Young photographer Panitbhand Paribatra Na Ayudhya just won the top honor in the Project//21 category at the Hasselblad Masters 2026 with the underwater series, Dwellers of the Night.

The rising talent from Thailand, who is just 14 years old, stood out against a field of exceptional entries in one of the world's most prestigious professional photographic competitions, which also offers emerging photographers the opportunity to showcase their talent.

In the waters of Anilao, The Philippines, Panitbhand skillfully used a slow shutter speed and colored lighting to reveal a world that remains hidden for most – but this wasn't his first victory.

Previously, Panitbhand earned the title Young Shark Photographer of the Year 2025 and was commended in the Siena International Photo Awards 2026.

Winner Project//21: Dwellers of the Night

Panitbhand's work is rooted in a quiet dedication to the ocean, documenting its life, its fragility and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

In the waters of Anilao, The Philippines, pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness.

By using slow shutter speeds to capture the elegant motion of his subjects and carefully chosen coloured lighting, Panitbhand reveals their form and beauty.

Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating.

"There’s a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction," says Alex Pollack, Director of Photography at National Geographic.

Take a look at the seven winners of Hasselblad Masters 2026 here. For more information on the competition, visit the Hasselblad website.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from June to December.

From over 108,000 images submitted by photographers from more than 160 countries and territories, Hasselblad Masters has just announced its 7 winners for the 2026 competition.

Across every category, the awarded images combine instant visual impact with lasting depth. The photographers spark curiosity, shift perspective and leave space for interpretation.

".What this year's Hasselblad Masters submissions demonstrated, with rare consistency, is that the most compelling photography does not simply record, it constructs," explains Kalle Sanner, Executive Director at the Hasselblad Foundation and Grand Jury Chair.

Art

'Waste Colonialism (Sapi-Sapi Piyungan)' by Yudha Kusuma Putera

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

The winning images are part of a project examining how developed nations export their waste to developing countries, where labour and costs are lower.

This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Putera's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill.

Architecture

'DaySleeper | Movieland' by Kevin Boyle

Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear.

For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.

The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal "portrait" of once important gathering places.

Portrait

'Otherness' by Svetlana Jovanovic

With a psychology background, Jovanovic's portraiture is driven by a deep curiosity about identity — how we experience the world, construct our sense of self, and see ourselves through the eyes of others.

Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning.

The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work.

Landscape

'Ephemeral Visions' by Rohan Reilly

Rooted in the discipline of a composer, Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness.

His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation.

The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned.

Project//21

'Dwellers of the Night' by Panitbhand Paribatra Na Ayudhya

Na Ayudhya's work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

The series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness.

For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject — crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

Street

'Morning Ritual' by Gosse Bouma

Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather.

Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.

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

Wildlife

'The Forest I Roam' by Alfred Minnaar

Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behaviour, environment, and relationship with the surrounding ecosystem.

The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer.

Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.

For more information, visit the Hasselblad website.

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An accomplished wildlife photographer had a truly special encounter with a family of elusive big cats while leading a photo tour group in an Indian national park. Matan Sharon and his tour group were in Manas National Park, at the foothills of the Himalayas in northeastern India, when they finally encountered the melanistic Indian leopard.

More commonly known as "black panthers”, these majestic yet elusive big cats make up just one in ten leopard individuals worldwide.

Found in the dense, shaded tropical rainforests of South and Southeast Asia, they carry a genetic mutation called melanism – which causes an overproduction of dark pigment while their underlying rosette patterns remain visible under certain light.

Above: Matan Sharon's dusk encounter with the leopard cubs

ABOVE: Watch Matan Sharon's dusk encounter with the leopard cubs

"After hours of intense waiting, with the invaluable help of our local guides, the magic happened," said Matan, speaking to Indian tour company FinderBridge. "Exactly 20 minutes after sundown, a head popped up from the tea plantation. It slowly began to climb. Total silence fell over us."

The group had spotted two melanistic leopard cubs and, as one began scaling a tree, the moment all wildlife photographers prayed for occurred: the animal looked directly into Matan's lens. However, just after, the encounter became even more special as the mother returned to feed her little ones.

Above: the mother leopard keeps tabs on the photographers

"She is so intelligent; she chose the only safe place around to raise her cubs. She knows when to leave them and when to return," commented Matan in a separate Instagram post. "I love watching her moving around at a precise pace [...]. She is taking advantage of humans, and when she feels uncomfortable, she switches gears and disappears."

The group also encountered a range of other animals in the national park, including the Indian greater one-horned rhino, Indian elephants and the Bengal monitor lizard, which looks like a smaller Komodo dragon.

"Having traveled to over 100 countries as a photographer, I can safely say Bodoland and Manas are among the most magical places I have ever visited," commented Matan in a third Instagram post.

What a truly incredible encounter – and one that the photographers are sure never to forget. I highly recommend checking out Matan's Instagram to see his fantastic work, and also our guide to the best cameras for wildlife photography, where we break down our expert-reviewed picks.

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The latest version of the Sony Creator’s App has been released, with the newest update bolstering the options for transferring motion photos from your camera to your smartphone.

The Sony Creators' App is the mobile companion application for Sony cameras, designed to connect your body to your smartphone, tablet and Sony's Creators' Cloud platform. It replaced the older Imaging Edge App for most models from 2023 onwards.

Creators’ App Version 4.3 has now been released and enables users to transfer three-second “Motion Photo” clips. These clips are taken from high-quality video files recorded on your camera and can be transferred to your smartphone or tablet.

Motion Photo has been available to Creator’s App users since 2023, when Sony released the feature in version 2.3. However, until now, you could only capture 15, 30 and 60-second segments. While the new 3-second addition is seemingly minor, it is well-suited to social media creators who post ultra-short-form clips.

There are two ways to create Motion Photos. The first is to mark the sections of footage that will comprise the shot while recording with your camera by pressing the Shot Mark Button. The segment will then be auto-transferred to the app. The other option is to select the segment after shooting directly in the app, by loading the footage and pressing the Create Motion Photo button.

The new Motion Photo update only applies to the Sony Creator’s App. Anyone using the older Imaging Edge App doesn’t need to update as this app does not support the feature. You can check which cameras support the imaging Edge App and Creator’s App here.

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Here’s our take of the best Sony cameras, all of which we’ve put through rigorous testing. And here’s our review of the Sony A7 III – the camera I currently use.

Tamron is no stranger to producing lenses with unconventional focal ranges. There's the 35-150mm f/2-2.8 Di III VXD, 20-40mm f/2.8 Di III VXD, 17-70mm f/2.8 Di III-A VC RXD, and most recently, the 35-100mm f/2.8 Di III VXD. All are excellent lenses though, with their non-standard focal lengths bringing benefits like additional shot versatility and better overall portability.

Now it seems Tamron could be planning another unique lens, this time with a 50-130mm focal range. The tip-off comes from a recent release of a Tamron patent application, which mentions an extremely precise focal length of "51.5100-130.9425". 'F value' is quoted as 2.8840, so presumably the design would feature a constant f/2.8 maximum aperture.

Judging by the patent diagrams, the design features 17 lens elements, arranged in 7 groups. Three separate diagrams show the position of the elements with the lens set to its shortest, medium and longest focal lengths, and it's clear from these that focussing would be internal, unlike Tamron's 35-100mm lens where the barrel extends as you increase focal length.

As this is only a patent application, there is absolutely no guarantee Tamron will actually manufacture such a lens, let alone when we might get our hands on one. However, if it did choose to put a 50-130mm lens into production, the focal range could be very handy for applications like portraiture. At 50mm you'd have the option to shoot full-length images, or even small group shots. 130mm would be suitable for tight close-ups, and there's every option in between for other compositions. What's more, if the lens was to also have a reasonably high magnification factor, it could also double as a useful tool for macro photography.

Back in April, we wrote about Lacock by Martin Parr, the late British photographer's last major commission, ahead of its opening at Lacock Abbey, Wiltshire, UK. The exhibition has now opened to the public, and the National Trust and CEWE have now released a set of behind-the-scenes photographs that change the story slightly, in the best possible way.

Because what these new images show isn't really the village of Lacock. It's Martin Parr himself, working. And for anyone who's ever picked up a camera, that turns out to be the more interesting picture entirely.

The man behind the lens

In several of the shots, taken by National Trust photographer Andy Cochrane, Parr is seen exactly as you'd expect: ring flash mounted on his camera, braces holding up his trousers, sleeves rolled, crouched low over a trestle table of prize vegetables at a village hall show or crouched even lower to photograph a scarecrow on a roadside chair. It's the same posture he'd held for 50 years, in front of everyone from holidaymakers in New Brighton to tourists at the Louvre.

What's different, and what makes these images poignant, is the walking frame. It's there beside him in shot after shot: at a cricket pavilion, in a flag-strewn cricket field, at a photography talk where he's pictured photographing his own audience. Parr was seriously ill throughout this project. He kept working anyway, on foot, with mobility aid in tow, getting exactly the shots he wanted.

There's a craft lesson buried in this, separate from the obvious human one. None of these images show Parr fighting his equipment or his circumstances. He's not awkwardly shooting from a chair or compromising his eye-level. He's still getting low, still getting close, still working the angle properly. The walking frame might have meant slower movement between shots, but it never meant lazier composition once he arrived.

Other images show the exhibition coming together: two technicians in purple gloves hanging large framed prints, including that prize potato and the Union Jack lollipop seller we covered last time, and a wider shot of a contact-sheet wall, rows and rows of small prints pinned up for editing.

Unglamorous insights

That wall is worth dwelling on. It's the unglamorous part of any photographic project: hundreds of frames, most of them ordinary, a handful of them extraordinary, and someone has to sit down and work out which is which.

Among the small prints visible on that wall: scarecrows, village processions, a woman holding a vegetable marrow, a man in a horse costume, an unmade bed. It's a useful reminder that even a photographer as instinctive as Parr generated a lot of material that never made the final cut. The eye for the single, perfect frame (the potato, the lolly seller) comes from shooting lots and lots of pictures, then editing ruthlessly.

The exhibition itself, at the Fox Talbot Museum within Lacock Abbey, runs until 27 June 2027 and is accompanied by a book with a foreword by Susie Parr and a short film about the project. Curator Dr Andy Cochrane calls it Parr's "gift to us all," and on the evidence of these new images, that's not an exaggeration. He gave the project everything he had, right up until he couldn't give any more.

The takeaway is the same one Parr always offered, just sharper now. The work isn't about the equipment, the location or even your health. It's about showing up and looking properly, for as long as you possibly can.

Lacock by Martin Parr is open now at the Fox Talbot Museum at Lacock Abbey, Wiltshire, and runs until 27 June 2027. Visit nationaltrust.org.uk/lacock for further information.

Tamron has announced that it will collaborate with a youth mountaineering project in Japan to equip hikers with some of its top-tier lenses to take to summits and capture the adventures along the way. As an avid mountaineer myself, I think this is a solid move from Tamron and something all photography brands should at least consider.

According to the announcement, Tamron will lend some of its top-tier lenses to members of the Mountain Climbing Youth Support Project (TYSP), a mountaineering initiative for young people organized by Tokyo-based Yamakei Publishers, in a bid to help hikers capture the "emotions" of the mountains.

Included in the list of loaned models are high-magnification telephoto lenses such as the 28-200mm f/2.8-5.6 Di III VXD G2 and the 18-300mm f/3.5-6.3 Di III-A VC VXD for Sony E, Nikon Z, Canon RF, and Fujifilm X mounts. Tamron is also loaning large-aperture standard zooms, including the full-frame 35-150mm f/2-2.8 Di III VXD, although this model will only be available for Sony E-mount and Nikon Z-mount users.

For mountaineering photography, which I do a lot of, my pick of these lenses would be the 35-150mm f/2-2.8 Di III VXD. It would force me to get nice and close to my subject, which should hopefully create a more immersive feel in the final image. There's always a trade-off, though, and here it would be not being able to capture surrounding peaks in the distance as effectively.

Alongside supplying the gear, Tamron will host workshops to teach TYSP members how to use its lenses and get the most out of their camera systems. The sessions are set to take place during the fall and will also include tutorials on shooting techniques.

