According to Mark Gurman from Bloomberg, the upcoming iPhone 18 Pro could get “the biggest leap in camera hardware” in some time. We're unable to see if there's any detail behind that claim as the article is paywalled, but at this stage the iPhone 18's exact hardware details will still be closely guarded anyway. The most widely rumored upgrade has been the addition of a variable aperture lens for the primary camera. While potentially useful in a few scenarios - being able to increase depth of field in macro shots, for instance - it's hard to argue that this would constitute a "big leap" in camera hardware. I've gone into much more detail about why a variable aperture lens really isn't a big deal in camera phones here. A physically larger, higher resolution sensor for the primary camera would be much more noteworthy, but I wonder whether Apple would want to move away from using 48MP sensors across all three modules just yet.

It's also been speculated that the iPhone 18 Pro's telephoto camera could receive a larger aperture lens. The 48MP 1/2.55" sensor was new for the iPhone 17 Pro, so that may well be carried over for the '18 Pro, but replacing the current f/2.8 lens with something faster would result in quicker shutter speeds, which is always a good thing when shooting at long focal lengths. However, what will likely be a small increase in aperture is also nothing like a leap in camera hardware. A more impressive hardware change for the telephoto camera would be to increase its zoom. Due to switching to the larger 48MP sensor for the iPhone 17 Pro's telephoto module, zoom was reduced to 4x (down from 5x in the '16 Pro). For context, the Oppo Find X9 Ultra (which is almost the same price as an equivalent iPhone 17 Pro Max) sports a 10x telephoto camera, with a sensor only marginally smaller than that in the iPhone's 4x telephoto module.

Other rumors point to the iPhone 18 Pro potentially having exclusive, pro-focussed camera software features. Quite what these could be is unknown - Apple already reserves its ProRAW image capture for iPhone Pro models. The speculation suggests that Apple "is looking to give the built-in camera app on its smartphone an upgrade...the existing iPhone camera app contains mostly basic controls."

A big leap in camera hardware for the iPhone 18 Pro would be very welcome though. Recent iPhone generations have offered incremental improvements where rival Android flagships, most notably those from Xiaomi, Vivo and Oppo, have pushed camera hardware forward at a far more rapid pace. It's about time the iPhone started being revolutionary again, not merely evolutionary.

Story credit: 9 to 5 Mac

The launch of the new iPhone 18 is likely only a 3-4 months away, and the rumor mill is spinning up with chatter about what camera hardware it may ship with. The latest tip reiterates previous speculation that the iPhone 18 could feature a variable aperture lens for its primary camera module. The rumor comes from respected industry analyst Ming-Chi Kuo, though it has also been reported by a separate source in Apple's supply chain.

In the current climate where phone manufacturers often prefer AI image processing improvements over camera hardware upgrades, the news that Apple could be developing a new lens for its next iPhone seems welcome. However, I remain to be convinced that such a feature will have a noticeable improvement to camera usability or image quality.

A variable lens aperture is essential in a lens designed for a conventional, large-sensor camera like a full-frame DSLR or mirrorless body. This is because the larger the sensor, the shallower the depth of field at a given aperture. With a full-frame camera, if you want a subject close to the camera and a more distant background to both be in focus, you'll need to significantly reduce the lens aperture. But shrink the sensor down to 1/1.28" - the size of the sensor in the iPhone 17 Pro's primary camera - and, even at the module's native f/1.8 aperture, there'll still be a huge depth of field.

As background detail is almost always clearly visible behind a subject snapped by a camera phone, we've seen the implementation of portrait modes which use software processing to artificially blur background. The aim here is to emulate the shallow depth of field effect you 'naturally' get from a large-sensor camera/wide-aperture lens combination.

So if a camera phone is inherently good at producing a deep depth of field, there's little reason for having a lens with a variable lens aperture. You may as well fix the aperture to be as large as possible to get the maximum amount of light through to the sensor, thereby keeping shutter speeds high and ISO sensitivity low - the ideal recipe for sharp, low-noise shots. Having a variable aperture lens sounds impressive, but the benefits are few and far between when it comes to real world use in a camera phone.

What's more, a variable aperture lens could actually be a bad thing for iPhone 18 buyers. Kuo's tip also states that a variable aperture lens could costs as much as 50% more than the current fixed aperture glass used in current iPhones. At a time when flagship phones are likely to increase in price on account of continual rises in the cost of flash memory, paying even more for an iPhone in order to get a new camera lens with limited practical benefit is a bitter pill to swallow.

Story credit: 9 to 5 Mac

What's more festive than transforming a room in your house into a dreamy, fairy-lit world, perfect for a spot of creative portrait photography?

The concept is simple – by sticking a fast prime lens onto the front of your DSLR or mirrorless camera and taking advantage of its super-wide aperture, we'll be able to create a nicely blurred background to transform those tiny, twinkling points of light into beautiful bokeh balls.

This project really is as quick, easy, and fun to do as it sounds.

Essentially, all you need is your camera, a fast lens (be that a prime or a zoom with a wide max. aperture between f/1.4 and f/2.8), a few strings of fairy lights, and a willing volunteer to pose for you.

Professional photographer and videographer Tom Calton shows how to bag the shot and demonstrates a simple but effective colour treatment in Photoshop to make it really stand out.

The setup

Warm lights
We've opted to use warm fairy lights to give the shot a cosy, wintry feel. However, you could experiment by using white or multicoloured lights (or a mixture of the two). Just ensure the lights that are used are bright.

Twinkling backdrop
Our background is a simple net of fairy lights hung against a blank wall that is free from hanging ornaments and picture frames.

More lights
A few additional strings of lights are needed for the model to hold to illuminate their face. You can also try draping lights across the bed and elsewhere in the room to increase the effect.

Blackout
To capture the full effect of the fairy lights, it’s important that they are the only light source in the room. Turn off all the room lights and block out the windows.

Shooting steps

1. Block out the light

To get started with this photograph, make sure that the fairy lights will be the only source of light in the room. Block out any window light and close all of the blinds and curtains. Switch off any room lights and lamps as well.

2. Set up the background

The next step is to hang the net of fairy lights in the background to create a nice, twinkly backdrop for our shot. Hang the lights from a shelf above the bed, or alternatively, try and drape them over a backdrop stand or hang them between two light stands.

3. Use a fast lens

In order to turn the fairy lights into twinkling orbs in the shot, use a lens with a wide aperture. Prime lenses are the best choice, as they generally offer a wider maximum aperture than zooms. Here we used a FE 50mm f/1.4 GM lens on a Sony A7 III, which is a great option for portraits in general.

4. Add more fairy lights

Ask the model to sit in position. Drape one set of fairy lights around where they are sat and then carefully ball-up a second set of lights and place them in the model's hand – these will be used to illuminate the model's face.

5. Camera settings

Switch the camera to Aperture Priority mode, and then set the widest aperture possible. Frame up the shot and adjust the ISO until the shutter speed is reading a value of 1/250sec or faster. This will help to ensure a sharp shot while shooting handheld. Finally, set the camera so that it shoots in RAW.

6. Take the shot

Frame up the shot and make sure that the active AF point is positioned over one of the model’s eyes. Then focus and take the shot. Check the results to make sure that the model is sharp and in focus, and repeat the shot if necessary.

Pro Tip

Keep your distance

Although using a wide aperture will give you the best chance of transforming all of those small points of light in the background into big, beautiful orbs, distance is also another factor you'll need to keep in mind.

In short, the greater the distance between the lights and your point of focus (the model's face), the more blurred the background will become and the bigger the orbs of light will be. So bear this in mind while setting up your shot.

Editing steps

1. Contrast and color

Open the RAW photo in Photoshop, and the Camera Raw Interface will appear. Crank the Contrast slider to +100 and the Clarity to +50. Then, set the Vibrance to +30 to bolster the colors.

2. Lift the shadows

Don't worry if the photo has too much contrast as this can easily be fixed by increasing the Shadows +50 and the Blacks to +60. This will brighten the shadow detail for a more balanced result.

3. Split toning

Click the Split Toning tab at the top right of the screen (beneath the histogram). Under the Shadows section, set the Hue to a value of 230, then increase the Saturation to 80 to turn the shadows blue.

4. Curves

Click the Curves tab at the top, then underneath the Curves diagram, find the Output box and set it to a value of 16. This will crush the blacks within the image to give it a much softer appearance.

5. Blue curves

Staying in the Curves tab for the moment, locate the Channel option above the Curves diagram and change it from RGB to Blue. Then, set the Output to 10 in order to add more blue to the shadows within the image.

6. Brighten the model

Finally, grab the Adjustment Brush from the toolbar at the top of the screen and brush over the model’s face. Pull the Exposure slider to the right to brighten their face – a value of +0.85 worked for our image here.

Before/After

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It seems like only yesterday that the iPhone 17 dropped, but we're already getting rumors about the camera set-up in next year's iPhone 18. The latest tip suggests that Apple's next flagship iPhone could feature a variable aperture lens for its primary camera module. This speculation isn't actually new - it was previously suggested by the prevalent industry analyst Ming-Chi Kuo - but the rumor has been given more credibility by a recent confirmatory report originating from Apple's supply chain.

In the current climate where phone manufacturers often prefer AI image processing improvements over camera hardware upgrades, the news that Apple could be developing a new lens for its next iPhone seems welcome. However, I remain to be convinced that such a feature will have a noticeable improvement to camera usability or image quality.

A variable lens aperture is essential in a lens designed for a conventional, large-sensor camera like a full-frame DSLR or mirrorless body. This is because the larger the sensor, the shallower the depth of field at a given aperture. With a full-frame camera, if you want a subject close to the camera and a more distant background to both be in focus, you'll need to significantly reduce the lens aperture. But shrink the sensor down to 1/1.28" - the size of the sensor in the iPhone 17 Pro's primary camera - and, even at the module's native f/1.8 aperture, there'll still be a huge depth of field.

As background detail is almost always clearly visible behind a subject snapped by a camera phone, we've seen the implementation of portrait modes which use software processing to artificially blur background. The aim here is to emulate the shallow depth of field effect you 'naturally' get from a large-sensor camera/wide-aperture lens combination.

So if a camera phone is inherently good at producing a deep depth of field, there's little reason for having a lens with a variable lens aperture. You may as well fix the aperture to be as large as possible to get the maximum amount of light through to the sensor, thereby keeping shutter speeds high and ISO sensitivity low - the ideal recipe for sharp, low-noise shots. Having a variable aperture lens sounds impressive, but the benefits are few and far between when it comes to real world use in a camera phone.

Story credit: Electronic Times

To  photograph a full moon (or any moon) successfully, you first have to understand it. Although astrophotographers specializing in the moon usually photograph it through a powerful telescope, a telephoto lens of almost any focal length is good enough to get a good shot. Making the moon the sole focus of a shot, however, is only one way to approach lunar photography; another is for it to enhance a landscape photo, where it can provide a powerful addition to a wide-angle image.

While it can help, the fact that you don’t need any specialist equipment to photograph the moon makes it one of the most accessible celestial subjects out there. It’s a great starting point for those interested in astrophotography, whether you’ve only got a kit lens or even just a camera phone.

All full moons are given names, which often differ depending on the region or culture. Tonight’s is called a Blue Moon, as it is the second full moon in May.
Check out my guide to astrophotography in May.

Equipment for shooting the Moon

The equipment you’ll need is the same as for wildlife or sports photography: a DSLR, mirrorless or bridge camera on a sturdy tripod, and either a wide-angle or any regular telephoto lens, such as one with a 70-300mm focal range. A remote shutter-release cable will also be useful so you don't introduce vibrations, although you can also use the timer in your camera.

Check out this article, if you want to know how to photograph the moon with a monster Nikon P1000 bridge camera. And if you're interested in picking up essentially the same camera with a few modern appointments, the Nikon P1100 has recently been launched.

The Moon is a moving target; the combination of the Moon's 2,288 miles-per-hour orbit and Earth's 1,000 miles-per-hour rotation makes our satellite a fast-moving target. However, it's usually bright enough for a relatively fast shutter speed to yield good results.

How to focus on the Moon

Although you can autofocus on the Moon as it rises, or as it becomes visible just before sunset, it's a good idea to focus manually. With your lens set to manual focus, set the the focusing ring to infinity. It takes some practice since most cameras can focus beyond infinity, and finding the exact point that works for your lens takes trial and error.

Take some test shots and zoom in on the result on your camera's LCD screen to see which one works best. Don't skip this step; only once you've done it correctly will your Moon photos be reliably sharp.

How to expose for the Moon

It's a common mistake to overexpose the moon but it's actually much brighter than you think. However, if you want to photograph the foreground and not just the moon by itself you will need to make sure your exposure works for both or use bracketing to take multiple shots with different exposures.

To get a great Moon shot and little else, set your camera to ISO 100 or ISO 200 and the aperture to between f/5.6 and f/11, and adjust your shutter speed to between 1/125sec and 1/250sec. The exact settings will vary depending on your camera and the brightness of the Moon, which depends on its exact phase, but these base settings will get you started.

Taking a landscape photograph that includes the Moon is more difficult because during that 'blue hour' after sunset the Moon is already too bright. So, if you take a longer exposure for the landscape, you'll overexpose the Moon, and if you expose for the Moon, the landscape with be under-exposed. So what do you do?

The answer is either to photograph the Moon just before sunset when the light levels are higher (they drop-off so quickly at the point of sunset), or to take two exposures and combine them in photo-editing software. The latter approach, however, often looks fake. Another way is to expose for the Moon, and use a flash to light the foreground.

When to photograph the Moon

The full moon is probably the lunar event that most beginner astrophotographers will want to photograph first - but it is actually one of the most difficult due to the glare that this creates. Some of the most impressive shots of the full moon are those where it is seen behind a building or a natural structure – which makes the moon look much larger than it does to the naked eye.

If you want less of a cliche, go for other phases of the Moon when you can see a line between the light and dark sides. This is called the terminator line, which is when the craters on the Moon throw shadows, particularly near its South Pole. You can see this most nights, but perhaps the most precious kind of Moon is visible only on the few days on either side of New Moon. At this time, you'll also see a waxing or waning Crescent Moon close to the horizon, and it comes with the bonus of Earthshine.

How to capture Earthshine on the Moon

Although 50% of the Moon is constantly being illuminated by the Sun, there are a few days each month when the Earth gets involved – and it's a beautiful event to capture.

Earthshine is a dull glow to the unlit area of the Moon that's the result of sunlight reflecting off Earth's surface and onto the lunar surface. Its subtle and mesmerizing, and easy to capture if you time it right.

