new generation of sensor.

As one of the company’s top models in the X series alongside the X-H2 and X-H2S, the Fujifilm X-T5 combines 40MP 20fps still photos with 6.2K 4:2:2 10-bit video recording, along with a 7-stop in-body image stabilization system and weather-resistant construction.

But the X-T5 is also known for its retro-styled body, with its iconic top dials and centered, SLR-style viewfinder. And, according to Fujifilm, it's still very much alive and kicking.

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The DJI Osmo Pocket 4P is now officially available, bringing a dual-camera system to DJI’s pocket gimbal camera range for the first time. Where you can actually buy, however, one depends heavily on where you live, with UK and European shoppers receiving considerably better access than customers in the United States.

In the UK, the DJI Osmo Pocket 4P is available to buy directly from DJI and selected authorized retail partners. The Standard Combo costs £529, while the more comprehensive Vlog Combo is priced at £605.

Both versions are available in black or pearl white, although stock levels may vary between colors and retailers.

Where to buy the DJI Osmo Pocket 4P?

UK Retailers

The Standard Combo is the most affordable way to get started and includes the Osmo Pocket 4P, a fill light, a carrying pouch and a handle with a quarter-inch tripod thread.

It should provide everything that most casual filmmakers, travellers and content creators need to begin shooting straight away, particularly if they already own a compatible wireless microphone or small tripod.

For anyone planning to use the Pocket 4P regularly for vlogging or professional content, the £605 Vlog Combo is likely to offer better overall value.

Alongside the camera, it includes the FrameTap remote controller, DJI Mic Mini 2 transmitter, compact tripod, larger carrying case and additional accessories. The remote screen is particularly useful when filming alone, as it enables the camera and gimbal to be controlled from a distance.

The situation is very different in the United States. At the time of writing, no authorized US retailer currently has official DJI Osmo Pocket 4P stock – and DJI has not announced a formal US launch. This means you will not find an officially supplied US model at the major camera retailers where DJI products would ordinarily be sold.

Third-party and imported listings may occasionally appear through online marketplaces, but these should not be confused with an official US release. Anyone considering an imported model should check the seller carefully and confirm the warranty, returns policy, regional compatibility and possible import charges before placing an order.

We have seen DJI products that were initially unavailable in the United States appear through US retailers at a later date, so the situation may still change. Should the DJI Osmo Pocket 4P officially reach the US market, or become available through a recognized US retailer, we will update this page with the latest prices and buying options.

The Osmo Pocket 4P is more than a modest update to the standard Pocket 4. Its main camera combines a 20mm equivalent f/2 lens with a 1-inch CMOS sensor, while a second 60mm equivalent f/1.8 camera introduces a genuine 3x telephoto perspective.

This gives filmmakers far greater control over composition and makes the camera particularly attractive for portraits, interviews, product videos and more cinematic-looking footage.

DJI has also introduced 10-bit D-Log 2 recording and claims up to 17 stops of dynamic range from the main camera. Video can be captured at up to 4K 60p during normal recording, while the wide-angle camera offers 4K slow-motion at up to 240fps.

A 3-axis mechanical stabilization system, ActiveTrack 8.0 and the rotating 2-inch screen complete what is easily the most ambitious Osmo Pocket camera DJI has produced so far.

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The China National Intellectual Property Administration (CNIPA) has invalidated the patent at the heart of Nikon’s high-profile legal battle against Viltrox, according to court documents obtained by Nikon Rumors.

The rumor outlet previously reported that Nikon had likely lost its patent infringement lawsuit and now the outcome appears to have been confirmed.

Technically, the suit isn’t over yet. Nikon will be given three months in which to appeal the decision or could focus its efforts elsewhere. But either way, this is a major setback for the Big N and a major hurdle cleared for Viltrox.

What's the lawsuit about?

Talk of a lawsuit began to surface at the beginning of the year, with a variety of reports speculating exactly what Nikon was suing Viltrox over – the most outlandish being a completely unsubstantiated Z-mount camera.

Now that the dust has settled somewhat, it’s clear that Nikon was pursuing Viltrox primarily over its implementation of four bayonet lugs and the placement of electrical terminal groups (contacts) – but it’s still not clear which product(s) the lawsuit actually relates to.

Nikon Rumors posted an English translation via an AI recap of the 25-page document, which helps to shed some light on the Chinese authority’s reasoning, stating that the legal basis for the invalidation was a “lack of inventiveness”.

What does that mean? Well, according to Strachan IP, a patented invention has to “have at least one novel technical feature over what has been done before,” which is called an inventive step. So, you can’t patent a wheel, but you can patent a particularly innovative axle.

In the aforementioned court case, the CNIPA has invalidated Nikon’s patent by arguing that it simply isn’t inventive enough. The story continues…

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The Sony A7 V and A7R VI have been headlining several best-seller lists since launch – and now Sony says the cameras are selling so well that the company has an expanded share in the full-frame market.

In Sony’s first-quarter earnings report shared on July 31, the tech giant called out both the Sony A7 V and A7R VI as the camera market overall remains stable outside of a decline in China.

“Against this backdrop, strong sales of the A7 V, which won the Grand Prize at the Camera Grand Prix 2026, and the A7R VI, launched in June, helped raise average selling prices and expand our market share in the full-frame camera market, enabling the Imaging business as a whole to maintain its sales on par with the same quarter of the previous fiscal year,” Sony told investors.

The success of the A7 V and A7R VI doesn’t come as a surprise, as both models have made regular appearances across best-seller lists. But while Sony is collecting a larger share in the full-frame market and selling cameras at a higher average price, the company’s camera sales are similar to the same time last year.

The segment that had the highest increase in sales, however, is Sony’s image sensor division. Sony’s sensor division had a 104.5 billion yen increase compared to the same time frame last year – that’s about $656 million / £489 million / AU$938 million / $921 million at current exchange rates. While Sony’s gaming and music division still takes a bigger chunk of the Sony pie, the imaging sensor division had the most growth out of all of Sony’s divisions for the first quarter.

Sony says image sensor sales have jumped 26 percent over the same time last year, attributing the success largely to a higher average selling price for smartphone-bound image sensors. That left Sony with a record-high operating income for the sensor division.

While the A7 V, A7R VI and growth for smartphone camera sensors mark a positive shift for Sony, the report wasn’t without its concerns. First, the company’s largest image sensor plant has suspended operations after an earthquake on July 28, and production remains paused.

Another key challenge is one that several camera manufacturers have noted: the increasing cost of memory.

“The continued surge in memory prices remains a key business challenge for this segment this fiscal year,” Sony said, discussing the Entertainment and Tech segment. “However, the business is doing everything it can to implement cost-reduction measures in procurement and design, and to adjust its pricing strategies, including foreign exchange management.”

Sony says it also expects increasing memory costs to impact the number of shipments for high-end phones.

Overall across all segments, Sony shared that sales are up 8 percent and net income is up 32 percent compared to the same quarter in 2025.

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Most macro lenses boast a 1x magnification that enlarges tiny subjects to the size of the camera’s sensor – but macro specialist Laowa has unleashed a lens that not only reaches ten times that, but does so with parafocal zoom and an unusual solution to lighting tricky shots. The Laowa Asken 17.5mm f/1.7 5-10x Ultra Macro APO is the world’s first commercial 5-10x – and it launches alongside the Laowa Asken 45mm f/2.8 1-5x Ultra Macro APO.

Laowa – the macro specialist brand from Venus Optics – had previously showcased prototypes of the new lenses earlier this year (which is how the series has already won a TIPA Award). But the lenses – which arrive in both photo and cinema variants for multiple mounts – were officially unveiled in full detail on July 31, with orders already open for the new optics.

A few things have changed from the original prototype – chiefly, the series is now called Asken, not Axon – but what’s remained unchanged is the headline features. The largest magnification in Laowa’s lineup before was 5x, but the Laowa Asken 17.5mm is capable of capturing extreme closeups from 5x all the way to 10x on a full-frame sensor.

A 17.5mm lens that gets that close is nearly touching the subject itself – the lens is designed to sit as close as 22.48mm / .88 inches from the subject – which leaves no room to add lighting equipment.

But Laowa has built in a solution to the challenging lighting that such a close lens brings. The lens can twist on what’s called a Coaxial Light Block, an accessory with a hole to shine a light through. Coaxial lights are more traditionally used for cameras used for machine vision, but Laowa is calling on the concept to help light a subject that’s just milimetres away from the lens.

The Laowa 17.5mm uses a parafocal design. This means that, if the lens is focused at 5x, the subject will still be in focus when the lens twists to 10x, so photographers and videographers won’t need to adjust the focus after zooming in. That’s particularly helpful considering both lenses are manual focus only.

Keeping the lens barrel the same length also helps aid lighting set-ups – and avoiding accidentally bumping the subject itself with the lens.

Laowa says that chromatic aberration – a type of lens distortion that creates distracting colored fringing – tends to be a major challenge with extreme magnification. To help fight that, the lenses are designed with an apochromatic (APO) design to help reduce that colored fringing while also aiding in sharpness.

The Laowa 45mm f/2.8 1-5x brings the same parafofocal design, but brings a less extreme macro range of 1x to 5x and allows for more distance between the lens and the subject with a 40.35mm minimum working distance.

That much magnification requires a lot of pieces and components, so the lenses aren’t exactly compact. The 1-5x sits at 121mm / 4.76 inches and 599g / 21oz, while the 5-10x is at 127.5mm / 5 inches and 570g / 20 oz.

Both new lenses are launching in several mounts, covering a full-size sensor but also compatible with crop sensors. The still version is available in Sony E, Nikon Z, Canon RF, L-Mount, Nikon F, Canon EF, Fujifilm X, and Micro Four Thirds. A cinema version will also be available in an Arri PL native mount, with interchangeable bayonets to adapt to Sony E, Nikon Z, Canon RF, Canon EF, L-Mount, Fujifilm X, and Micro Four Thirds.

Sales for both lenses opened today, July 31. Both photo variants of the lenses retail for $749 (about £556 / $AU1,066 / CA$1,050), with another $100 added to the 5-10x that includes the coaxial Light block. The cinema variants sit at $1,499 each (about £1,076 / AU$2,133 / CA$2,030).

The 17.5mm 5-10x and 45mm 1-5x are available to order from Laowa as well as authorized retailers.

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It’s happened: I’ve been duped by an AI-generated video. I knew this day would come, but I wasn't ready for it to be so soon. I feel afraid, scared, even violated – almost as though, like Morpheus rescuing Neo from The Matrix, I’ve been disconnected from a reality that never truly existed.

Fortunately my machine-generated nightmare only lasted a few moments, not a lifetime. Equally short but frightening is that AI video generation tools have only been around for a few years, yet humans are now capable of producing lifelike videos with them.

I’ve been saying for a while that AI tools are developing faster than most of us want to believe. But, at this rate, it won't be long before the machines completely take over.

As I watched the viral clip showing the behind-the-scenes of a disaster movie being filmed, the thought of it being AI never even entered my mind.

From the way in which the mini tsunami enveloped the model coastal palm trees and later collapsed the buildings further inland, there wasn’t a shadow of a doubt that this was a real video. I even got caught out by the people, something AI typically has trouble rendering accurately in videos.

ABOVE: now I've given it away, the video seem like AI from the start to you, but I was convinced…

But then I headed to the comments to find out more about the film – and here my reality came crashing down. Boom, right there in the second comment: “So, this is an AI video.” In disbelief I scrolled further to see if their claims were unfounded but, to my horror, the two frightful letters 'AI' cropped up again and again.

“This is it,” I told myself, after a moment of being dumbfounded, shocked, and then upset. “You’ve been hoodwinked by an AI-generated video for the first time.” No other AI video has ever seemed real enough to pull the veil over my eyes – something, as a photographer, I’ve prided myself on. But this was different, and I was oblivious.

So I watched again, this time hypervigilant, looking for the telltale signs of AI trickery. And there they were, subtly among the most realistic of frames.

On second watch, the camera dolly riding on rails seemed to move in an ever-so-jerky way. The production support crew running alongside the wave tank, it just didn't look right. Then the dead, but almost invisible, giveaway: a cameraman with two right arms.

But none of this mattered. It was too late; no amount of repenting could undo what had happened. The machine world had hooked me up to its meticulously programmed ruse before sucking me dry of all vitality and tossing me back into the real world (read that in Morpheus’ deep, shuddering voice).

Although, upon rewatching the video, I also read the description properly – and there, tucked away at the end, was an AI disclaimer. So, props to the creator for at least being transparent about their work (unlike the Architect, who purposely programmed the Matrix as an insidious illusion).

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Robert Doisneau (1912-1994), the iconic 20th century French street photographer, is best known for his famous humanist approach to documenting everyday Parisian moments.

In later years, though, he’s arguably become just as well known for something he said to Australian photographer and photography historian Peter Adams in 1987.

Adams was interviewing Doisneau as part of a monumental 39-year pursuit to photograph the most famous living photographers from the past century, when the Frenchman said:

“You must let the person looking at the photograph go some way to finishing it. You should offer them a seed that will grow and open up their minds.”

But what did Doisneau mean by this, and how do you do this with your photos?

While certainly open to interpretation, I’m sure many of us would agree that the central idea the late street photographer was getting at was that a good photo doesn’t tell the beginning, middle and end of a scene.

It leaves a gap for the viewer to decide, in some way, how the narrative should unfold. A philosophy that the following image, taken fairly recently (and, fittingly, in Paris) by Pulitzer Prize-winning photojournalist David Turnley, perfectly encapsulates.

At first, it may seem like the image tells the entire story. Inside the cafe, we see the subject: a woman with a coffee and a half-eaten pain au chocolat. And reflected in the window we see what she sees: a man riding by on a bicycle and the Parisian cityscape.

But it’s the woman’s pondering, perhaps concerned, expression that enables us to write the end of this script, despite the fact that Turnley gives us a complete understanding of her surroundings.

What is she thinking? Is she concerned or is she just in deep thought? Maybe she’s simply posing, hoping that Turnley captures her best angle.

To me, it’s this. I don’t know the story behind the image, but the way the woman eloquently rests her head on her clasped hands makes me think she noticed the camera in time to position herself.

Interestingly Doisneau himself didn’t always follow his own philosophy, so well-embodied by Turnley’s frame. Ironically, his most famous shot – a staged scene called Kiss by the Hôtel de Ville – doesn’t leave much to the imagination, at least not in my view.

Although maybe this is just as important a takeaway: that a philosophy should guide your photography, not be a strict rule to follow at all times.

But the idea of planting a seed in the mind of the viewer for them to sow into an idea was certainly of utmost importance to Doisneau – who, in much of his work, found ways to infuse intrigue, mystery, and imagination into everyday scenes of life on Paris’ streets.

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Huawei was one of the first out of the gates to push the smartphone as a genuine photography tool. The Huawei P20 Pro and P30 Pro were particularly compelling, and the company has continued producing ambitious camera phones even as international restrictions have made them increasingly difficult to recommend outside China.

The Huawei Pura 90s Pro Max is the return to the global stage for Huawei flagships, which, in recent years, have rarely launched outside China. Why the international model has gained an additional “s” remains something of a mystery, but the important differences are the global version of its EMUI 16 software and international network support, including 5G.

The Pro Max is the largest and most camera-focused model in the Pura 90s range. Its headline feature is a 200MP periscope telephoto camera with a large 1/1.28-inch sensor, but it also includes a 50MP main camera with a physical variable aperture and a 40MP ultra-wide camera.

With specs like that, Huawei is clearly targeting photographers who might be browsing our guides to the best camera phones or the best Android phones for photography. However, it enters a market now packed with impressive alternatives from Oppo, Xiaomi, Vivo, Samsung, Google, and Apple, several of which offer equally ambitious camera hardware without Huawei’s software complications.