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Shortly after Nikon sold its shares in Mark Roberts Motion Control (MRMC), a notice appeared on the Academy Award-winning robotic camera control company’s website stating that it had entered into liquidation. But now the brand’s seemingly inevitable shutdown has been reversed into new ownership – and a new name.

MultiDyne, a fiber optics company developing cables and signal conversion equipment, has acquired MRMC. The robotic camera control company will continue under a new name, MultiDyne Robotics and Motion Control.

Nikon sold its shares of MRMC in May 2026, and, less than two months later, a notice appeared on the MRMC website that the company was entering into liquidation. The acquisition by MultiDyne keeps the company in operation, albeit under a slightly different name (with the same abbreviation).

MutliDyne, which is headquartered in New York, says that MRMC’s operation will remain in the UK.

The acquisition includes MRMC’s “core technologies, intellectual property, manufacturing capabilities, and key engineering expertise,” MuliDyne said, while a member of the MultiDyne team, Neil Maycock, will serve as managing director for the new MultiDyne Robotics and Motion Control.

MultiDyne says that, unlike in many acquisitions, MRMC is not a competitor with overlapping products, instead serving many of the same customers.

“MultiDyne has long been focused on the transport, processing, and management of video, audio, and data signals,” said MultiDyne CEO Frank Jachetta. “MRMC places us at the point of image acquisition itself, allowing us to participate in a much broader portion of the production workflow. Together, our technologies create a powerful end-to-end ecosystem for content creators, broadcasters, and live production professionals worldwide."

In a statement on the robotic camera company’s website, MRMC says that “This well-capitalized backing ensures the stability, continuity, and recovery of our iconic brand. Our immediate focus is fulfilling existing commitments and restarting core operations.”

The announcement did not disclose financial details of the acquisition.

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Godox has just launched its first-ever camera – and it looks brilliant. But it's also very similar to another camera that was launched by another company last year.

This is the Godox C100 – a "transparent viewfinder camera" with a large "intelligent transparent display" that performs multi-aspect ratio shooting (16:9, 4:3, 3:2 and 1:1) for both stills and video.

It's obscenely cheap at just ¥199, which is about $29 / £22 / AU$42. It weighs just 65g and measures a mere 104 x 71.7 x 19.1mm – half of which is screen, with the finder being 60.8 x 47.8mm.

"The C100 is equipped with a transparent display screen with a light transmittance of >50%, which can display information such as the composition frame, parameters and battery status, balancing aesthetics and practicality."

It charges (and transfers or displays files) via USB-C and accepts microSD cards up to 128GB for bountiful shooting. And obviously, the design is extremely compelling – especially given the burgeoning market for screen-free digital cameras.

But here's the thing. See if you can spot the difference between these two pictures:

On the left is the Godox C100. On the right is the Escura InstantSnap, which debuted at CP+ 2025 and looks… how can I say this charitably, like it "heavily inspired" Godox's new camera.

Of course, these kinds of screen-free cameras with a body that acts like a viewfinder aren't new. There was the Canon Ivy Rec, for starters, and more recently the Instax Pal – neither of which I was particularly enamored with.

However, the Godox camera comes with a secret weapon that might make it irresistible for film photographers: it also acts as a light meter.

"The C100 features metering capabilities, allowing it to read the brightness of the central area and automatically calculate the optimal exposure value. It is simple, reliable and meets the shooting needs of film photography enthusiasts."

This is the bit that might actually sell me on the C100. I'm a big proponent of incident light meters, because I grew up in the film era, but unless you're using supplemental light they're pretty unnecessary in the digital age.

However, with a device like the Godox C100 – which slips into a pocket, acts as a fun little snapper and can also meter exposure – it could be an indispensable companion for anyone who uses a film camera. Indeed, it might even act a bit like "taking a Polaroid" before firing your expensive film exposure back in the day.

The C100 launched first in China, and doesn't appear to have hit the big international retailers yet, so keep your eyes on the official Godox website for more information. Honestly, for 20 bucks you probably can't go wrong!

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Sirui is teasing a new lens on Chinese social media which is going to be fully launched later this week. According to the post, the lens will be a portable telephoto lens – and as far as we can tell from the outline in the monochrome silhouetted image in the teaser, it is pretty small.

The only other clue we get along with the phrase "Handheld telephoto" is the accompanying words "Explore without boundaries".

So what do we think the lens is? The above information doesn't give a lot away - but we are told that all will be revealed on Thursday July 2 at 7pm Beijing time (so 7am Eastern, or 12 noon in UK).

The shape of the lens makes me think is not a zoom – given that it is described as a telephoto. Sirui is also best known for its primes. It is also particularly known for its anamorophic and cine lens ranges (but it doesn't look like it will be one of these either).

But is this an APS-C lens - or a full-frame one?

Sirui has recently introduced its Aurora range of autofocus photography lenses - and currently this consists of a 35mm f/1.4 and an 85mm f/1.4. So there is already a telephoto - but potentially this could be a 135mm f/2, perhaps?

A more likely option, probably, is that this is an addition to the Sniper range of fast autofocus lenses for APS-C cameras. This currently comprises of 16mm, 23mm, 33mm, 56mm and 75mm lenses - all with f/1.2 maximum apertures. So there are already to telephoto options - with effective focal lengths of 84mm and 112.5mm. Squeezing in a longer option would be attractive to some - but keeping the f/1.2 aperture would make it unlikely to be particularly portable.

So the identity of the new lens may need to remain a puzzle until it is unveiled on July 2.

Just weeks after the Sony ZV-E10 II overtook the Canon EOS R10 in BCN's nationwide sales rankings, another viewfinder-free camera has claimed the top spot – this time at Japanese camera retailer Kitamura.

According to Kitamura's latest monthly sales figures, the smallest interchangeable lens Fujifilm camera on the market is now the retailer's best-selling camera – and it's missing a key feature that most photographers consider essential.

Released in late 2024, the Fujifilm X-M5 quickly established itself as one of the best retro cameras for video. At just $899 / £799, it combines a compact body with advanced video features, making it one of the most affordable APS-C cameras aimed squarely at vloggers, YouTubers and hybrid creators.

Kitamura's 10 best-selling cameras, May 2026

1. Fujifilm X-M5 XC15-45mm Lens Kit
2. Nikon Z8
3. Sony A7C II
4. Sony A6700 Zoom Lens Kit
5. Sony ZV-E10 II Double Zoom Lens Kit
6. Nikon Zf
7. Sony A7 V
8. Nikon Z30 Double Zoom Kit
9. Sony A7 IV Zoom Lens Kit
10. Nikon Z50 II Double Zoom Kit

Is the Fujifilm X-M5 a good choice for photographers?

The X-M5 has earned a reputation as one of the best APS-C cameras for content creators, vloggers, and hybrid shooters. But does Japan's latest best-seller also make sense for photographers?

Despite its creator-first positioning, the X-M5 is no slouch for stills photography. It pairs Fujifilm's proven 26.1MP X-Trans CMOS 4 sensor with the latest X-Processor 5, bringing improved subject-detection autofocus and faster overall performance to the company's compact mirrorless.

For travel, family photography and everyday shooting, it delivers the image quality that Fujifilm's X Series is known for.

But, instead of an electronic viewfinder, the X-M5 relies entirely on its 2.0-inch vari-angle touchscreen. That's a natural fit for vloggers and creators filming themselves, but photographers who regularly shoot outdoors or simply prefer composing through a viewfinder will miss out on an essential feature.

Still, the camera has different priorities: 6.2K open-gate video recording, vertical shooting modes and creator-friendly controls that appeal more to video shooters than to photographers looking for dedicated still ergonomics.

Video camera beats traditional photography gear

The X-M5's success follows a similar result from Japanese retail analysis body BCN+R. While BCN+R and Kitamura measure different retail channels, both rankings point to the continued popularity of compact, video-focused cameras among Japanese buyers.

Whether that pattern continues remains to be seen, but the latest figures show that cameras designed for video and hybrid creators are more than capable of competing with – and, in some cases, outselling – more traditional photography-focused models.

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Law-abiding drone creators like me occasionally run into situations we can't use our drones. I've often solved it with a pole, but Youtube creator @karenxcheng has shown that it one of many alternatives.

Karenxcheng is a creator with over a million subscribers, and she hasn't let the rules and regulations stop her from getting aerial shots for her fans, In fact she has come up with more solutions than the one I regularly use.

My solution? Extendible poles. Both DJI and Insta360 offer very long versions of a selfie stick. The Insta360 "Extended Selfie Stick" is made of carbon fibre, has a nice padded handle with the brand in the logo, and extends to 9.8ft.

When I needed to inspect my roof for damage, it was this, and a 360-degree camera, that I turned to because I live too near an airport to use a drone.

The DJI alternative, the DJI Osmo 2.5m Extended Carbon Fibre Selfie Stick, is slightly shorter at 2.5m, but only weighs 428g (1 pound).

Both are lightweight and easy to carry, and both use tripod threads to attach so are actually interchangeable!

• Insta360 Extended Selfie Stick (Insta360 store)
• DJI Osmo 2.5m Extended Carbon Fiber Selfie Stick (DJI Store)

But extension poles are not the only solution. Another that offered more height (though it might depend a little on the weather) is a kite. This can be done by attaching a small, light action camera with some degree of image stabilization – probably one of the best POV cameras.

Another shot she uses a fishing rod to drop an Insta360 X-series camera from the a Bridge (to be clear, the camera is on the line – dropping things from some locations like the Golden Gate Bridge is illegal).

This approach means she can run the footage in reverse and give the impression of a drone lifting up, Thanks to the fact a 360-degree camera offers the capability to choose the exact angle in post, it doesn't really matter if the camera appears to wobble a bit on the fishing line.

The post-processing apps (like Insta360's) also allow you to select a subject and track it with AI during the cropping from 360 video. This makes it look like you had a camera operator keeping the drone's "camera" directly on your subject.

Finally, she uses a similar fishing line approach to create a zip line from the top of a cliff to a friend on the beach below, giving control of the camera's 'flight'.

For law-abiding drone operators with qualifications, it's often also possible to pre-arrange use of a real drone by contacting the local authorities, but most of us have learned from experience that this kind of solution is often quicker and cheaper.

Check out my guide to the best 360-degree camera for those on-a-wire shots!

Gary Briechle – the celebrated American photographer known partly for becoming a Guggenheim Fellow in 2015, but mostly for his decades-long photography obsession with Maine – is set to continue his love affair with the 23rd state in a forthcoming monograph.

I Want To See A Lighthouse is the latest culmination in what Briechle has described as three decades “roving around midcoast Maine in an SUV loaded with glass plates, chemicals, old view cameras”. The book neatly picks up where Maine, his second monograph on the state, left off.

Unlike Maine, which featured highly saturated and color-rich photographs, I Want To See A Lighthouse returns to the eerie black-and-white collodion photographic process with which the artist made a name for himself in the eponymous monograph, Gary Briechle.

However, in the same vein as Gary Briechle and Maine, the latest monograph hones in on what could be seen as the dark underbelly of the US state hiding in the familiar and everyday, despite its picturesque coastlines and rugged wilderness.

With images predominantly taken in and around the city of Rockland, where Briechle calls home, the latest monograph is a more intimate, albeit still horror-show-esque exploration.

Focusing on the unnerving, frame after frame Briechle depicts ghostly subjects that are neither “present nor absent”, with the paranormal aesthetic exacerbated by the collodion chemical process.

I Want To See A Lighthouse is set for publication in September by Charcoal Press, with the 224-page monograph being priced at $85 / £65 (Australian pricing to be confirmed). Visit Charcoal Press Book Club for more information, where you can also purchase copies of Briechle’s previous books.

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Back in April, Shenzhen-based cheap lens manufacturer TTArtisan announced the launch of a brand-new series of prime lenses dubbed the Neo Series.

In doing so it announced the TTArtisan AF 50mm f/1.8 Neo and the TTArtisan AF 85mm f/1.8 Neo, with the former listed as coming soon and the latter listed as a follow-up.

The ‘nifty fifty’ was priced at just $89 and now, a post on Chinese social media site Weibo from the Independent Photographers Association has seemingly revealed details about the 85mm's price and construction – along with the fact that it's coming to Sony E and Nikon Z, followed later by L-Mount.

The post (translated by Google) states that the lens is ¥499, which would roughly equate to $73 / £55 / AU$106.