Set up for the first (or, more likely, the second) sunset after a New Moon. Using a lens with as long a focal length as possible, and with your camera on a tripod, dial in a sensitivity of ISO400, an aperture of f/2.8 (or as wide as your lens aperture will go), and open the shutter for between one and four seconds.

See our guide to photographing earthshine

In fact, Earthshine is always being reflected onto the Moon to some extent, but it's only around the New Moon that the crescent of sunlight is small enough for the camera to expose for both the lit and unlit areas.

This is also a good time to combine Moon photography with night-sky photography because the Moon will set soon after you've photographed it. You can then go looking for stars and the Milky Way.

How to capture a moonrise or moonset

There are two exceptions to the advice to avoid photographing the Full Moon.

The first is when there's a total lunar eclipse, and the second is when a Full Moon rises or sets, as it's a great alternative to a sunset. The sight of a Full Moon peeking above the horizon and turning from deep orange to pale yellow to bright white during twilight is a spectacular sight. It also presents an opportunity to get the Moon in the context of a beautiful landscape.

The colourful spectacle lasts mere minutes and is easy to miss, but, like everything else in the night sky, a rising Full Moon is predictable down to the second. Simply find out exactly on what day the next Full Moon is going to be where you are, and exactly what time sunset is on that date, then look to the east for the moonrise. Start-off with your camera set to ISO100, f/10 and 1/125 sec.

If you've ever seen photos of someone or something silhouetted against a seemingly giant Moon, perhaps while standing on top of a hill, they were taken during a moonrise. They were also ruthlessly planned; The Photographer's Ephemeris and PhotoPills apps are ideal for this kind of project.

To make the Moon look so large in the background, photographers need to use superzoom telephoto lenses of at least 1,000mm while being positioned a mile or so away from the all-important foreground subject that introduces that sense of scale.

Composites, moon-stacks and super moons

It's possible to shoot the Moon and add it to another landscape shot using Photoshop. However, almost everyone who attempts this either makes the Moon look way too big, or they place it somewhere in the night sky that it doesn't occur (such as in the norther hemisphere's northern sky).

To anyone with a trained eye, most composites look like what they are: fakes. There is one exception; moonstacks, a lunar time-lapse, in which you take several photos of the moon as it moves through the sky, and then use Photoshop to composite them into a single image.

Read more: How to create a moonstack

Although it often grabs the attention of photographers and media alike, pay little attention to the term 'supermoon'. A recent term that merely means that the Moon is slightly closer to Earth than normal, it has little practical meaning or use. However, while a Super Full Moon does look larger as it rises above the horizon, it's only by about 10%-15%, so it's barely noticeable to eye or camera.

The very finest way of getting a close-up shot of the Moon – and the only way to get enough magnification for it to fill the entire frame – is to mount the body of a camera on a telescope using a cheap T-adaptor; it's like having a very large telephoto lens. Try to find a telescope with a focal length of over 1,000mm, but under 2,000mm to capture the whole of the moon.

Whatever kind of Moon-shot you try for, photographing our satellite provides a good lesson in the role of precision timing in composing unique landscape and nature images.

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If you enjoy photographing the full moon and want to take your astrophotography to the next level, take a look at the best camera for astrophotography. You may also wish to upgrade your optics via the best lenses for astrophotography. And if you want to take your astrophotography even further (literally!) for some deep-space imaging, then head over to the best telescopes for astrophotography.

Over the years Canon has produced a number of lenses with built-in teleconverters, but so far the RF mount has been left out of Canon's plans. This looks set to change with the first credible rumors of a new Canon RF 200-500mm f/4 lens with a built-in 1.4x converter potentially in the pipeline.

Canon already has two optional RF mount teleconverters, the Extender RF 2x and Extender RF 1.4x, which can be used with the majority of Canon's pro zoom and prime lenses – at the sacrifice of 1 to 2 f-stops. But for professional sports and wildlife photographers, the ease of a built-in converter is hard to beat.

Of course, with an f/4 aperture (likely to be f/5.6 when the 1.4x teleconverter is engaged), the lens is likely to be a lot bigger than Canon's current lineup of telephoto zooms.

And, if the EF version of the Canon EF 100-400mm f/4L IS USM 1.4x Extender was any precedent, it's likely to be a lot more expensive as well. That EF lens cost a cool $11,099, which likely puts a new RF 200-500mm f/4 firmly out of reach for most photographers.

However, Canon already has a couple of great options for wildlife shooters without such deep pockets. The Canon RF 100-500mm f/4.5-7.1L IS USM has a lower aperture, especially when paired with the 1.4x Extender, but at $2,899 is a much more viable option.

If you want to forget all about teleconverters for a second then there is Canon's newest superzoom, the Canon RF 200-800mm f/6.3-9 IS USM for $1,899, which I tested this year and was taken by surprise at just how good the photos were from a lens of this price and zoom range.

Sources place the lens coming out around November 2024, which would also perfectly coincide with the launch of the Canon EOS R1, which despite being announced a few months ago is taking its time getting into stores – and these two would make perfect companions.

Find out more about the best lens for sports or the best lenses for bird photography and wildlife in our guides. Or if you need a camera, check out the best camera for sports photography.

A new rumor suggests Sony could be planning to launch its first-ever pancake lens for full-frame Sony E-mount cameras. The news comes only days after Viltrox launched a crowdfunding campaign to put its full-frame E-mount pancake lens - the AF 28mm F4.5 FE - into production. If the rumor is correct, the alleged Sony FE 28mm F2.8 (SEL28F28P) would fill a gap in Sony's lens line-up, and it'd be ideally positioned to rival lenses like the Canon RF 28mm f/2.8 STM and Nikon Z 26mm f/2.8.

Read more:
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The best Sony cameras
Viltrox AF 28mm F4.5 FE full review

The source of the rumor also states that Sony's lens would be a true pancake design, unlike the existing 24mm/40mm/50mm G lens trio. It's also claimed that the new lens would not be a G-series optic, so would likely be aggressively priced to compete with the Canon lens - somewhere in the $200 region would be plausible. Even this could seem a little pricey when compared to the $99 Viltrox AF 28mm F4.5 FE, but the rumor suggests the Sony 28mm may have a the edge on the Viltrox when it comes to features. While the Viltrox lens does have autofocus (something by no means a given for such a small lens, and at such a low price point), it lacks any aperture adjustment, or even a manual focus ring. The Sony lens is said to have both these features, along with sharp image quality at f/2.8, and the source claims vignetting is minimal.

The E-mount continues to arguably be the most popular mount option for third-party lens manufacturers, with the likes of Samyang, Viltrox, 7Artisans and TTArtisan all releasing new E-mount lenses on a regular basis. While this is good news for Sony, as it makes the E-mount ecosystem more attractive to buy into, it seems Sony wants to tempt buyers away from this plethora of third-party lens options back to its own-brand offerings.

Sony Alpha Rumors wasn't able to verify the reliability of the source of this new pancake lens rumor though, so at this stage it should be taken with a generous helping of salt.

Story credit: Sony Alpha Rumors

Meike has announced a new accessibly-priced prime lens for full-frame Sony E-mount, Nikon Z-mount, and L-mount cameras. The Meike 35mm F2.0 has an optical stack comprised of 11 elements in 9 groups, a minimum focus distance of 0.45m, and can be fitted with 58mm filters.

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The 35mm focal length equates to a 64-degree diagonal angle of view on a full-frame camera, and 44.2 degrees when fitted to an APS-C body. The lens has a diameter of 73mm and is 90-93mm long, depending on mount option, and it's also reasonably light weight at 298g for the E-mount version.

But the standout feature of the Meike 35mm F2.0 is that, despite its low $199.99 price tag, the lens features autofocus, courtesy of a stepping motor system. Traditionally, cheap primes like this have been 'dumb' lenses, with no electronic communication between the lens and host body and were therefore manual focus-only. But with the 35mm F2.0, Meike is following some recent Viltrox and 7Artisans prime lenses by producing a fully-featured optic that should operate much closer to an equivalent lens from the likes of Sony, Nikon or Sigma.

The Meike 35mm F2.0 is available now, priced at $199.99 / £149.99 / AU $289

We've seen no shortage of inexpensive manual focus primes being launched out of China in the last couple of years – but TTartisan's 75mm f/1.5 promises something different. Yes, that 75mm is a nice focal length for portraits, and yes, that f/1.5 aperture is pretty fast for bright images in low light, but what really sets this lens apart is its 'swirly' bokeh, when shooting at wider apertures.

Bokeh is the term for out-of-focus highlights and usually forms rounded circular blobs that mirror the shape of the lens aperture. But the 13-bladed aperture design of the TTartisan 75mm f/1.5 renders bokeh with an attractive swirl shape, which lends a creative twist to portraits.

This soft, swirly bokeh effect adds a unique artistic look and feel to images that helps the subject really stand out, giving the impression of the background rotating around it. It comes into its own in backlit scenes, with softly diffused light and smoothly blended shadows creating a layering of light and shadow that evokes the classic charm of vintage lenses. In fact, the lens design and Petzval bokeh both look eerily similar to the old Russian Helios 42 lens that filmmakers used to artistically film scenes in the movie Dune 2.

Ideal for portraiture, the f/1.5 large aperture captures clear images even in low light while achieving a shallow depth of field, making subjects stand out even further and creating a unique visual effect.

It's a full-frame lens, and TTartisan says there's no sign of vignetting on cameras that use a full-frame or smaller sensor, such as the APS-C format. On medium format cameras, there's a darkening of the image towards the edges, but this could be said to add to the artistic quality.

Combining classic design with modern optical technology, the lens retains the charm of traditional manual lenses while offering superb image quality. It has an all-metal construction, and inside there are six elements arranged in four groups. The closest focus distance is 0.75m, and the lens offers a 32º angle of view. It has a 58mm thread for the fitment of filters, and it weighs in "at around 562-669g" – TTartisan wasn't specific on this!

As you'd expect with a completely manual lens, there's no communication with the host camera. As such, the aperture is set via a ring towards the front of the lens barrel, which is clicked to minimize the danger of accidentally nudging it away from your intended choice.

The lens has a universal M42 screw-mount design, offering wide compatibility with the vast majority of camera bodies; you simply need to get the correct adaptor for your camera. TTartisan lists a wide number of compatible camera models that the lens works with via an adaptor, that use Sony E-mount, Nikon Z-mount, Canon RF-, EOS M- and EF-mounts, Fuji GFX- and X-mounts, Hasselblad XCD-mount, and the L-mount used by Panasonic, Leica and Sigma.

One notable exception, however, is that the lens is not compatible with the Nikon F-mount, even when an adaptor is used, so it will not work with any of Nikon's DSLRs or traditional film SLRs.

You may also be interested in our guides to the best retro cameras

Viltrox will shortly launch an Indiegogo crowdfunding campaign for a tiny new pancake lens for full-frame Sony E-mount cameras. Called the AF 28mm F4.5 FE, the lens could well become the smallest lens available for Sony shooters, and is nicknamed 'Chip' on account of its potato chip-/crisp-like slimness.

Measuring a mere 15mm long and 60mm in diameter, the lens is barely thicker than a camera body cap and weighs just 60g. It closely resembles the design of Olympus's Fisheye Body Cap 9mm f/8 lens, although the two lenses have a very different focal length.

Naturally, Viltrox had to make some compromises to create such a slim lens. The primary sacrifice being there's no diaphragm, so the aperture is fixed at f/4.5. Another unusual omission is that the lens lacks a manual focus ring, largely because it's so slim there isn't really room for one. Thankfully Viltrox has managed to find space inside the barrel for a VCM coil autofocus motor, so despite the tiny dimensions, focussing is a breeze. Another nice touch is the integrated lens shutter 'cap', which can be flicked open or shut using a small lever on the front of the lens.

You'd expect that a lens this small and simple would be inexpensive to buy, and you'd be right. The Viltrox AF 28mm F4.5 FE is priced at $99, with early campaign backers said to receive a 30% discount.

If you'd like to see how the lens performs before you pledge your backing, we've just published our full Viltrox AF 28mm F4.5 FE review - we found it really fun to use!

Canon may not be the first camera manufacturer you think of when you think of photography in space, with Hasselblad and recently Nikon being space agencies' first choices. However, since 2017 Canon has been transmitting incredible images back to Earth from its own small but powerful micro-satellites.

The company entered the space industry 15 years ago by launching its first satellite, the CE-SAT-1. Measuring just 500mm x 500mm x 850mm it houses a powerful image processing system and two classic Canon cameras: the EOS 5D Mark III attached to a 400mm diameter Catadioptric Cassegrain telescope, and a Powershot compact camera.

Since its first takeoff, Canon Electronic has launched two further imaging satellites using updated equipment for clearer and more accurate image capture.

In 2020 the CE-SAT-IIB was launched (after the original IB satellite crashed during takeoff), housing an EOS M100 and a PowerShot G9 X Mark II. And earlier this year, the latest satellite joined the ranks – the CE-SAT-IE.

The IE differs slightly from the existing satellites in orbit, designed to capture both stills and video through its Canon EOS R5 (attached to a 400mm aperture telescope) and Canon PowerShot S110.

The use of the Canon EOS R5 is understandable, due to it being one of the best mirrorless cameras to this day, but the inclusion of the Powershot S110, a camera launched over a decade ago, is a quizzical one as there have been modern equivalents released since.

Despite the S110 being released in 2012, the camera is being used for 'wide-area photography' and has captured some very impressive photographs of the Earth from orbit.

The combination of satellites transmits incredible images of Earth and details of space back to Canon's Remote Sensing Technology Centre in Japan, where they process the image data. This data is then used to monitor the effects of climate change, as well as for mapping and commercial use in the agricultural and traffic management industries.

Although the images are being used as evidence for data, they are also incredible standalone photographs that show the magic of the solar system and our place in it. Surprisingly the decade-old compact camera captures exceptional photographs of our blue planet.

In addition to developing the consumer cameras we're all familiar with, Canon is constantly working on extremely interesting projects in the background, using its imaging and printing equipment to provide life-changing insights into the world of science.

More images can be seen on the Canon website.

For more information on Canon cameras and astrophotography, you may be interested in our guides to the best Canon cameras, the best cameras for astrophotography, and the best Canon lenses.

Lomography has released a new edition of its Lomomatic 110, a pocket-sized analog camera that uses the retro 110 film format. The Zebra Crossing edition has zebra-print detailing to distinguish it from the previously released plastic Golden Gate and metal-bodied Flash Metal variations.