Specifications

Design

The Huawei Pura 90s Pro Max looks gorgeous. The Orange Ocean version I tested blends blue at the top into a rich orange across the lower portion of the rear panel. Huawei says the same transition continues around the aluminum frame, although it mostly just looks gold to me; however, it is still very pretty and complements the finish nicely. It is not a phone for anyone hoping to go unnoticed. The ombré effect is bright and eye-catching. More restrained buyers can choose Blush Gold or Graphite Black.

The phone feels suitably premium in the hand. At 230.5g, it is weighty without feeling excessively heavy, although it remains amongst the larger flagship phones, sitting around the same weight as a Vivo X300 Ultra or Oppo Find X9 Ultra. The outer frame is smooth but not particularly slippery, and the gently tapered edges prevent it from digging into my palm during longer periods of use.

Huawei has also returned to a completely flat screen, which I much prefer for photography, reviewing images and video (and just in general). Curved displays should be consigned to a footnote of phone design. The display itself is excellent. The 6.9-inch LTPO OLED panel is sharp, bright, and richly saturated, with strong viewing angles. Its adaptive refresh rate ranges from 1Hz to 120Hz, which keeps motion smooth while allowing the phone to reduce power consumption when the screen is static.

The front uses Huawei’s Anti-Reflection and Scratch-Resistant Kunlun Glass. Huawei claims this reduces reflections by up to 70%, increases scratch resistance by 16 times, and improves drop resistance by 25 times compared with conventional glass. The phone also carries both IP68 and IP69 ratings. I don’t tend to throw my review units around or drown them, but from sliding in and out of bags and pockets, getting splashed and bumping up against my keys quite a few times, it's still looking good as new.

The P90s’ camera island remains one of the most unusual designs on any phone. I’m not sure how I feel; I don’t love it, but I certainly do not hate it. The rounded triangular arrangement spreads the three lenses across the upper-left corner rather than collecting them into a huge central circle or a small squircle like almost every other phone. It is noticeably different from almost everything else available, and I respect that.

That positioning has one practical advantage: my fingers rarely wandered over the lenses while I was holding the phone. I cannot say the same for several devices with large, centrally positioned camera modules. The bump itself is significant, although Huawei has softened its effect with a sloping outer edge. There is some minor table wobble, but it is less severe than on phones where several individual camera rings are clustered along one side *cough* Samsung. Because Huawei’s module occupies more of the phone’s width, it distributes the weight a little more evenly.

Box contents likely vary by region. Huawei included a charger, USB-C cable, and transparent case in my review unit.

Camera Performance

The Pura 90s Pro Max has three rear cameras. The main camera uses a 50MP, 1/1.28-inch RYYB sensor behind a 24mm-equivalent lens. Its standout feature is a 10-step physical aperture that moves between f/1.4 and f/4.0, with optical stabilization also included.

Beside it is the headline 200MP telephoto. This uses another big 1/1.28-inch RYYB sensor, but places it behind an 89mm-equivalent f/2.6 periscope lens. That provides approximately 4x optical zoom. Although interestingly, Huawei offers a 10x crop as the default “optical” zoom in the camera app, which defies the usual optical crop of twice the standard focal length, which shows how confident Huawei is in its zoom. Finally, there is computationally enhanced zoom for 20x and beyond.

The third camera is a 40MP, 13mm-equivalent ultra-wide with autofocus. Huawei also adds a dedicated True-to-Colour Camera 2.0 sensor to gather additional color information and produce more accurate white balances and skin tones, similar to what we have seen from Oppo and others on recent models.

At their optical focal lengths, all three cameras are very good. The main and telephoto cameras are the clear standouts, but the ultra-wide also produces very nice images, and doesn’t feel like the usual afterthought.

With the Pura 90s Pro Max its just remarkably easy to get good photos. In its standard photo mode, point it toward a scene, and I know I will reliably get a well-balanced, usable image. Exposure is consistently good, white balance is usually effective, and skies in particular retain a realistic blue.

However, while Huawei’s processing does an excellent job of giving photographs immediate impact, it can become overenthusiastic. Images are slightly over-reliant on sharpening, even at the cameras’ native focal lengths. This makes photographs look crisp and detailed at normal viewing sizes, but zooming in reveals fine textures taking on a slightly squiggly, processed appearance. It is not bad, and most people will never notice it. However, it prevents images from looking quite as natural or photographic as those from the best modes available on Oppo and Xiaomi phones with their Leica and Hasselblad input.

HDR is similarly aggressive. The Pura 90s Pro Max is exceptionally good at preserving highlights and pulling detail from shadows, but the result can be a photograph in which almost all the highlights are borderline too bright. I could not find a way to disable HDR capture in the standard camera mode, which is an odd quirk. HDR has its place, particularly in strongly backlit scenes, but I do not necessarily want every photograph to look that way. Editing afterward can tone down some of that effect, but I would prefer more control at the point of capture.

Color consistency across the three cameras is good, but not perfect. Each lens can produce a slightly different white balance, which becomes noticeable when shooting a sequence intended to sit together. The differences are not dramatic, but they make matching photographs more work than it should be. Below you can see the color and contrast become a little moodier between the 1x and 4x cameras, with the 4x not quite capturing the warmth of the day as well.

The 200MP telephoto is enormously capable. At its native 4x focal length, it captures excellent detail with attractive compression and dependable exposure. Results beyond the optical range are also impressive. Huawei’s high-resolution sensor gives the processing system plenty of data to work with, so photographs at 8x and 10x remain incredibly usable and up to optical quality.

However, some limitations appear once I examined the files a little more closely. At approximately 240mm equivalent and beyond, I occasionally saw odd blurring around the edges of subjects, along with small processing artifacts in areas of complicated texture. These effects become more obvious as the light falls and the phone has less genuine image information to work with.

Huawei’s 20x output can look remarkable at first glance, but it should not be confused with optical zoom. It remains a crop enhanced by significant computational reconstruction. It works well for a record shot or social-media post, but pinch in, and there are a lot of smoothed textures and digitally sharpened outlines.

Macro performance is excellent. Both the ultra-wide and telephoto cameras can focus at close distances, giving me a choice between an exaggerated wide-angle perspective and a tighter telephoto composition. The telephoto macro is particularly impressive. I could photograph extremely fine details without placing the phone directly on top of the subject, and in one image of a bee, individual grains of pollen were visible among the hairs on its body. This is one of the best macro cameras I have used on a phone.

The main camera’s variable aperture is another welcome feature, although it's not the game-changer that it could be. On a sensor this small, changing from f/1.4 to f/4 does not transform depth of field in the way it would on a mirrorless camera, but it can help control exposure and extend shutter speeds for more creative long exposures. I would love to see Huawei push the concept further. A smaller minimum aperture, combined with more direct manual control, could make the feature even more valuable for light trails or moving-water effects.

The camera application itself is straightforward, but it has several unnecessary frustrations. There is no direct 20x shortcut, nor are there convenient buttons for intermediate focal lengths such as 1.5x or 2x. Most rival applications let me tap or cycle through their zoom icons to reveal additional options, while Huawei makes me use the imprecise zoom slider.

Pro mode offers manual exposure control, but creative customization is limited. The main color options are essentially Standard, Vivid, and Bright. Oppo’s Hasselblad Master Mode and Xiaomi’s Leica profiles offer much more control over the character of an image, including less-processed output and customizable recipes.

Video quality is good in the standard mode, and the phone can record up to 4K at 60fps from every rear camera and the front camera. Footage is clean, detailed, and easy to capture, while the stabilization makes longer telephoto clips much more practical than I expected.

Unfortunately, the more advanced options fall behind rival flagships. There is no Log capture or LUT support, manual controls are limited, and Huawei’s Advanced Image Stabilization restricts recording to 2.7K. Subject tracking is more limited still, topping out at 1080p. That is difficult to overlook when phones from Apple, Samsung, Vivo, Oppo, and Xiaomi are offering Log profiles, 4K120 recording, advanced codecs, LUT previews, and support for external storage.

Phone Performance

My global Pura 90s Pro Max uses Huawei’s Kirin processor, paired with 12GB of RAM and 512GB of storage. The international model also restores 5G connectivity, something that had been missing from several previous Huawei flagships sold outside China.

In ordinary use, I had few complaints. The phone feels quick when browsing, switching between applications, streaming video, and navigating the camera interface. I did not encounter meaningful hangs or slowdowns, and it handled on-device photo and video editing without any obvious difficulty.

However, Geekbench 6 figures show that Huawei remains considerably behind the latest Qualcomm-powered flagships. Devices using Qualcomm’s Snapdragon 8 Elite Gen 5 deliver more than twice Huawei’s multi-core result. Those benchmark differences do not make the Pura feel slow in normal use, but they matter for demanding games and heavy use.

The more significant issue is EMUI 16. Huawei’s interface is clean, responsive, and generally easy to use, but the global phone does not include Google Mobile Services. That means there is no native Google Play Store, Google Wallet, Android Auto, or properly integrated Gemini. Huawei offers alternatives through AppGallery, Huawei Wallet, Celia, Petal Maps, and Huawei Cloud, and many of those applications are perfectly competent.

The problem is that much of my digital life is tied to Google. My files are in Google Drive, I sign into countless services with my Google account, and I use Google’s applications across several other devices. Replacing one app is manageable, but replacing an entire connected ecosystem is considerably harder.

There are third-party methods for installing many Google applications, including containerized services and manually installed APK files. These can work surprisingly well, but they remain workarounds. They do not provide the same deep system integration, and applications that rely closely on Google Play Services, device certification, payment security, or background synchronization may behave unpredictably.

The global model also has a confusingly restricted set of AI editing tools. Huawei promotes AI De-glare, AI Move, AI object removal, and other generative features in some markets, but the global version is missing these options. That leaves the global Huawei well behind Google, Samsung, Oppo, and several other brands for AI-assisted photo editing, despite the strength of the cameras producing those photographs.

Battery life is excellent. My review unit comfortably lasted around a day and a half with a mixture of photography, video recording, browsing, and general use. Huawei officially rates the battery at 6,000mAh outside the European Union, while the EU version has a 5,270mAh rated capacity. Charging is very fast. The phone supports up to 100W wired charging and up to 80W wireless charging with compatible chargers.

Final Verdict

The Huawei Pura 90s Pro Max is a hard phone to assess. It has built an excellent camera system and wrapped everything in one of the most distinctive designs around. It is comfortable to hold, the display is excellent, battery life is strong, and ordinary performance is smooth.

The cameras are capable of producing outstanding images, particularly at their native focal lengths. I also enjoyed how little effort was needed to get a successful photograph. Exposure, color, and white balance are usually dependable without intervention. However, the processing can look too sharp and too HDR-heavy, while Huawei provides fewer tools than its competitors for dialing that processing back. Its video hardware is impressive, but the lack of Log recording, LUT support, and full-resolution stabilization makes it a less convincing choice for serious video makers.

Then there is Google. Many applications can be made to work, but I never stopped noticing what was missing. The limited AI editing tools on my global unit were also missed. For photographers willing to accept those compromises, the Pura 90s Pro Max is a remarkable imaging device. For everyone else, other Android and Apple phones offer more complete all-round experiences.

Alternatives

August 2026 is one of the most event-packed months of the year for astrophotographers — and perhaps the busiest for years. On August 12, it not only delivers a rare total solar eclipse across parts of the Northern Hemisphere, but also a partial solar eclipse that’s deep across Europe and shallow in parts of North America. Just hours later, overnight on 12-13 August, comes the peak of the Perseid meteor shower, the best display of “shooting stars” in 2026. Add Venus, which in mid-month begins to shrink to a crescent as it approaches Earth — getting brighter as it does — and a partial lunar eclipse late in the month, and August becomes a showcase of multiple types of astronomical targets.

Here’s everything you need to know about astrophotography in August 2026:

Read: 10 must-shoot events for astrophotographers in 2026

Wednesday, August 12: Total solar eclipse

The standout astrophotography event of 2026 is a total solar eclipse that sweeps across eastern Greenland, western Iceland and northern Spain. For those within the 180-mile-wide path of totality, this is a rare opportunity to photograph one of nature’s most dramatic spectacles.

Outside the path, a deep partial solar eclipse will be seen shortly before sunset across Europe. In North America, northeastern U.S. states and Canada will see a small eclipse in mid-afternoon.

Preparation is everything. You must use a solar filter for all partial phases, removing it only during totality itself if you’re in the path. A focal length of 400-800mm will capture the sun’s corona in detail, though wider lenses can be used for landscape compositions showing the darkened sky and horizon glow. Exposure bracketing is critical, as the corona spans a huge range of brightness. Practise beforehand — this is not an event to improvise.

Read: Start planning for the next solar eclipse – the must-photograph astro event of 2026

August 12-13: Perseid meteor shower

The Perseids peak on the night after the eclipse — a coincidence that effectively guarantees a moonless night sky perfect for meteor photography. Under dark skies, rates can reach 80–100 meteors per hour. As always with attempts to capture fleeting meteors, the best strategy is “set and forget.” Use a wide-angle lens (14-24mm), a fast aperture (f/2-f/2.8), ISO 800-1600 and exposures of 20-30 seconds. Meteors can appear anywhere in the sky. Shoot continuously for several hours, and you’ve got a great chance of catching a few streaking through a frame.

Read: How to photograph the stunning Perseid meteor shower

August 15: Dark sky window

The last quarter moon — rising late at night — on August 6 kicks off a dark-sky period ideal for deep-sky imaging. With no moonlight to interfere, this is one of the final opportunities of the year to photograph the Milky Way’s core in the evening sky.

Look south after dark to capture the dense star clouds and dust lanes of the Milky Way flowing through the vast Summer Triangle asterism. Use a wide-angle lens and exposures of 10-20 seconds at ISO 800-3200, taking care to keep stars sharp. For greater detail, use a star tracker to extend exposure times. This is also a good time to experiment with panoramas or vertical compositions — but also think about composition, making sure there’s more in your image than just the Milky Way.

Read: The best star tracker camera mounts

August 15: Venus at greatest elongation

Venus reaches its greatest eastern elongation, shining brilliantly in the western sky after sunset. At nearly 48 degrees from the sun, it will be prominent as the “Evening Star.” It also becomes an ideal target for a close-up because it is now half-lit (as an inner planet, it has phases like the moon) and is becoming more of a crescent each night, even as its disk grows larger as it gets closer to Earth. This kind of image demands a refractor or Schmidt-Cassegrain telescope — ideally with a high focal length of about 1,000mm — and high magnification. Because of its brightness, Venus can be captured even before the sky fully darkens, allowing for more creative foreground work.

Read: The best cameras for astrophotography

August 27-28: Partial lunar eclipse

A solar eclipse also comes with a lunar eclipse in tow — sometimes before, sometimes after. This deep partial lunar eclipse will see 96% of the full moon enter Earth’s shadow, with cameras capturing a rusty, reddish color on the lunar surface near the peak. North and South America will get the best views, while Europe will see the peak of the eclipse in the hours before sunrise. A telephoto lens (300-600mm) will reveal detail, while shorter focal lengths can be used for creative compositions. Unlike a total lunar eclipse, part of the moon will remain brightly lit, so exposure balancing is important. Shoot in RAW and bracket exposures to retain both the shadowed and illuminated regions.

Read: How to photograph the Blood Moon

Astrophotography shot of the month: Milky Way and Perseids under a dark sky

While the total solar eclipse is the headline event, the Perseid meteor shower offers the most accessible and repeatable opportunity for astrophotographers. With a new moon ensuring dark skies, this year’s display is perfectly timed not only to catch meteors, but to do so with the Milky Way in the background. Find a location far from light pollution, point the camera south and use continuous shooting to keep it running for hours. The more frames you capture, the higher your chances of recording multiple meteors. However, always add a foreground element — a tree, a building or a landscape feature — to create interest, scouting a location in daylight if you can.