The lens is said to weigh just over twice the weight of the smaller 156g TTArtisan AF 50mm at 330g. This is considerably lighter than the Nikon Z 85mm f/1.8 S, which weighs in at 470g.

Just like its 50mm counterpart, the AF 85mm f/1.8 Neo is constructed from 12 elements in 8 groups. However, it’s not yet clear whether this will also match the nifty fifty by having two extra-low dispersion and four high-index elements.

The 85mm optic will also have an 11-bladed aperture, which should result in smooth, circular bokeh. The minimum focusing distance is quoted to be 0.8 meters, which matches the aforementioned Nikon lens, and the TTArtisan’s 85mm will have a 62mm filter thread.

It’s not mentioned in the post, but I can only assume that the AF will be driven by a stepper motor, just like the 50mm.

The fact that the lens is coming to Nikon's mirrorless mount is particularly interesting, given Nikon’s ongoing high-profile legal battle with Viltrox.

There’s no official date for the lens’ release, and at the time of writing I cannot find it available at any retailer, so watch this space. If you’re in the market for a cheap 85mm prime, this could be it.

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Looking for a cheap camera to go with your cheap lens? Maybe you’re in the market for the best Nikon camera or best Sony camera.

With rumors rife that the Sony FX5 is arriving next month with a similar feature set, Canon has released firmware version 1.0.4.1 for the Canon EOS C50 – bringing a host of usability and workflow improvements to its newest Cinema EOS model.

The new firmware focuses on operational features rather than image quality, introducing a new Ease In / Ease Out option for digital zoom speed and expands the range of camera functions that can be controlled externally via a USB connection.

These additions are designed to improve both shooting ergonomics and production flexibility, particularly for filmmakers working with gimbals, remote-control systems and compact crews.

Canon Firmware Download

Download firmware version 1.0.4.1 (Canon EOS C50)

I advise holding off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Canon to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

The new Ease In / Ease Out setting for digital zoom operations is the standout feature of the update. When enabled, the camera smooths the beginning and end of a zoom movement, creating more natural-looking transitions.

Canon says this will help operators achieve more polished zoom effects without abrupt starts or stops, making digital zoom a more practical creative tool for shoots such as documentaries, corporate videos and live events.

Beyond zoom performance, the firmware also expands USB-based camera control. Users can now operate key functions from an external device while in video mode, including recording start/stop, One-Shot AF, manual focus adjustment, shutter speed, ISO and white balance.

This matches Canon's broader push towards deeper integration with external accessories and control ecosystems, including gimbal-based operation.

With firmware version 1.0.4.1 for the EOS C50, Canon continues to focus on practical improvements that streamline production workflows and enhance shooting efficiency, mirroring some of the benefits seen in recently released firmware version 1.0.6.1 for the EOS C80.

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The C50 is one of the best cinema cameras, but it shares a lot in common with two other Canon bodies. Check out the Canon EOS C50 vs R6 Mark III vs R6 V, and see how it fares in our Canon EOS C50 vs Sony FX3 comparison.

Nobody can truly say which camera brand reigns supreme when it comes to professional sports photography, but the latest data from MPB – the world’s largest photography gear resale platform – points to Canon.

According to MPB, during the build-up to and initial 14 days of the 2026 FIFA World Cup (from January 01 to June 23), sales of the Canon EOS R1, the brand's flagship camera, rose by a whopping 344% compared to the same period last year.

At the same time, on-site searches for the Sony A9 III, the best camera for sports photography from the Alpha brand, rose by 119% but led to a more modest 63% overall increase in sales year-on-year.

“For sports photography, it’s all about features like subject tracking, continuous shooting speeds, buffer depth, low light capabilities and overall image quality," said Amy Moore, a camera expert at MPB.

"A robust camera body with great battery life, as well as quick, professional connectivity for sharing the action are also important.”

The EOS R1 is Canon’s best camera for professionals, released in late 2024. Among other top-tier features, the powerhouse captures up to 40fps with the electronic shutter and boasts in-body image stabilization of up to 8.5 stops.

The A9 III gives the R1 a solid run for its money, featuring a lightning-fast 120fps and the world’s first commercial global shutter sensor.

However, the faster sensor lacks the low-light performance of the R1's conventional stacked design – particularly with Canon's neural net processing offering up to two stops of in-camera denoising for even cleaner results.

Surprisingly, the MPB data said nothing of recent Nikon sales on the platform, although Moore did mention the Nikon Z9 – the Big N’s flagship shooter – as also being an “obvious standout” camera when it comes to professional-grade stills and video.

Find flagship models on MPB

Find your next professional-level camera on the world’s largest resale platform.

Canon EOS R1
Sony A9 Mark III
Nikon Z9

When buying, pay attention to the actuation count (how many images the camera has taken), the overall condition and the accessories included as these affect prices and performance.

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See where these cameras rank among the best cameras for sports photography, where my colleague James has put each of them through their paces, and make sure to pair them with the best lenses for sports photography.

As much as I prefer using my mirrorless camera, my smartphone is the camera that’s always with me – and sometimes, I spot wildlife when I wasn’t expecting to. The native zoom lens on my iPhone isn’t nearly close enough for these unexpected photo ops, but mobile lens maker Moment has a new option with 200mm worth of reach.

Moment has launched telephoto smartphone lenses in the past, but what’s unusual about the new lenses that arrived this week is that the new Moment 240mm SuperTele is designed for the iPhone’s periscope camera lens. That means the new telephoto lens must be placed in front of the iPhone’s zoom lens rather than the main 1x camera, extending the reach even farther.

Placed over the iPhone Pro’s 100mm lens, the optics create a reach that’s equivalent to a 240mm lens.

The iPhone 17 Pro does some unusual lens math to advertise its 200mm lens. The longest optics on the smartphone is just a 100mm equivalent. The 200mm advertised reach that Apple says is the longest “optical quality zoom ever” is actually made possible through computational photography and the smartphone’s 48MP sensor behind that longer lens.

Using the Moment 240mm Super Tele achieves that reach using optics rather than cropping and computational photography, preserving the 48MP resolution. But the camera can also be used with the iPhone 17 Pro’s 200mm computational zoom for an impressive 480mm reach.

The other thing that struck me about the new Moment 240mm SuperTele is that the sample photos have lovely background blur and compression, something that’s hard to achieve with a small smartphone sensor. But, telephoto optics can also increase that depth and background blur.

Because the telephoto lens is designed specifically for the iPhone’s periscope lens, it’s not compatible with the 1X camera and has a shorter list of compatible smartphones. The lens will work with the iPhone 15 Pro Max, iPhone 16 Pro, iPhone 16 Pro Max, iPhone 17 Pro, and iPhone 17 Pro Max. The lens is mounted using Moment’s T-series case.

The 240mm SuperTele launched alongside Moment’s refreshed Mobile II series that now spans across ten lenses. The second-generation series is “the sharpest and best mobile lenses that we’ve ever made,” Moment says, improving several existing lenses as well as adding the 240mm, the longest mobile zoom Moment has made yet.

That list of new Mobile II series lenses also includes the 58mm Tele II, a smaller lens with a 2x reach over the iPhone’s built-in lens. Where the 240mm is meant for travel and distant subjects such as wildlife, the 58mm is meant more for portraits and more cinematic video.

The series also includes anamorphic lenses for cinematic flares, along with a wide-angle, a fisheye, and two different macro lens options. The full Moment Mobile II series is available directly from Moment.

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Canon has released new firmware for its EOS C80 full-frame cinema camera, bringing a series of workflow and connectivity improvements aimed at filmmakers, broadcasters, and content creators using the compact cinema rig.

As production workflows become increasingly collaborative and remote, the ability to control and monitor cameras from a distance has become evermore important. Firmware version 1.0.6.1 homes in on this, introducing monitoring, streaming and camera operation enhancements.

Canon firmware download

Download firmware version 1.0.6.1 (Canon EOS C80)

I advise holding off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Canon to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

The primary update is a new USB control protocol that enables external devices, including compatible gimbals, to remotely control key camera functions such as recording start and stop, iris, shutter speed, ISO, and focus. This is a step forward for single-operator productions and multi-camera live setups, where quick access to camera settings can streamline workflows.

Beyond USB control, firmware version 1.0.6.1 introduces automatic Secure Reliable Transport (SRT) streaming reconnection, helping maintain transmissions during live broadcasts if the network connection drops. Canon has also redesigned the electronic level display so its appearance changes when the camera is perfectly level, giving operators faster visual confirmation during setup.

Overall, the update reflects Canon's broader goal of evolving the EOS C80 beyond a compact cinema camera into a more versatile production platform. Rather than focusing solely on image quality, firmware version 1.0.6.1 addresses the more practical demands of modern production environments, where connectivity and flexibility are increasingly key.

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Discover our pick of the best cinema cameras offering top-quality video capture and grading options as well as the ports and connections needed by pros.

The new episode of Bokeh Face: The Digital Camera World podcast is now live on our YouTube channel and available to stream from Spotify, Apple Podcasts and all your favorite podcast services.

New episodes of Bokeh Face are released bi-weekly, every other Friday, so our next episode after this one will be released on July 10.

Chris George (DCW's Content Director) joins me (James Artaius, DCW Editor in Chief) for our trusty format where we discuss a burning issue in the camera world, dive into our kit bag to chat about what we've been shooting with, then troubleshoot a technical or creative camera issue.

You can watch the episode in full below:

We take an In Focus look at screenless cameras such as the Camp Snap 2 and Flashback ONE35 V2. Why do they exist? Who are they for? And are they just a novelty or a genuine way to reconnect with photography?

Then we Gear Up with the Canon EOS R6 V, the latest in an increasingly busy lineup of R6-series and video-centric cameras. Confused? Don’t worry, James and Chris rattle through the lineup, pick apart each camera’s differences and suggest their ideal applications.

Finally, in Trouble Shooting, Chris tackles the sometimes simple, sometimes technical, but always important subject of white balance. Find out why RAW files are so important when it comes to white balance, why auto white balance can’t always be relied upon, and how white balance can be a force for creativity.

We'd love to hear your thoughts and feedback on the show, along with any questions or troubleshooting queries you might have, so please get in touch with us at bokehface@futurenet.com. We hope you enjoy the episode!

• Watch on YouTube
• Listen on Spotify
• Listen on Apple Podcasts

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Check out all our previous episodes of Bokeh Face, take a look at the best disposable cameras, browse the best Canon cameras and you’re using white balance on your camera all wrong – stop trying to ‘fix’ the light!

I've held the new white version of the new flagship DJI OSMO Pocket 4P in one hand, and the black in the other, but I still can't tell you the release date or price!

DJI showed the Osmo Pocket 4P White Edition at a "Product Premiere," so now we're just waiting on the price and release date – and it's time to start putting the pieces together.

It is now a few weeks after the black model was put in my hands at the Cannes film festival hands-on. That suggests we're getting closer to a final on-sale date.

On the price side, there is evidence to suggest that it might be lower than its new arch-enemy (and competitor for top spot in the pocket gimbal camera guide): the newly-launched Insta360 Luna Ultra.

Finally, in China, DJI is accepting orders at CNY 3,799 (around $525) ffor the Pocket 4P already.

Not only does this suggest the moment is very nearly upon us worldwide, but even allowing for higher taxes and the costs DJI will face shipping from China – that's still likely to convert to a figure lower than the Luna Ultra, which went on sale at prices starting at $769.

That's a reasonably steep price, reflecting Insta360's confidence in the product, but that the pocket gimbal camera is a new contender and isn't without the odd hint of being a first-generation product.

DJI has got history in the field (hence the iterative number 4).

The key difference between the Pocket 4P and the recently released Pocket 4 is the addition of a second camera covering 60mm EFL. The Pocket 4 was an incremental update to the already impressive Pocket 3, and only had the 20mm camera with 1-inch sensor.

That sensor affords the camera a 17-stop dynamic range according to the company, and DJI has introduced a new D-Log 2 profile.

Something also worth noting is the effect that all this has had on the price of the Pocket 4's predecessor, especially as Amazon's Prime Day sale is still on today.

One of the other side effects isn't to say that there aren't good deals on the Osmo Pocket 3.

OWC has launched a new accessibly-priced CFexpress Type B card: Atlas Core. This timing couldn't have been better, as with memory card prices skyrocketing due to the global NAND flash shortage, there's sure to be big demand for less expensive cards.