Aside from this cosmetic tweak, the camera offers the same functionality and specifications as the other Lomomatic 110 models. It's fronted by a 23mm Minitar CX multi-coated glass lens, has automatic exposure control, a zone-focusing slider, adjustable ISO, and the choice of f/2.8 or f/5.6 apertures.

Buillt-in tricks include multiple and long-exposure shooting modes, and it comes complete with a stylish metal wrist strap and tin canister for holding your 110 negatives.

Also in the box with the Lomomatic 110 Zebra Crossing is a detachable Lomomatic Flash with a selection of colored filters; these can be slid in front of the flash head for multicolored lighting effects.

In our review of the Flash Metal model, we surmised that the camera "looks great with fantastic retro styling but is awkward to use, has fiddly settings and it isn’t the cheapest way to get on the vintage 110 bandwagon".

It is undeniably fun, however, particularly the cool film advance mechanism, which winds on to the next frame by simply sliding the camera body closed and open again.

Sample images

Film photography and cameras have seen a huge resurgence in recent years, and it's great to see more 110 options like this to go along with popular 35mm cameras like the Pentax 17 and Rollei 35AF.

The Lomography Lomomatic 110 Zebra Crossing comes with a flash for $119 / £109 (Australian pricing TBC). Lomography also offers a range of 110mm film stocks.

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

Let’s kick off with a disclaimer – Nikon recommends that if your camera’s image sensor has any specks of dust that can’t be cleaned away with an unobtrusive waft of air, you should send it off to an authorized service agent for cleaning. Image sensors are very sensitive, after all, and you don’t want to cause any damage. But dust can be the curse of digital photography, and nobody wants to be without their camera on a regular basis. 

In contrast to using film, if specks of dust settle on your image sensor, they can be sat there for good. The unfortunate result comes in the shape of dark spots on your images, especially those taken at narrow apertures. How does dust creep in to spoil the digital party? The biggest culprit is motes of dust in the air being ingested by the camera every time you swap between different lenses on the camera body. 

The dust dilemma

But that’s not the only reason. If you use a zoom lens that physically extends and contracts when zooming in and out, dust can be sucked into the lens during each extension, and then blasted towards the image sensor during each successive contraction. It’s a messy business.

So what’s the answer? Most Nikon cameras have the option of an automatic cleaning cycle, which can go a long way towards keeping the image sensor neat and tidy. That’s true of recent DSLRs but, surprisingly, not so for DX format Z system mirrorless cameras. 

In the Nikon Z30, Z50 and Zfc, where the image sensor isn’t shielded behind a reflex mirror and shutter assembly, there’s no auto cleaning option, despite the sensor being fully exposed to the elements every time you swap lenses. So from making the most of automatic options, where available, to crafty tricks and manual cleaning with the likes of air blowers and wet swabs, let’s take a closer look at how you can keep the important things clean.

Clean now

In most recent DSLRs and all full-frame Z system mirrorless cameras, there’s an option in the Setup menu named ‘Clean image sensor’. The upper sub-menu item is ‘Clean now’. Press the OK button and the camera will vibrate the image sensor to shake off any loose dust. Hold the camera sensor facing down while cleaning is in progress, and don’t turn off the camera until cleaning is finished.

Automatic options

Some DSLRs give you the option to automatically clean the sensor at startup or shutdown, or both. In full-frame mirrorless cameras, there’s typically only an automatic option to clean the sensor at shutdown. A little confusingly, the icon is labelled as ‘Off’ when automatic cleaning is enabled, but this means that cleaning will occur when switching the camera off.

A reference point

If you’ve got specs of dust that won’t budge, one option is to use the ‘Image Dust Off ref photo’, also in the Setup menu. This is available in many cameras including DX format Z system bodies that don’t have a sensor cleaning menu option. A photo of a blank white wall or other surface is used as a reference to remove spots in full-sized Raw files, when processing them in NX Studio.

Clean and start

For cameras with sensor cleaning, you can preform a cleaning routine before taking a reference photo. Hold the camera with the lens about 10 centimetres from a blank white surface, autofocus will be at infinity. If the surface is too bright or too dark, you’ll get an error message, so change the lighting. You can’t use the reference data if you subsequently perform image sensor cleaning.

Blow it away

An easy way to clear most loose dust from the image sensor is by using an air blower, but don’t use a pressurised air can or other high-pressure source. With a DSLR rather than mirrorless camera, you’ll need to ‘Lock mirror up for cleaning’ in the setup menu. Use an air blower, taking care not to let it touch the sensor, and hold the camera facing downwards to help dust fall out.

Swab for success

If all else fails, the last resort is to use a specially-made image sensor cleaning kit that comprises swabs and cleaning fluid. Add a few drops of liquid to the swap and, with a very light pressure, drag the swab from one side of the image sensor to the other, then angle it the other way and drag back again. To be clear, Nikon recommends that you don’t do this yourself, to avoid risk of damage! However, if you wan to do it yourself, watch our video tutorial.

Find out more about the best camera sensor cleaning kits

Last year, Phase One introduced the XC, a 150MP medium-format camera featuring a built-in Rodenstock 23mm f/5.6 lens. Now the Danish camera company has launched a new version of the camera, the XC 40, that comes equipped with a longer 40mm lens to offer a more versatile option for photographers.

The original Phase One XC received critiques regarding the ultra-wide 23mm lens, which provides a 14mm full-frame equivalent focal length. While this wide-angle view was useful, it isn't the ideal choice for many landscape or travel photographers as it can be too wide for most standard compositions. 

The new Phase One XC 40 features a more conventional wide-angle 40mm lens, delivering a 24mm equivalent focal length, aligning more closely with what photographers typically look for in a wide-angle.

ABOVE: Watch the Phase One XC 40 launch video

The XC 40 retains the manual focus lens design of its predecessor and can be paired with Phase One's IQ4 150MP digital back. This new 40mm Rodenstock HR Digaron-S lens also boasts a faster f/4 aperture, compared to the f/5.6 lens on the original XC 23. 

The IQ4 150MP image sensor offers significant cropping options – bearing in mind that this is a true medium format sensor, at 53.4 x 40mm, compared to the cropped medium format 43.8 x 32.9mm sensors used b y Fujifilm and Hasselblad – along with 15 stops of dynamic range, an ISO range of 50-25,600, and image resolution of 14,204 x 10,652 pixels. The system is operated through a touchscreen interface, and captures 16-bit RAW images.

Beyond its lens and sensor, the XC 40 also includes numerous advanced features designed to aid photographers. These include automated frame averaging, automatic metering (unusual for field cameras), built-in WiFi, mobile integration, and customizable "IQ Styles" for dialing in specific looks. These features are designed to make the camera more versatile in the field, simplifying shooting without compromising on quality.

The biggest question that potential buyers face is why they might choose the XC 40 over Phase One's other options, such as the XF or XT bodies that offer interchangeable lenses. 

The XC cameras' main advantage lies in their compact, travel-friendly design – a rarity in the true medium format space. However, for those seeking flexibility in lens choice or the tilt-and-shift functionality offered by the XT, the XC 40 may not be the ideal option despite its strong set of features.

I will also point out that "body-only" (the lens is attached to the body) will see you invest $20,029 (about £14,931) of your hard-earned cash; if you want the 150MP back as well, then the total package is a massive $62,490 ($46,585)! 

If you don't want to spend 20 grand on one, you might be interested in the best medium format cameras from other manufacturers. And you don't need medium format to get high resolution; check out the highest resolution cameras across all formats!

The cheap, auto-focus mirrorless lens arms race continues with the release of the 7Artisans 85mm f/1.8 for Z, a full-frame lens for Nikon Z cameras that's available for order now and is priced at $299 / £229. This plucky little prime was previously available in Sony E mount and comes hot on the heels of the TTArtisans AF 75mm f/2, another budget contender for the best Nikon portrait lenses available.

You can have the best camera for portraits, but if you don't have a lens with a suitable focal length, you're going to struggle. Many portrait photographers consider an 85mm the go-to focal length for people pics, making this affordable prime an attractive prospect for portrait photographers on a budget.

7Artisans' mid-telephoto prime is constructed from 10 elements in seven groups. It includes a pair of extra-low dispersion lenses and two high-refractive lenses to help mitigate distortions and deliver better image quality. 

The lens is built from metal and is a little heavier than the Sony E-mount variant (437.5g), weighing in at 452g. But it's still lighter than the Nikon Z 85mm f/1.8 S at 470g. It's a hair smaller than the Nikon optic, too, with a diameter of 72mm (2.83in) and length of 98mm (3.85), compared to the Nikon's 75mm (2.95in) and 99mm (3.89in).

Autofocus is controlled via a stepping motor, for smoother and quieter focusing, which should make it more suitable for video. A feature that's indicative of more premium optics is the presence of a customizable Fn button for easier operation. You'll also find a USB-C input on the rear of the lens for installing firmware updates. 

The lens has a close focusing distance of 0.8m, which is roughly what you'd expect and takes 62mm filters. A nice feature is the presence of an 11-bladed diaphragm. When paired with that fast f/1.8 aperture, it should realize nice, big circular discs of bokeh. 

You may also be interested in our guides to the best Nikon camera or the best Sony camera.

Xiaomi has announced two new Leica-co-branded phones, the Xiaomi 14T and 14T Pro, and it’s bringing its Xiaomi Mix Flip to global markets, including Europe and the UK. 

Starting with the new 14T Series, the phones are direct follow-ups to the powerful Xiaomi 13T and 13T Pro. Both phones were the first to bring Xiaomi's Leica partnership to a sub-flagship price point, and the 14T series builds on the same formula. The Xiaomi 14T Pro, in particular, looks especially impressive, with its large primary camera sensor, metal and glass styling, IP68 dust and water resistance and the inclusion of wireless charging, a first for the line. 

Both the Xiaomi 14T and 14T Pro enjoy Leica tuning, but unlike their predecessors, the 14T's camera hardware is slightly different from that of the Pro, as are the styling, power spec, and other elements.

As for the Xiaomi Mix Flip, which was announced for China earlier in the year, its specs remain unchanged for its global debut, with the camera setup combining a telephoto and primary camera mix that bests that of the Motorola Razr 50 Ultra on paper.

What's the difference between the Xiaomi 14T and 14T Pro Cameras?

The Xiaomi 14T and 14T Pro look set to have the same ultra-wide and selfie cameras but different primary and telephoto cameras, with the 14T Pro getting a larger primary sensor and a further-reaching optical zoom.

Starting with the primary cameras, both the 14T and 14T Pro sport 50MP resolutions and lenses with OIS, but the Xiaomi 14T Pro's main camera has a LYT 900 sensor made by OmniVision. With a near-iPhone 16 Pro 1/1.31-inch size combined with an f/1.6 lens and a dual-native ISO, Xiaomi claims it offers up to 13.57 stops of dynamic range.

Meanwhile, the Xiaomi 14T uses a Sony IMX 906 primary sensor measuring 1/1.56-inch matched with a slightly slower f/1.7 aperture lens.

As for the telephoto cameras, the Xiaomi 14T and 14T Pro both have 50MP sensors and neither camera's lens has optical image stabilization, a highlight that seems to be reserved for flagship tele cameras. Getting into specifics and the 14T Pro's further-reaching optical lens is 60mm with an f/2.0 aperture, while the 14T's 50mm lens is f/1.9.

As for the ultra-wide camera, the 14T and 14T Pro both drop the pixel count to 12MP while also missing out on autofocus for a much more midrange offering.

Both phones benefit from faster night photography capturing 1.58x faster than the 13T series. Specifically, this aims to bring down the waiting time when your phone's long-exposure auto night mode fires up.

When it comes to Xiaomi's Leica-branded cameras, hardware is only half the story, with the software enhancements and classical photography style being an overriding part of the camera phone experience. When reviewing past Xiaomi phones, this has been both a blessing and a curse, holding back more midrange devices like the 13T and 13T Pro by applying too much contrast and limiting dynamic range. On the other hand, it also produces results that look sumptuous and rich across all cameras on the flagship Xiaomi 14 Ultra.

Xiaomi Leica camera features

Fire up the 14T or 14T Pro and you're presented with two shooting options, Leica Authentic and Leica Vibrant, with both styles loaded up with contrast and a more traditional photographic look than pictures taken on Pixels and iPhones.

By combining optical reach with in-sensor cropping, Xiaomi's Leica Portrait mode also adds new digital lenses to the experience, with each tuned to emulate a Leica Lens background blur look.

Leica's watermark is also a superficial, but handy feature that's characterised Xiaomi's higher-end phones, displaying shooting parameters as well as a Leica logo in a non-destructive, white bar below your photo.

We've also been fans of Xiaomi's Pro mode for a couple of generations, with support for 50MP RAW photos, an on-screen histogram, focus-peaking and zebra line exposure verification all available on the 14T Pro.

It's also worth touching on video capture, with Xiaomi's primary camera's supporting LOG capture at up to 4K resolution, 24 or 30fps, and on-device LUTs, with Rec.709 pre-loaded, and CUBE files supported for installing new LUTs. Considering these aren't flagship camera phones, it's hard not to be impressed by the 14T and 14T Pro off the bat.

Xiaomi 14T & 14T Pro additional features

The Xiaomi 14T and 14T Pro are more than just Leica-tuned camera phones, with both packing capable MediaTek chipsets, IP68 dust and water resistance, plenty of memory and nippy charging. The displays also showcase 1.5K resolution for a crisp picture, and a silky smooth 144Hz panel and zingy OLED screen technology. The phones are also loaded with a raft of AI features like transcription and translation tools, object removal and more.

Xiaomi's 14T Pro is the mightier of the two, with a premium MediaTek 9300+ chipset for superior gaming performance. Its metal frame and curved glass back that rounds into all four sides also creates a softer and more premium in-hand feel. The 14T Pro also gets faster wired charging at 120W for a full charge in around 20 minutes. More notably, it also has super-fast 50W wireless charging, seldom seen at the phone's price.

The Xiaomi 14T, by contrast, pares things back with a MediaTek 8300 Ultra chipset. Its plastic frame and flat glass back feels a bit boxier and the 14T Pro's charging caps out at 67W, missing out on wired charging.

As for pricing and availability, the Xiaomi 14T is available to buy now and costs £549 (roughly $735) in the UK with 256GB storage. If you're eying up the Xiaomi 14T Pro, it costs £649 (roughly $870) – a seriously competitive price considering its spec – while the Xiaomi Mix Flip is significantly pricier at £1,099, putting it in the premium category alongside the best flip phones currently available.