Read more:

• Astrophotography tools: the best camera, lenses and gear

• The best lenses for astrophotography

• The best star tracker camera mounts

Camera glasses with AI features have been getting a lot of press lately, and not all of it positive. While these clever devices have exploded in popularity, driven in large part by the Ray-Ban Meta Gen 2 Smart Glasses, concerns have been raised over privacy issues and the potential for non-consensual recording.

As such, it was with mixed feelings that I unboxed the Rokid AI Glasses Style, the more lightweight and affordable counterpart to the Rokid Glasses, lacking the display technology of their bigger brother. Equipped with a 12MP sensor capable of capturing stills and video, these glasses also benefit from an AI assistant you can talk to in real time via the built-in mics and speakers.

They look the part – but are they capable of capturing decent-enough imagery to be considered among the best camera glasses? I took the Rokid AI Glasses Style out for a test to find out.

Rokid AI Glasses Style: Specifications

Rokid AI Glasses Style: Price & availability

The Rokid AI glasses can be bought directly from the manufacturer’s website, at time of writing for a starting price of $349 (roughly £262 / AU$500). That’s a little cheaper than the Ray-Ban Meta Gen 2s, which start at $379, but a lot more expensive than the previous gen of Ray-Ban Meta Gen 1s, which are currently sitting at around $225.

So, it’s about the standard market price for a pair of flashy camera glasses with AI features. If you just want the camera bit, don’t care about AI features and aren’t too fussed on image and video quality, then you have many, many cheaper options, such as the Oho Sunshine Camera Glasses, or any number of anonymous products on Amazon.

Rokid AI Glasses Style: Design & handling

If you’ve been admiring the style of the Meta Ray Ban glasses, then you might well find the Rokid pair to be hauntingly familiar. They’re sleek, black and fairly anonymous-looking. The right arm features a function button that can be used to quickly capture photos and videos, and a touchpad that can be used to control things like music playback. I found the shutter button to be well-situated and more enjoyable to use than having to talk to the glasses or fiddle with the app – you tap it to take a photo, and long press to start/stop recording video.

Audio playback comes via two small speakers on the arms, and there is a four-mic setup for picking up your own voice as well as video sound. These are what you use to communicate with your AI assistant. I’ll talk more about this process in the next section, but as far as mic-pickup goes, I found them to be consistently pretty reliable, able to consistently pick up me saying ‘Hi Rokid’ in all but the quietest of voices.

The glasses are fairly sizeable, and I found them to be perfectly comfortable to wear for long periods, with no uncomfortable pinching or squeezing. The shaded lenses can be swapped out to clear or prescription lenses if you prefer. Charging is straightforward via the supplied magnetic charger, and the glasses come with a standard protective case – you do have the option to fork out $99 for a charging case.

The camera module is situated beside the left eye. On the other side is the recording light, and I have to say that this is one of my big issues with the Rokid AI Glasses Style. The recording light is a small, dim, white LED, a dot that is hard to see when you’re indoors, and in full daylight is all but invisible (you can see it close-up at the end of the video clip featured below).

Frankly, this is not good enough. If the light is supposed to clearly notify others that they’re being recorded, then there’s no reason for it to be so small and dim, nor for it to be white rather than red, a color that has been near-universally understood to mean ‘recording in progress’ since the days of camcorders.

Rokid’s AI claims the glasses will refuse to record when the light is covered – but in my testing, this didn’t actually appear to be true. The speakers play a warning to uncover the light, but the recording continues. As such, this tokenistic gesture makes me deeply sceptical that Rokid are particularly bothered by issues of privacy or transparency.

The light is on the other side of the glasses, so it isn’t going to interfere with the camera. I think it should be ten times brighter. Red, flashing and unmissable. And frankly, if you care about camera glasses as a technology, you should be calling for this too – because the tech is never going to shake its reputation for irresponsible use when manufacturers make irresponsible use so easy.

Rokid AI Glasses Style: Performance

AI features work via the Hi Rokid app, available for iOS and Android. The Android version is a little temperamental and prone to crashing – and it took me several attempts to establish the initial connection. Judging by the ‘made for iPhone’ slogan proudly touted on the box, I suspect the iOS experience might be smoother.

The Rokid Glasses Style’s AI assistant apparently uses a combination of both OpenAI’s ChatGPT and Google’s Gemini. I’m not entirely sure how this works in practice (though the voice replying to you often changes), but using the assistant is fun, if intermittently janky.

I took the glasses around London’s Kew Gardens, asking them to identify plants, objects, buildings and sculptures. I achieved about a 60% success rate, with the remaining 40% consisting of a range of error messages – ‘server busy’, ‘connection unstable’, ‘service error’. Thinking times also varied wildly. It’s diverting enough, but in my view, a bit too unstable to really slot into one’s life in a useful way.

More interesting is the camera module. It uses a 12MP Sony IMX681 sensor, which is the same resolution as the sensor in Meta’s glasses – in fact, I can’t fully confirm this, but I think it might well be the exact same sensor. As such, images are similarly bright and vibrant, with pleasingly natural-looking colors and a decent level of detail.

Like many images taken on these kinds of sensors, they look fantastic on a phone screen, and okay on a monitor. Images are captured in the camera’s native 3:4 aspect ratio – you also have the option of cropped 9:16 portrait or 4:3 landscape, the latter in 3K rather than 4K. Also, I do appreciate the automatic horizon calibration, as someone who naturally tilts their head quite a bit.

Video-wise, it’s a similar story – footage looks decent enough, especially on a small screen, but isn’t about to give proper vlogging cameras any sleepless nights. It shoots by default in 2.5K 30p in a 3:4 aspect ratio, and once again you have a few different aspect ratio options if you wish. It does wobble quite a bit when walking – some stabilisation wouldn’t have gone amiss – and outdoors, the audio is pretty susceptible to wind noise, so bear that in mind if you wish to record speech.

Also, Rokid claims that the 210 mAh battery will give you up to 12 hours ‘typical’ use, but I’m not sure about that – the first couple of hours of messing about in Kew Gardens knocked about 40% off my unit’s battery indicator.

Rokid AI Glasses Style: Sample images

This gallery of sample shots was taken around London’s Kew Gardens on an extremely sunny and bright day with minimal cloud cover, including both exteriors and interiors.

Rokid AI Glasses Style: Video

Above is a compilation of a few short clips captured with the Rokid AI Glasses Style using the camera's native 2.5K 30fps 3:4 mode.

Rokid AI Glasses Style: Verdict

Fundamentally, if you want a decent pair of camera glasses with AI smarts – here it is. In pure imaging terms, the Rokid AI Glasses Style don’t bring anything new to the table, with a 12MP sensor that produces images that look much like everything else. The combination of ChatGPT and Gemini powering the AI smarts certainly creates a different user experience to Meta’s AI, but also one that feels a little byzantine and unstable.

I’d feel a lot more comfortable recommending the Rokid AI Glasses Style if the privacy features weren’t so lacklustre. I’m aware this is pretty much the standard for camera glasses, but I don’t have to like it, and I don’t have to like the implications of it.

My wishlist for a future update to these glasses would be pretty straightforward. In addition to a clearer recording light, I’d love a smoother app experience on Android, and perhaps seeing some of those AI smarts put to work on features like stabilisation or noise reduction. Until then, I can only call these what they are – a perfectly adequate and fairly unexciting pair of camera glasses.

Rokid AI Glasses Style: Alternatives

The third-party lens market is a highly competitive one with an increasing number of names in recent years. But long-standing optics maker Tamron says it now leads the third-party lens market with a share of approximately 60%.

The data comes from Tamron’s integrated report, an annual document that looks at the company’s achievements and future goals.

In the report, Tamron notes that it now holds a “leading market share of approximately 60%” for third-party interchangeable lenses.

That number, however, does include the lenses that Tamron manufactures for first-party brands. Lenses that carry the Tamron name make up 59% of the company’s numbers for 2025, with lenses produced for other brands sitting at 41%.

While the figure includes both Tamron-branded lenses and those that it manufactures but carry another name, the statistic is an unusual glimpse into the standings in the highly competitive third-party lens market.

Both Tamron and Sigma have long been a key part of the segment, but recent years have brought an increasing number of optics from lens makers based in China.

Part of Tamron’s success comes from doubling the number of lenses launched each year. As recently as 2023, Tamron was launching around 5 lenses a year, but Tamron has “more than 10 new products scheduled for 2026.”

The report also says that Tamron’s goal of “establishing a four-mount lineup, including Canon RF Mount” remains. Tamron’s first RF-mount lens arrived in 2024, and the company is now up to three RF-supported lenses – all for APS-C sensors.

Tamron attributes part of its success to what it calls “user-centric designs”.

“We set ourselves apart from manufacturers’ genuine products by combining a design philosophy focused on practicality with product planning that achieves both compactness and lightness alongside high performance,” the report says.

“We have gained support through user-centric designs, such as the standardization of filter diameters.”

Tamron is also attributing its growth to an approach to manufacturing that now stretches across three countries, including a new Vietnam plant opened last year.

With facilities now in Japan, China and Vietnam, Tamron says it has also been able to adjust the volume of each plant to help offset some higher tariff costs.

But Tamron’s growth comes as the company expects a “shrinking digital camera market.” The company’s plan includes retaining and growing its core lens business, but says lenses are also a stable “cash cow” in which to grow its other avenues – which also include surveillance lenses, lenses for car cameras and healthcare devices.

Tamron plans to continue growing its core photography business, but at a slower rate than other segments in order to create more stable revenue where interchangeable lenses make up two-thirds of the company’s profits rather than three-quarters.

The English language report was published on July 27, following a Japanese version published one month prior. The report comes amid the news that Sony has proposed buying all shares in Tamron.

Tamron has confirmed that an offer was made, but has not shared any decision or further insight on the matter. But the potential of Sony having full ownership makes the insight on Tamron’s 60% share in third-party optics – with 41% of that chunk being lenses manufactured for other companies – all the more interesting.

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I am never surprised to see that the Nikon Z 180-600mm f/5.6-6.3 VR is trending on Google. From the moment this formidable Nikon Z lens was launched back in 2023, it’s been a hugely popular optic for Nikon.

Indeed its spiritual forebear, the Nikon AF‑S 200‑500mm f/5.6E ED VR, is still a fixture in both hides and trackside the world over.

A fantastic performer that stops short of pro-level prices

The Nikon Z 180-600mm f/5.6-6.3 VR sits firmly within the enthusiast bracket, but I’ve known pros to favor its blend of reach, affordability and relatively light weight, too.

Essentially, it’s a middle ground between lenses like the Tamron 70-300mm f/4.5-6.3 Di III RXD ($699 / £699 / AU$1,199) and the Nikon Z 28‑400mm f/4‑8 VR ($1,449 / £1,399 / AU$2,299), and serious pro-grade optics that arguably begin with the Nikon Z 100‑400mm f/4.5‑5.6 VR S ($2,949 / £2,699 / AU$4,799) and ends with the Nikon Z 600mm f/4 TC VR S ($16,199 / £15,499 / AU$28,299).

The Nikon Z 180-600mm f/5.6-6.3 VR is priced at $2,199 / £1,999 / AU$3,099, placing it firmly in the middle. However, it’s important to remember that this is an extremely long lens.

The Big N doesn’t make many 600mm optics and the Nikon Z 180-600mm f/5.6-6.3 VR is the cheapest of the bunch. It might not be the fastest lens in the world, but it’s still very workable in a variety of situations – especially given the enhanced low-light capabilities of the best Nikon cameras and the industry-rocking power of AI noise reduction.

I get it, 2,000 bucks is a lot of anyone’s money and it’s beyond the reach of some creatives. But for sports and wildlife photographers, having a long lens like the Nikon Z 180-600mm f/5.6-6.3 VR in their arsenal is quite simply more important than the camera.

A lot of enthusiasts have no problem dropping big bucks on a body or two (or three), but shy away from investing in the optics they need to fulfill their creative ambition.

If you can’t afford the Nikon Z 180-600mm f/5.6-6.3 VR but have a Z-Series camera, my recommendation would be to pair a secondhand F-mount lens – such as the Nikon AF‑S 200‑500mm f/5.6E ED VR – with the Nikon FTZ adapter.

Right now, MPB is selling said lens from £589 / $849, but there is a wealth of long lenses on the used market that you can find for less.

Nikon Z 180-600mm f/5.6-6.3 VR: How does it fare in 2026?

The Nikon Z 180-600mm f/5.6-6.3 VR is a lovely lens to shoot with, delivering gorgeous image quality and a slick, internal zoom design.

But while the internal zoom does provide a more premium feel, it does mean that this lens will take up plenty of space in your kit bag. So much so that even a standard bag may struggle to accommodate this lens while it’s attached to a camera.

You get 5.5 stops of Vibration Reduction (Nikon’s proprietary optical stabilization) and customizable function buttons, as well as some decent weather sealing. It doesn’t boast the greatest tripod collar and foot, though, with the latter being rather small and uncomfortable when used as a handle, but this is easily replaced if it bothers you enough (I’ve kept mine).

And while the f/5.6-6.3 aperture range might seem a bit slow, with some cunning subject positioning it’s not hard to blur the background – especially as you’ll likely spend most of your time at the telephoto end anyway.

Overall, the Nikon Z 180-600mm f/5.6-6.3 VR represents just as good value and delivers just as good a performance three years after its release. I’d recommend it to anyone.

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From Elon Musk claiming that Grok AI will make a “historically accurate” Odyssey film to academic Emily Wilson saying she “would be ashamed to have written any part of this script,” it seems like Christopher Nolan’s latest epic, currently sitting at a triumphant 94% on Rotten Tomatoes, has divided opinion. But I’ve just caught a video from photographer and YouTuber Anthony Gugliotta, investigating why some viewers are saying The Odyssey looks blurry.

I haven’t seen the film in an IMAX cinema, but I have to say, I didn’t actively notice the presence of any softness. Then again, I’m not a fan of razor sharpness and to me, the ethereal look of the film really complemented the source material. I generally think the cinematography looked great.

But as to why The Odyssey might look a little soft in places, Anthony’s video gives two very plausible answers. Firstly, IMAX 70mm is a massive format, which makes shallow depths of field more obvious. Secondly, the production was using modified Panavision Primo 65 lenses, which contained anamorphic lens elements, further enhancing the shallow depth of field.

So here’s the thing, you’re working with very shallow depths of field to start with. You then have to use longer focal lengths to reach standard cinematic fields of view, because of the huge format. And finally, you might be shooting at wide apertures. All of this results in a sliver of a focal plane. This is a focus puller's nightmare for close-up scenes because very little movement from the actor in question will throw everything out of focus.

Ultimately though, I’ll take a slightly soft cinematic production over AI slop and CGI borefests any day of the week. Then again, what do I know? I watched 1988’s Bloodsport at the weekend and thoroughly enjoyed it…

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Recently, there’s been a resurgence in interest in the original Google Pixel smartphone, which was released back in 2016 with a modest single rear 12MP camera, a Sony sensor, and 32GB of base storage. However, it’s not for nostalgia or some kind of retro kick.

In an aggressive marketing bid, the search engine hegemon offered all Pixel 1 customers lifetime unlimited original-resolution, uncompressed photo and video storage. And now, people are buying up Pixel 1 phones – which you can find on eBay for under $100 (approximately £75 / AU$140) – hoping to take advantage of this deal, which Google still honors to this day.

The only caveat was, and still is, that files need to be uploaded via the Google Photos app from the Pixel 1 device, which isn’t ideal. Still, it means users can get around any current storage plan limits by first transferring files from other devices to the Pixel 1 before uploading them to the cloud.