The OWC Atlas Core CFexpress Type B card comes in one capacity - 256GB - and is priced at $279.99. At the time of writing there are 256GB Type B cards that cost less, but all are slower than the Atlas Core. OWC’s new entry is speedy thanks to its CFexpress 4.0 specification, giving it incredibly fast 3571MB/s max read and 2227MB/s max write speeds. The card is also rated with a 368MB/s sustained write rate. This isn’t the fastest, but it does comfortably exceed VPG200 certification, enabling 4K RAW and 8K compressed recording. The Atlas Core card is therefore suitable for professional and hobbyist photographers, videographers, and content creators.

Atlas Core is designed for Canon EOS R, Fujifilm GFX, Nikon Z, and Panasonic S mirrorless cameras, as well as Nikon DSLRs like the D5, D500 and D850 which were originally designed for XQD. Every card is backed by a three-year warranty, and with OWC’s Free Innergize software, you also get built-in card health monitoring, performance restoration, and firmware updates.

While it may not be the absolute fastest Type B card around, the vast majority of Type B-compatible cameras won’t even come close to maxing out even an entry-level Type B card:

“Most photographers and creators don’t need the most expensive card on the planet. They need the card they can trust when the moment actually matters … Atlas Core was built for that real-world creator who wants professional confidence without paying for speed they’ll never fully use.” Larry O’Connor, Founder and CEO, Other World Computing (OWC)

OWC Atlas Core CFexpress 4.0 Type B 256GB memory card: Buy now from B&H

When I think about third-party lenses, I think about optics that sit at a more affordable price range – but the latest trends list coming out of Japan suggests that third-party lenses aren’t only about snagging a bargain.

According to Minna Camera, an online “flea market” of sorts for selling new and used camera gear, the trendiest third-party lenses in Japan over the last seven months are almost exclusively zooms. But, some of the most popular third-party optics are those that cover a range that’s hard to find from the first-party brands – and many of the lenses aren’t budget picks either.

The top ten third-party lenses in Japan are a near even split between Sigma and Tamron, with Sigma at 54.7 percent and Tamron at 45.3 percent. While a Carl Zeiss lens made the top 20, only those two popular optics brands make up the top ten list, which includes:

• Sigma 28-70mm f/2.8 DG DN (Sony E)
• Tamron 17-70mm f/2.8 Di III-A VC RXD (Fujifilm X)
• Sigma 150-600mm f/5-6.3 DG OS HSM (Canon EF)
• Sigma 18-50mm f/2.8 DC DN (Fujifilm X)
• Sigma 24-70mm f/2.8 DG DN II (Sony E)
• Tamron 90mm f/2.8 Di III Macro VXD (Sony E)
• Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD (Sony E)
• Tamron 150-500mm f/5-6.7 Di III VC VXD (Nikon Z)
• Tamron 50-300mm f/4.5-6.3 Di III VC VXD (Sony E)
• Sigma 24-70mm f/2.8 DG DN (Sony E)

While there are a number of standard focal length options on the list, including multiple 24-70mm f/2.8 workhorse lenses, several of the top lenses are options that don’t quite have an exact match in the brand native to the mount.

The Tamron 17-70mm f/2.8, for example, covers an equivalent of a 25.5 to 105mm, all-in-one lens that still maintains that bright f/2.8 throughout the range. That’s an unusual combination that doesn’t have an exact match from Fujifilm – and the crop sensor lens is also available in the Sony E, and now Canon RF and Nikon Z.

Similarly, Tamron’s 18-300mm and 50-300mm cover an all-in-one approach that makes the lenses more unusual.

Even the top lens, the Sigma 28-70mm f/2.8 DG DN doesn’t have an exact match, though Sony does offer the same focal length range in an even brighter f/2 lens.

The number of lenses on the list that don’t have an exact match from a first-party brand, combined with the number of lenses selling for more than ¥100,000 ($618 / £468 / AU$839 / CA$877), leaves Minna Camera drawing one key conclusion: Buying a third-party lens isn’t necessarily about getting a better price.

The other thing that surprised me about the list of top third-party lenses is that only one prime makes the list, a Tamron 90mm that has macro capabilities. While I’m not surprised that there are more zooms than primes, I would have expected at least one of Sigma’s popular Art series primes to be a trending option.

Another surprise? While I fully expected Sigma and Tamron to dominate the list, the growing number of third-party Chinese lens brands hasn’t become popular enough to break into the top 20, though expanding the list to 20 options does bring in a Carl Zeiss lens.

The top trending third-party lenses in Japan – and from an app that has both new and used lenses – may not match up exactly with the trends in other regions. But, the data offers an interesting insight into the popularity of some third-party lenses – and it seems it’s not just about price.

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take a deep dive into the best zoom lenses or the best telephoto zoom lenses.

GoPro’s 360 action camera is now capable of capturing more detailed shots, thanks to a new firmware update that unlocks 200Mbps bit rates. Announced today, June 25, the firmware update v1.30 for the Max 2 opens up higher bit rates, along with more options for color grading.

The higher 200Mbps bit rate helps reduce compression artifacts, GoPro says, along with helping the camera record finer detail. The new maximum bit rate will be available in the 8K 360 video mode, as well as using the 4K single lens shooting mode.

While the Max 2 already had 10-bit color for serious videographers looking for control over color grading, those options are now available for time lapses. The 10-bit and GP-Log options are now available inside Time Warp, Night Effects, Time Lapse, and Night Lapse modes.

The addition of 10-bit allows GoPro’s different time-lapse modes to capture more color depth, while GP-Log encoding across those same modes allows for more flexibility when color grading in post.

The firmware also brings the blur reduction setting previously available for 360 shots into the GoPro Max 2’s single lens mode.

The update also gives creators a toggle to switch between 60z and 50Hz shutter speeds. This helps eliminate screen flickers when traveling to different countries with varying NTSC and PAL standards.

The firmware update is available directly from GoPro's website or through the GoPro mobile app.

The firmware update comes at a time when the GoPro Max 2 has dropped to its lowest price yet in some regions during the Amazon Prime Day sale.

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Take a look at the best 360 cameras to see where the GoPro Max 2 falls on the list!

The software giant behind popular photo and video editors like Photoshop and Premiere will soon own the popular AI-focused photo and video software brand Topaz Labs.

On June 25, Adobe announced that it has entered into an agreement to acquire Topaz Labs, a move that Adobe says will bring more on-device AI tools into Adobe Creative Cloud and Firefly. At the same time, Adobe says that Topaz Labs apps will continue to be available as separate programs.

For Adobe’s Photoshop, Lightroom, and Premiere users, the acquisition means that their existing workflow could soon be updated with some of Topaz Lab’s popular tools. Adobe has already integrated Topaz Labs as a partner model for the popular Bloom and Gigapixel AI upsizing tools, but the integration likely means additional tech from Topaz Labs will make its way into Firefly and Creative Cloud apps.

The move could also bring more on-device AI into Adobe software, as Adobe notes that Topaz Lab’s Neurostream technology, which allows larger complex AI models to run locally on devices, is part of the acquisition.

Topaz Labs Studio is a multi-app suite of tools built around enhancing photos and videos using AI. Topaz Lab’s current portfolio includes:

• Video: A program boosting slow-mo, stabilization, and resolution in videos
• Photo: An AI program for correcting focus, removing noise, and increasing resolution
• Gigapixel: An AI software that can upsize low-resolution images by as much as 6x
• Image: A web browser application for correcting and enhancing images with beginner-friendly controls
• Mosaic: An AI program built specifically for restoring old photographs
• Bloom: A program for enhancing clarity and detail
• Astra: A generative upscaling program for video

Adobe expects the deal to close sometime in the second half of 2026, with Topaz Labs CEO Eric Yang continuing to lead the Topaz team after the transfer.

Like Adobe’s Creative Cloud, Topaz Lab’s software is subscription-based, though the company offers more than one type of subscription with an annual subscription, an annual paid monthly subscription, or a monthly subscription option.

Adobe and Topaz Labs have not yet commented on whether the acquisition will bring pricing changes, good or bad – though the companies have confirmed that the Topaz Labs apps will remain available separately.

When Adobe added Topaz Labs models into some Photoshop tools, the software giant added the tools as a partner model that requires generative credits. It’s unclear if additional Topaz Labs tools would follow the same pattern. While some Adobe-made tools, like the remove tool, do not use generative credits, others do.

Additional details about how the two separate software suites will interact will likely come once the acquisition is finalized, with the deal expected to be completed before the end of 2026.

Êditor’s note: This is a breaking news story; check back for updates

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Meta Glasses aren’t just more affordable than the tech giant’s frames built with brands like Ray-Ban and Oakley – they come in a wide range of styles and with adjustable nose bridges. But, hidden inside this week’s announcement for the new smart glasses is an upcoming feature: Dynamic photo.

Meta explains that a dynamic photo will take several photos in a row. While that sounds similar to a camera’s burst mode capabilities, dynamic photos does something different – after snapping several photos, it suggests the best one from the shot.

Dynamic photos is rolling out later this month, and Meta notes that users can still override what Meta’s AI thinks is the best shot to pick out their own favorite.

The announcement was tucked into the launch of Meta Glasses, a set of smart glasses that use the same camera hardware as earlier models but drop the price and come without branding from brands like Ray-Ban or Oakley – though the new glasses are launched in partnership with EssilorLuxottica.

The Meta Glasses will come in three different shapes and several color options, but will also add adjustable nose pieces, along with temple tips and overextension hinges. The glasses will be available in clear, polarized, sun, Transitions, and also support prescription lenses.

The Meta Glasses are also the first to feature Meta Spark right out of the box, a new version of Meta AI that’s specially built for smart glasses. Like the dynamic photos, Meta Spark will also be rolling out to previous Meta smartglasses and not just the new frames.

Notably, the glasses slide in under the cost of Meta’s earlier options, though the Meta Glasses By Kylie, made in collaboration with Kylie Jenner, will sit at a higher price point than the Meta Fury and Meta Adventure styles. The cost varies on the style and type of lenses, but the new Meta Glasses start at $299 / £269.

The new Meta Glasses are available starting June 23 from Meta as well as multiple retailers.

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Leica has just launched the third member of its SL3 family of full-frame mirrorless cameras. The Leica SL3-P makes big improvements to both the stills and video capabilities of the range with headline features including the ability to capture stills at 40 frames per second, and a video capability that can shoot open gate 8K.

At the heart of the new L-mount camera is a 44-megapixel backside-illuminated sensor that is said to hit a sweet spot that, in terms of resolution, places it between the 60MP sensor of the original SL3, and the more affordable, faster 24MP SL3-S that was launched last year. It will also fit neatly between the two in terms of price.

The new SL-3P aims to be the Leica mirrorless camera that appeals to the majority of photographers and videographers - and offers some best-in-class features that put it ahead of its two older siblings. Unlike the other two, it does not have the distinctive Red Dot logo on the front (as on some other models, such as the M11-P)

A new hybrid autofocus system combines phase detection (PDAF), depth mapping (object detection AF) and contrast detection AF – to make it suitable to use for fast-moving subjects with six automatic detection modes, for people, animals and cars.

It boasts a dynamic range of up to 14 stops, with an ISO range of 50 to 200,00. A Multishot mode can capture extremely 176 megapixel high-resolution images.

Specifications

As you'd expect, the full-metal body comes with IP54-certified weatherproofing, support for Content Credentials, and the ability to connect with the excellent Leica Fotos app. There are two memory card slots - both CFexpress Type B and SDXC UHS-II

The headline video feature is that it can now shoot 8.1K Open Gate in 3:2 ratio at up to 30p - but also capture in HDMI RAW at 8K in Open Gate. At 60p, you can capture in 5.8K, and if you need 120p for slow-motion you still get 4K recording.

Additionally, the SL3-P offers use of the Apple ProRes codec at up to 5.8K. Two new in-camera LUTs – Leica Pure and Leica Cine – are provided for the camera's L-Log color space.

Pricing & availabilty

The Leica SL3-P goes on sale from today at $6,690 / £5,150 for the body on its own.