Sigma's CEO Kazuto Yamaki has spoken in depth about the development of a pair of new lenses in a Youtube interview with cinematography specialists LensVid at the IBC 2024 trade show. IBC – or International Broadcasting Convention – is an annual show held every September in Amsterdam, the Netherlands. The lenses in question are the Sigma 28-45mm T2 Cine and Sigma 28-105mm f/2.8 DG DN Art. 

First up, the Sigma 28-45mm T2 Cine lens is a prototype, or 'concept' lens as Sigma prefers it, which was shown mainly to garner feedback from customers. It is based on the full-frame Sigma 28-45mm f/1.8  wide-to-standard zoom lens aimed at stills photographers, essentially shoehorning the same optics into a cine-style housing, with full autofocus but also with the oversized mechanical geared focus rings favored by videographers. 

The Sigma 28-105mm f/2.8 DG DN Art is a more traditional stills lens that can, of course, also be used for videography. Mr Yamaki explained that the lens was originally envisaged to offer the benefits of a 24-105mm standard zoom with a faster f/2.8 aperture than the more commonplace f/4, but that the prototypes proved to be a little on the bulky side in the R&D stage, so the decision was made to start the focal length at 28mm, resulting in a more manageable package. The lens isn't optically stabilized, again to save weight, while taking advantage of the IBIS systems found in many full-frame mirrorless bodies. Check out the full video below! 

In the unusually forthright interview, Mr Yakami also goes on to reveal his thoughts on the future of the Sigma fp line of camera bodies – confessing that he feels duty-bound to continue his father's dream to make cameras, so will continue to develop new bodies. 

He also talks about the tricky technical challenges of designing its own full-frame Foveon sensor that has resulted in the technicians having to go back to the drawing board on the latest incarnation of the device. He says that he does have a timeline for the new generation of sensor, but doesn't feel he is ready to go public with that quite yet, as it is still too early to be sure they can get it into production.

Read more: The best cine lens

Intrepid Camera is a specialist manufacturer of large-format film photography equipment, and it has almost single-handedly resurrected the medium, developing retro analog cameras with modern features.

Surfing the wave of the film photography resurgence, Intrepid is among the few manufacturers that offer new large format cameras with 4x5, 5x7, and 8x10 options. Users would ordinarily need to source an existing vintage lens to use with the camera, but a new Kickstarter has just launched for the first Intrepid Camera lens and electronic shutter.

Intrepid's fifth Kickstarter launches today, marking the company's tenth anniversary – and its most ambitious product development yet, with two new product lines: the Intrepid I-0 Shutter and the Intrepid 150mm f/6.3 Lens.

The Intrepid 150mm f/6.3 Lens is a compact and portable optic that has a Cooke triplet design. Its focal length and maximum aperture may not sound that wide, but in full-frame terms that equates to 35mm at f/1.8.

The Cooke triplet design is vital in correcting for the main optical aberrations. Shooting above f/11 provides excellent sharpness throughout the image, and when used wide open at f/6.3 it creates a smooth bokeh that is accentuated by the nature of the larger format camera.

"We went through so many design variations and so much research before settling on this lens," says Intrepid. "We are so happy with the results. It really is a beautiful little lens with a classic character we know you are going to love".

In addition to the lens, and 18 months in the making, the Intrepid I-0 Shutter is an electronic shutter that enables the user to dial in settings via the controller instead of manually, and is described by Intrepid as "a super smart cable release with a screen".

Compatible with all Copal 0 size lenses, shutter speeds from as long as you want to 1/125th, and a self-timer it provides live EV readings so you don't ever have to waste another sheet of film again.

When it comes to large-format film photography, one of the main concerns is getting the settings wrong and throwing away film – especially if you're new to the format. The new shutter provides enhanced security so that what you see after development is the same as when you tripped the shutter.

The shutter is also compatible with flash via the 3.5mm jack, and it can be controlled by PC / Mac.

I have been a huge fan of Intrepid Camera's approach to creating new and accessible film cameras, and launching these products is a stroke of genius. Now users, most importantly new users, can purchase every aspect of the large format shooting experience from Intrepid without having to source and take a risk with an expensive, older, second-hand lens.

The Kickstarter campaign is live now, and you can head over to show your support and get an earlybird discount of 10% off RRP. The lens and shutter combo is priced at $575 / £429, just the lens at $215 / £159, and just the shutter at $385 / £289 (US pricing has been converted from the UK price, Australian pricing to be confirmed).

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign.

You may also be interested in our guides to the best film cameras and the best medium format cameras.

Tamron has been knocking it out of the park with its recent lens releases, and thanks to a leak, we now have information about a brand-new macro lens.

According to the leaked press release which has appeared on many camera rumor sites (including SonyAlphaRumors), the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be officially launched later this week, with Tamron stating that its 'legendary 90mm macro is reborn for mirrorless'. The lens will be available for full-frame Sony E and Nikon Z mounts and hosts impressive features to rival most macro lenses.

The 90mm f/2.8 will feature Tamron's first 12-blade aperture diaphragm enabling users to capture circular bokeh and minimal vignetting when using the lens for macro. Tamron states that the 12-blade design creates 12 rays for stunning starburst effects when stopped down, making it ideal for dramatic images with point light sources.

The lens has been ergonomically designed to be held in the palm for an extended amount of time, measuring just 126.5mm long and weighing 630g, it is considerably compact for a 90mm f/2.8 macro lens.

Tamron lenses have recently been praised for quick and efficient AF and this lens looks to follow suit with the addition of a focus limiter that can restrict the AF coverage. This may sound counter-intuitive however, when you are focusing on a stable subject with a macro lens, it prevents the AF from hunting the lens range of focus enabling quicker adjustments.

Manual focus is still an option, and a preference for some when shooting macro, and the rotational torque of the focus ring has been calibrated to assist with precise manual adjustments.

Other notable features include a new hood design with a sliding window for filter adjustments, compatibility with Tamron Lens Utility software enabling users to further fine-tune lens settings, and a minimum focusing distance of just 0.23m.

From what we've seen, the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be priced at just $699 / £525 – $400 less than Sony's 90mm macro equivalent.

The original Tamron 90mm macro lens was a fan favorite among users, and this lens has the potential to be the same, especially at such an attractive price!

It is also worth noting, that although the leaked information and images appear to be taken from an official Tamron press release, no official announcement has yet taken place.

You may be interested in our guides to the best Sony lenses, the best Nikon lenses, and the best macro lenses.

Insta360 has just released two new webcams – both with AI subject tracking as their central feature. 

The Link 2 is an updated version of the 4K AI camera which can literally follow you around the room using its tracking tech and gimbal, while the Link 2C does more or less the same thing without moving parts to make it even more portable.

The AI also powers noise cancelling features and a 'Smart Whiteboard Mode' which auto-detects a real whiteboard and makes adjustments to square it off and keep it in focus. 

Both devices sport a 1/2-inch image sensor capable of delivering 4K at up to 30fps (and 1080P at 60fps) and an HDR pipeline. To cater to the ongoing needs of the social media market, they also offer landscape and portrait modes – meaning live-streaming and social content generation for phone consumption should be smoother.

The larger image sensor than that in most laptops and phones should offer a potential boon to people working in lower light, though I'll confirm that when I've finished my reviews (we have the devices in hand at DCW). Other key features are Smartphone remote control, background replacement (though, to be fair, a lot of apps have this covered for you already), DeskView mode for overhead presentations, "One Click Makeup" and Privacy Mode.

“Link 2 and Link 2C represent our ongoing commitment to making virtual connections more engaging and seamless. We've listened to user feedback and pushed the boundaries of what's possible in a webcam, combining premium 4K imaging, crystal-clear audio, and intuitive AI-powered features. Link 2 and Link 2C empower you to present your best self online, no matter where you are,” shared JK Liu, Founder of Insta360.

Specs list ±3 EV exposure compensation, ISO 100-3200, a shutter speed of up to 1/8000 and an aperture of f/1.8. The EFL is 26mm and digital zoom up to 4x.

Only the Link 2 – not the 2C – bosts a 2-axis gimbal, but both work entirely from power drawn from their USB-C connection. They can be mounted on a monitor (with a stand included) or a tripod.

The Link 2 is priced at $199 and the Link 2C $149 and both are available from today from Amazon:

🇺🇸 Link 2 - Amazon.com
🇺🇸 Link 2C - Amazon.com 

While you're waiting for reviews of these to come live, you can read about some of the other best 4K webcams we've seen.

Innovative lens-maker 7Artisans has unveiled a 60mm f/2.8 macro lens that can capture images up to 2x life-size, enabling incredibly detailed close-ups at double the resolution of a standard macro lens. 

With a maximum 2x magnification ratio, it enlarges the tiniest details to reveal a staggering amount of detail that is impossible to see with the naked eye. And as a full-frame-compatible lens, it makes the most of the greater light-gathering capabilities of the latest mirrorless cameras, such as the Nikon Z6 III, Canon EOS R6 or Sony Alpha 7C II. 

The manual focus lens features markings on the lens barrel to show the depth of field through its f/2.8 to f/22 aperture range. It has been constructed from 14 elements in 12 groups, including two Extra-low Dispersion (ED) and two High-Refractive elements to effectively suppress chromatic aberration and deliver exceptional image quality while providing accurate color reproduction. This optical design also helps reduce edge distortion and other aberrations.

With a 0.17m minimum focus distance, as measured from the focal plane, the lens enables photographers to get incredibly close to subjects, but unlike some ultra-macro lenses, it is also capable of focusing all the way to infinity, where its 60mm focal length makes it ideal as an everyday standard prime. The bright f/2.8 aperture and full-frame compatibility, in combination with its nine aperture blades, enable backgrounds to be blown out to create beautiful bokeh, making it double as a fabulous choice as a portrait lens.

The lens barrel has an all-metal construction for enhanced durability, yet it's pretty lightweight at just 550g. A 67mm thread enables the attachment of filters. 

The 7Artisans 60mm f/2.8 Full-frame 2X Ultra-Macro joins such oddities as the incredibly fast 7Artisans 50mm f/1.05 nifty fifty or 7Artisans 10mm f/2.8 fisheye, which surely makes the company one of the most diverse and experimental lens makers out there.

The new lens is available in Canon RF, Nikon Z and Sony E mounts and has a recommended price of $335.

Check out our guide to the best macro lenses

TTArtisan has released the AF 75mm f/2 prime for Sony E and Nikon Z-mount cameras. This full-frame prime boasts a stepping motor, delivering what TTArtisan is calling "fast" autofocus, and is priced just $199 / £199 (Australian pricing to be confirmed). 

Not only is that an incredibly competitive price for a full-frame, autofocus-capable lens that will appeal if you use your camera for portraits, but the optical construction (ten elements within seven groups) is housed within a metal body – something you'd expect from a more premium offering.

Surprisingly, it still weighs just 328-340g (presumably without and with the included lens hood, respectively), compared to the Nikon Z 85mm f/1.8 S at 470g and the Sony FE 85mm f/1.8 at 371g. Dimensionally, the Sony variant is slightly shorter at 74mm (2.91in) than the Nikon variant at 76mm (2.99in), with both featuring a diameter of 67mm (2.64in).

A standout feature of the TTArtisan AF 75mm f/2 is the presence of an aperture ring. This will surely delight Nikon Zf and Z fc users, given the notable lack of Z-mount lenses with retro-chic aperture rings, though its clicked design may not be ideal for video shooters.

The 75mm focal length isn't far off 85mm – a focal length revered by portrait photographers. And the wide f/2 maximum aperture (to f/16) should provide a suitably shallow depth of field for popping sharp portrait subjects against a soft background, while I'd hope to see nice, circular bokeh, thanks to the nine-bladed diaphragm. 

The size of this prime could make it a great companion for a portable setup, too. I could see it pairing well with a Sony A7C II or a Nikon Z f. If you wish to use it with an APS-C camera such as the A6700 or Z fc, you’ll end up with an equivalent 112.5mm focal length. 

Other specs of note include a 62mm filter thread and 0.75m close-focussing distance. The AF 75mm f/2 also features a "[USB] Type Cinterface for firmware upgrades," suggesting there will be support for the optic in the future. 

The only thing to be aware of is that autofocus isn't supported for the Sony A3000 and A3500 – though with both cameras being about a decade old, released in 2013 and 2015 respectively, this probably won't affect too many users. 

You may also be interested in our guides to the best Nikon cameras and the best Sony cameras.

It’s not often I get to use an ultra-rare, limited edition $14,000 camera. But not only have I been shooting with the new Hasselblad X2D 100C Earth Explorer Limited Edition recently, I’ve been shooting with number 0001. 

That’s right, only 1000 of these cameras will ever be made, and in my hands is number 0001 – the very first model in the batch. 

Here's a very quick video intro to the camera and what it's all about – you'll have to forgive me for getting the name of the color wrong!

In case you missed the announcement, the Earth Explorer set bundles together an exclusive version of the Hasselblad XCD 100C in a unique Brown Tundra finish, along with an XCD 55V lens and a slew of accessories – the idea being that this camera is all about exploration, adventure and creating a sense of discovery and inspiration. 

While it's a kit more geared towards exploring nature (the Tundra Brown finish is inspired by the outdoor hues of Sweden, where Hasselblad is based), I've been using it more for urban exploration – and it's a brilliant kit for that purpose.

The XCD 55V is an inspired choice to bundle with the camera. It's a 43mm equivalent, in full-frame terms, so it's perfect as an all-purpose wanderlust lens that can capture everything from sweeping scenes to intimate close-ups. 

The f/2.5 aperture gives you that dreamy medium format depth of field if you want it, or you can stop down to take advantage of all the detail that can be captured by the 100MP sensor. And since the sensor is loaded with ridiculous resolution, you can crop into your files if you want to zone in on a bit of finer detail.

I've talked before about how the X2D is a formidable street photography and reportage camera, so I'm really on board with the Explorer Edition's ethos of going out and capturing moments. 

It's truly a celebration of what Hasselblad cameras are in the modern day: freed from the constraints of tripods and studios, and blessed with in-body image stabilization and great ergonomics, these are powerful handheld cameras that liberate your creativity. 

The idea of taking a Hasselblad out to shoot on the street or up a mountain really is a bit of a revelation – and it's great to see the company focus on this aspect of its cameras with the new bundle. 

Obviously a camera with these specs – and a bundle with this pricetag – isn't for everybody. But as someone who adores the colors that only Hasselblad can deliver, and for anyone who wants to be truly inspired by a camera every time they turn it on, the Earth Explorer Limited Edition really is a slice of heaven. 