Above: this tutorial shows exactly how people are exploiting the Google Pixel 1 unlimited storage hack

It’s a seemingly fail-safe hack, too. Even though it’s been 10 years since the Pixel 1 was unveiled, if Google decided to revoke the deal, it would likely need to navigate a legal minefield of breach-of-contract clauses.

I really don't think the tech giant is worried about these storage hackers taking up too much real estate on its servers either.

While by 2023 an estimated 40 million Pixel units across all generations had sold, the company revoked the unlimited storage benefit from Generation 6 (2021) onwards. In fact, Google had already downgraded the unlimited storage deal to compressed-quality files by the release of Generation 5 the previous year.

But do I recommend exploiting this hack? Honestly, no. While it can save you money in the long run, transferring all your files to an early-generation Pixel device, either manually or via a syncing app, is a hassle. Plus, the whole scheme relies on an old smartphone that may or may not give out after long.

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If there’s something that Peak Design is known for beyond its line of photography accessories and bags, it’s record-breaking Kickstarter campaigns – and the brand’s latest has already surpassed half a million dollars for a modular L-bracket dubbed the Peak Design Field Bracket.

Peak Design’s crowdfunding approach has been an overwhelmingly successful one. In 2019, the company broke the Kickstarter record at the time for the most money raised with more than $12 million for the Travel Tripod. That record no longer stands, but last year, Peak Design raised even more for the Roller Pro at over $13 million.

The Peak Design Field Bracket’s half million may seem like pocket change compared to the brand’s record-breaking launches, but the campaign has already surpassed more than ten times the original goal on a campaign that only launched last week – and the pledges start at $125 compared to $415 for the Roller Pro.

On the surface, the Peak Design Field Bracket is an L-Mount bracket, a longstanding simple camera accessory that allows creators to quickly switch from horizontal to vertical when using a tripod.

But the Field Bracket uses a modular design that aims to offer more than quick horizontal and vertical shots. The base plate hides a Peak-Design-made Bluetooth tracker, aiming to ward off lost or stolen gear by putting a tracker directly on the camera instead of inside a camera bag.

Peak Design isn’t the first to try to hide a Bluetooth tracker directly on the camera, but Peak Design made its own tracker instead of using an existing tracker like an AirTag or Tile (though it still works with both Apple Find My and Google Find Hub). Beyond tracking, the tag powers left-behind alerts.

The design makes the tracker look like just part of the bracket, Peak Design says, and while the vertical piece of the L-bracket can be removed without tools, the base plate uses a tooled installation in order to prevent thieves from easily removing the tracker.

The L-bracket uses a modular design that also allows users to swap the vertical piece out for a cheese plate, which can be used to add accessories like mics, lights, and external monitors. While cheese plates tend to be more popular for video rigs, I can see photographers using the set-up to attach an action camera for shooting behind-the-scenes footage as well.

The L-bracket also supports a wrist strap and, for the Fujifilm X100Vi and Leica Q3, the L-bracket also gives compact cameras a beefier grip.

Unlike Peak Design’s popular bags and straps, the L-bracket is camera-specific, which means the accessory has to be matched up with a compatible camera – a list that so far includes several Sony, Canon and Nikon models, as well as two Fujifilms and two Leicas.

The Field Bracket is Peak Design’s 17th Kickstarter campaign. The crowdfunding closes August 21. A retail launch is planned for March 2027. The Kickstarter has the bracket for a 17 percent discount from the expected retail price at $125 (about £93 / AU$179 / CA$175.

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Tamron has launched a firmware update for the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 that’s quite frankly mind-boggling. Rather than the usual tame improvements and bug fixes, firmware Ver. 3 actually increases the E-mount lens’ magnification ratio. I’m not even sure how that’s possible – but it is!

The magnification ratio at focal lengths of 25-70mm has been increased to 1:2 or greater. This is sometimes referred to as "half macro", given that a 1:1 ratio is known as "true macro". True macro is when a lens is able to focus close enough to a subject that it can be replicated at life size on the sensor.

Not satisfied with that, however, focal lengths of 35-50mm on the Tamron lens enable you to get even closer – now delivering a 1:1.7 reproduction ratio. Again, quite how it's possible to improve a lens' magnification via firmware is a mystery to me, but I'm definitely all for it!

So, while half macro technically isn’t macro, it still enables you to get very close to your subject – and a whole lot of half macro lenses are nonetheless marketed as macro optics, as it's still very capable for close-up images.

The improvement makes Tamron's 25-200mm an even better updgrade on its 28-200mm f/2.8-5.6 Di III RXD G1 predecessor, which was limited to a 1:3.13 magnification ratio.

To upgrade the lens, you need to connect it to Tamron’s proprietary Tamron Lens Utility software, available for both Windows and macOS, via the lens’s onboard USB-C port. You can find a comprehensive rundown of how to do that via the Tamron support website.

Tamron is in the spotlight today, having confirmed a report that Sony has bid to buy the lens maker. This macro-firmware wizardry probably isn't the reason that Sony is interested in buying the company, but it's certainly exciting to think what firmware wonders might be added to Sony's first-party lenses…

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You now have just three days left to buy the Camp Snap 2 at its lowest-ever price, with the wonderfully simple screen-free camera currently available for only $69.99 in the US and £54 in the UK.

However, this price is not going to hang around. Camp Snap has confirmed that its introductory launch pricing will end on August 3, after which the price of the camera will increase. The company says rising costs are behind the decision, so this is one of those rare occasions when waiting will almost certainly mean paying more.

The Camp Snap 2 takes everything that made the original such an enjoyable little camera and gives it a welcome refresh. It remains completely screen-free, encouraging you to concentrate on the moment rather than repeatedly checking every image, but the body is now 15% slimmer and the viewfinder has been repositioned to make framing more reliable.

You also get six built-in filters, including three vintage options, an analog look and black-and-white, all of which can be selected directly on the camera. There is no need to connect it to an app or edit every photograph afterwards, making it easy to switch between different looks while you are out shooting.

The Camp Snap 2 uses an 8MP sensor with a fixed f/2 lens, includes a 4GB microSD card and can capture up to 500 photographs from a single charge. It also charges over USB-C, has a standard tripod mount and introduces a faster shutter response, making it a more practical camera for holidays, parties, family days out or simply carrying around every day.

This is never going to replace a serious mirrorless camera, and that is entirely the point. The Camp Snap 2 is designed to be inexpensive, uncomplicated and fun, giving you something closer to the experience of using a disposable camera without continually buying film or paying for development.

At $69.99 / £54, it is already one of the most affordable ways to enjoy distraction-free photography, but you only have until August 3 to secure the introductory price. With the increase now confirmed, I would not leave this one sitting in your basket for too long.

Yesterday, a bombshell report from Diamond Online claimed that Sony had proposed an offer to acquire all the shares in Tamron. And today, Tamron issued an official statement to confirm that it has received a “non-binding proposal” from the consumer tech giant to make the optical manufacturer a “wholly-owned subsidiary of the Sony Group”.

Tamron says that it has put together a “special committee” to weigh up its options, but that currently public disclosure on any matter is not required.

Sony and Tamron’s long-standing relationship

While the news has certainly come out of the blue, it’s not exactly surprising that Sony would express interest in acquiring Tamron. The global consumer electronics conglomerate has been Tamron’s largest shareholder for years, with a percentage that rose to 15.35% in December of last year.

But a couple of weeks ago, Digital Camera Life reported that Sony was facing competition from the second-largest shareholder, Effissimo Capital Management, which increased its stake to 17.38% in April.

Having a business partner like Sony is something of a safety net for Tamron, so Effissimo’s aggressive play isn’t necessarily a welcome one. And given the timing, it’s certainly possible that losing its majority stake was the catalyst for Sony’s proposal.

What could Sony’s proposal mean?

Tamron hasn’t revealed any details beyond confirming Sony’s proposal. However, according to the Diamond Online report, this could mean a ¥200 billion offer, which equates to roughly $1.2 billion / £916.4 million / AU$1.75 billion / CA$1.72 billion.

And there’s another angle to this. If Sony does indeed acquire Tamron, what happens to the various mounts for which the company makes optics – could we see a future where Tamron is exclusive to E-mount?

In my opinion, I don’t think Sony will scupper lens sales for Nikon Z, Canon RF and Fujifilm X by limiting mounts. After all, it wouldn’t be the largest global supplier of image sensors if it only supplied its own cameras.

Digital Camera World will be monitoring the Tamron and Sony situation carefully. The story continues…

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Sony has held a slice of shares in third-party lens maker Tamron for multiple years, but an investigation led by a Japanese business publication hints that the camera giant has explored acquiring all of the shares in Tamron.

According to interviews from the Japanese business publication Diamond, Sony has proposed an offer to acquire all of the shares in Tamron. The report suggests a 200 billion yen proposal, which would be about $1.2 billion / £916.4 million / AU$1.75 billion / CA$1.72 billion at current exchange rates.

Neither Sony nor Tamron has validated the investigative report, and the report only describes a proposal, not an accepted agreement. The Japanese report has sparked an onslaught of rumors and speculation about whether such an acquisition would happen and, if it did, what such a move would mean for Tamron's non-Sony lenses.

Sony already owns a significant portion of Tamron’s shares. But, last month, reports suggested that Singapore-based investment fund Effissimo had surpassed Sony in share percentage, moving from a 10.76 percent stake to 17.38 percent.

Tamron’s most recent official shareholder list was updated in December 2025 and shows Sony as the leading shareholder at 15.35 percent.

Digital Camera World has reached out to both Tamron and Sony for comment.

Historically, Sony’s partial share ownership has been a positive for Sony photographers. Tamron lenses tend to launch to E-Mount first, though the brand hinted earlier this year that more new lenses may take a multi-mount approach at launch, rather than delaying the launch for additional mounts.

The rumors, however, have sparked another key discussion: What would happen to Tamron’s other mount options if Sony owned Tamron? Tamron’s financial reports don’t break down how much of the business’s sales are to other brands, but the multi-mount approach feels key to Tamron’s identity as a third-party lens brand.

The E-Mount by far makes up a majority of Tamron’s lens options. Tamron’s website currently lists 23 E-Mount lenses, 13 Nikon Z lenses, four Canon RF lenses, and four Fujifilm X-Mount lenses.

According to Tamron’s 2025 investor report, Tamron aims to increase the number of lenses launched each year from six to ten.

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Around the corner from the pinball machine at Lucky Slice Pizza in Ogden, Utah, there’s another machine that feels a bit more unexpected: a vending machine that doesn't dispense snacks but instead offers film, disposable cameras, and starter film cameras.

The FIND Lab – an abbreviation that comes from Film is Not Dead – has been selling and developing film for more than a decade. After opening a second location last year, the film store decided to take a smaller approach to expansion: a vending machine.

Jon Canlas, owner and creator of The FIND Lab, says the idea for the vending machine came as the brand looked to continue to expand into northern Utah, having opened its second outlet in Salt Lake.

Instead of snacks and drinks, The FIND Lab’s vending machine dispenses a variety of film as well as cameras. The machine dispenses film in multiple sizes, including 35mm film as well as Instax Mini instant film.

Disposable cameras can also be purchased from the vending machine, along with some reloadable, budget starter cameras like the Kodak Snapic.

There’s just one digital product inside the machine: the viral Kodak Charmera keychain camera.

A lockbox at the side of the machine enables photographers to not only buy film from the machine, but also drop rolls off to get developed.

“Film is not dead,” Canlas said. “Not only is it available, but it’s readily available at a price point that meets most places online. We’ve brought the online experience to you in person. Our mission is to help people shoot more film more often, and that’s exactly what this does.”

The biggest challenge to getting the vending machine up and running – a process that took about a month and a half – was finding the right coil for each type of film in order to make sure the film vends properly and doesn’t get stuck.

The team customized the coil arrangement to best fit the variety of film and installed a sensor to ensure the machine continues to vend each purchase.

In just the first month, photographers have dropped off nearly 100 rolls of film at the vending machine, and purchased enough film and disposable cameras to nearly cover the initial cost of the machine.

Pizza and film may seem like an unusual combination, but Canlas describes Lucky Slice as a “hipster” pizza parlor – so the team-up, while unusual, made sense.

The Lucky Slice owners shoot film, too, and FIND Lab and Lucky Slice are planning a photo walk in August, with the resulting images to be displayed inside the restaurant.

While The FIND Lab vending machine is more of a mini location than a full retail store, the move marks the company’s third expansion into a new location.

Film is Not Dead started as an analog workshop in 2008. In 2011, the team started developing film in order to give workshop feedback, but when development opened to the public the business quickly took off.

The company opened up a retail store in Provo, Utah in 2024. Along with selling and developing film and analog camera equipment, the 7,000-square-foot building also houses a gallery, a public darkroom and a studio space.

Last year, the company opened a second location for retail and film developing in Salt Lake City.

The vending machine enables the company to cater to film photographers who are north of Salt Lake – saving about an hour of driving. “There’s nothing like this in the whole state,” Canlas said. “Once you get past Salt Lake, film shops don’t exist.”

The number one seller so far from the vending machine? Kodak Gold film, followed by disposable cameras.

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The GoPro name is almost as synonymous with accessories as it is with action cameras – and the new larger sensor Mission 1 Pro series isn’t any different. On July 29, GoPro rolled out the Mission 1 Series’ Media Mod, along with the updated Volta 2 battery tripod – the latter of which is also compatible with older Hero series cameras as well.

GoPro teased a long list of accessories at the Mission 1 Series launch, but now the Mission Media Mod and Volta 2 are finally rolling out, alongside bundled deals that include the new cinema-action camera with the accessories.

The accessories also come alongside new firmware for the Mission 1 series that includes accessory compatibility but also improves image quality with enhanced contrast and color accuracy.

And, the announcement even comes with insight that GoPro’s mirrorless Mission 1 Pro ILS is still on track to launch later this quarter. GoPro hasn’t shared a specific date yet, but the quarter ends on September 30.

The new accessories and Mission 1 Creator Kit combos will be GoPro.com exclusives at first before launching to retail stores in August.

The GoPro Volta 2

I’ve used GoPro’s original Volta to power all-night time lapses with my Hero12 camera. The Mission 1 Series offers better built-in battery life, but the GoPro Volta 2 expands that life to up to nine hours of 4K30p video, thanks to a higher-capacity 5800mAh battery.

The Volta 2 isn’t just an external battery pack though – it’s also a mini tripod and grip. Because the Volta 2 is specifically built for GoPro, the handle also incorporates camera controls, keeping key options within easy reach when using the Volta 2 as a grip.

The Volta 2 is also one of the new accessories that launched with the Mission 1 series but is still compatible with older Hero series cameras.

The Volta 2 is launching first as a GoPro.com exclusive before arriving on retail shelves in August. The battery tripod accessory retails for about $140 / £125 / AU$225 / CA$190, with discounts for subscribers who have been with GoPro for more than a year.

GoPro Media Mod for Mission 1 Series

GoPro is no stranger to Media Mods designed to give the action camera more ports and accessories, but the company says the Media Mod was redesigned from the ground up for the Mission 1 Series.

The new Media Mod has a built-in multi-pattern mic, but serious audophiles will find three different 3.5mm ports for an external microphone, a line-in for timecode sync, and a headphone port to monitor audio quality while recording. Both the integrated microphone and the mic port support 32-bit float audio.

The Media Mod also has a micro-HDMI port, which allows users to work with external monitors and live broadcasts with support for up to 4K60 video. A hot shoe slot for additional accessories, such as the GoPro LightMod 2, is also part of the setup.