Three Vario kit options will also be available:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH -  $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. -  $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. -  $10,995 / £8,560

Leica launched its latest full-frame mirrorless camera earlier today - the Leica SL3-P - and I had a chance to use for three days in a variety of shooting scenarios on location in Germany, shooting over 3,000 images

I am currently working on my full review of this 45 megapixel camera, that offers features that have not been seen on a Leica before - including a 40 frame-per-second electronic shutter burst mode, and 8K open gate video. But as I complet my full test, I thought I should share some of my favorite photos I have shot with the camera.

They say the proof of the pudding is in the eating – and for me the proof of a great camera is in the pictures. Three days using a camera is not long, but on the basis of the pictures I was able to take this is an extremely impressive camera.

Shooting fast cars on the famous Nürburgring was a great way to put the autofocus and the camera's buffer to the test - and it passed this with flying colors (even despite my motorsport skills being very rusty).

The beautiful coloration of the portraits that I took at a medieval fayre in Koblenz blew me away – and again the autofocus seemed to be able to focus with precision, finding the subjects eyes effortlessly.

So here are my favorite shots from those I have edited so far…

Above: a gallery of more images shot on the Leica SL3-P - swipe through to see them all

Over 10 years since introducing the L-mount, Leica has finally launched its first macro lens for its SL range of mirrorless cameras. The Leica APO-Macro-Elmarit-SL 100mm f/2.8 will be available to buy by the end of the year.

With a design based on the Leica APO-Macro-Elmarit-R 100mm f/2.8 that was launched for its DSLRs in 1987, the new macro lens will offer a lifesize magnification and a minimum focusing distance of 29cm. The full-metal body is 137.6mm long and weighs 862g, without the supplied lens hood.

Announced at the same time as the new Leica SL-3P camera, the macro lens will not go on sale until the end of 2026, and will retail for $2,700 / £2,100.

Despite the wait for its release, I managed to have a brief chance to try out the new Leica APO-Macro-Elmarit-SL 100mm f/2.8 during a studio session with fashion photographer Pat Domingo at Leica's Wetzlar HQ in Germany.

The photos I shot are below, with full technical details…

Check out our guides to the best macro lenses, and the best Leica SL lenses

Launched alongside the new Leica SL3-P camera, the Leica Summilux-SL 50mm f/1.4 ASPH claims to be the world's most compact 50mm f/1.4 autofocus lens. At just 75.5mm long and with a diameter of 74mm, it is a substantial shrinking of the original Leica 50mm f/1.4 SL lens launched back in 2016.

In 2023, Leica introduced a smaller version of its Summicron-SL 50mm f/2 ASPH. Now the shrinking process has been applied to the 50mm f/1.4 – and remarkably, it is even smaller than the latest 50mm f/2.

Weighing in at 584g, the Leica Summilux-SL 50mm f/1.4 ASPH can't claim to be the world's lightest full-frame 50mm f/1.4 AF lens, however – but nonetheless this is a remarkable technological achievement for the pioneer of the L-mount lens system. Using state-of-the-art manufacturing processes, the lens uses 11 aperture blades and two aspherical lens elements and promises "high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh."

The new Leica Summilux-SL 50mm f/1.4 ASPH will not go on sale until the end of 2026, but has an anticipated price tag of $4,950 / £3,890.

Despite the delay until its availability, we managed to have a brief session using it at the launch event in and around Leica's German headquarters, using it on the new Leica SL3-P.

Check out our guide to the best Leica SL lenses, and to the best L-mount lenses overall

If you’re a Sony photographer who’s in the market for a fast telephoto zoom, but don’t want to pay ‘trinity’ G Master prices then the newly announced LK Samyang AF 60-180mm f/2.8 FE (distributed under the Rokinon brand in the USA) will surely tickle your fancy. This affordable alternative to the more traditional 70-200mm f/2.8 has been co-engineered with historic German optical company Schneider Kreuznach.

It’s priced at just $TBA / £899 / AU$TBA making it significantly cheaper than the Sony FE 70-200mm f/2.8 GM OSS II, while also being much lighter. The Samyang AF 60-180mm f/2.8 FE weighs just 730g, which isn’t far off the weight of the Sony FE 24-70mm f/2.8 GM II.

Short telephoto zooms are a great alternative to a macro lens if you don’t require true 1:1 macro. The Samyang AF 60-180mm f/2.8 FE boasts an impressive minimum-focus distance of 0.35m at the wide end and a maximum magnification of 0.26x. Close-up photography should also benefit from Samyang’s Floating Focus System, which is said to minimize optical degradation at varying focusing distances in a bid to deliver reliable results throughout the frame.

The lens features a nine-bladed aperture and comprises 17 elements in 14 groups, which includes one high refractive, seven extra-low dispersion and two aspherical elements, combining to reduce aberrations and deliver sharper, clearer imagery.

The lens features a linear stepper motor (STM) which is said to deliver autofocus that is fast, precise and quiet for both stills and video applications. As far as physical onboard controls, the barrel features an AF/MF switch, a focusing ring, a zoom lock and a USB-C port for firmware updates.

Filters are accommodated via a 77mm thread, while weather sealing is present at critical junctures to help protect the lens’s internals against water and dust penetration. Samyang specifically states “light rain”, as always, no lens is impregnable, but weather sealing is always a boon for peace of mind.

When it comes to the lens’s build, Samyang has rather cryptically referred to a high-strength, lightweight material that was newly developed in house and is said to provide a “solid yet lightweight structure for reliable use in various shooting conditions.” The Samyang AF 60-180mm f/2.8 FE joins the existing 14-24mm f/2.8 and 24-60mm f/2.8 to complete a budget ‘holy trinity’ for Sony photographers.

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Looking for more glass for your Alpha camera? Check out the best Sony lenses. If you want a bargain, check out the best cheap lenses. And if you're not quite sure what you're looking for, here are the best camera deals.

A new study has revealed that over half of British nationals get stuck in what experts call a “holiday photo perfection loop”, with the average holidaymaker now pressing the shutter multiple times in an effort to get the perfect shot.

The survey, conducted by Popsa, the folks behind the namesake photobook curation app, highlighted that of the 2,000 adult respondents, 54% said they have between 2 and 3 attempts at getting the “right” image, while 31% said they shoot at least 4 frames.

These results point to what Popsa says is a growing “holiday photo perfection loop”, where people get caught up meticulously crafting a scene, subsequently disconnecting themselves from the moment rather than savoring it with a camera.

Liam Houghton, CEO and founder of Popsa, said: “We’ve reached a point where people are experiencing moments through the lens of how they’ll be shared, rather than how they’ll be remembered. "The irony is that the more effort we put into capturing the ‘perfect’ photo, the less connected we often feel to the memory itself.”

According to Popsa, British holidaymakers now also snap more photos with the intention of sharing them, rather than for their own memories.

Respondents said that, on average, nearly 4 out of their last 10 photos were primarily taken for others’ eyes. For others, the number was even higher, with 10% saying each of their last 10 holiday photos were shot to be shared.

While Popsa didn’t allude to the underlying reasons why British holidaymakers now take more “perfected pictures” to be shared, wider research has suggested how pressure to appear as attractive as possible in social media posts can result in multiple retakes.

“Photos should help you relive a moment, not distract you from it,” Houghton said. “The goal isn’t to stop taking pictures, it’s to make sure the ones you take actually mean something.”

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"Why did I need a photograph? I knew I'd been there" – Edmund Hillary’s purported words after history-making Everest summit seem crazy by today's 'snap everything' standards.

Oppo has revealed the Reno16 Series, its latest mid-range smartphone lineup, with a bigger emphasis on AI-powered camera and editing tools than raw hardware alone.

The series is led by the Reno16 and Reno16 Pro, with additional Reno16 F models also appearing in selected markets. Oppo is pitching the phones at social-first creators, with a mix of eye-catching design, high-resolution cameras, and built-in tools for shooting, editing, and sharing images more quickly.

The most distinctive visual touch is Oppo’s new 3D Pop Planet Design, although this is limited to the Pop White edition. But the more interesting photography angle is the suite of AI features, including Pop Cam, AI Remix Collage, 4K Auto Straighten Video, and Dual View Video 2.0.

An impressive 200MP camera

We'll get to the AI features in a moment, but first, the camera specs. At the rear, all models in the Reno16 Series boast a triple-camera system comprising a high-resolution main camera with OIS, a telephoto portrait camera with 3.5x optical zoom, and an ultra-wide camera.

This collection of cameras provides, what Oppo says, is enough flexibility to deliver the right shot in most scenarios. Still, if it's maximum resolution that you're after, then the Reno16 Pro is the top-spec model in the lineup. It delivers a 200MP Ultra Clear Main Camera for maximum image clarity and flexibility with cropping, while the Reno 16 and Reno F are "limited" to a 50MP sensor.

Turning our attention to the front, all models feature a 50MP ultra-wide selfie camera with a 100-degree field of view. And for an idea of what this front camera is capable of, here's a sample image provided by Oppo.

AI imaging capabilities

As good as the hardware is on paper, Oppo hopes to attract potential customers with its expanded set of AI imaging features, which are new to the Reno16 Series. First up is the Pop Cam feature, which introduces a dedicated creative shooting experience directly within the Camera app.

With it, users can "apply vintage-inspired styles such as Digicam, Instant Film and Light Leak effects with a single tap, making it easy to create distinctive photos with different moods and aesthetics."

That's not all. The Reno16 Series also features a new Create hub within the Photos app for expanding creative AI editing capabilities. This includes AI Remix Collage, which allows users to combine multiple photos or short videos into layered visual compositions with animated stickers, outlines, and text.

Video creation hasn't been forgotten. With 4K Auto Straighten Video, users are better able to capture footage that is level even while walking or moving. There's also a Dual View Video 2.0 feature for improved stabilization and seamless switching between rear lenses during recording.

Specs and availability

The Reno16 and Reno16 Pro boast a compact 6.32-inch display, an aerospace-grade aluminum frame, and a 6,700mAh battery. The Reno16 F extends these specs by offering a larger 6.57-inch screen and a bigger 7,000mAh battery.

If it's mobile gaming that you're into, then the Reno16 Pro includes the best gaming specs. These include the MediaTek Dimensity 8550 Super Platform, along with AI HyperBoost 3.0, enhanced cooling, and support for up to 144Hz refresh rates.

The Reno 16 Series is available today in select markets, which include the UK and Europe, although, as per usual for Chinese phone brands, don't expect this to pop up in any stores in the US. We are still waiting on final confirmation on the price, but the Reno Series usually slots into Oppo's mid-range.

The Reno16 and Reno16 F will be available in Pop White, Twilight Violet, and Dream Purple, while the Reno16 Pro will be available in Pop White and Starlight Black.

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Check out more of the best camera phones or the best Android phones for photography in our guides.

A fluorescent mosquito glowing pink and purple under ultraviolet (UV) light while an entomologist studies it through a microscope.

This fantastic image was taken by Shayanta Chowdhury, a Chemistry PhD student at Notre Dame University, Indiana, and recently won a Scientists at Work photo award from Nature, a major science journal publisher.

While Shayanta’s image is certainly well-crafted, it’s much more than a beautiful composition, capturing both the scientist and the science in the same frame, revealing a world of research few get to see.

“I wanted a photo where the scientist imaging the subject is also in the frame, along with the instrument being used," said Shayanta.

In the shot we see Lee Haines, an entomologist at the same university, analyzing a yellow fever mosquito through a microscope.

Haines is studying how the drug nitisinone can be used to kill blood-feeding insects, and the mosquito has ingested a sugary substance infused with fluorescent dyes, lighting up the dark laboratory.

“The UV illumination created striking colors from both the tiny mosquito and the condensation that formed beneath the cold petri dish: a pink-purple mosquito in a sea of blue, with water droplets reflecting the light in every direction," Shayanta explained.

To capture the image, Shayanta used a Sony A6700 with a Sigma 18-50mm f/2.8 lens. His settings were ISO 2000, f/2.8, 1/250sec using the widest 18mm focal length.

“I focused on the mosquito on the screen, but also made sure Lee was in the same plane to have her on focus as well, given the shallow depth of field,” he said.

While Shayanta is a chemist, his work also involves using microscopes and lasers to analyze nanoparticles, giving him a unique appreciation for the beauty hidden within all scientific research.

Shayanta said: “Biological samples are usually also very beautiful under a microscope, because it reveals a world you can't see with your bare eyes."

Beyond the personal gratification, Shayanta hopes that winning the Scientists at Work award and the subsequent coverage will help people engage with science.