I'm a Hasselblad user already, but I've really been motivated by this special edition to get out and shoot. Even the bespoke startup screen, with the funky "Earth Explorer" logo that pops up when you turn the camera on – it's like this machine is begging you to go outside and take pictures. 

I've been visiting family and stuck in the city for the past couple of weeks, but I'm genuinely excited to take this kit out and shoot some fun rural shots on my next hike. Until then, I'll leave you with a few photos taken on my walk around the city earlier this week. 

Take a closer look at the camera in my full Hasseblad X2D 100C review. You might also be interested in the best Hasselblad cameras and the best medium format cameras.

If you've ever tried afocal astrophotography, the BeaverLAB Finder TW2 may be for you. Holding a smartphone camera up to the lens of a telescope is tricky, and while it is possible to create spectacular images of the moon, it's trial and error. Step forward the BeaverLAB Finder TW2, a refractor telescope that eschews smartphone telescope adapters and goes instead for something that makes it unique: its own digital camera.

Does that make the Finder TW2 a smart telescope? No, it does not. This is a dashcam-style camera piggybacking on a manual telescope. The concept may be novel, but it lacks the niceties of a smart telescope – chiefly its inability to self-align or a motorized mount to automatically slew to objects and keep them in the field of view.

However, by promising to take images of everything from the moon and sun to deep-sky objects and be usable during the day, can the Beaverlab Finder TW2 get anywhere near the best telescopes for astrophotography?

BeaverLAB Finder TW2: Specifications

BeaverLAB Finder TW2: Price

The Finder TW2 is currently being promoted on Indiegogo and is due to go on sale in September 2024, costing $499/£378. That compares to the company's Finder TW1, which sells for $299 / £227 / AU$549.

Accessories in the box include the Starlight Camera DS1 (manufactured by dash cam-maker Novatek), a remote control, a 0.5x focal reducer, a solar filter, a data cable, a handy planisphere, a portable bag, a tripod and a finderscope.

Be cautious when backing products on crowdfunding sites like IndieGogo, as there are no refunds if you change your mind, and no guarantees that you will receive the product should development be canceled. BeaverLAB is an established name, and we had hands-on with the BeaverLAB Finder TW2 and can verify it is a legitimate product, but we don't endorse crowdfunding sites. If you have any doubts, we would suggest waiting until it hits store shelves.

BeaverLAB Finder TW2: Design & Handling

Despite looking like an oversized webcam from the last century, the 367g/12.96ozlbs Starlight DS1 camera has a sizeable five-inch touchscreen (1280x0720 pixel resolution) that conveniently folds out. Attached to the telescope in place of a 1.25-inch eyepiece — but also including one to focus light on its 1/1.8-inch CMOS sensor — the DS1 can record 3840×2160 resolution still images (JPEGS) and 4K video at 60/30/25/24fps (MP4). It's an upgrade on the Finder TW1, which has a 1/2.8-inch device, a shorter focal length, and no touchscreen camera. The DS1 can be used with any telescope that takes 1.25-inch eyepieces. That's most of them.

The Finder TW2 is far from a smart telescope; it can't align with the night sky and lock on to targets autonomously, nor does it have built-in planetarium software. Everything you see and capture using the Finder TW2 must be navigated manually. In short, you have to know the night sky well – and have bags of patience with the Finder TW2's shortcomings.

Even if you can navigate the cosmos, manually locking on targets proves difficult on the Finder TW2. It's necessary to loosen a few knobs on its mount to move its optics, but tightening them once in position is difficult. Sure, it locks the optics, but the entire telescope suffers from droop, so the object is immediately lost. It's therefore necessary to learn the hardware's defects and compensate for them, for example, moving beyond the object so, once tightened, the telescope comes to rest while pointing at your intended target. It's not difficult to point it at the moon, but without a motor or an equatorial mount, constant tweaking is required to account for Earth’s rotation. That’s difficult because no fine-tuning controls are onboard to help nudge the optics back on target. Once you've got a target in the telescope's crosshairs, focusing the image introduces such a significant movement that it takes a while to get the image — as seen either on the back of the camera, or on a phone using the Beaverlab app — dead-on sharp.

BeaverLAB Finder TW2: Performance

The Finder TW2 can take some interesting images of the moon and sun but little else. Once locked onto the moon, with the optics focused as best we could on this fast-moving target, the Finder TW2 does well. Images and video are impressively contrasty, though rather soft, and we did notice some chromatic aberration on the finished images. It's tricky to tweak image parameters when pressing the touchscreen itself, which introduces a shake that never really goes away. The touchscreen is of below-average quality and lacks sensitivity. Sadly, the Beaverlab app allows only remote viewing and digital zooming.

Pointing the Finder TW2 at the sun proved difficult; sure, there's a solar filter, but trying to locate a one-degree-wide object in the daytime sky using a telescope that blocks out all light except 1% of sunlight is not easy. Once we could observe our star, the images Finder TW2 took were enjoyable, highlighting the myriad sunspots on the sun in this “solar maximum" year.

The final straw came when we tried to transfer images to a computer, a process that continually crashed the camera's OS, necessitating a reset. The app suffered a similar issue when downloading images and video to a smartphone’s camera roll.

BeaverLAB Finder TW2: Verdict

The Finder TW2 is best thought of as a budget innovation. It can impress with its images and videos, as long as you don't expect too much. The entire rig is hamstrung by droop, a lack of fine-tuning controls to zero in on an astronomical target, and rather soft images. How long can taking basic images of the moon and sun stay interesting?

Alternatives

Astrophotographers will be treated to a celestial smorgasbord this evening, when a partially eclipsed harvest supermoon will appear over various territories including North and South America, Europe, Africa and large parts of Asia. It's the headline event for astrophotography in September, so it's worth staying up late with your camera to watch the four-hour spectacle.

When is the lunar eclipse happening?

The event will take place over Tuesday, September 17 and 18. In North America it will be visible today at dusk, with a clearer view from Europe during the early hours of tomorrow morning. You can use this map to gather information on your exact location. For example, New York will witness the partial lunar eclipse from 20:41 tonight until 00:47 tomorrow morning, with London’s celestial showing starting early tomorrow at 01:41 until 05:47.

What's a partially eclipsed harvest supermoon?

If you're new to celestial events, tonight you'll get to see many moons rolled into one. The Harvest Moon – aside from being the title of an excellent Neil Young track/album – is the name given to the full moon that occurs closest to the autumnal equinox. This coincides with a supermoon, as the natural satellite's orbit strafes the Earth near to its closest point. And of course, while all this is happening, you’ll be treated to a partial lunar eclipse as the sun casts the Earth's shadow over a small portion of the moon's surface. 

How to photograph a lunar eclipse

Astrophotography is arguably the most complicated and technical genre of photography, but capturing a lunar eclipse is surprisingly simple. Firstly, you need to think about your composition. You could capture a frame-filling shot of the moon, a wider field of view with some kind of foreground interest or capture multiple images to form a jazzy lunar eclipse multiplicity.

The former will require you to get as close to the moon as possible. So, grab your longest lens and make use of a compatible crop-sensor camera or teleconverter to get even closer, if you have one. And if you happen to own the mighty Nikon Coolpix P1000 and its jaw-dropping 125x optical zoom – or any of the best bridge cameras for that matter – now would be the time to use it. 

A wider composition will of course require a wider focal length, as will a multiplicity, since you’ll be capturing the moon as it moves across the sky, while maintaining a constant frame.

Your camera settings will depend on the light conditions in which you're shooting. However, even with a low ISO and middling aperture, you may find yourself yielding a shutter speed above 1/100 sec. If you’re using a telephoto or super-telephoto lens, even in these favorable lighting conditions, the reciprocal rule dictates you'll need to use a tripod to avoid camera shake. 

I'd recommend using the best tripod you can afford regardless, since you'll be able to set up your composition, sit back and wait for the lunar eclipse to reach its photogenic peak. Additional camera shake prevention methods involve setting a self-timer, using your camera's exposure delay mode (if available) or attaching a remote shutter release. And if your long lens has a tripod collar and foot, ensure you attach this to the tripod and not the camera body for additional stability.

If you're shooting with a longer lens you won't be able to use the super wide apertures many astrophotographers are accustomed to. But this shouldn't be a problem. If you're forced to push your ISO, the best cameras for astrophotography boast great low-light capabilities, and noise-reduction software has gotten so good nowadays, even noise-ridden images can be saved in post-production. 

Finally, using your camera's intervalometer or a dedicated intervalometer may prove useful if you're capturing a multiplicity. And don't forget to bring a spare battery – and a warm hat – if you're operating out in the cold.

Lens manufacturer 7Artisans seems to be readying four new autofocus prime lenses. In a roadmap image taken at IBC in Amsterdam and shared with L-rumors.com, we can see a total of six lenses, comprised of four new primes that will supplement two existing 7Artisan's lenses: the AF 50mm f/1.8, and AF 85mm f/1.8. The four upcoming lenses are the:

• AF 35mm F2.8
• AF 40mm F2.8
• AF 24mm F1.8
• AF 35mm F1.8

Like the existing 50mm and 85mm lenses, the four new optics look set to come in Sony E-mount, Nikon Z and L-mount variants, while all but the AF 35mm f/2.8 feature a dedicated aperture control ring. No other details about the new lenses have been made public, but if the new lenses perform anything like the current AF 50mm f/1.8, they should be compelling buys.

The AF 50mm f/1.8 marked 7Artisans' first attempt at an autofocus lens with full lens-body electronic communication. When we reviewed the lens we found it to be a well-built lens that operated smoothly and gave respectable image quality, all for a very reasonable price. The addition of four more focal length options in the AF range can only be good news for Sony, Nikon and L-mount shooters.

Story credit: L-rumors.com

"I love capturing action shots of wildlife subjects, especially birds, with end-to-end details in the frame. I believe this is the most difficult kind of photography, given that to produce such frames, you need to be in supreme control over your gear, its capabilities, and the settings. But I love the challenge," explains Anoop Raghavan Manikkoth. 

I had the pleasure of interviewing him about his work and analyzing his image 'Toss in the meadows'.  We discussed the techniques he used to capture the photo and why it works.. 

1. Detailed insights

"Blue-cheeked bee-eaters are migratory to this part of the world (Bhigwan, Maharashtra, India). Flying quickly in indefinite patterns, they swoop down and snatch their prey, then the bird comes back to the perch and tosses the prey before gulping it down," Anoop says. Recording parts of this process offered exhilarating challenges. "It was difficult to focus on the bird since it was perched among the flowers," he says. "Also, I had to increase the shutter speed to 1/3200sec to make sure I froze the action properly."

2. Shallow depth of field

Anoop captured the scene with a wide aperture of f/4, creating a shallow depth of field where the focus area is minimized. Consequently, both the background and foreground elements aren’t in sharp focus. "While I made sure to get crisp details on the subjects, the rest of the elements are blurred," Anoop says. "This way, the attention on the subjects remains intact but the feast of colours adds elements without being distracting within the composition."

3. Foreground interest

Moving away from the usual eye-level perspective is popular in various genres – not just wildlife, but also landscape, architecture, and action photography. "In my opinion, shooting from a lower perspective brings out the best in many frames. This perspective conveys the scene directly to the viewers," Anoop says. By going low, Anoop has created a strong relationship between the subject and the viewer. However, this angle also naturally adds a foreground element to the composition, creating further depth and interest. "The vibrant colors of the flowers are enhanced while the viewer gets the feeling of being in the meadow themselves," he adds.

4. Harmonious colors

"These flowers blossom for a month after the monsoon in this part of the world," Anoop says. "It’s mesmerizing to see the blooming Bhigwan grassland." The patches of tiny purple flowers not only add interest to the composition but also bring in a patch of color without overloading the frame. "I captured the bird tossing the insect while it was perched on a branch in the meadow. That meant I could include these vibrant colors with lots of contrast," he adds. To achieve this, he increased
the saturation levels in post-processing.

Tech details

Camera: Sony A1

Lens: Sony FE 600mm f/4 GM OSS

Aperture: f/4

Shutter speed: 1/3200 sec 

ISO: 800

Others photos in the Why Shots Work series

• Urban street photographer reveals his candid capture secrets
• Photographer tells story of getting up close and personal with a python
• Discover four key elements that make this stunning photo a success
• The 4 photographic decisions that take this motorsport shot to the next level
• Photographer tells story of his amazing shot of wallabies fighting on the beach

Thypoch is best known for its exquisitely built Simera lenses for Leica, a line it has recently expanded to cover more mounts, as well as its quirky collapsible Eureka lens. However, as recently teased on its Instagram channel, it looks like Thypoch is going in a new direction – Simera-C cinema lenses.

The company is yet to announce any further details on its new line of cine lenses. But I am currently at IBC 2024 in Amsterdam, where the biggest brands in the world of video production come to show off their latest wares, and I have managed to get my hands on not one but three of the new Simera-C cine lenses.

The three lenses on display are 28mm, 50mm and 75mm focal lengths. Like other Thypoch lenses they feel very well constructed, made from metal with geared focus and aperture rings. But the thing that struck me immediately was just how small they are compared to other cinema lenses.

This was perhaps as they were surrounded by a section of Dzofilm’s much larger cinema lens range (Dzofilm being Typoch’s parent company), but the Simera-C lenses look adorably compact and could be perfect for anyone looking for a more low-profile cine lens for a smaller setup.

While previous Simera lenses have all launched for the L-mount, before expanding to other formats, the lenses on display here are for Sony’s E-mount cameras. However, that isn’t to say these cine lenses won’t be available for other mounts at launch – or expand to other mounts later, as was the case with previous Simera lenses.

Below you can check out the official tease for the upcoming Simera-C lenses while we await more confirmation from Typoch.

Check out our guide for the best cine lenses for more options, and you might be interested in the best cinema cameras as well. 

Leitz has introduced three new lenses to its HUGO II series, adding to the 10 existing focal lengths in the popular HUGO line. The new additions include the 66mm, 75mm, and 90mm T2.1 lenses, which are distinguished by their slower aperture and more compact size. These lenses bring unique visual characteristics, with the 75mm and 90mm offering size advantages and the 66mm lens filling the gap between the 50mm and 75mm focal lengths.

The 66mm T2.1 lens has an intriguing history, inspired by the legendary "spy lens" developed by Leica lens designer Walter Mandler for the US Navy during the Cold War. Known for its ultra-high resolution and originally never intended for public use, fewer than 200 of these lenses were produced. Leitz has slightly updated Mandler's design, blending its vintage pedigree with modern-day capabilities, resulting in a lens that delivers sharp, character-rich images, consistent with the rest of the HUGO family.