GoPro says that the Mod is designed in a way that still allows for easy access to the battery and memory card slot, while supporting the traditional mounting fingers, magnetic mounts, and ¼-20 tripod mounts. The design is weather-resistant, but not submersible.

The Media Mod, which is compatible with all three Mission 1 models, will be a GoPro.com exclusive for the first few weeks before launching to retail stores in August. The accessory retails for $149 / £129 / AU$229 / CA$199.

GoPro Mission 1 firmware update

A firmware update for the Mission 1 Pro and Mission 1 gives the cameras support for those new accessories, but the firmware goes beyond adding in the accessories.

GoPro says the firmware update also comes with enhancements to image quality. In the cameras’ Dive Mode, contrast and tone tuning have improved. Color accuracy and cinematic motion blur tuning have also improved, the company says.

The firmware is available for download directly from GoPro.

The GoPro Mission 1 Pro ILS mirrorless camera is still on schedule for a 2026 release

Tucked in with the announcements, GoPro says that the company’s first mirrorless camera, the GoPro Mission 1 Pro ILS, is still on track to launch before the end of the third quarter.

That timeline isn’t any different than what GoPro shared at the initial Mission 1 Series announcement, but it reaffirms that the mirrorless camera hasn’t been pushed back amid the company’s financial struggles and increased scarcity for memory components.

Along with the new firmware, Media Mod, and Volta 2, GoPro also launched new Creator Combo bundles that pair the Mission 1 Pro with several accessories. The Mission 1 Pro Creator Edition includes the camera, Media Mod, Volta 2, and Wireless Mic kit for $1,099 / £950 / AU$1,700 / CA$1,499.

The Mission 1 Pro Ultimate Creator Edition swaps the Volta grip from the Creator Combo for the GoPro Fluid Pro AI gimbal and also includes the Light Mod 2 along with the Media Mod, Wireless Mic, and camera for $1,199 / £1,050 / AU$1,850 / CA$1,650.

The combos are available with the Mission 1 Pro directly from GoPro.com.

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I’m always glad to see that the Fujifilm X-M5 is trending on Google, because it means plenty of people are giving this unassuming little powerhouse the attention it deserves. You see, despite its popularity, I’ve often wondered how many would-be Fujifilm X-M5 creators have simply dismissed Fujifilm’s smallest interchangeable-lens camera as being an entry-level body, maybe even a casual camera akin to the Fujifilm X Half, when in actual fact, it’s anything but.

Last year I claimed “the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera,” but it’s not just this camera’s tiny footprint that makes it so appealing; it’s the surprising power that lurks beneath the hood.

Firstly, the Fujifilm X-M5 is built around the company’s last-gen flagship APS-C sensor, the 26.1 MP X-Trans CMOS 4. This imbues it with some serious X-Series credentials right off the bat, complete with that coveted Fujifilm color science.

Then things get really interesting: 20fps burst speeds (30fps with 1.25x crop), along with 6.2K / 30p, 4K / 60p (1.18x crop), full HD / 240p, as well as 4:2:2 10-bit and F-Log for plenty of pliability in post-production. And to top it all off, it supports open-gate video.

Now, the elephant in the room is the lack of a viewfinder, but unusually that really doesn’t bother me here, because it’s clear that the Fujifilm X-M5 is designed to be as small and light as possible, and without compromise. Nobody bemoans a traditional compact camera for not having a viewfinder; it’s either your bag or it isn’t.

But here’s the thing. I reckon the Fujifilm X-M5, like the Ricoh GR IV, is the camera nerd's 'compact camera'. It’s small enough to be a constant companion, but it’s got the image quality, the specs, and the interchangeable-lens system to be an infinitely useful tool. In a world where the Fujifilm X100VI gets the lion’s share of the attention and plaudits, spare a thought for the Fujifilm X-M5. It’s easy to miss, but hard to find fault.

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I thought the Fujifilm X-E5 made the Fujifilm X100VI a lame duck. Here's why I've changed my mind. I spent some time with the Fujifilm GFX100RF; it may just be my ideal travel camera. And finally, check out the best retro cameras.

The Sony FX5 was only available for 24 hours before demand exceeded supply in Japan, as the "handheld Hollywood" cinema camera is already achieving blockbuster success.

Announced last week, the Sony FX5 is due to launch on August 21. Pre-orders opened yesterday in Japan, but such is the appetite for the camera that some deliveries will be delayed until at least September.

This delay could be further impacted by the suspension of sensor production at Sony's Kumamoto factory, though there has been no official communication to this effect.

"We began accepting orders for the professional camcorder 'FX5' on Tuesday, July 28, 2026, and have received significantly more orders than we anticipated," announced Sony.

"As a result, there may be a delay in delivery.

According to the listing on Japan's official Sony Store website, fulfilment of new orders is currently expected to take place in September.

"We are currently working diligently to meet our customers' requests as much as possible, so please bear with us for a little while longer."

While technically a new product, the FX5 is one of Sony's most eagerly anticipated cameras. Customers have been awaiting a replacement for the five-year-old FX3, with camera rumors whipping up excitement for the body ahead of its official reveal.

A 5K 120p open gate camera with modular expansion and features inherited from the Burano and Venice lines, the Sony FX5 is widely expected to be as dominant for the next five years as the FX3 was in the previous.

And, if this early supply shortage in Japan is anything to go by, that dominance has already begun!

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Take a look at the best cinema cameras along with the best cine lenses.

The largest image sensor plant from Sony – the world’s biggest manufacturer of image sensors – has halted production after an earthquake hit Japan’s Kumamoto Prefecture on July 28. As of July 31, production still has not resumed, Sony said during an earnings report.

The Kumamoto Technology Center of Sony Semiconductor Manufacturing Corporation in Kikuyo Town, Kumamoto Prefecture is Sony's biggest image sensor hub, and the manufacturing facilities are located near the epicenter of the July 28 earthquake.

During an earnings call on July 31, Sony said that production is still suspended. "Restoration efforts to resume production are currently underway," Sony told investors.

Earlier this week, Sony confirmed that the earthquake impacted sensor production. Fujifilm and Taiwan Semiconductor Manufacturing Inc facilities were also evacuated after the earthquake.

Sony said that all employees were safely evacuated, with "a few people who sustained minor injuries."

Sony is the world’s largest manufacturer of image sensors, and the halted plant has been known to produce as many as four million image sensors in a single day.

The company says that the damage to the building and manufacturing lines is still being assessed.

Manufacturing camera sensors is a highly precise process, and even if the building sustained minimal damage, the manufacturing lines will likely need to be assessed to see if recalibration is needed. Damage to the area's roads could also potentially delay shipping.

Sony hasn’t yet shared how the pause could affect product availability, but an earthquake in the same region in 2011 previously caused delays and limited availability in the months following the earthquake for several brands, including Sony, Canon, and Nikon.

As one of the largest sensor manufacturers, the pause could have an impact beyond Sony-branded cameras, as Sony sensors are often found in other cameras as well as smartphones and other smart devices.

Fujifilm and Taiwan Semiconductor Manufacturing Inc. also evacuated following the quakes.

Editor's note: This story was updated with the information on the latest status of the image sensor plant on July 31.

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When I first started making videos for a living back in the late 80s, my video production team used two long, smooth pieces of wood as tracks for the wheeled ‘dolly’ that was attached to the base of our chunky video camera’s tripod. This enabled us to add smooth camera moves to shots, such as dollying forward towards an actor, or tracking (crabbing) left or right to add a bit of motion and life to a static scene. When not in use, we kept the two wooden tracks in a plastic body bag (I’m not sure where my video unit got that from!).

Fast forward to the 21st century, and I’ve just tested a descendant of my primitive 80s camera tracking system - the Andoer L4 Pro. This device is a small, battery-powered camera slider (or as it says in the manual - an ‘autodolly’) that can dolly, track, or pan the attached camera or smartphone - as long as you find a smooth, flat surface for it to drive on. Lots more about that limitation in the Performance section of this review.

Andoer produces a wide range of photographic equipment, from green screen backdrops to LEDs and soft boxes. They also produce a large range of affordable compact digital cameras, as well as larger camera dolly rail-based set-ups. Interestingly, I discovered that the Andoer L4 Pro is identical to a Neewer branded three-wheeled tracker - more on that in the Price section.

The Andoer L4 Pro isn’t the first electronic camera mover that I’ve tested for Digital Camera World. Back in 2022, I tested the Joby Swing - an electronic smartphone slider. The tripod-mounted Swing was very limited in the speed and distance that it could move the camera, whereas thanks to its three rubber-clad wheels, the Andoer L4 Pro can keep on tracking until it runs out of a surface (such as the end of a park bench!).

Some would argue that in the age of the camera gimbal a camera slider is a relatively inferior solution to making smooth moves. A gimbal enables you to pan, track and dolly your camera manually - adding motion to your footage. You can pop a gimbal on its mini tripod and use its AI tracker to tilt and pan the camera to follow your every move, or use its joystick to perform a smooth pan. So, why and when would you use a slider instead of a gimbal? Is a slider worth buying. The short answer is a firm ‘yes’, but I’ll clarify and unpack that answer later in this review.

Check out our guide to the best camera sliders.

Andoer L4 Pro: Specifications

Andoer L4 Pro: Price

The Andoer L4 Pro retails at £75.29 on the UK Amazon Store. You can see the Andoer L4 Pro. In the USA, this model is most easily found being sold under the Neewer brand for $73.89 on the Amazon US Store – but this doesn’t include a ball-head. The Neewer branded version of the tracker is also available on the UK Amazon store for £78.99.

On the UK Andoer store the Andoer L4 Pro is pictured wearing an Andoer branded ball-head camera mount, though the version that I tested didn’t include this rather useful ball-head accessory. I could pick up a compatible 1/4” thread ball head from Andoer for under a tenner. To attach my iPhone 17 Pro to the Andoer L4 Pro I used a Joby-branded smartphone holder that I already owned.

The Andoer L4 Pro won’t blow your budget, and even if you already own a gimbal, it could still come in handy when you want to capture a quick pan, tracking shot or dolly move without the faff of unpacking and setting up a large stabiliser. It could also be a useful tool for stock videographers, enabling them to add movement, life and energy to otherwise static scenes, such as landscapes where there is little action within the frame.

Andoer L4 Pro: Design & Handling

The Andoer L4 Pro autodolly is a compact, three-wheeled device that fits comfortably in the hand when folded. It also takes up very little space in a kit bag, which is a big plus for me as I prefer to travel light.

The specifications state that the autodolly is made from “high-quality plastic”, although it also contains several metal components. Its two folding legs (with wheels attached) are metal and are connected to a metal bracket that secures them to the rectangular plastic body. At the opposite end is a third wheel, which is the only motor-driven wheel. As it rotates, it propels the autodolly along on all three wheels. The metal components make the L4 Pro feel satisfyingly solid and heavy, though it still weighs in under 300g.

By adjusting the angle of the two hinged rear wheel legs, you can make the dolly travel in a straight line for a tracking or “crab” move, or follow a curved path to create a pan. The legs can be adjusted in increments to produce a tighter or wider curve, resulting in a faster or slower pan. Helpfully, each hinge is marked with a small protractor graphic, making it easy to set both legs to the same angle and achieve a smooth tracking move, pan or even a full rotation. Each of the three wheels has a rubber ‘tyre’ that enables them to have traction on a variety of surfaces.

On one side of the rectangular body you’ll find the on/off switch and a USB-C port for charging the internal battery. On the opposite side are two plastic buttons. One, helpfully labelled “Speed”, lets you cycle through three settings. The selected speed is indicated by one green light for 1.4cm/s, two lights for 2.4cm/s and three lights for 3.0cm/s. I’ll discuss speed in more detail in the Performance section, as there are ways to make the attached camera travel faster. There’s also a button that enables you to make the motorized wheel rotate the opposite way, so this lets you change the direction of travel. The motorized wheel does make a little whirr which can be picked up by a smartphone’s mic, but on the whole the whirr is negligible, as you’ll hear from see my supporting video.

Speaking of cameras, the top of the L4 Pro features both 1/4-inch and 3/8-inch mounting threads. The device also comes with a circular mounting attachment, so it was a simple matter to screw a smartphone holder onto it and clip my iPhone 17 Pro into place. You can also attach a compact or mirrorless camera to the Andoer L4 Pro, but as my colleague Chris George says in the best camera sliders buying guide - “While it’s definitely best suited to smaller cameras – it won’t take a C500 cine camera with a 70-200mm lens – you’ll still be able to get a mirrorless camera on it with a 50mm lens onboard if the need arises.”

The Andoer L4 Pro’s orange wheels and mounting attachment are remarkably similar in colour to the iPhone 17 Pro’s Cosmic Orange finish, making it an especially attractive accessory for owners of that model. The complementary colour scheme is entirely coincidental, however, as the L4 Pro has been on the market for several years.

Oh, one last design point to mention is the inclusion of a remote control unit. This small plastic unit is designed to let you toggle between the L4 Pro’s three speeds and change its direction from a distance of up to 6m. I confess that although the light on the remote showed that the battery was active, I couldn’t get it to control the L4, which did make testing it a bit trickier as you’ll see in the Performance section (and in the supporting video).

Andoer L4 Pro: Performance

Above: watch my video showing the Andoer L4 Pro in action in the City of London

To test the Andoer L4 Pro, I popped it and my iPhone 17 Pro into my McKinnon 8L Camera Sling bag and headed into the city to capture some photogenic clips. I occasionally shoot editorial-style footage to sell on stock video sites such as Storyblocks.com, so I was keen to see whether the L4 Pro was fast enough to add sufficient movement to my clips. A slight pan or tracking move is a great way to bring extra life to a shot, especially when there isn’t much movement happening within the frame. I only earn around $50-60 per month from my stock video clips but that’s a regular passive income from clips I’ve uploaded over the years.

To be honest, I wasn’t expecting too much from this autodolly, although its maximum speed of 3cm/s is at least a little faster than the snail-like 1cm/s pace of the Joby Swing slider. But the more I used it, the more impressed I became with it.

As you’ll see in this section’s supporting video (above), my first test location was a scenic city park. This immediately presented a challenge: finding a surface that was sufficiently flat and smooth for the L4 Pro’s small, rubber-clad wheels to move freely.

I placed the L4 Pro on a park bench, adjusted the two hinged legs so that their wheels ran parallel with the motorized wheel, and flipped the power switch to On. I couldn’t get the supplied remote control to communicate with the L4 Pro, but it was a simple matter to press the direction button on the L4 Pro itself to set it in motion, having first started recording on the dolly-mounted iPhone 17 Pro.

When the L4 was travelling in a straight line, I didn’t notice much difference between the first and third speed settings, so I generally left it at its maximum speed of 3cm/s, as indicated by three green lights. I then walked into shot and admired the Art Deco building in the distance while the autodolly carried my iPhone through a tracking move.

Because I was looking towards the building, I was slightly concerned that the autodolly might roll off the end of the bench behind me and fall to the ground, so I kept each take relatively short. One of the L4 Pro’s wheels also had a tendency to drop into the gaps between the bench’s wooden slats, causing a small bump in the footage. This resulted in a few retakes and, as you’ll see in the supporting video, the camera movement in my first test clip was subtle because of the distance between the autodolly and the subject.

As I discovered when using the Joby Swing, camera movement becomes more noticeable when you place an object close to the lens. A nearby foreground object appears to move across the frame more quickly than subjects in the distance, creating a stronger sense of motion.

By positioning a bollard between myself and the iPhone 17 Pro mounted on the Andoer L4 Pro, I was able to capture a much more noticeable tracking effect. I then angled the two hinged legs slightly so that the device travelled in a gentle curve. This enabled me to track past a foreground railing and reveal the Art Deco building in the background with a more cinematic camera move, as you can see in the supporting video.