"I truly believe that art has the power to bridge the gap between scientists and other communities," he said. “If my image can spark someone's interest in what on Earth is going on, and can inspire them to ask more questions and be curious about science, that would be a big achievement."

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Marine ecologist and diver Robert Harcourt also won a Scientists at Work photo award in 2026. His underwater shot shows a fellow researcher collecting a bacteria sample from a whale shark.

UPDATE: There is some disagreement online as to whether this camera will be called the Sony FX5 or Sony FX4.

While Sony FX5 is the name that has been "confirmed" by Sony Alpha Rumors, rival camera rumors site Photo Rumors has been claiming that it is actually the Sony FX4 – a report that seems based largely on a post by sometimes-reliable X.com leaker, how2fly.

Judging by the specs and features, both sites do seem to be describing the same camera. However, given the nature of how these kinds of leaks are interpreted, when different outlets cite different names, it's also possible that there is in fact a Sony FX4 and FX5 on the way.

The likelihood is that they're both the same model, but we shouldn't discount the unexpected launch of a new product a la the Sony FX2.

UPDATE (Jun 26): It has been reported that the Sony FX5 will indeed be an open gate camera – and, fittingly enough, it will record in 5K resolution in the 3:2 aspect ratio.

The report also notes that the global shutter image sensor will be different to the one featured in the Sony A9 III.

The addition of open gate represents something of an about-turn for Sony, which for years insisted that there wasn't sufficient consumer demand.

"On multiple occasions, Sony managers said they didn’t believe it was a feature users really needed," writes Sony Alpha Rumors.

"But it looks like they’ve finally changed their mind: the upcoming Sony FX5 is expected to feature full open gate support. Specifically I have been told the camera has open gate 5K 3:2 support!"

ORIGINAL STORY (Jun 24): A new report "confirms" that the Sony FX5 will be announced in July, featuring bleeding-edge features like a global shutter sensor (previously seen in the Sony A9 III) and specs from the Venice cinema line.

The report also hints, with a wink and a smile, that highly requested features from users will also be included on the FX5. Could this be the long-desired introduction of open gate video?

For years we have heard camera rumors about a successor to the Sony FX3. However, while both Nikon (with the Nikon ZR) and Canon (with the Canon EOS R6 V and EOS C50 in particular) have eclipsed the original model, Sony hasn't brought an FX3 II to market.

Instead, Sony Alpha Rumors writes that we will see an FX5 next month.

"While everyone else was convinced that a new FX3 II was on the way, I can now confirm through trusted sources that Sony will announce a new Sony FX5 in July!"

We know from Weibo outlet E8M_8888 that Sony has registered a new FX model, having spotted the filing with Chinese certification bodies. So a new model is definitely on the way – and Sony Alpha Rumors is confident that it will be a "mini Venice" in terms of capability.

"It's a substantial upgrade over the FX3. It gets a new name because it's more like a compact Venice camera than an Alpha camera with cine features," adding that, "button and menu layout take over many aspects of the professional Venice camera".

E8M_8888 had previously reported that it would be "a modular camera that adopts an FX3-like style but moves away from standard Alpha camera design language.

"Its body layout and button configuration are more professional," with modularity supporting cinema peripherals and expansions such as XLR handles, external EVFs and SDI connectivity.

Crucially, due to its hybrid Alpha / Venice nature, the FX5 looks like it could shake up the hierarchy of Sony's cinema camera lineup – much as Canon did with hybrid bodies like the EOS R6 V and EOS R5C.

Should Canon be worried? The company already debuted global shutter sensors in its Cinema EOS lineup (with the Canon EOS C700 PL), so that in and of itself isn't new.

But Sony has invested heavily in the tech and will surely be doubling down on its advantages – and if that does cross the streams with open gate, this could be a very big deal…

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See where the biggest gaps are that the FX5 might close, with these Canon EOS C50 vs Sony FX3 and Nikon ZR vs Sony FX3 comparisons.

I have to admit, as both a photographer and a tech journalist there are some new product launches that are, well, boring. V-flats are usually one of them, flat pieces of foam core used as both lighting tools and easy backdrops. But lighting giant Westcott has just re-invented the v-flat – and made it not only portable but washable.

The new Westcott V-Flat, announced this week, uses fabric and an aluminum stand with magnetic legs rather than foam core. The design reminds me more of a scrim than a v-flat, but the design looks far more portable and durable than the standard foam core.

A typical v-flat is a large piece of foam core that’s versatile, but unwieldy to pack. The foam also often dents easily, making it a photography staple that tends to need semi-regular replacing.

V-flats are often loved for their versatility, and Wescott has worked to keep that intact as well. The design uses two panels that open to a full 82 by 84 inch / 208 x 213cm surface that can be used both as a lighting tool or a simple backdrop.

The two sides of the v-flat can also tilt from 15 to 80 degrees, allowing photographers to create a wedge wall or intentionally create a small slice of light entering the frame.

The fabric is interchangeable. The black can be used to enhance shadows and help prevent unwanted light from the outside the scene from entering the shot. The white can be used to bounce light and create softer studio lighting.

The fabric on the new Westcott V-Flat can be tossed in the washing machine to clean, and Westcott also offers replacement fabric.

A two-color kit with both fabrics and one frame retails for $299 / £255 / AU$442 / CA$434, while two-stand packs, single packs, and replacement fabric are also available. The new v-flat system is available directly from Wescott, while a number of retailers have already opened pre-orders, including B&H in the US.

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Fujifilm has released the latest firmware update for the X-E3 and X-H1 mirrorless cameras, with both models getting a fix for a somewhat minor but highly frustrating Bluetooth connectivity issue.

Firmware version 1.32 for the X-E3 – a compact rangefinder-style camera – and version 2.15 for the X-H1 – the former flagship APS-C X-mount camera – resolves a bug blocking Bluetooth pairing between these cameras and Android 16 devices with the Fujifilm Camera Remote app installed.

Fujifilm firmware download

Download Firmware version 1.32 (Fujifilm X-E3)

Download Firmware version 2.15 (Fujifilm X-H1)

My advice is always to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Fujifilm to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Camera Remote is the Fujifilm app enabling wireless connection between devices and Fujifilm cameras released up until 2018. The primary benefits include wireless image transfer to social media, remote live-view shooting, and camera setting backups.

The main issue users have reported is getting stuck in a “constant pairing loop” where the app states that the connection already exists and needs to be deleted in order to be re-established, despite the nonexistent connection.

It remains unclear whether Fujifilm created the bug with a previous firmware release or if Android 16 was simply incompatible with Camera Remote until now, however users began reporting issues soon after the release of Android 16 in June 2025.

This isn’t the first issue X-E3 photographers have faced using the Camera Remote app. Previously, the camera could freeze while attempting to connect to the app, although Fujifilm fixed this with firmware version 1.31.

More recently, photographers have faced a similar issue trying to connect their phones to newer Fujifilm models, including the X-T5, via the XApp, Fujifilm’s newer, default app for modern X and GFX series cameras.

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Don’t let minor wirelss app connectivity put you off a Fujifilm camera as the manufacturer is renowned for its APS-C and compact rigs. Here’s our expert pick of the best Fuifilm cameras.

Not many people are still walking around with a first-generation 2007 iPhone in their pockets – but camera lens tech ages differently. According to new data from Japan, photographers aren’t afraid to twist a 20-year-old lens onto their camera.

The data comes from Minna Camera, a photo gear buying and selling app popular in Japan. The company compiled a list of all the lenses still being sold on the platform that are at least 15 years old in order to find the most popular retro lenses still being used today. The research uses data from the last seven months of sales.

The top ten lenses on the list are nearly all zooms, with just two prime lenses in the top ten – hinting that photographers aren’t just after images with less modern sharpness but versatility too.

Two of the top three retro lenses, in fact, are superzooms that cover a wide-to-telephoto range without lens swaps. The Nikon AF-S 24-120mm f/4G ED VR takes the number one spot, a lens that first launched in September 2010. While Nikon has a similar Z Mount lens, the DSLR lens’ average selling price on Minna Camera is less than a third of the cost of the Z mount 24-120mm.

A Canon all-in-one zoom takes the third-place spot: The EF 24-105mm f/4L IS USM. Launched in the fall of 2005, the lens is the oldest option on the top ten list. Like the top Nikon lens, the Canon 24-105mm has a mirrorless equivalent (but also an even a brighter f/2.8 option), but the average used price on Minna falls much lower.

A prime slots in between those two super zooms in second place, one of only two primes on the list: The Canon EF 100mm f/2.8L Macro IS USM, released in October 2009. The lens is also the only specialty lens on the list with its macro designation for close-up shots.

Much of the list is dotted with so-called “workhorse lenses," the 24-70mm f/2.8 and 70-200mm f/2.8 versatile bright zooms that typically come with a pro-level price. The full list of the top ten retro cameras over the last seven months, according to Minna Camera, includes:

1. Nikon AF-S 24-120mm f/4G ED VR
2. Canon EF 100mm f/2.8L Macro IS USM
3. Canon EF 24-105mm f/4L IS USM
4. Nikon AF-S 24-70mm f/2.8G
5. Canon EF 70-200mm f/4L IS USM
6. Canon EF 70-200mm f/2.8L IS II USM
7. Nikon AF-S DX 35mm f/1.8G
8. Nikon AF-S 70-200mm f/2.8G ED VR
9. Nikon AF-S 28-300mm f/3.5-5.6G ED VR
10. Panasonic Lumix G Vario 45-200mm f/4.0-5.6 Mega OIS

Only one mirrorless lens made the list, the Panasonic 45-200mm, a nod towards the Micro Four Thirds long history. That lens launched alongside the first commercially available mirrorless camera – the Panasonic Lumix G1 – released in October, 2008.

Interestingly, Minna Camera crafted a similar list of the most popular cameras that are at least 15 years old. On average, those cameras still tended to be newer than the list of lenses. I can easily see why this is – I think one of the best ways to get the retro look that’s popular right now, without giving up digital, is to adapt an older lens – I even adapted an old film SLR lens to work on my mirrorless camera.

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Browse the best Nikon DSLR lenses or the best Canon DSLR lenses.

Canon RF and Nikon Z crop sensor shooters are finally getting an affordable f/2.8 all-in-one zoom. The longstanding favorite Tamron 17-70mm f/2.8 Di III-A VC RXD will begin shipping for Canon RF Mount and Nikon Z Mount next week on July 02, bringing a best-selling third-party E-Mount and X-Mount lens to more crop sensor bodies.

The Tamron 17-70mm f/2.8 is a highly versatile lens that earned 4.5 stars in tests of the Sony E-Mount version, which launched in 2021.

The new mount updates of the 17-70mm is only the third Tamron lens launched for the Canon RF mount, but join a list of ten other Nikon Z mount optics from the popular third-party brand.

Moving the lens to Canon RF mount is notable, as Canon doesn’t offer its own native constant f/2.8 zoom made specifically for crop sensor cameras – though pricier full-frame f/2.8 zooms will also work on crop sensor bodies. The Tamron will join a highly limited number of third-party constant-aperture lenses for crop sensor RF bodies, including the Sigma 18-50mm f/2.8 and Sigma 10-18mm f/2.8.

Nikon Z mount shooters already have access to a native constant aperture zoom with the Nikon Z DX 16-50mm f/2.8 VR, but Tamron’s launch notably extends the long end of the zoom range by another 20mm.

The new Canon RF and Z Mount options keep what made the earlier E Mount and X Mount options a popular choice, including the constant aperture, stabilization, and weather-resistant construction.

The 17-70mm range is equivalent to a 25.5-105mm full frame range on the Nikon Z and 27.2-112mm on Canon RF. That allows the lens to capture both a wide angle and shorter telephoto without lens swaps. Adding to the versatility is a minimum focus distance of .19m / 7.5 inches for close-up capabilities.

Packing that wide zoom range and constant aperture into one lens creates an optic that is larger than most variable aperture kit lenses, putting the RF mount version at 117mm / 4.6 inches long and the Nikon Z at 121.3mm / 4.8 inches long. The lens weighs around 530g / 18.7 oz on Canon RF and 540g / 19 oz on Nikon Z.