The new 75mm and 90mm T2.1 lenses are derived from Leica's well-known Summicron-M lenses. Although one stop slower than the T1.5 versions, their smaller size and lighter weight make them nearly identical in dimensions to other HUGO lenses wider than 50mm. This design update allows Leitz to offer complete conversions of Leitz M 0.8 lenses to the HUGO series, maintaining the longer focal lengths without sacrificing performance.

With the addition of the HUGO II series, Leitz now boasts a total of 13 focal lengths in the HUGO family, ranging from 18mm to 135mm. Available in both LPL and L mounts, these lenses provide filmmakers with versatile tools that combine historical design elements with modern optics for high-quality cinematic imaging.

TTArtisan has announced the APS-C AF 14mm F3.5: a wide-angle pancake prime for Sony E-mount APS-C cameras, giving a 92-degree angle of view. Exact dimensions have yet to be revealed, but it certainly looks shallow enough to qualify as a bona-fide pancake lens, and at just 98g it's super-light. Despite the small size and low weight, the lens still packs autofocus, as well as a dedicated aperture control ring.

Read more: the best Sony lenses

Inside is an 8-element optical stack arranged in 7 groups, and the 7-blade diaphragm has an aperture range of f/3.5-f/16. The lens takes tiny 39mm filters and can focus down to 0.25m. We await further information regarding pricing and availability.

One of my favorite things about owning an interchangeable lens system is that I can simply swap over lenses when I need to shoot wider, more zoomed-in, or macro and close-up depending on the specific subject matter I’m shooting and what I’m trying to achieve creatively. While superzoom lenses such as 18-300mm exist and bring many focal length options into a single lens, they simply don’t cut it for professionals who need both razor-sharp glass and super-fast apertures too. 

When taking photos of fast-paced events, sports, or weddings however you rarely have the time to switch your lenses and that’s where a double camera harness can be a game-changer. Important aspects to look for in a good dual camera harness are first and foremost security - you want to be able to trust that your pride and joy aren’t suddenly going to go crashing into the ground. Secondly, there's comfort: if you’re shooting for a whole day with two heavy cameras loaded up, you’ll need decent padding to save your shoulders.

I recently got hold of both BlackRapid’s Double Breathe and Blackline II dual camera harnesses to test them out. On face value they look very similar - they’re both dual camera harnesses that allow you to carry two systems with different lenses attached, making them a good fit for weddings and events. The Blackline II however is a third more expensive, so I was keen to put it through its paces and find out if it’s really 33% better!

Specifications

Price: $199 / £199
Size: One size fits all
Colours: Black
Features: 2x Locking Swivel Carabiner ConnectR CR-3
Includes: 1 x CoupleR II; 2 x Nylon-Coated FastenR FR-5 (1⁄4-20”); 2 x Lockstar II; 2 x Camera Safety Tether II
Shoulder Pad material: Highly breathable Polyester Mesh, TPE (Thermoplastic Elastomer) Foam and Polyester Air Mesh
Shoulder Pad Size: Length: 16ʺ (40.5 cm); Width: 2.2ʺ – 3.7ʺ (5.5 cm – 9.5 cm); Thickness: 5mm
Webbing: 100% Nylon; Webbing Width: 1ʺ (2.5 cm)
Adjustable Strap, Maximum Length: 63ʺ (160 cm)
Weight: 11.6 oz / 45.3g

Features

I’ve recently reviewed BlackRapid’s Sport Breathe, Blackline I and Double Breathe camera straps, and following suit the Blackline II harness uses the exact same mounting system that I’ve raved about in those other reviews. 

It uses a ConnectR and FastenR system to secure your camera to a metal carabiner, this is then secured with a spring-loaded metal piece on the carabiner, and the LockStar Gate is clipped shut to stop it from being accidentally opened - the LockStar Gate can also only be closed in place with the carabiner fully secured and locked down for added security, you do this for both cameras on either side of you. Many of these security features are patented too, so you'll only find them on BlackRapid products.

For even more peace of mind, the Blackline II comes with two safety tethers which can be lashed to each carabiner and then to the strap lug on your camera for another point of camera and a failsafe should the main connection fail, though in our testing everything felt totally rock-solid and we never felt like it would be needed, though it’s nice to have nonetheless.

The camera straps on your left and right are both height adjustable so you can get them hanging precisely where you need them to be within easy grasp which you need to quickly grab one and start shooting. Unlike the Double Breathe harness however, there’s no Slim model, though it has to be said the shoulder pads are already a little slimmer than the Double Breathe and its padding is softer, so perhaps this isn’t needed as much here.

As with the Sport Breathe, Blackline I, and Double Breathe that I’ve previously reviewed, the Blackline II has front and rear bumpers on both left and right straps. These can be adjusted with just one hand to limit or expand the area of travel the carabiner with your attached camera can travel along. 

The rear bumper acts as a good backstop to stop it moving too far back out of reach, while the front bumper is great for those times you need to lean forward to adjust a lightstand or bend over to pick something up, as the front bumper can be slid down to prevent your camera from coming hurtling forward.

Performance

The Blackline II put in a solid performance by being constructed from high-quality materials and parts patented by BlackRapid. The FR-5 FastenR is metal but nylon coated for a premium feel and has a 3mm thick rubber disc to help you add just the right amount of tension when screwing it into your camera’s tripod mount port or lens foot. The metal carabiner feels high quality too and screws down to secure it in place, with the LockStar II gate then shutting to keep it from opening accidentally and keeping your kit safe.

One big difference between the Blackline II and the Double Breathe is that, as the name suggests, it has an all-black design. The Double Breathe has a bright white logo on the front right shoulder pad and a shiny metal buckle on the back too, whereas the Blackline II is dressed more like a ninja with all-black plastic buckles and a blacked-out rubber logo on the front too. This makes it much more nondescript and makes it easier to blend in, whether you’re wearing a tuxedo at a wedding, or just want to keep a low profile while shooting street photography.

Another noticeable upgrade from the Double Breathe is the Blackline II has slightly smaller yet more comfortable padding and larger ventilation holes too for ‘ultra’ breathability. I found this to be notably more comfortable as it molded to the contours of my shoulders a little better.

Both the back and chest straps have an elasticated piece of material in them so they move with your body a little and there’s some give which increases comfort. When using mirrorless camera bodies loaded up with lightweight primes or small zoom lenses you hardly notice you’re wearing it as the strain is on your shoulders rather than your neck. However, load them up with heavier DSLRs and big telephoto lenses and you’ll inevitably start to feel the strain a bit sooner.

We had full faith that the Blackline II could handle the weight of whatever we could throw at it. It’s a solid bit of kit with sturdy metal carabiners and attachment points that give you plenty of peace of mind. The carabiners also glide like butter over the nylon straps so you can effortlessly raise your camera up to eye level to take a shot and never get in the way.

Verdict

Alongside this harness, I’ve recently reviewed BlackRapid’s Sport Breathe and Blackline I slings as well as the Double Breathe Harness, and while I’ve been thoroughly impressed with all four products, in my opinion, this is the best camera harness to go for. It has a fully blacked-out design which makes it more nondescript and better padding too.

The padded shoulders are softer and also a little smaller than the Double Breathe, so this will potentially be a better fit for women and people of smaller stature without the need for a slim model (like the Double Breathe). Plus, it shares many of the great features of the other straps I’ve mentioned, such as the FastenR and LockStar Gate to keep your camera secured to each strap, in addition to an extra safety strap and bumpers to limit the travel of your camera.

Okay, it might not have the bougie style of a leather (or faux leather) strap, but it prioritizes substance over style with this reliable and solid harness, and for what it’s worth I think the all-black design looks pretty good! The shoulder pads can also be separated and you can use just one as a cross-body sling for those times when you just want to shoot with one camera which adds to its value too.

Following the launch of the iPhone 16 Pro earlier this week, makers of smartphone accessories have been falling over themselves to tell us about their new products. And so we've already published guides to both the best iPhone 16 Pro cases and the best iPhone 16 Pro Max cases, not to mention the best camera lens protectors for the iPhone 16 Pro & Max.

But on the whole, these have largely been tweaked versions of existing products. And that's fine, of course… but here's something completely new.

Moment has just unveiled an evolution from their snap-on filters called the QuickLock Filter System. Compatible with iPhone 15 Pro, 15 Pro Max, iPhone 16 Pro and 16 Pro Max models, this new line claims to offer a new way for photographers interact with their smartphones. 

Traditional screw-on filters can be fiddly to apply, while magnetic ones can feel less than secure. Moment says its proprietary QuickLock filters, which attach to a Moment phone case, offer the best of both worlds. In that they're easy to attach and remove, while secure enough that they won't detach during use, and robust enough to withstand the demands of professional use – and they cover all three of the lenses on the four iPhone models.

Certainly, the ability to quickly swap filters without worrying about them falling off could be a game-changer for anyone involved in run-and-gun shooting. We haven't got our hands on these filters yet to test their claims. But Moment is a reputable company – and produces some of the best add-on lenses for smartphones around.

Four to choose from

The QuickLock system covers all three lenses on the four iPhone 15 Pro and 16 Pro models. They aren't cheap, but Moment believes their combination of high-end optics and practical usability makes the cost well worth it.

There are four distinct filter types, each designed to address specific iPhone photography needs.

1. Mobile VND (2-7 Stop) QuickLock Filter: Offering a range of 2 to 7 stops, this filter allows you to control exposure in bright conditions. 

Moment says they're "like sunglasses for your camera lens [that] lets you adjust the strength of the filter by rotating the filter ring. This way, instead of carrying multiple filters for different lighting conditions, you can carry just one and adjust for your specific shot." Variable neutral density filters are particularly useful for video, allowing you to adjust brightness to get the shutter and aperture you want to use.

Made with premium Schott B270 Pro Cinema Glass, these filters are crisp edge to edge without color fringing or cross polarization, while the filter rings are precision machined from aerospace-grade metal.

2. Mobile CineBloom QuickLock Filter: Available in 5%, 10% and 20% densities, these diffusion filters add a dreamy, film-like quality to images, softening hard edges and smoothing skin tones. Moment says they: not only catch and bloom light but soften hard edges and provide a smoothing effect on skin tones, making wrinkles less noticeable." The glass is made by fusing a microlayer of NanoBlack particulates between two layers of top-grade Japanese filter glass.

3. Mobile AntiGlare CPL QuickLock Filter: This circular polarizer (CPL) filter is designed to reduce glare and enhance color saturation, which could be especially useful for landscape and architectural photography. It works by rotating a piece of polarized glass in front of your lens to cut out unwanted glare.

Moment says this filter: "makes the skies bluer, trees greener, waters deeper, and allows you to shoot through glass without that hazy look. It does this by changing the light angle bouncing off of bright surfaces, scattering the light rays you don’t want directly in your shot."

4. Mobile CineClear UV Protection QuickLock Filter: This clear filter safeguards the phone's lens from scratches and debris while maintaining image quality. Resistant to dust, fingerprints, and reflections, it's made from premium Schott B270 glass with 98.5% transmission rate and 16 layers of optical coating. Moment says it: "won’t degrade your image quality and maintains full functionality of the iPhone camera system [...] allowing you to protect your expensive camera phone and make it much easier to clean, without the hassle of removing your phone from the case."

The VND filter is priced at $75 and the other three options costing $50 each. Pre-orders are currently open, with shipping expected to begin by the end of September.

Note that the QuickLock Filters are designed to work exclusively with Moment's phone cases, which need to be bought separately. 

Moment has also released a range of other accessories for the iPhone 16 Pro and Pro Max, including cases, universal grips, cages, and a new shotgun mic.

The Hasselblad XCD 20-35E is a crucial new lens in the X System lineup. First of all, it's the brand's first ultra-wide lens, offering an equivalent 16-27mm focal range – which also makes it the widest XCD lens, taking the crown from the XCD 21mm prime.

Secondly, this is the first 'Exclusive' lens in the range – hence the "E" in Hasselblad XCD 20-35E. This new flagship series promises to deliver the same optical excellence as the outstanding XCD primes. 

Designed with the new generation of 100MP cameras in mind, it marries ultra-wide shooting with the ultra resolving power of the Hasselblad X2D and Hasselblad 907X & CFV 100C – though it's also compatible with the 50MP era of X System bodies.

So just how good is Hasselblad's freshman flagship? Let's find out.

Hasselblad XCD 20-35E: Specifications

Hasselblad XCD 20-35E: Price & Availability

The Hasselblad XCD 20-35E is priced $5,929 in the US and £5,699 in the UK (Australian pricing to be confirmed) and is shipping now. This makes it the most expensive X System lens, coming in about a grand more than the other zoom in the lineup – the Hasselblad XCD 35-75. 

Given that its focal range encompasses (and surpasses) that of four current XCD optics – including the recent XCD 25V, which costs US$3,699 / £3,599 alone – the pricetag does feel warranted. 

Hasselblad XCD 20-35E: Design & handling

While it's the first member of the new E (Exclusive) range, the design of the Hasselblad XCD 20-35E is very much in-keeping with the V (Versatile) line of lenses like the XCD 90V and XCD 25V.

The biggest difference is the lack of a manual focus clutch, and the accompanying focus scale, which lends the lens a cleaner appearance. And, of course, it's a larger and heavier lens than the primes – though I certainly wouldn't call it a "big" lens, and in the hand it balances exceptionally well with my X2D. 

While the lens has a variable f/3.2-4.5 maximum aperture, it remains at f/3.2 from 20-24mm – making it both wider and faster than the XCD 21mm f/4 lens. 

In terms of manual focus, since the lens doesn't have a clutch or switch to toggle in and out of autofocus, it's just a matter of a couple of taps on the frictionless Hasselblad menu system to jump into manual. 

The focus ring is as smooth and precise as you'll find on other XCD lenses, and the zoom ring is exceedingly well gauged. While it's easy to glide through the range, there's a pleasing amount of resistance to ensure that you're at the exact focal length you want to be. 

Crucially, since it features an internal zoom mechanism, the length and balance of the lens doesn't change as you push in and out. 

Elsewhere in its internals, the lens features an impressive optical formula, boasting 16 elements in 12 groups, including 3 aspherical elements and 4 extra-low dispersion elements. 

While I didn't shoot any images with supplemental light, the leaf shutter employed by the X System (with the mechanism present in the lens, rather than the camera body) enables flash sync at up to 1/2000 sec. 

Hasselblad XCD 20-35E: Performance

Hasselblad never ceases to impress me with its XCD glass, and I was absolutely delighted with the results I got from the 20-35E. 