This is the kind of movement I couldn’t easily capture while filming myself with a gimbal. A gimbal can pan and tilt to follow me as I walk through the frame, but when mounted on mini tripod legs it remains in a fixed position. The Andoer L4 Pro, by contrast, physically travels across the ground, enabling a different and more dynamic type of tracking shot.

My third test location was the Barbican Centre, with its towering Brutalist architecture. Unfortunately, it wasn’t especially friendly terrain for the Andoer L4 Pro’s small rubber wheels, as almost every available surface was heavily textured. The floors were covered in chunky tiles, while the broad tops of the walkway walls were clad in rough, pebble-dashed concrete.

After some wandering, I eventually found a flat metal air-duct cover that was smooth enough for the L4 Pro’s small rubber wheels to traverse. I tilted my Joby smartphone mount upwards, switched the iPhone 17 Pro to its ultra-wide camera and angled the adjustable wheels to create a tight curve. This enabled me to capture a dramatic, low-angle circular move past the Barbican’s tall towers, while long plant stems swept more quickly through the foreground and enhanced the sense of motion.

While wandering through London, I enjoyed being able to quickly pull out the Andoer L4 Pro whenever I spotted an opportunity to add movement to a short stock video clip. I particularly enjoyed using it at the top of the Sky Garden, which offers panoramic views across London. By angling the L4 Pro’s two unmotorized wheels closer together, I made the device travel in a tight, fast circle. With the smartphone mount tilted upwards, this enabled me to capture dramatic and slightly dizzying low-angle footage of the building’s curved glass roof. I must thank fellow photographer Shaughn Malcom for filming me setting up and using the Andoer L4 Pro for this review’s supping video

Finally, I found myself on the banks of the Thames, where I wanted to capture tracking shots that followed the movement of passing boats — an ideal subject for stock video. However, as the Andoer L4 Pro trundled across the rough, gritty surface I had placed it on, I could see in the iPhone’s viewfinder that the footage looked rather bumpy. To my surprise, however, the recorded footage played back remarkably smoothly. This was thanks to the iPhone 17 Pro’s combination of electronic stabilisation and sensor-shift optical image stabilisation, which physically moves the sensor to compensate for camera shake. This gave me the freedom to use the L4 Pro on surfaces that weren’t perfectly smooth, greatly increasing the number of locations in which it could be used. Check out the supporting video to see the results for yourself.

Andoer L4 Pro: Verdict

I initially approached the task of reviewing the Andoer L4 Pro as something of a chore, as I couldn’t see how it would add much to my smartphone footage. However, within half an hour of testing, I began to appreciate its potential for bringing stock-footage subjects to life. It works particularly well when you compose a shot with objects in the foreground, as these move more noticeably across the frame and create a stronger sense of motion.

I can also recommend the Andoer L4 Pro to smartphone filmmakers who want to add a gentle tracking or panning movement to a shot. On the downside, it is dependent on a reasonably smooth surface if you want to produce a smooth track, dolly move or pan. Even so, I was pleasantly surprised by how well I could use it on slightly uneven surfaces, with the iPhone 17 Pro’s stabilisation ironing out the resulting bumps and wobbles during my test.

For smartphone filmmakers, the Andoer L4 Pro could prove to be a handy and affordable accessory - and it looks particularly smart when paired with the similarly coloured Cosmic Orange iPhone 17 Pro. In fact, it is such an eye-catching little device that two people stopped to chat to me while I was testing it, so hello to you chaps if you’re reading this!

Alternatives

You’ll never catch me opting for a fast f/1.8 prime with stellar subject separation if I can get the same focal length in a zoom lens – even if it means sacrificing a stop of aperture, or even two, at the telephoto end.

But guess what? I don’t care. As someone who, more often than not, finds himself taking pictures of rugged landscapes and adventurous outdoor activities, the last thing I want is a backpack full of different lenses that I need to constantly change to get the shot.

For example, as an Alpha shooter, why would I opt for a trio of Sony 35mm f/1.4, 85mm f/1.8, and 135mm f/1.8 G Master (or cheaper alternative) primes when I can get a 24-105mm f/4 G Master zoom lens – or even better in terms of aperture, a Sigma 28-105mm f/2.8?

It just doesn't make sense to me to lug around all this kit when the only real benefit is the wider maximum apertures, especially when you can now easily add in a stop or two of blur in post-production while retaining a natural feel to the image.

The counterargument, of course, is that there are different courses for different horses.

I also know it can be hard to undo the whole idea around “fast primes with creamy bokeh” being the best lenses for portraits, which camera manufacturers have drummed into us over the years – no doubt hoping we’ll part ways with more cash for more gear we probably don’t need.

But I still don’t care. Even if the zoom I opt for costs a few hundred bucks more than a set of individual primes combined, I’ll happily take it – knowing that I only need to use my legs to get a bit of extra wide-angle view or telephoto zoom, not change my lens altogether and risk missing the shot.

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Here’s our pick of the best telephoto lenses and also our selection of the best cheap prime lenses – perhaps you disagree with my take and prefer fixed focal lengths with more generous aperture ranges.

The rise of digital photography and the smartphone nearly decimated the disposable camera, the analog camera loved for its mix of affordability and simplicity. But then sometime around 2019, Fujifilm, the popular camera brand behind the disposable QuickSnap line, noticed something unusual: Disposable camera sales were suddenly skyrocketing.

But, seven years later, the disposable camera trend is proving to be far from a short-lived fad. I connected with Ashley Reeder Morgan, the Vice President of Marketing and Consumer Products for Fujifilm North America to chat film.

As disposable film sales climbed beginning around mid-2019, even celebrities were organically picking up QuickSnap cameras and sharing the images on social media.

“As a result of this growth, we conducted a great deal of consumer research on Gen Z to understand ‘why and what’ is most appealing about analog photography, as well as the QuickSnap line of products in particular,” Morgan, who has been part of Fujifilm for 12 years, said. “Part of this research focused on if this was just a fad, or a trend that might sustain. We were thrilled to discover that it has certainly sustained!”

The disposable film camera originally launched as a way to capture photos without a high cost or learning curve – after all, photographers don’t even need to know how to load a roll of film to use one. The resurgence of a format originally designed for simplicity in the era when snapping a photo is as simple as pulling out a smartphone and opening an app may seem unusual, but Morgan says the disposable film trend is more about taking photos without spending time tracking likes and comments

“We have found that QuickSnap is especially popular with Gen Z,” she added. “They’re the first wholly digital generation who grew up with the ubiquity of smartphone photography and social media. To them, analog photography is novel, and creating a situation where they can create without the encumbrances of fully connected digital devices (and the distractions they bring).”

QuickSnap may be Fujifilm’s most affordable camera, but Morgan says that Fujifilm views disposables as an important part of the imaging landscape overall – and that the trend is still on its upswing.

Fujifilm is largely credited for creating the modern disposable film camera, bringing the first QuickSnap to market in 1986. Forty years later, much of the QuickSnap’s original charm remains.

The first QuickSnap was essentially a box that only had an open hole instead of a viewfinder. QuickSnap transitioned to a more compact format with an actual viewfinder lens in 1997. But today’s QuickSnaps are largely unchanged from the 2002 design that introduced a better grip for getting fewer accidental fingers in the shots. The camera also doesn’t need to block light with the body itself, allowing for some QuickSnaps with a transparent body design.

This year, Fujifilm introduced its first black-and-white disposable, along with a refreshed version of the brand’s waterproof disposable. Both cameras are expected to arrive in September 2026.

“With this resurgence of people interested in analog photography, many of whom are new to photography overall, we wanted to give our users options,” Morgan said. “Both our refreshed Active model and new Black and White one-time use cameras are designed to encourage people to get out and create – and Black and White allows users to give their images that extra artistic flair.”

One of the key concerns with bringing back the disposable camera trend is the environmental impact of one-time-use products. Morgan said that about 60 percent of all QuickSnaps by weight are made from recycled materials. The camera’s flash unit is reused multiple times, and the plastic in the body is crushed and re-pelletized.

Morgan says that the disposable camera trend is still on an upward swing – and that’s a good sign for fans of the format. Fujifilm declined to comment on future products, but Morgan did offer one tidbit: “Based on the continued success of the line, we certainly have plans to continue to expand the overall QuickSnap photography experience in the future.”

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Compact cameras and film photography continue to enjoy a resurgence, particularly among younger photographers drawn to the nostalgic look of analogue images and to cameras small enough to carry everywhere. Few, however, are quite as distinctive as the Lomomatic 110.

Now, Lomography has unveiled the new Lomomatic 110 Camera & Flash Discomatic, a colorful new design edition priced at $119 / £109. Combining retro styling with a sharp glass lens, automatic exposure, and a unique sliding film advance, it delivers a shooting experience unlike almost anything else available today.

"Our mission to keep film alive is thriving, and we are proud to be the only current producer of new 110 film and cameras," says Lomography. It states that the Lomomatic 110 is "the sharpest, most creative pocket-sized camera on Earth", with "pictures are sharper than you’d ever imagine!"

The new Lomomatic 110 Camera & Flash Discomatic

One of the Lomomatic 110's standout features is its sliding film advance. Rather than winding the next frame with a traditional leveler, sliding the camera body advances the film and prepares it for the next shot, creating a tactile shooting experience that's as enjoyable as it is distinctive.

The Discomatic edition pairs funky design with a 23mm Minitar CX multi-coated glass lens, automatic exposure, two aperture settings, zone focusing, and adjustable ISO.

It also includes the detachable Lomomatic flash with colored filters for creative lighting effects, while long-exposure and multi-exposure modes encourage experimentation with every roll of film.

Specifications
• Film Format: 110
• Focal Length: 23 mm
• Available Apertures: f2.8, f5.6
• Shutter Speed: Auto (A) 30s to 1/250, Bulb (B) up to 30s
• Flash: Lomomatic 110 Flash
• Available ISO Settings: 100, 200, 400
• Multiple Exposure: Yes
• Tripod Mount: No
• Cable Release: No
• Battery: 1 x CR2
• SKU: hp110disco

Availability
The Lomomatic 110 Camera & Flash Discomatic is available from Lomography for $119 / £109.

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See our guides to the best film stocks, the best film cameras, and the best film scanners.

DJI’s newest products are becoming increasingly difficult to find in the US, but there are still some excellent options available for shoppers who know where to look. Several of the company’s most popular cameras and drones remain in stock, and some are now available with worthwhile discounts that make them even more appealing.

The deals include the DJI Osmo Pocket 3 Creator Combo, the standard DJI Osmo Pocket 3, the DJI Neo Fly More Combo, the DJI Flip with RC 2 Screen Remote Controller and the affordable DJI Mini 4K. While these may not all be the latest products in DJI’s growing range, they remain highly capable choices for vloggers, content creators and drone enthusiasts alike.

With newer DJI releases proving harder to come by in the US, these discounted models could offer one of the best opportunities to add a DJI camera or drone to your kit without paying full price.

When people think about professional sports photography, they usually imagine cameras firing at ridiculous speeds, enormous telephoto lenses lining the edge of the field and photographers transmitting images to waiting news desks before the action has even finished.

For a long time I bought into that philosophy as well, because speed was everything – or at least, that was what sports photographers were constantly told.

The more frames your camera could capture, the greater your chances of recording the decisive moment. Miss the shot and somebody sitting three feet away from you would almost certainly have it – which meant fast frame rates, deep buffers and responsive autofocus were considered the defining qualities of any serious professional sports camera.

At the time I was using the Nikon D3, a camera that deserved every bit of praise it received. Its 12MP sensor might sound rather modest by modern standards, but it delivered excellent images, dependable autofocus and the sort of speed that pro sports photographers required.

It was a proper working camera, built to survive difficult conditions, constant travelling and thousands upon thousands of shutter actuations.

Then Nikon announced the Nikon D800, and suddenly my understanding of what a professional sports camera could be changed completely.

I was fortunate enough to see an early preview through Nikon Professional Services and, the moment I learned what the camera could do, I knew it was going to become my game-changer both on and off the sports field.

This was a 36.3MP full-frame DSLR arriving at a time when most sports photographers were still concentrating almost entirely on frame rates, buffer depths and how quickly they could fire another burst.

The Nikon D800 was not designed as an obvious replacement for the D3, and its 4fps continuous shooting speed at full resolution looked positively pedestrian beside Nikon’s flagship sports cameras.

However, I could see something in the D800 that went far beyond the numbers on a specification sheet.

I ordered two bodies almost immediately and was fortunate enough to be among the first group of photographers to receive them, before taking both cameras to one of the most demanding assignments of my professional career.

One of their first major outings was the Badminton Horse Trials, one of the biggest equestrian events in the world, where I was photographing athletes competing at the highest level of the sport for the FEI (Fédération Equestre Internationale).

Taking a pair of Nikon D800 bodies into that environment might have seemed like a strange decision, because high-resolution cameras were still widely considered tools for studio, landscape and commercial photographers rather than fast-moving sporting events.

My work, however, was already beginning to sit between those different worlds. I was not only photographing riders for editorial coverage; many of my clients were brands that wanted images showing their products being used by leading equestrian and human athletes in the field.

These clients needed photographs for advertising campaigns, promotional displays, websites, brochures and sometimes enormous exhibition stands. That was where the Nikon D800 gave me an advantage, because its 36.3MP files captured a level of detail that was remarkable at the time.

Logos on clothing, saddlecloths, riding boots, protective equipment and horse rugs were clearer and more usable than they had been in my 12MP files. Clients could crop a photograph while still retaining sufficient resolution for professional advertising work, and I could offer them considerably more flexibility with every image I delivered.

That cropping freedom was particularly valuable in equestrian sport, where a horse and rider can change position incredibly quickly.

There are times when the perfect expression, stride or product placement occurs slightly outside your intended composition, and the D800 gave me room to straighten, reframe and crop without immediately degrading the quality of the final photograph.

It did not mean that composition suddenly stopped mattering. In fact, the additional demand for images made me think more carefully than ever about where I positioned myself, which backgrounds I used and how many different angles I could capture during a single competition.

At some events, I had a roster of around 20 clients requiring photographs – and they were not always interested in just one rider. On occasion, I needed to cover more than half of the competitors in the field, all while keeping track of which athlete was using which client’s product.

That meant planning my positions carefully and understanding exactly how the competition was likely to unfold.

I could not simply stand in one place, point a long lens towards the action and hope everything worked itself out; I had to know the course, understand the sport and anticipate where each photograph was most likely to happen.

The Nikon D800’s comparatively modest frame rate also forced me to trust my timing.

I could not rely on holding down the shutter button and returning home with dozens of almost identical frames from every moment, so I had to understand the rhythm of a horse approaching a fence, anticipate the point of take-off and press the shutter when the image was actually there.

Its autofocus was more than capable of keeping pace and, when everything came together, the resulting files were extraordinary. The photographs had the resolution that my commercial clients wanted while retaining the responsiveness, durability and familiar handling I needed from a professional DSLR.

As brands and advertising agencies began asking for increasingly detailed files, my decision to adopt the Nikon D800 put me ahead of the curve.

I could provide editorial photographs when required, but I could also deliver files capable of being cropped, enlarged and adapted across multiple advertising formats without compromising the fine detail that clients expected.

That combination helped me build long-term relationships and eventually maintain a substantial roster of brands at major events. The camera did not do the job for me, because no camera ever will, but it gave me a tool that perfectly matched the direction in which my professional work was moving.

Those two Nikon D800 bodies went on to capture hundreds of thousands of photographs during my ownership. They endured demanding equestrian events, unpredictable weather, long days beside competition arenas and the constant pressure of delivering images to multiple clients, earning their place in my camera bags many times over.

They remained an important part of my working setup until I retired from professional sports photography – and they proved that outright frame rate was not the only specification that mattered at the highest level.