As an existing lens arriving on more mounts, it’s fairly easy to predict the image quality coming from the new lens. Based on the E-Mount tests, photographers (and videographers) can expect pleasant images with soft bokeh and solid sharpness – though a few settings create softer edges, and the images look best with lens profile corrections applied.

The Tamron 17-70mm f/2.8 for Canon RF and Nikon Z begins shipping on July 02. Both mounts are expected to retail for $749 / £549.99 / CA$949 – which converts to about AU$1082.

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EIZO has announced two new curved ultrawide monitors for professionals, both backed by new, industry-leading warranties:

FlexScan EV3851X

This 37.5-inch display replaces EIZO's existing EV3895 and runs at a UWQHD+ (3840 x 1600) resolution, for a pixel density of 111 ppi. It is based around an IPS LCD panel - unusual for a curved ultrawide display, as these usually use VA panels - with a 2300R curvature. Though aimed primarily at commercial, business and office use, the FlexScan EV3851X can still display a respectable 96% of the DCI-P3 color gamut, despite not being a 10-bit display. Convenient front buttons enable easy switching between color pre-sets that include DCI-P3 and BT.709. A 300-nit max brightness and 2000:1 contrast ratio are respectable, if not particularly special. The FlexScan EV3851X is also a USB-C monitor, enabling a single-cable link to an attached laptop or SFF PC, with the monitor able to supply up to 94 watts of Power Delivery. Other connections include a built-in LAN port for a stable wired connection, and this can be accessed by a laptop via the USB-C link. A 4-port USB hub with an additional USB Type-C port and three USB Type-A ports further enhance the FlexScan EV3851X's versatility.

Expect retail availability of the FlexScan EV3851X in July. We await pricing information.

FlexScan EV3451X

Like the EV3851X, the EV3451X is a curved ultrawide display, just with a slightly smaller 34.1-inch screen size, and a lower UWQHD (3440 x 1440) resolution. Pixel density is almost as high as the EV3851X though, at 109 ppi. Although marketed in the same product family, the two monitors do differ in most of their image quality specs. The EV3451X's curvature is noticeably more subtle at 3800R, and its contrast ratio is only 1000:1. Unlike the EV3851X, there's no mention of DCI-P3 gamut coverage, so it's likely the percentage coverage is considerably lower. The EV3451X can reach a slightly higher 350-nit brightness, however. There's little to separate the two monitors when it comes to connectivity though, as both share the same USB-C and power delivery specs, along with identical LAN and USB hub features.

The EV3451X is scheduled to begin shipping in Autumn 2026. Pricing has yet to be revealed.

7-Year Monitor Warranty

Both new monitors benefit from EIZO's newly-launched 7-year warranty. This supports longer product lifespans, helping reduce TCO (Total Cost of Ownership), while contributing to more sustainable use over the product’s life. For over 20 years EIZO has backed its monitors with a 5-year warranty, so extending its coverage to 7 years marks a further commitment to the quality and dependability of its products. Not only does the 7 year warranty apply to the two newly-launched FlexScan displays, it is also being applied retrospectively to the current FlexScan EV2740S, EV2720S, EV2410R and EV2400R monitors for additional peace of mind.

Many of the retro-inspired cameras built today are inspired by the 1970s, 1980s, and even Y2K, but one small French company is bringing back an even more historic camera format: the wooden field camera with folding bellows.

The Fasquel & Co. 4x5 Heritage is a new large-format field camera that pays homage to photography’s roots while creating a durable, portable camera for modern film artists.

The field camera is a folding bellows camera format that first appeared in the 1840s, and began gaining popularity in the 1850s. The bellows focus the lens, which is mounted to a lens board. This classic camera format has no viewfinder; instead, a ground glass screen projects an upside-down image of what the lens sees at the back of the camera.

Once the photographer composes and focuses the camera, a sheet filter holder slides into place in the back – or, in the earliest cameras, a freshly prepared wet plate collodion.

The Fasquel & Co 4x5 Heritage doesn’t take inspiration from one specific historic field camera, though the company says the US brand Deardorff (1923-1988) and the UK brand Gandolfi (1885-2017) served as inspiration. Instead, the new camera focuses on quick setup, easy alignment, and durability.

Fasquel & Co – founded by Emilien Fasquel and Enzo Luca in 2002 in France – has previously designed 8x10 and even an 11x14 Heritage camera. The newly launched 4x5 Heritage is designed to be a more portable system. Folded, the camera measures 94 × 192 × 230 mm – about 3.7 x 7.5 x 9 inches. The camera weighs about 1.6kg or 3.5 pounds.

The field camera allows photographers to use 4x5 sheet film using a sheet film holder, but the camera is also compatible with even older techniques, including wet plates. The camera can use a variety of large-format lenses mounted on Linhof Technika-style lens boards.

Despite being hand-assembled, the camera is weather-resistant, the company says. The camera is built largely from mahogany, but some special orders also use ebony, cherry, or walnut. The wooden pieces are protected with a traditional varnish to add durability.

Those wooden components are mixed with black anodized aluminum and steel, while the bellows are made with a synthetic material that the company says is also durable and weather-resistant.

The durability and size, the founder Emilien Fasquel said, are designed to give outdoor photographers access to the 4x5 format.

“Large-format photography has always been about slowing down, being intentional, and creating images with extraordinary detail and character,” Fasquel said. “With the 4x5 Heritage, we wanted to make that experience more accessible without compromising on craftsmanship. Every camera that leaves our workshop is built with the idea that it should not only be a photographic tool, but also an object that photographers will enjoy using and owning for decades.”

Slowing down isn’t just a part of using the camera – the company’s Heritage models are individually assembled in a workshop in France, which also allows the company to offer several customization options.

“Our process combines traditional craftsmanship with modern manufacturing methods,” Fasquel said. “Many operations require specialized machinery for precision and consistency, while assembly, finishing, fitting, adjustment, and quality control are carried out by hand. We believe this combination gives us the best balance between accuracy, durability, and the character that comes from a truly handcrafted product.”

The new 4x5 Heritage, as well as the company’s earlier larger format cameras, are available to custom order from the company’s website. The 4x5 is available starting at €1,790 – which converts to about $2,045 / £1,544 / AU$2,922 / CA$2,897. Fasquel & Co ships internationally; additional duties, taxes, and import fees may apply outside of Europe.

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Photo competitions in the internet age have the power to change lives for aspiring photographers, and that’s what Gunnar Hartmann, an amateur photographer and Biogeoscience student at the University of Koblenz, Germany, hopes will happen.

Hartmann recently won the Scientists at Work photo contest, an annual promotion by science journal publisher Nature, and, following the “unexpected win”, now has his sights set on professional wildlife and conservation photography.

“To be honest, I was not prepared for such a big win and the amount of public attention that came with it,” said Hartmann. “Photography has never been my main goal. But winning this award and receiving so much attention has made me realize that maybe the biggest impact I can have is to tell stories through my camera.”

The shot which has propelled Hartmann into recent wildlife and conservation photography limelight depicts migrating northern bald ibises in flight being guided by researchers from the Waldrappteam conservation program in a light craft. Hartmann used the Canon R7 paired with a Canon EF 70–200mm f/2.8L IS III USM lens, and opted for a 1/1000sec shutter speed, f/8 aperture and ISO 200.

Although primarily contracted by Waldrappteam for bald ibis conservation efforts, documenting the project on camera is what Hartmann felt created the most impact. “My main role was not photography, but field work. Photography was only a part of my work besides my other tasks but the one with the most passion! Sometimes so much that I forgot my other tasks and responsibilities.”

Hartmann hopes that the Scientists at Work award will help conservation projects build platforms and gain visibility, but also further his career ambitions. “Winning this award is a great honor for me, especially because I still have such a low profile," he said. “I do not even have a website or a real Instagram presence. I do not have the money or the skills for that yet, but those things may come with time.”

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The DJI Osmo Action 7 could be less than 12 weeks away, according to this product history – but some people have suggested that there might be something even sooner than that.

Looking at the number of days that each of the Osmo Action cameras has spent in DJI's list as the flagship before being superseded by a new model, we can see that – at the moment – a life of somewhere between 322 and 425 days seems realistic. We are already at 216.

The first iteration, admittedly, had a very different 896 days. But that was an Action camera during the days of a global pandemic, so there was likely no hurry for a replacement – and there were some unavoidable delaying factors.

For several generations, DJI has comfortably sat at the top of my best action cameras guide thanks to the company's superior low-light capabilities and, frankly, better pricing than the iconic GoPro brand.

The latest GoPro Mission 1 Pro has upped the game for action cameras in several respects, at least for the American brand, by delivering 8K. DJI, however, was already offering most of this – for a lower price. So what can it do, on the technical side at least, to stay ahead of the game?

Bigger sensors have been part of DJI's path before, but there might be a sensible limit in action cameras. DJI has already included a variable aperture in the Action 6, a "feature" that GoPro resisted.

The other most obvious upgrade would be 8K 60fps video, since 8K has been a widely promoted feature not only of the GoPro but also the AcePro 2 from Insta360.

I would anticipate, too, iterative updates to what might be considered 'AI' software – electronic image stabilization, horizon steadying and face tracking.

The real difference for customers, though, will likely still be the lack of first-party support for the DJI camera in the US. DJI has not sold it directly in the US since the company was added to the covered list, though we know that it is still fighting this decision…

Bears make for majestic wildlife photo subjects, but get too close and they may just start eyeing you up – either out of self-defence or, worse, as prey, as one photographer recently found out the scary way.

Kai Snyder (kaiseed0), a professional chef and amateur photographer, was out snapping in the Lake Clark National Park Reserve in Alaska when she came across an enormous Alaskan brown bear lapping up water from a river.

After a few moments, the bear’s survival instincts kicked in – it turned its attention to Kai, giving her the most bone-chilling stare. Fortunately for the photographer, the river stood between her and the beast.

Alaskan brown bears weigh anywhere from 200 to over 1,500 pounds (around 90 to 680kg) depending on their sex, the season and their location.

More commonly known as grizzly bears – although not the only type of grizzly bear – they can be found in mainland Alaska, heavily populating the southern coastal regions and the Kodiak Archipelago.

Incidents of Alaskan grizzlies attacking photographers are rare, but have happened.

In 2012, a California hiker was mauled and killed while taking photos of a 600-pound grizzly. Photos recovered from the man’s camera showed that he’d come within 50 yards (45 meters) of the grazing bear, violating park rules that mandate a quarter-mile (402 meter) distance.

While we don’t know how close to the bear Snyder was, we do know that this wasn’t her first encounter with a grizzly. In fact, the Alaska resident has said in other TikTok clips that she’s “so stoked to live in a place where bears walking through the yard is an everyday occurrence.”

I’m glad to see that this latest and viral encounter ended safely for the photographer, and hope to see more of her work soon. There are a couple of shots on her Instagram of grizzly bears that are very nicely composed.

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NiSi has released three new accessories designed for Ricoh GR compact cameras:

Nisi 49mm filter adapter MKII for GR III & GR IIIx: $32.99

This metal tube slots over the GR's lens, replacing Ricoh's GN-1 and GN-2 adapter rings. 49mm filters can then be fitted to the front, or the adaptor can provide a more stable mount for wide-angle conversion lenses and other accessories. The adapter features an auto-locking mechanism that holds everything securely in place, without wobble, and with no extra tools required. The adaptor is also compatible with NiSi's PR-5 Lens cap.

NiSi Wide Conversion Lens for Ricoh GR Series (GR III, GR IIIx, GR IV): $74.99

This 0.78x wide-angle conversion lens is built for street photography, travel, architecture, and any scenario when you want a wider field of view without sacrificing the GR’s speed and simplicity. On the Ricoh GR III / GR IV it widens the default focal length from 28mm- to 21mm-equivalent, or when fitted to the GR IIIx it converts the lens from 40mm- to 31mm-equivalent. The lens retains the camera's autofocus, metering, and shooting modes, and is Macro Mode compatible. A multi-layer, anti-reflective nano coating is employed to reduce ghosting and flare, while the barrel and caps are constructed from durable aluminum alloy. In order to use the lens, you will also need the separate Nisi 49mm filter adapter for your specific GR model.