One of the first things I shot was a meteor shower during the Northern Lights (above) – something I was a little bit wary of, since I spontaneously decided to run out and chase the aurora and forgot my tripod in the process.

Could I really shoot astro using a medium format camera, handheld, with an f/3.2 aperture? Yes, I really could, thanks in no small part to the incredible in-body image stabilization of my X2D. The XCD 20-35E passed what was probably the hardest test I could give it with flying colors – and it continued to deliver for me time and again.

If you're not a regular shooter of extreme focal lengths, it can be hard to visualize the difference between 16mm and 27mm, so I've included a few comparison images to illustrate just how drastic the change is – and to demonstrate how radically this lens opens up your compositional choices.

Above, for example, you can see how remarkably different the results are at the widest and longest focal lengths from the same position. 

Having used all the X System glass that this zoom now covers – the XCD 21, the recent XCD 25V, and the XCD 30 and XCD 28P – not only is it a huge a win to have this entire range available in a single optic, but for this one lens to offer a faster aperture than any of them bar the 25V is a cherry on the parfait.

Without having to switch out your lenses, you can go from a near-reportage field of view to an extreme wide-angle with creative distortion. Or, of course, just fit more of a magnificent scene in your frame. Just be aware of firing frames towards the sun with a lens this wide, as you're probably going to experience flare if you don't mount the hood.

Speaking of distortion, as you may expect from an ultra-wide, there is some barreling and pincushioning as you move through the range, though nothing too nasty – and nothing that a couple of clicks can't easily fix in post. 

Focusing on this lens is snappy and silent, thanks to the stepping motor and smaller focusing lens group, and I continue to be grateful for the phase detect autofocus in Hasselblad's 100MP cameras. You'll notice some focus breathing when focusing manually, more prominently at the 20mm end, but obviously this isn't an issue for shooting stills.

I have to say that I was blown away by the center sharpness of this lens, which is on par with the performance of the XCD primes – something that's borne out in our lab tests below – though things are certainly a little softer towards the edges until you start to stop down, hitting peak sharpness at around f/11. 

Still, this isn't a portrait lens designed to be used wide open for everything; it's an f/8 and f/11 kind of lens for taking crystal clear landscapes, cityscapes and architectural shots. So in practical terms I don't think anyone who uses this lens is going to be unhappy with the results.

Hasselblad XCD 20-35E: Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

We've come to expect stellar center sharpness from Hasselblad's XCD prime lenses, but incredibly this zoom optic manages to match the primes – it's sensationally sharp in the center of frame. Sadly corner sharpness is much more average, especially at larger apertures, but stop down to f/8 and you shouldn't notice too much softness in the extreme corners.

Fringing:

Fringing is noticeable at short and mid focal lengths, but it's not severe.

Distortion:

There's noticeable barrel distortion at 20mm, transitioning to slight pincushion distortion by 28mm and beyond. The sweet spot is 24mm where the lens is distortion-free.

Hasselblad XCD 20-35E: Sample images

Hasselblad XCD 20-35E: Verdict

Hasselblad's first ever ultra-wide is another home run for the XCD lineup. Whether you're looking for the fastest and widest lens possible, you're trying to replace a few wide-angle primes, or you simply want a fantastic tool for all-purpose wide-angle shooting, the XCD 20-35E is what you're looking for. 

I truly can't get over the prime-level performance of this lens when it comes to center sharpness – and remember that the XCD 90V is literally the sharpest lens we've ever tested. 

This is a lens that the X System community has long been dreaming about, and it's always a pleasure when dreams come true. 

Hasselblad XCD 20-35E: Alternatives

If you love prime lenses and the 50mm focal length is your lens of choice in any situation then you are going to love this latest news from Nikon as the camera giant has expanded its Z series full-frame lens lineup with the addition of the new  Nikon Nikkor Z 50mm f/1.4.

This new prime lens offers photographers a versatile tool for capturing natural perspectives with remarkable precision. With its fast f/1.4 aperture, advanced optical performance, and quick autofocus, it allows for creative expression in any lighting condition.  Whether shooting portraits, landscapes, or everyday scenes, the NIKKOR Z 50mm f/1.4 promises stunning depth, clarity, and sharpness.

This new 50mm f/1.4 from Nikon neatly sits between the flagship Nikon Nikkor Z 50mm f/1.2 S and the Nikon Z 50mm f/1.8 S - this new f/1.4 offers both portability and pro-grade optics in an affordable package that will offer both photographer and videographers a useful 50mm prime that can offer great compression, good light gathering, and at a price point that is very reasonable for a f/1.4 from the Nikon lineup.

Designed for flexibility in available light, this new 50mm lens is ideal for various photography styles, including travel and street photography. Its wide f/1.4 aperture not only enhances low-light performance but also creates smooth, soft bokeh for beautifully isolated subjects. 

Zurab Kiknadze, Product Manager, Nikon Europe says: “We’re extremely happy to add this 50mm standard lens to our budding range of accessible f/1.4 prime lenses. Offering boundless creativity and portability, it partners perfectly with our recently launched Nikon 35mm f/1.4 lens. Keep these compact Z series primes side by side in your camera bag and you can maintain a consistent aesthetic as you shift perspectives from wide to normal.”

The new Nikon Z 50mm f/1.4 is available to order now for a retail price of $496.95 / £499 / AU$929.

Pre-order at B&H (US) for $496.95

Pre-order at WEX (UK) for £499

This week saw a whole bunch of camera rumors come to fruition in the form of drones, action cameras and lenses, while Canon got seriously busy on a bunch of different fronts.

First it knocked Sony off the top spots in terms of sales, then it set its sights on DJI with a new take on gimbal cameras. For its part, DJI has its sights set on the HoverAir X1 with its new product. 

Sigma has its sights on Canon, with a new RF lens and a trinity busting pro lens that rivals Canon's groundbreaking 24-105mm f/2.8. 

And GoPro, meanwhile, is hoping that its two new Heroes will save the day. These are the top five stories of the week…

Canon resurrects its DJI-beating gimbal camera

Canon is revisiting its plans to challenge DJI with a handheld gimbal camera, designing a new product that looks eerily reminiscent of the DJI Osmo Pocket 3. 

This is not, however, Canon's first attempt to design such a product. Canon's aspirations to produce a handheld gimbal camera date back to at least 2021, which is when the first patents and designs were spotted. 

Back then, the company was working on a camera that differed in one key way to the Osmo line: rather than having a fixed lens, Canon's initial designs featured an interchangeable lens mount…

Full story:
Canon vs DJI: Canon designs ANOTHER challenger to the Osmo Pocket

DJI's new drone takes on the HoverAir

DJI has just announced the DJI Neo, which might not be much of a surprise to those closely following the rumors but still marks a significant change in style for DJI, the world leader in consumer drones.

I've had access to an early model, and have already completed my first full review of the DJI Neo (though some features aren't quite there).

For many product generations, the company has focused on delivering compact drones that folded up small and – after regulators set a 250g weight limit for unregulated consumer drones – has delivered drones at 249g. Those include some of the best beginner drones and the best camera drones without qualification. Sure, there have been some specialist FPV drones, but these have seemed like outliers…

Full story:
DJI Neo marks a generational change for world's leading drone company

Sigma drops a pair of killer f/2.8 zooms

It's been a big week for professional zoom lenses. Not only did Leica launch a new 70-200mm f/2.8 with 2x teleconverter, Sigma dropped a pair of eagerly anticipated optics – both of which promise to be world-beaters.

First is the full-frame Sigma 28-105mm f/2.8 DG DN | Art lens for E and L-Mount cameras. Yes, a 28-105mm lens with a constant f/2.8 aperture – a direct challenger to the "trinity buster" Canon RF 24-105mm f/2.8L lens. 

Speaking of Canon, Sigma also launched its second lens for the RF mount: the Sigma 10-18mm f/2.8 DC DN | Contemporary for APS-C bodies. This is "the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras", offering an equivalent focal range of 16-28.8mm in full frame terms…

Full stories:
Canon RF shooters get a wiiiiiiiiiide angle zoom from Sigma
Sigma 28-105mm F2.8 sets what could be a new standard for standard zoom lenses

Two new Heroes come to GoPro's rescue

If, like me, you have been hoping to save money on an older GoPro model, but are sick of prices stubbornly refusing to come down, then the announcement of a new $199 / £199 GoPro will be music to your ears.

The new model, which is simply named GoPro Hero 13 (currently with no suffix or numeration) takes the classic GoPro formula of a rugged waterproof action camera and makes it more affordable – and even smaller.

Launching alongside the newly-announced GoPro Hero13 Black, will be the fourth model to be called the GoPro Hero. The first-ever GoPro model, launched in 2008 was simply called the Hero. This was followed by similarly named updates in 2010 and 2014. Inevitably, this new version will likely become known as the GoPro Hero (2024), so as to avoid confusion…

Full stories:
GoPro's new budget Hero is its smallest-ever action camera
The new GoPro Hero13 Black puts lenses front and center

Canon topples Sony from the sales charts

In a dramatic turn of events, the Sony ZV-E10 has been usurped by two Canon bodies as Japan's best-selling camera in August. 

In July the ZV-E10 took the top three spots in varying color and lens configurations, and accounted for five of the top twenty best-sellers, according to BCN Retail (which aggregates sales from approximately 50% of Japan’s retailers, which crucially includes major electronics retailers and camera dealers). 

In August however, the tables have very much turned, with the Canon EOS R10 and RF-S 18-150mm lens taking the top spot, up from number four the previous month. The EOS R50 double zoom kit secured the second and third places, in black and white colorways respectively…

Full story:
Move over Sony! Canon is back on top in Japan, with a dramatic sales recovery

You might be interested in the best camera drones, the best zoom lenses, the best GoPro cameras and the best action cameras. 

I spent nearly two decades being a professional sports photographer, traveling the world for my job and shooting at many different shutter speeds to capture the action in full swing.

Now, as I've changed gears and tried to capture the beauty in the mundane through street/documentary photography 1/500sec seems to be my limit, well not even my limit more an "always-on" approach, and while that might sound odd this exposure triangle hack really works in any setting!

Now I know that 1/500th shutter speed isn't going to suit everyone, and there will be times when you need something much slower to let in more light, or faster to freeze every millimetre of motion, but for some reason I have all my cameras set to 1/500th and it always just seems to work out really well.

The type of things I'm shooting for street requires that I either move quickly to get the shot or things out in the open that are stationary and don't need anything faster to stop motion.

All my cameras, film or digital, have these two settings fixed: Shutter speed and ISO; Shutter speed being 1/500sec and ISO set to 400. The only thing I ever change is my aperture, and you know what? It just works so well for me that I'd highly recommend trying it yourself.

I guess you could say I'm manually adjusting with a "Shutter priority" mindset when I go out shooting, by just adjusting the aperture to my environment, but knowing that I have 1/500th set on my camera means I'm confident that any situation that comes my way I can capture it and my images will be motion free. Personally I see no need for shutter speeds of 1/4,000 and above because, honestly, 1/500th just works so well, it's like my own 'gold standard', and the setting I first change on any camera.

While this might be a very 'primitive' way of capturing images, it is also the way many photographers shot in the film days when nothing had a light meter built-in, and people might not have one to hand. The technique is called the 'Sunny 16 rule' and focuses on changing your aperture to the available light around you, but keeping your shutter speed the same as your ASA film speed or ISO.

Most common films in the day were rated at ASA 400 and ASA 800, so according to the Sunny 16 rule, you'd set your shutter speed at 1/500 or 1/1000, respectively. The rule is that the number under the fraction is the nearest to the ASA/ISO – since shutter speed steps tend to be 1/500sec rather than 1/400sec the numbers aren't quite perfect reciprocals.)

While we now live in the digital age, and I still shoot analog and digital, this rule still applies, and it is the best technique I learned in my photography. Would it be nice to change shutter speeds once in a while? Yes. But do I really need to? Not in the slightest!

1/500th is my 'go-to' shutter speed for everything. Knowing that my camera is set to that speed, I can capture any shot I want and know what I am going to get, be that on film or shooting digital.

It frees my mind to think about other things in the image, composition for example, how the light is hitting a scene, etc. Having one less thing to think about when taking images is such a feeling experience that I recommend giving it a try, it will certainly work for most things and you might be surprised!

Meet Remaster Slim: Samyang's new modular lens system, consisting of three separate lenses that connect to a single mount unit. The kit contains 21mm f/3.5, 28mm f/3.5 and 32mm f/2.8 full-frame modules, while the mount is exclusively for Sony E-mount cameras. The kit has been designed for travel, street, and everyday photography, or any situation where lightweight portability is paramount. Samyang says that the mount fitted with the 32mm module weighs just 66.5g, with a thickness of only 19.5mm, making this a true, go-anywhere pancake lens.

This isn't the first time we've seen a modular lens concept though. Several years ago Lomography gave us its retro-themed Neptune system with a similar three-into-one set-up. But where the Neptune was manual focus only, the Samyang Remaster Slim has full autofocus, making it the world's first interchangeable modular lens with autofocus. The AF motor and electronics are housed in the mount section, which also sports a focus ring and AF/MF switch, along with a USB-C port for applying firmware updates. The mount is equipped with a 49mm filter thread, which can be used in conjunction with any of the three optical modules.

Samyang is promising "superior performance" from all three lens modules. The 21mm module features a 7-element optical stack arranged in 6 groups, including 2 Precision Molded and 1 Extra-low Dispersion element to reduce chromatic aberration. The 28mm optic packs 6 elements in 6 groups and features 2 PMo, 1 high refractive and 1 ED element. It's said to offer "sharp results throughout the entire frame", with enhanced resolution and reduced distortion. Finally, there's the 32mm module, which again utilizes 6 elements in 6 groups with 2 PMo and 1 HR element. It gets Samyang's UMC coating to reduce flare and ghosting, while a 7-blade aperture is claimed to provide smooth bokeh.

It is initially only available Sony E-mount - but in South Korea where the lens system has been on pre-order for a couple of weeks, the company have been asking for people's opinion of which mount it should do next (with an L-mount option getting the popular vote). 

The Samyang Remaster Slim is set for a European release this October, priced at £336 / €404 (around $450).

We await confirmation of pricing and availability in North America, where Samyang products have traditionally been sold under Rokinon branding.

The Sigma 10-18mm F2.8 DC DN | Contemporary is an ultra-wide angle lens for APS-C mirrorless cameras. Launched initially in L-mount and Sony E-mount versions, it’s now available in Fujifilm X-mount, and is a tantalizing proposition for Fujifilm users because it undercuts Fujifilm’s own-brand lenses in both price and size. A Canon RF mount version will go on sale on September 26, 2024.