A camera capable of producing detailed, flexible and commercially valuable files could be every bit as useful as one designed simply to fire as many frames as possible.

The funny thing is that high-resolution cameras at major sporting events no longer look unusual. Modern photographers routinely use cameras with 40, 50 or even 60MP sensors, often combined with burst rates that would have seemed unbelievable when the D800 first appeared.

Resolution and speed are no longer treated as opposing choices, but the Nikon D800 helped demonstrate that high-megapixel cameras belonged in professional sport.

It showed that the value of a sports image was not determined solely by how quickly the camera could capture it, but also by how much detail, flexibility and commercial potential that photograph could offer afterwards.

Today, the Nikon D800 has naturally found its way onto the second-hand market, with used examples often available for very reasonable prices through retailers such as MPB and marketplaces like eBay.

It may no longer represent cutting-edge technology, but its 36.3MP files remain extremely capable, particularly for photographers who do not require the fastest burst rates or the latest mirrorless autofocus systems.

For me, though, the Nikon D800 will always represent something far more important than its current used price or its place in camera history.

It was the camera that encouraged me to look beyond the accepted rules of sports photography, recognize what my clients actually needed and build my professional approach around resolution as well as speed.

The Nikon D3 might have been the conventional sports camera, but the D800 became the camera that changed my professional career. It gave me an advantage when other photographers were still concentrating entirely on speed, and it proved that sometimes the best tool for the job is not necessarily the most obvious one.

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Take a look at the best cameras for sports photography on the market today, along with the best professional cameras for working pros.

I have photographed solar eclipses seven times over the last 47 years, and in the first part of this series I described my first efforts in the pre-internet era – and the hard lessons that you learn when chasing the shadow of an eclipse. The most important one is that even with the best planning, you can never to be certain to avoid clouds obliterating your view!

In this second installment, we head to Vizcaíno Desert and the Caribbean for my next experiences of photographing solar eclipses…

My third solar eclipse: May 10, 1994

We again made the trek from south-west Canada to Mexico’s Baja (where I had seen my second total solar eclipse in 1991) peninsula by car. This time it was for an annular eclipse.

When the Earth is closest to the sun and the moon is farthest from the Earth, the Moon is not visually big enough to block the sun. Thus you get an annular eclipse or the “Ring of Fire”, a bright ring of sunlight visible around the Moon.

Again, we made no particular plans, or preparations (other than to take the camera gear). With stops in Oregon, California, as well as at Ensenada and Guerro Negro in the Baja. We simply pickup up motels as we got to the end of each day’s drive.

On the morning of the eclipse, we drove south, into the desert, hoping to go to El Arco, which was on the centre line. But the road was closed and so we decided to stop, near the turnoff, where we found two chaps from Ontario, California all set up and ready. Because we were off the center line, but still in the path, the moon was not centred over the sun and the ring was lopsided. But the seeing was good, even if the day was unbearably hot.

My fourth solar eclipse: February 26, 1998

I’d previously been to Venezuela twice, and before Hugo Chavez it was a wonderful country. The ‘98 Eclipse was going to go through Maracaibo, in western Venezuela, so it seemed like the reasonable destination. After talking about my plans with one of my customers, he offered that his wife was from Maracaibo, and that he’d bring her in for a chat about the town. She told me that there you judged a hotel not by its facilities, but by the number of locks on doors and the quality of the bars of the windows. She pointed out that the area was rife with gangs, and tourists in rented cars were prime targets. I changed my plans.

In the end, I booked a Caribbean cruise. The cruise line had two meteorologists on board, and as with land eclipses, mobility is the key. Thus, our ship sailed all night to find a hole in the clouds. It worked, and we had a fabulous view from somewhere near Curaçao. That said, I’m not sure I’d do it again. The ten-day cruise was lovely and we got to visit much of the Caribbean. The viewing from the stern was terrific, but photography from aboard ship, even with the shorter, 500mm lens was not as satisfactory as one would hope. Even in calm seas and with the stabilizers out, the ship moves constantly. With an f/8 aperture and Kodachrome 64 slide film, shutter speeds were limited, so my photos were all a bit blurry.

One fun thing was the discovery that the holes in my wife’s straw sun-hat made great pinhole lenses, casting lovely images of the partial phases on her neck and the deck. If you’ve not got a wife with a straw hat, an old colander will do.

If you’ve ever experienced the air at minus 45, you know that if it’s not overcast the seeing is startlingly clear. The eclipse on March 9 the year before had been visible in Siberia, when it was still winter. One chap aboard ship had been there and “Eclipse Chic” is to wear a T-shirt from your previous eclipse... but in Siberia he’d not been able to buy one. So he’d had one made up, which simply read: “I was in Siberia for the last one. I earned this one!’

Remember, never get so involved in your photography, that you forget to look up. It’s what you come for. Blurry photos or not, I don’t regret a single penny spent on that trip. The cruise was worth it, and the eclipse was the icing on the cake.

The internet was beginning to influence eclipse chaser’s behavior, but aboard ship, it was irrelevant.

Four Eclipses down, three to go…

The final installment of David Young's 47-year diary of a solar eclipse photographer will be published soon

Start planning for the August 2026 solar eclipse - and don't remember to buy a solar filter for your camera

Meike may be preparing to expand its autofocus lens lineup for the Fujifilm GFX system after demand for its new AF 85mm f/1.8 reportedly exceeded the company’s expectations.

According to Fujirumors, information shared by a Chinese photography blogger covering the Shanghai Photo and Imaging Expo suggests that Meike has been surprised by the level of interest in its first autofocus G-mount lens – and that it now intends to follow it with more options.

I think this is particularly exciting news because third-party autofocus support has been one of the few areas in which the GFX system has continued to feel relatively restricted. Fujifilm’s own GF lenses are often optically exceptional, but photographers have not enjoyed the same breadth of affordable autofocus alternatives available to users of Sony E, Nikon Z or Canon RF cameras. The apparent success of the Meike 85mm f/1.8 shows that there is a genuine appetite for more accessible GFX glass.

Two possible lenses mentioned during the show were a 65mm f/1.7 and a 110mm f/2, both of which would make a lot of sense for the system. A 65mm f/1.7 could offer GFX photographers a fast standard prime, while a 110mm f/2 would sit firmly in portrait territory and potentially provide an alternative to Fujifilm’s own GF110mmF2 R LM WR.

However, it remains unclear whether these specifications came directly from Meike or were simply suggestions made by the blogger reporting from the event, so I would not treat either lens as confirmed just yet.

There may be even more planned. Fujirumors also recalled an earlier post from another Chinese source that reportedly claimed Meike was working on additional GFX autofocus lenses at 30mm, 40mm, 50mm, 80mm and 110mm. That original post has since been removed, meaning I have been unable to verify the claim or see exactly how the information was presented.

The repeated mention of a 110mm lens is certainly interesting, but until Meike makes an official announcement, the entire list should be treated as an unconfirmed roadmap rather than a firm product schedule.

Meike officially launched the AF 85mm f/1.8 for GFX in Asia earlier this month, following its initial appearance at the China P&E imaging show in May. The lens weighs just 406g and contains 11 optical elements arranged in seven groups, with an STM motor handling autofocus. It can focus as close as 0.65m, offers 0.17x maximum magnification and accepts 62mm filters, making it a relatively compact and lightweight portrait option for Fujifilm’s larger-format camera system.

I have always believed that the GFX system would benefit enormously from greater third-party competition, especially from manufacturers willing to experiment with faster apertures and more approachable prices. It is too early to know which of these rumored lenses will become real products, but the reported response to the 85mm f/1.8 sends Meike a very clear message: GFX photographers want more autofocus choices, and they appear ready to buy them.

Back in 2022, researchers in Papua New Guinea, with the vital help of the local community, made an important rediscovery for wildlife conservation. Through the use of camera traps, they recorded footage of a black-naped pheasant-pigeon. Known locally as Auwo, this bird species that hadn't been seen by humans since its first discovery in 1882, some 140 years earlier.

Now, footage showing the moment of rediscovery, recorded by the researchers themselves, has gone viral four years later. The heartwarming video, captured by study co-lead Jordan Boersma of the Cornell Lab of Ornithology, shows the ecstatic scene of his colleague, local biologist Doka Nason, jumping for joy at what the trail camera had picked up.

In the video, you can hear both Boersma and Nason repeatedly saying the name “Auwo” in disbelief, with Boersma later recalling he felt like he'd been “confronted by an image of a mythical creature.”

The black-naped pheasant-pigeon (Otidiphaps insularis) is a rare, quirky ground-dwelling bird native to Fergusson Island in Papua New Guinea. While classified in the pigeon and dove family, it looks and behaves like a pheasant.

It features a mix of iridescent green, bronze, and black plumage with a distinctive solid black nape on the back of its neck, and has a flattened, bobbing tail and long legs adapted for walking.

The researchers, also co-led by John C. Mittermeier, director of the American Bird Conservancy's Search for Lost Birds Program, had already been on Fergusson Island for a month, making the rediscovery just two days before the expedition was due to end. Mittermeier later described the event as “the kind of moment you dream about your entire life as a conservationist and birdwatcher.”

While an incredible story of conservation, the endearing footage of Nason over the moon at the continued existence of the black-naped pheasant-pigeon is also a testament to how important endemic wildlife species are to Indigenous communities.

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John C Miitermeir and the Search for Lost Birds was also involved in a 2026 re-discovery of the blue-fronted lorikeet, a small endemic parrot found only on the island of Buru, Indonesia, not seen in 100 years.

You can be the biggest company in the world. Make the biggest leaps in technology. And even make the best products. But there’s one thing you can’t buy, innovate or earn, and that’s heritage. Heritage is the driving force behind luxury brands such as Rolex, Ferrari, and Gibson. The photography industry is full of heritage brands, and not only is Nikon one of the biggest, but it’s also one of the oldest, having just celebrated its 109th birthday.

From S-mount to F-mount

The ‘Big N’s’ history can be traced all the way back to the merging of three optical companies in 1917 to form Nippon Kōgaku. However, it would be several decades until it released its first Nikon camera, 1948’s Nikon, which would ultimately become known as the Nikon I. This rangefinder 35mm film camera debuted the company’s S mount, but according to Nikon Museum, its unusual 3:4 (24 x 32mm) format prevented its export to the US, so it wasn’t a big seller.

Still, the S mount would persist over the coming years with various camera releases until it was discontinued in 1964. What hastened its demise was arguably the single most important invention in Nikon’s history, which started with the release of the Nikon F in 1959. That invention was, of course, the F mount. The company’s first SLR mount would remain relatively unchanged for over 60 years, making it far and away the longest-running 35mm SLR lens mount of all time.

Nikon’s digital revolution

During that time, Nikon spawned a huge number of classic cameras such as the Nikon FM2 and Nikon F3, and in 1988 the company name would be officially changed to Nikon. In 1999, just 2.5 years after the release of the company’s flagship Nikon F5 film camera, it would launch an innovation that would kickstart a shift so monumental, it would send reverberations throughout the entire industry.

I am, of course, talking about the release of the Nikon D1. The company had already flirted with digital tech, launching its collaborative E series with Fujifilm in 1995 and releasing the Nikon Coolpix 100 in 1996, but the D1 was the first DSLR camera produced and marketed solely by Nikon. In a world where film was still very much the go-to format, the Nikon D1 was one of the first DSLR cameras to start attracting the attention of professionals as a serious alternative to film.

In the early noughties, the company would launch its first bridge camera, the Nikon Coolpix 5700, and Nikon DSLRs would go from strength to strength. But film wasn’t done yet. In 2004, Nikon would release its last film camera, widely regarded as the greatest film camera of all time, the Nikon F6, which would, rather remarkably, remain in production until 2020.

The ‘Big N’ would finish the 2000s amidst a cacophony of Coolpix and DSLR cameras, before shaking up the industry once again in 2012 with the release of the megapixel monster that was the Nikon D800. But the camera that nobody can forget came in 2017, taking the D800’s visionary DNA and refining it to perfection in the Nikon D850.

The move to mirrorless

Unbeknownst to Nikon faithful at the time, the Nikon D850 was something of a swan song for Nikon DSLRs, because the following year, the Z mount would burst onto the scene and with it Nikon’s first full-frame mirrorless cameras. This wasn’t the first time Nikon had made the move to mirrorless, having launched the doomed Nikon 1 System back in 2011. But far from a pocket-sized 1-inch-type oddity, the Nikon Z6 and Nikon Z7 were serious cameras for serious photographers.

Still, there was life in the old DSLR yet, as evidenced by the release of Nikon’s final DSLR camera and lens in 2020, the Nikon D6 and Nikon 120-300mm AF-S f/2.8E FL ED SR VR. But rather than prolong the inevitable, the following year brought the introduction of the Nikon Z9, the company’s first proper mirrorless flagship.

Some incredible launches such as the retro Nikon Zf, Nikon Z8, Nikon Z50 II and more would follow, but 109 years on from Nippon Kōgaku’s inception, the Z9 era is where we find ourselves. But if the best camera rumors are to be believed, we could be getting a follow-up at some point soon, ushering us into the true second generation of Nikon Z mount.

So, there you have it, a very potted history of Nikon. I could have waxed lyrical about the Noct, an eye-wateringly expensive Nikon fisheye, and how the inventor of the DeLorean ended up designing Nikon cameras. But maybe I’ll save that for next year’s 110th.

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I bought the only film camera I’ll ever need: the Nikon FM is an SLR in its purest form. Opinion: The decade-old Nikon D800 is still a beast, and here’s why. I bought a Nikon Z8 two months before the Z6 III launch – did I make a mistake?

The DJI Osmo Pocket series went viral for its unusual gimbal-clad camera design, but the feature that made the series so popular is about to come to a smartphone. Honor has released additional details about the previously teased Robot Phone as the first smartphone collab with cinema giant Arri nears the official launch.

The Honor Robot Phone's most unusual feature is the gimbal that’s sitting at the top of the smartphone, which will not only stabilize video but power features like AI-based subject tracking and automatically centered video calls.

The Robot Phone’s unusual design, however, was teased earlier this spring – but at an event in China, the company has revealed more of the camera’s features. The gimbal houses a 200MP camera. The camera uses a 1/1.28-inch sensor and the lens has an f/1.6 aperture.

The camera will also have a periscope camera with a 1/1.4 sensor and f/2.6 aperture, but the company hasn’t shared details on the focal length.

Honor says that the gimbal’s motor is the industry’s smallest micro motor at 2.6g. The gimbal will help power both stabilization and tracking, including predicting motion and double-tapping to follow a subject while filming. Photos of the phone from the World AI Conference show that the gimbal can tuck into the back of the camera when not in use.

Those camera specs don’t beat out the DJI Osmo Pocket 4’s one-inch sensor, but the 1/1.28 sensor is far more competitive when compared to other smartphone cameras. (Another thing the Honor Robot Phone has in common with DJI? Honor phones don’t typically come to the US, though it is no longer part of Huawei.)

But while the gimbal is the most obvious unusual feature about the Robot Phone, the smartphone is also the first to be built in collaboration with cinema camera maker Arri. Among the innovations that are stemming from Arri is the camera’s color science. High-end video features also include Log-C encoding, which helps enhance dynamic range when color grading, LUT color gamuts, and a cinema mode.

While Honor’s latest event brings a slew of new camera details, there’s still much that remains to be seen about the Robot Phone. Full details are expected during the Honor Robot Phone’s launch scheduled for August 12.

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As everyone knows, compact cameras are absolutely on fire right now. And this new compact, billed as "the world's cutest collab", is virtually guaranteed to throw gasoline on that fire.

You may well have seen the Lola Camera on your Instagram or Facebook feed. The brand has made an art out of cashing in on the Y2K digicam craze, marketing its aesthetic-focused compact at Gen Zers and style-conscious photographers.