NiSi JetMag lens hood kit for Ricoh GR IV: $89.99

Designed exclusively for the GR IV, this purpose-built hood-and-adaptor system is built for street and travel shooters, helping to protect the lens while also controlling harsh light. An included 49mm adaptor lets you use standard 49mm filters, while an auto-lock helps prevent rotation or loosening while shooting. The hood magnetically snaps on over the filter, then the lens cap snaps to the hood for quick protection between shots.

There's a new casualty of the global NAND flash memory shortage: CMF's next phone. The current CMF Phone 2 Pro offers stunning value for money, being one of very few phones to offer a telephoto camera module in a phone priced at less than $300/£250. That phone launched in April 2025, so we were eagerly awaiting the follow-up - the CMF Phone 3 Pro - to drop very soon.

Sadly that won't now happen, as Nothing’s co-founder Akis Evangelidis has confirmed the phone has been scrapped:

“…with memory prices where they are right now, we can't build a phone that feels like a genuine step forward at a price that makes sense for CMF.”

That said, he goes on to say that other new CMF products are still planned, including some “entirely new categories”. Whether that means a new CMF phone at a higher price point is coming remains to be seen, though such a product would be risky, as a higher-priced CMF phone would potentially encroach on Nothing's market segment. So as it stands, don't expect a new sub $300 CMF phone any time soon, as the RAM crisis is showing no sign of abating.

Why is flash memory in such short supply? It's all thanks to the proliferation of AI. AI data processing centers devour high-bandwidth memory and fast SSD storage, causing AI companies to buy up huge stocks of solid state memory. This in turn is having a knock-on effect in other sectors that require DRAM and NAND flash memory, such as the memory card, portable storage, and even phone industries. These sectors have to fight for the remaining memory stock after the AI tech giants have paid top dollar to fuel their data centers. And when demand is high, prices go up. When you then have a budget product like the CMF Phone 3 Pro that must meet a strict price point, the only option is to discontinue the product, as hiking the retail price to cover the increased component cost isn't an option.

Last week, third-party lens maker Viltrox announced a tiny pancake lens – but if the rumors are any indication, that’s not the only tiny product on the horizon. Photos of a tiny Viltrox keychain camera have leaked online from a regular rumour reporter on Chinese social media.

I’ve heard a few dubious rumors popping up recently hinting that Viltrox was working on a camera. I had my doubts, but the newly leaked photos are not at all what I was expecting.

If the photos leaked by the Independent Photographers’ Association on Weibo are true, then Vilrox could soon offer a tiny keychain camera with a retro design.

The leaked photos look quite similar to the viral Kodak Charmera keychain camera, with the same rectangular shape, keychain ring, and retro stripes. The camera has “1839” printed on it, like some of the original Kodak Charmera designs that have 1987 printed on it, the year of the Kodak Fling that first inspired the Charmera.

The leak didn’t contain any specifications, but with the word “toy” printed on the box, it’s clear the rumored Viltrox camera isn’t made for serious shooters.

If I had to guess, I would venture that the Viltrox toy camera may not even be something headed to stores. The Google-translated caption with the photos indicates that the camera is made for a Dragon Boat Festival gift box.

For now, the Viltrox toy camera is just an unconfirmed leak – but it raises questions about the keychain camera craze. Since the Kodak Charmera went viral and sold out in a matter of hours last year, copies have popped up everywhere, from fast food swag to gas station rewards programs.

Now, the Kodak licensee Reto Productions has made a second set of blink box designs, this time on a Y2K theme.

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All good things must come to an end. And so it is that Canon has quietly started sunsetting the Canon EOS RP in Asia, first indicated by the "Sales ended" tag on the official Canon Japan store listing.

While the RP hasn't yet officially moved to the company's discontinued products listing, and though it's still being sold by both Canon USA and Canon UK, this is the first indication that the svelte mirrorless camera is being Old Yellered.

With Canon Japan having exhausted its inventory, it's only a matter of time before stocks are gone elsewhere in the world – so if you've been thinking about getting one, now is the time.

This marks the end of the first generation of EOS R cameras (following the original Canon EOS R) – but, for me personally, it's also the end of the first Canon mirrorless camera that I truly fell in love with.

The R System wasn't Canon's first mirrorless foray, of course; that was the APS-C-only M System. But while I thought the EOS M50 was a neat little camera, I don't think anybody ever felt the same affinity for M cameras that they did for the R series.

I bought the EOS R on day one, trading in my 6D Mark II so that I could join Canon's mirrorless revolution from the beginning. The original R was essentially a 5D Mark IV in drag, making it ostensibly an upgrade from the 6D Mark II. However, even though the RP was essentially an adjacent model, it was the RP that I really wished I'd gone for.

The Canon EOS RP lacked mirrorless essentials like in-body image stabilization, and the 4K video was tragically cropped and robbed of Dual Pixel AF. Crucially, though, it was Canon's smallest and lightest ever full-frame camera, coming in at just 440g body only and measuring 132.5 x 85 x 70 mm (making it smaller and lighter than the 800D DSLR).

And it was very aggressively priced, launching at just $1,299 / £1,399 for the body and the Mount Adapter EF-EOS R to use DSLR lenses straight out of the box. All of which contributed to the name, "RP", meaning "Popular" – in the Japanese sense that it's a camera meant 'for everybody'.

Even today, while the Canon EOS R8 is a better camera, the RP is still Canon's best value full-frame camera.

It's currently available for just $617 at Walmart in the US or only £799 from Amazon in the UK – an absolute steal for anyone wanting to upgrade to full-frame photography or get into Canon's mirrorless ecosystem.

So, whether you want to get one while you still can or it's a camera that you never knew existed, please join me in pouring some sip on the kerb for the Canon EOS RP. My first love of the R System.

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According to the most well-known Apple-gossip source, Mark Gurman, the company's incoming CEO, John Ternus, will be trying to bring back the company's sense of cool by focusing on the look and feel of products.

Cameras are set to be a huge part of that new wave of cool, too, apparently. One of the drivers of that cool will be AirPods with cameras in them (see Gurman's pay-walled story for Bloomberg).

Other leakers have nicknamed called these 'AirPods Ultra', including YouTuber Matt Talks Tech, as you can see below:

They're in development now, although they are not expected to arrive until 2027. They are one of three significant new product categories we’re expecting, which are all perceived as relatively new and exciting – and that Apple has, until now, kept out of.

The others are folding phones and smart camera glasses (as opposed to the sophisticated Vision Pro) – both of which are, of course, camera-equipped.

Personally, I do tend to buy Apple products – I'm well into the ecosystem – and I enjoyed trying the Vision Pro, but I didn't find myself reaching into my pocket for the large sum of cash to buy something I wouldn't actually use.

Sure, the equivalently-priced MacBook Pro wasn't revolutionary – but it does a lot more of what I actually need to do, day to day, and I don't see that changing for a while.

But smart glasses like those from Meta are a price that people can comfortably reach and – thanks to piggy-backing on the Ray-Ban brand – are definitely cool. So it's easy to see why Apple would see the need to compete there.

As for the last one of the three, there are already a good number of folding phones on the market – and have been for quite some time.

We were expecting Apple to launch one this September, also rumored to be called the iPhone Ultra, as software developers have found evidence in the next version of iOS.

The Independent has reported, however, that the production line now suggests the phone is more likely to arrive in early 2027 – and cost over $2,000.

That follows news from Apple – discreetly left in the hands of the outgoing CEO – that all iPhone prices will be on the rise, too.

Tim Cook told the Wall Street Journal that prices would “inevitably” rise with the arrival of the iPhone 18. The company traditionally launches a new phone every September, but what is being called an ‘AI boom’ is pushing up the prices of computer chips.

Now, personally, I wasn't that sure about a folding phone anyway. I really want to be convinced that the screen isn't going to be damaged or full of dust. But now I'm starting to worry about my wallet, too!

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Camera trap footage may not be the most glamorous form of wildlife photography, but it plays an essential role in modern conservation, especially in monitoring elusive species that are almost never seen by the human eye.

The Amazonian short-eared dog is one of these species. In fact, according to researchers from the Wildlife Conservation Society (WCS) – a global conservation program headquartered in New York City – the canid, which has short legs, small, rounded ears, and a dark coat, is one of the world’s “least-known.”

However, WCS researchers based in Bolivia recently shed new light on this elusive dog, colloquially known as the ‘ghost dog’ in Latin America, by publishing a camera-trap study of the species that lasted 23 years.

For almost a quarter of a century (2001–2024), the researchers ran 34 “intensive” camera-trap surveys across northwestern Bolivia and southeastern Peru, snapping a substantial 4,635 individual images of the Amazonian short-eared dog and documenting 594 independent events.

Above: footage of the elusive short-eared dog captured by WCS trail cams

“Camera-trap surveys provided significant information on the behavior and relative abundance of the short-eared dog, suggesting it is more abundant than previously thought, although it remains a relatively rare medium-sized carnivore,” the researchers noted in the published paper.

According to the scientists, the research also uncovered that the creature has a “strong preference” for intact forest, highlighting the importance of maintaining protected areas and other management units that preserve Amazonian forest coverage.

The researchers also mentioned how the survey is a prime example of how conservation technology and remote sensing (i.e. camera traps) can provide substantial data on one of the Amazon’s least-studied species.

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AI this, AI that – I can’t scroll through anything on the internet without being inundated with generative AI. As both a photographer and a writer – two art forms that generative AI attempts to imitate – I’m AI-exhausted. But here’s the thing – I’m not the only one, and the latest data seems to suggest around half the population is just as frustrated with AI as I am.

Around half of all adults in the US are wary of AI’s impact, according to a June 2025 PEW survey – a sharp increase from the 37 percent of AI-weary humans in 2021.

A new YouGov survey suggests that British adults share a similar stance, with 42 percent saying that they would get rid of generative AI entirely and 22 percent not even sure if they like the technology.

Only around 18.3 percent of US adults call themselves artists (and only 1.6 percent professional artists), which suggests that the artists whose jobs are most threatened by generative AI are far from being the only humans wary of the technology.

My stance on AI comes as someone who has tried out bits and pieces of the technology. As a journalist, it’s my job to explore the pros and cons of generative AI in order to better inform my readers, so I’ve done everything from asking ChatGPT to generate images that still look like me to testing out Photoshop’s new AI assistant.

Yet, even after all this testing, I’ve turned off Apple Intelligence on my iPhone, I leave generative AI off on most Photoshop tools where possible, and I continue to use the camera and the keyboard to create.

The problem is – and probably why so many adults agree with me – AI feels impossible to turn off. I can’t keep it out of my social media feeds, and Google doesn’t have an off switch for its AI Overviews. I can ignore generative AI, but I can’t ignore the rising prices on memory cards and hard drives that it has created. Artists have just been told to accept that AI is the norm and move on – or get left behind.

To be clear, I don’t think all AI is bad. Eye-detection autofocus is one of my favorite features on modern mirrorless cameras, and, yes, that’s an AI technology. Lightroom’s auto mask features to select skin, teeth, or eyes in a portrait have saved me a lot of time. The ability to search through the photo library on my phone is one of my favorite iPhone updates.

But, while those tools are AI, they are not generative AI. I don’t mind an AI that’s going to help save me from tedious tasks. But I’m a creator because I love creating, and I don’t want a computer to do it for me.

I’m not against AI, I’m wary of generative AI, the type of AI that creates something from nothing. (Or, more accurately, that creates something from a library of work created by real human artists that, in many cases, was stolen without permission.)

Generative AI also tends to have a much larger impact on the environment than non-generative AI. Generative AI is the technology that requires massive data centers, creating noise nuisance in small communities and driving up the cost of any technology that requires digital storage.

But these views are perhaps unsurprising coming from someone who earns a living as a creator. What’s giving me hope is the number of non-artists who are just as frustrated by AI as I am.

Even Gen Z – the generation with the highest adoption of generative AI – is becoming more wary of the technology. A recent Gallup poll has found that the number of Gen Z-ers excited about AI has dropped while the number reporting anger has increased.

All of this is happening at the same time as some Big Tech companies are reporting that the cost of generative AI is higher than having human employees.

At the same time, “AI Slop” was the Word of the Year for 2025, hinting that many would prefer to see human-created content in their social media feeds.

All of the data on the increasing number of people wary of AI technology gives me hope that even non-artists are going to continue to value human-created art. I don’t think AI is going anywhere, but my hope is that the number of people wary of AI will temper its growth – and that even non-artists will continue to appreciate human artwork.

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