Following a Lola x Betty Boop Digital Camera launched a year ago, the company has kicked kawaii into hyperdrive with its latest collaboration.

The Lola x Miffy Digital Camera follows the same template but replaces Betty Boop (to whom my younger colleagues all replied, "Who?") with everyone's favorite rabbit mascot character (to whom they said, "Of course we know who that is").

On the outside, the latest Lola now boasts a cartoon-blue chassis with an illustration of Miffy on the front accompanied by yellow stars. Attached is a Miffy-themed friendship charm bracelet / camera strap, and the whole thing can be safely stowed in a delightfully matching Miffy pouch.

On the inside, this is the same core tech that has been inside every flavor of Lola Camera: an 8MP CMOS sensor with 20x digital zoom and 2.8-inch screen, offering native HD (720p) video and what I'm pretty certain is interpolated 4K video.

While all Lolas come with twenty creative filters, the Lola x Miffy comes with five exclusive Miffy-themed filters (outdoing the Betty Boop edition, which only came with three).

Ultimately these are expertly-branded but nontheless upcycled 2000-era digicam components, pitched at the younger generation that equates "outdated tech" with "lofi aesthetic", all wrapped up in a $109 / £79 / AU$159 bow.

Even so, I can't argue that this may indeed be "the world's cutest collab" – and I suspect it will be massive. The camera is set to launch on July 31, but it's already available for pre-order at Urban Outfitters in the UK.

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See how the Lola compares to the best compact cameras and the best point and shoot cameras from the bigger brands.

At least three major manufacturing centers for camera sensors were evacuated on Tuesday, July 28, as a 7.1-magnitude earthquake hit Japan’s southern Kumamoto prefecture. Sony, Fujifilm, and Taiwan Semiconductor Manufacturing Co. – a major chipmaker for camera sensors – were evacuated in the region.

The earthquake, which hit around 4:27 PM local time on July 28, collapsed a shopping mall, leaving some trapped inside, and has also ruptured roads and left many homes without power.

Japan’s southern Kumamoto prefecture, located on Kyushu, Japan’s southernmost of its four main islands, is also home to several manufacturing plants for semiconductors and camera sensors.

According to the Japanese newspaper Nikkei, Sony and Fujifilm evacuated plants in Kikuyo, while Taiwan Semiconductor Manufacturing Co. – a major chipmaker that produces image sensors – also evacuated.

Neither camera brand has confirmed if the earthquake has caused damage to the manufacturing facilities. TSMC has so far not reported any significant damage.

Sony Semiconductor Manufacturing Corporation, located in Kumamoto Japan, is where Sony manufactures its image sensors – as many as four million sensors are built there a day, destined for a range of products from cameras to smartphones.

Fujifilm’s Kyushu location in Kumamoto, Japan manufactures color filter components used in Fujifilm’s X-Trans camera sensors, as well as films that are used in manufacturing LCD screens and slurries or polishing materials used for semiconductor manufacturing.

While it’s unclear at this time whether the sensor manufacturing plants sustained any damage, in the past, earthquakes have caused significant disruptions to some camera manufacturers' supply chains, including an earthquake in the same region a decade ago.

An earthquake in 2016 shut down Sony's image sensor plant in Kumamoto for several months, triggering supply chain delays.

An earthquake in 2011 in the Tōhoku region disrupted Nikon’s DSLR plant, Canon’s lens manufacturing, and four Sony plants, including one for Li-ion batteries and camera components. The earthquake also impacted Tamron and Sigma’s lens production facilities. The impact, along with the damage to roadways and transportation, caused global shortages and delays for impacted brands.

While the 2011 earthquake highlighted the danger of concentrating manufacturing in a specific region, there’s a reason that Kumamoto is home to several sensor manufacturing plants. The region is known for its ultra-clean water, an essential resource for manufacturing image sensors.

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Looking for that classic DSLR mirror flip?

The Nikon D850 + AF-S Nikkor 24-120mm f/4G ED VR is now just £2,499 at Park Cameras – you save £600 off its original £3,099 price.

The Canon EOS 5D Mark IV is now just £2,389 at Jessops – you save £400 off its original £2,789 price.

Nikon D850

Best for megapixels

The Nikon D850 was a flagship DSLR for a reason. In 2025, it still impresses with its incredible 45.7MP resolution, weather-sealed durability, and class-leading image quality.

While its live view autofocus is outpaced by newer mirrorless rivals, for traditional stills shooting, it remains one of the finest tools around. Its uncropped 4K video and robust build make it a reliable all-rounder for pros.

Now available at a significantly lower price than at launch (approximately £3,499), the D850 offers elite-level performance without a premium price tag.

Canon EOS 5D Mark IV

Best all-rounder

With a 30.4MP full-frame CMOS sensor, 61-point AF system, and Dual Pixel CMOS AF for precise live view and video focusing, the Canon EOS 5D Mark IV remains a versatile tool for professionals.

Its 7fps burst rate, ISO 100-32,000 range (expandable to 102,400), and weather-sealed magnesium alloy body make it well-suited for demanding shoots.

While the 1.64x 4K crop and UHS-I SD slot feel a bit outdated, the 5D Mark IV delivers excellent dynamic range, color depth, and reliability – especially for stills-focused workflows.

Once a DSLR costing around £3,629, the EOS 5D Mark IV is now a far more affordable way to access full-frame photography.

Browse the best DSLRs, the best full-frame DSLRs, and the best DSLRs for video. You might also be interested in the best Nikon lenses for DSLRs and the best Canon lenses for DSLRs.

The Sony FX5 has officially joined the company’s Cinema Line, and preorders are now open on both sides of the Atlantic. Positioned between the compact Sony FX3 and the more production-focused FX6, the new camera brings some seriously impressive filmmaking features into a comparatively portable body. The body-only model is priced at $4,899.99 in the US and £4,699 in the UK, with the first cameras expected to begin shipping during August 2026.

In the US, B&H Photo currently has the Sony FX5 body available to preorder for $4,898, making it marginally cheaper than Sony’s official list price. B&H lists an estimated shipping date of August 18 and also offers a separate version bundled with the new XLR-H2 handle unit for $5,498. The body-only package is the one to choose if you already have an external audio setup or simply want to keep your FX5 rig as compact as possible.

Where to buy the Sony FX5?

Adorama is matching B&H’s body-only price of $4,898 and is also accepting preorders. There is very little separating the two retailers on price, so your decision will probably come down to delivery estimates, reward points, financing, or whether you already have an account with one of them. Amazon is also taking preorders at $4,899.99, matching Sony’s official US retail price almost exactly.

UK filmmakers can preorder the Sony FX5 from Wex Photo Video for £4,699, with the retailer expecting its first stock in mid-August. Wex does not take payment until the camera is in stock and ready to be dispatched, which could be useful if you want to secure a place in the queue without paying the full price immediately. Its FX5 package with the XLR handle is also available for £5,199.

London Camera Exchange is also accepting preorders for the body-only FX5 at £4,699, while Sony UK is selling the camera directly for the same price. Sony currently states that direct orders will begin shipping from August 28, although delivery dates may change depending on initial demand. Buying directly from Sony also gives customers access to its current bundle offer, which provides £200 off selected G Master lenses when purchased with the FX5 before September 30, 2026.

Whichever retailer you choose, it is important to remember that these prices are for the camera body without a lens or XLR handle. The FX5 uses Sony’s E mount, so it is compatible with a huge selection of native Sony and third-party lenses, but anyone needing professional XLR audio will have to purchase the handle separately or choose one of the more expensive bundles. Sony has also introduced an optional OLED viewfinder, giving filmmakers more freedom to build the camera around their particular style of production.

At the heart of the Sony FX5 is a newly developed 16.6MP full-frame stacked Exmor RS sensor, designed specifically with high-end video production in mind. It supports 5K recording at up to 60p using the full sensor area, while Open Gate capture gives filmmakers much more freedom when reframing footage for traditional widescreen delivery, vertical social media content, or alternative aspect ratios. The stacked design should also help reduce rolling shutter, which is particularly important when filming fast movement, handheld sequences or rapid camera pans.

The FX5 can record 16-bit X-OCN RAW internally, bringing one of Sony’s more advanced cinema formats into a smaller and more accessible camera body. It also supports 4K recording at up to 120p for detailed slow-motion footage, while its three base ISO settings of 800, 4000 and 12800 should make it particularly adaptable when moving between controlled studio lighting, documentary work and demanding low-light environments. Sony has also confirmed that a future firmware update, currently planned for August 2027 or later, will add 5K recording at up to 120p and cropped 4K capture at up to 240p.

What makes the FX5 particularly interesting is how much of Sony’s higher-end Cinema Line technology it places into a body aimed at independent filmmakers, owner-operators and smaller production companies. It offers the flexibility of Sony’s E-mount lens system, professional recording formats and a modular design that can be adapted with an optional XLR handle, OLED viewfinder and external accessories.

At $4,898 in the US or £4,699 in the UK, it is certainly not an impulse purchase, but it could become one of the most appealing cinema cameras for filmmakers who want more than the FX3 offers without committing to the size, complexity or expense of Sony’s larger production cameras.

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In 1936, Dorothea Lange approached Florence Owens Thompson – a 32-year-old sheltering with her children at a California pea-pickers' camp – and took one of the most recognizable photographs in history.

Migrant Mother portrays her with two children pressed against her shoulders, staring into the middle distance with an expression that seems to contain the entire weight of the Great Depression.

It's the kind of image that stops conversations and changes minds. Lange made dozens of them.

Now a major retrospective of her work, titled simply Dorothea Lange, is opening in Italy. And it's a great opportunity to see one of photography's most important bodies of work, at the scale it deserves.

An artist by instinct

Lange's career is extraordinary, both for its quality and its scope. She began as a portrait photographer in San Francisco before the Depression drew her out into the streets and fields of California.

Commissioned by the Farm Security Administration, she documented the lives of migrant workers, Dust Bowl refugees and rural poor with an unflinching but deeply empathetic eye.

In his curator statement for her 1966 retrospective at the Museum of Modern Art, John Szarkowski described her as "by choice a social observer and by instinct an artist"; neatly capturing the tension that makes her work so compelling.

It's simultaneously rigorous documentary and deeply felt portraiture, and the images here span the full range of that work.

Shown at the top of this page, Migratory cotton picker (1940) is a close-up portrait of a man resting his weathered hands across his face against a flat sky. Shot in Coolidge, Arizona, it's as formally precise as anything from a studio photographer.

Toward Los Angeles (1937) shows two men walking along a California highway, their backs to camera, a Southern Pacific railroad billboard reading "Next time try the train" visible in the distance behind them.

It's a composition of cruel irony, built from nothing more than available light, a well-chosen moment and a strong instinct for what the frame contains.

Lange's Japanese-American internment work is less well known, but no less powerful. This was another dark chapter in 20th century American history.

Following the attack on Pearl Harbor in December 1941, President Roosevelt signed Executive Order 9066, forcing more than 100,000 Japanese Americans into internment camps for the duration of the war. Lange documented the process with characteristic moral clarity.

Nisei girl with baggage (1942) shows a young girl, identification tag pinned to her coat, standing exhausted among piled luggage, her eyes downcast.

I am an American (1942) is a street photograph of an Oakland grocery store whose owner, a University of California graduate, placed the sign in his window on December 08 1941, the day after Pearl Harbor. By March 1942, when Lange photographed it, the store had been shuttered.

Why Lange matters

What makes Lange's work essential study is the precision of her decisions under difficult conditions. She wasn't working in a studio or with controlled light: she was in the field, often approaching strangers in states of distress, working quickly and with a clear sense of what she was trying to say.

Her images are never gratuitous and never sentimental. They work because she understood composition, light, timing and human psychology simultaneously, and because she knew that a photograph's power comes both from what it includes and what it leaves out.

Dorothea Lange runs from July 30 to November 01 at the Centro Internazionale di Fotografia Scavi Scaligeri, Cortile Mercato Vecchio 8, Verona, Italy. Open Tuesday to Sunday, 10:00 to 19:00. Entry is €10 full price (approximately $11 / £9 / AU$16) or €7 concessions ($8 / £7 / 11)). Tickets are available online at vivaticket.it.

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See where Lange ranks among the 50 best photographers ever.

The company behind the original action camera is struggling with increased competition, heightened memory costs, and decreased sales – and now GoPro is at risk of being removed from the stock market.

For the second time in 2026, GoPro is at risk of being removed from the stock market as the action camera giant’s shares fall below the minimum requirement. The July 21 notification from Nasdaq is the company’s second this year, following a similar notification in March.

If a company is removed from the stock market, the company’s shares are no longer traded publicly. The warning comes as the struggling action camera giant is looking for a potential buyer or partner and has already filed “serious doubt” statements about potential bankruptcy if current conditions continue.

A delisting amid a potential bankruptcy would remove GoPro’s ability to recover value using publicly traded funding. GoPro now has 180 days – which would be January 17, 2027 – to bring shares back above $1 or more for at least 10 consecutive days.

GoPro received a similar warning in March, but after the company announced the GoPro Mission 1 series in April, shares climbed back above the $1 minimum, reaching a high of $1.73 in May before trending downward. Shares dipped below the $1 minimum again after the action camera giant filed warnings with “substantial doubt about the Company’s ability to continue” on June 01.

GoPro has already recovered from below the minimum once this year – the question remaining is whether or not the action camera giant can do it again. GoPro has one more Mission announcement up its sleeve. The mirrorless Mission 1 Pro ILS is expected to launch sometime in the third quarter of 2026, which means before September 30.

The Pro ILS carries much of the same specifications as the Mission 1 Pro, but adds a Micro Four Thirds mount for swappable lenses. The ability to switch lenses will drastically increase the camera's versatility over the usual fixed ultra-wide, but the mirrorless isn't submersible and is manual focus only.

GoPro is also actively looking for a potential buyer or merger, a move that founder and CEO Nicholas Woodman says he “fully supports.” Earlier this month, Woodman purchased $20 million in a stock loan to help keep the company afloat as the iconic action camera brand looks for a potential buyer or merger.

GoPro’s financials in recent years reflect increased competition and decreased sales, with the action camera giant’s last three fiscal years coming out as a net loss. But several major camera manufacturers are reporting steep increases in the cost of memory due to higher demand from AI this year. GoPro is no different and noted an 80% to 110% increase in memory hardware costs along with reduced supply last month.

GoPro is credited with launching the action camera category, launching a waterproof film camera in 2004 before introducing its first Hero series camera with video in 2006. The GoPro name quickly became synonymous with “action camera,” but the category has been increasingly competitive in recent years with players from DJI and Insta360, among others.

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I recently came across Life At The Edge, a photobook on the rugged Caithness coastline in northeastern Scotland, by local resident Ken Crossan.

After delving a little deeper into his work, I found out that Ken’s photos, which typically depict the flora and fauna of his home county, have also been recognized in competitions on both the national and international stage.

In fact, Ken recently snagged a 2025 Scottish Nature Photography Award (SNPA), has been recognized by the British Wildlife Photography Awards (BWPA), and gained an honorable mention in none other than the 2017 Wildlife Photographer of the Year Awards.

As humble as they come, Ken would consider himself a natural historian well before an award-winning photographer. However, his photographic accolades are impressive, and I couldn't resist reaching out for his tips and tricks.

Ken's equipment

Ken is a Nikon shooter through and through. His go-to camera body is the Nikon Z8 and his lenses include:

• Nikkor 180-600mm f/5.6-6.3
• Nikkor 70-200mm f/2.8
• Nikkor 24-70mm f/2.8
• Nikkor 14-24mm f/2.8
• Nikkor 105mm f/2.8

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