Fujifilm does make two super-wide-angle lenses of its own – the Fujifilm XF 10-24mm f/4 R OIS WR and the Fujifilm XF 8-16mm f/2.8 R LM WR. The XF 10-24mm has a longer focal range than the Sigma and OIS, but a smaller maximum aperture. It’s also much bigger and more expensive, and has optical limitations that become especially apparent on the latest 40MP Fujifilm cameras. The XF 8-16mm lens goes even wider than the Sigma, but this is one of Fujifilm’s red-badge pro lenses, and it’s both much bigger and much more expensive.

Right now, then, the Sigma 10-18mm F2.8 DC DN | Contemporary looks like a smaller, more affordable and perhaps superior super-wide lens for Fujifilm fans. 

Indeed, Sigma claims this is the smallest and lightest ultra-wide-angle zoom lens for APS-C cameras, which makes its constant f/2.8 maximum aperture even more impressive. Sigma also claims its optical performance is maintained across the whole frame, with fine detail rendered perfectly right into the corners. 

This is achieved with a sophisticated optical construction of 13 elements in 10 groups, which includes three ultra-low dispersion FLD elements, one super/special low dispersion  SLD element, and four aspherical elements.

Sigma is also very open about the fact this lens relies on digital corrections too. This has become standard practice for mirrorless camera zooms, but not all lens makers are equally forthcoming about this. Images shot with the Sigma 10-18mm F2.8 DC DN will be corrected in-camera if you’re shooting JPEGs and will have a correction profile embedded in raw files for use by programs like Capture One and Lightroom.

Sigma 10-18mm f/2.8 DC DN: Specifications

Sigma 10-18mm f/2.8 DC DN: Price and availability

The Sigma 10-18mm f/2.8 DC DN | Contemporary for X-mount is available now and costs around $599 / £649 / AU$1,099. That’s substantially cheaper than the cheapest own-brand Fujifilm alternative which is the XF 10-24mm f/4 R OIS WR. This costs around $999 / £879 / AU$1,499, which is a lot of money for a somewhat average sort of lens. Fujifilm left a very big gap in its lens range for a more affordable ultra-wide zoom, and Sigma has filled it.

Sigma 10-18mm f/2.8 DC DN: Design and handling

There are some key features of the Sigma 10-18mm f/2.8 DC DN to pick out straight away. The first is its size. It’s very small and light for an APS-C ultra-wide zoom, and yet it also has that constant f/2.8 maximum aperture. It covers a pretty modest zoom range, of course, but that’s still impressive.

It’s not all good, though. There’s no aperture ring on this lens, so the aperture must be controlled from the camera body. That’s not such a downside on X-mount cameras with a conventional mode dial, such as the Fujifilm X-S10 or X-S20, but it will be a disappointment for users of the Fujifilm X-T5, X-T50, or other X-T, X-E, and X-Pro cameras with external exposure controls. Many of the best Fujifilm cameras owe their status to these controls.

This lens is also not fully weather-sealed. There is a rubber seal behind the lens mounting plate (which is made of brass) to keep out dust and moisture, but that’s it. If you’re going to be shooting in harsh conditions, bear in mind that while many of the best Fujifilm lenses are weather-sealed (look for the ‘WR’ in the name), this one isn’t.

And while the lens internals are made of metal, the exterior is fashioned from TSC (Thermally Stable Composite). Nevertheless, the exterior finish is first-rate. The semi-matt dark gray/black surface looks very smart indeed.

The action of the zoom ring is super-smooth, and the focus ring has a light, smooth feel too, though there’s no focus distance scale and no hard stops to the minimum focus and infinity settings.

The lens zooms in and out by less than a centimetre, and this combines with an internal focus system that should make the Sigma 10-18mm f/2.8 DC DN ideal for gimbal use. The best camera gimbals will be able to cope with any slight center of gravity shifts with no difficulty.

Given the 10mm angle of view at the wide and and the relatively fast f/2.8 maximum aperture, the front element of this lens is not particularly bulbous. This means you can fit relatively common 67mm filters with no need for fancy wide-angle adapters.

A petal-style hood is included. This attaches to the front of the lens with a strange kind of push-click action and is removed with a slight twist. It’s a bit odd, but you do get used to it.

Sigma 10-18mm f/2.8 DC DN: Performance

It’s asking a lot to expect a lens this wide to offer flawless, aberration-free edge to edge sharpness, and despite Sigma’s claim that this lens does exactly that, it doesn’t entirely stack up in practice.

Testing it on a 40MP Fujifilm X-T5 doesn’t really help, since Fujifilm’s latest sensor really highlights any drop-off in lens performance. Keep this in mind if you’re using an earlier 26MP, 24MP or 16MP model, since you won’t notice these issues to the same extent.

Right through the zoom range, the Sigma 10-18mm f/2.8 DC DN is extremely sharp in the center of the frame, and around the mid-way point to the frame edges. At the extreme edges, though, the definition does fall away somewhat. You’ll notice this most at 10mm, though, and by 14mm and 18mm, the edge definition is really very good. This lens certainly outperforms the Fujinon XF 10-24mm f/4 R OIS WR, which is probably what it’s mostly likely to be compared to.

Sigma’s in-built lens profiles do a great job of correcting any distortion or corner shading, though the in-camera correction of purple fringing towards the edges of the frame isn’t that great. This does contribute towards the impression that the corners aren’t that sharp – a lot of the apparent unsharpness is actually chromatic aberration. If you shoot raw you should find that the automatic chromatic aberration correction in both Capture One and Lightroom will fix this with a single click.

The Sigma 10-18mm f/2.8 DC DN does deliver excellent contrast and flare resistance even wide open. You can get really close to foreground objects for dramatic perspective effects and throw backgrounds out of focus at the same time – though there is some visible longitudinal color fringing or ‘bokeh’ fringing with defocused object outlines.

This lens uses a stepping motor AF system rather than the linear actuators in more exotic lenses, but Sigma says the focus group within the lens is light and, in real world use, this lens focuses very quickly. It’s also inaudible. In video it refocuses quickly with subject distance changes and, again, silently.

Sigma 10-18mm f/2.8 DC DN: Sample images

Here’s a selection of images taken with the Sigma 10-18mm f/2.8 DC DN at various focal lengths and shooting distances. The edge to edge performance improves at longer focal lengths, but it’s still pretty good even at 10mm. It does extremely well for a such a small and modestly priced lens.

Sigma 10-18mm f/2.8 DC DN: Verdict

The Sigma 10-18mm f/2.8 DC DN is not perfect. The lack of an aperture ring will be a disappointment for many Fujifilm users, and the lack of weather sealing and OIS may disappoint a few more. But I do think the positives easily outweigh the negatives. Compared to Fujifilm’s own ultra-wide zooms, this lens is tiny – some would say that this is the size APS-C lenses are SUPPOSED to be. Given its size, its constant f/2.8 maximum aperture is a considerable achievement. It’s true that this is over a shorter focal range than the Fujinon XF 10-24mm f/4 R OIS WR, for example, but you have to decide if you’re willing to swap the extra zoom range for an extra f-stop in maximum aperture.

Perhaps the single biggest killer feature of this lens, though, is its price. It’s not just smaller than the XF 10-24mm f/4 R OIS WR, it’s also considerably cheaper. And, admittedly over a smaller zoom range, it outperforms the Fujifilm lens optically, too.

Professional users might still look at the massive Fujinon XF 8-16mm f/2.8 R LM WR instead, which goes even wider than this lens, but that represents a huge step up in both size and price. If what you’re looking for is a more compact ultra-wide zoom for travel, architecture, landscapes or interiors, the Sigma 10-18mm f/2.8 DC DN does it brilliantly. Why pay (and carry) more?

Sigma 10-18mm f/2.8 DC DN: Alternatives

The Honor Magic V3 has officially launched in the UK and other Western markets, competing head-on with the Google Pixel 9 Pro Fold, Samsung Galaxy Z Fold 6 and OnePlus Open. While other super-slim foldables like the Huawei Mate X5 and Xiaomi Mix Fold 4 have only launched in China, Honor is following up its impressive world's-thinnest Magic V2 with a much more camera-focused package further afield.

The phone's super-thin 9.2mm folded, 4.35mm unfolded profile doesn't take the camera bump into account, which is probably a good thing, as within the fine-looking octagonal camera module is a triple camera setup that includes a periscope zoom.

The most notable updates for the newly announced version of the Magic V3 for global markets are the return of Honor's partnership with Parisian photography studio Studio Harcourt and some new interface enhancements.

Costing £1,699 (roughly $2,235 and AU$3,320), the Magic V3 may be expensive, but it undercuts both the Google Pixel 9 Pro Fold and Samsung Galaxy Z Fold 6 despite a more impressive spec roster.

Honor Magic V3 camera explained

The Honor Magic V3's camera is a tale of two halves, hardware and software. The phone's main camera mix consists of a wide, ultra-wide and telephoto camera, and there are two selfie cameras, one within the cover screen and the other on the right side of the main display.

Wide camera

The 50MP wide camera on the Honor Magic V3 has a 1/1.56-inch sensor, PDAF and OIS, as well as a wide f/1.6 aperture. The sensor size might sound small for a phone of the V3's price, but it's on the larger side for a foldable, with the Google Pixel 9 Pro Fold's main camera sensor measuring in at just 1/2 inch.

Ultra-wide camera

The Honor Magic V3's ultra-wide camera dials down the resolution slightly, with a 40MP sensor. It bests the ultra-wide of the Galaxy Z Fold 6 by including autofocus, so it can capture close-up shots, and matched with an f/2.2 aperture, for objects that are 10cm or less from the lens, pulls out decent depth blur.

Telephoto camera

Where the Magic V3's camera really pulls ahead of Samsung is zoom, with the 50MP periscope module packing five times more pixels than the Z Fold 6's tele camera, and featuring a larger 1/2.51-inch sensor, as well as a slightly further optical reach of 3.5x.

Selfie cameras

Both of the Magic V3's selfie cameras are 20MP sensor, f/2.2 lens combinations, though one great feature of foldables is the fact you can take selfies using the primary camera by opening the phone and using the cover screen as a viewfinder. The Magic V3 supports this feature, and in our tests, is great for vlogging too.

Studio Harcourt and camera software

Honor introduced its partnership with Studio Harcourt at the Paris launch of its upper-midrange Honor 200 Series. With three capture modes, Harcourt Classic, Harcourt Vibrant and Harcourt Colour, the Magic V3 can shoot full-color or monochrome portraits that pack a unique style while also offering control over dynamic range and artificial bokeh.

While some reviewers wrote these modes off as filters, the Harcourt Classic mode in particular rekindled our love of black and white portraits and reminded us they are a great way to get the most from smartphones' modestly sized sensors when we tested the 200 Pro.

Honor's camera system also excels at stopping time with its Motion-sensing Capture feature, the Magic V3 gets Honor's AI zoom which it showcased on the Magic 6 Pro, and the phone captures 4K video at up to 60fps across all three rear cameras.

Honor Magic V3 features and specs

Another aspect of the Magic V3 that's been upgraded for its global launch is the interface. Unlike the Magic V2, Honor has loaded up a taskbar on the inner display for speedier unfolded navigation.

A new feature called Magic Portal allows for quick sharing across up to five supported apps with a drag and a drop, and this works on both the cover and main display.

Honor's bringing back the magic capsule for the V3 - an Apple Dynamic Island by a different name - and the phone also supports a part-folded hover mode with third-party apps. This means you can part-fold the phone like a laptop, and the bottom half of the display turns into a touchpad.

While the new software is newsworthy, given the global overhaul, it's worth taking a moment to appreciate the Honor Magic V3's hardware. Measuring just 9.2mm when closed and weighing 226g, it's thinner and lighter than some non-folding phones, and alongside the Xiaomi Mix Fold 4, it feels lifted straight out of the future.

Despite its slimline profile, the Magic V3's screens are larger than those of the Galaxy Z Fold 6 and Pixel 9 Pro Fold. On the front, its 6.43-inch display packs a wider aspect ratio than Samsung's foldable for more comfortable typing, while the inner display is 7.92 inches, also significantly larger than the Z Fold 6.

As thin and light as it is, the Magic V3 is also powerful with a Qualcomm Snapdragon 8 Gen 3 chipset matched with 12GB RAM and 512GB storage. It also has a larger battery than the main competition with a 5150 mAh silicon-carbon cell, and with 66W wired and 50W wireless charging, it powers quickly too.

We're testing out the Magic V3 now, so check back for our full Honor Magic V3 review, and to see what the foldable competition looks like, check out our guide to the best flip and fold phones of 2024. 

The Honor Magic V3 can currently be bought with an £300 early bird discount, for £1,399.99

Leica lenses have earned a global reputation for their exceptional quality, and for good reason. With over 150 years of experience in crafting top-notch optical instruments, Leica's legacy is truly unmatched. This expertise shines through in the company's latest offering, the brand-new Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH - Finally, the 'Pro Workhorse' lens has arrived at the Leica SL-System and I'm excited about it!

This L-mount lens is the newest addition completing a powerful trio of SL zoom lenses with a consistent f/2.8 aperture. Alongside the Super-Vario-Elmarit-SL 14–24 f/2.8 ASPH. and the Vario-Elmarit-SL 24–70 f/2.8 ASPH., it opens up a world of possibilities for both photographers and filmmakers, covering focal lengths from an ultra-wide 14mm to a striking 200mm telephoto. And if you're looking to go even further, Leica has also introduced the new Extender L 2.0x teleconverter which pushes the reach of the new 70-200mm lens to an impressive 400mm at its longest reach.

Perfectly suited for capturing portraits, the classic telephoto zoom range of the Vario-Elmarit-SL 70–200 f/2.8 ASPH. is designed to excel in various scenarios—from events to sports to nature photography. Its high aperture ratio – constant across the entire zoom range – combined with superb image stabilization ensures that you're always ready to tackle any photographic challenge.

Inside the lens, you'll find 20 elements in 15 groups, including three with aspherical surfaces. This design is said to guarantee razor-sharp images, even at the edges, no matter the focal length. Plus, with internal focusing, the lens maintains its compact form, making it comfortable and easy to handle at any distance.

The Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH. is available now, priced at $3,295 /  £2,780. The Leica Extender L 2.0x is also available, priced at $995 / £800. 

Check out our guide to the best Leica SL lenses

Sigma has launched a new full-frame standard zoom lens with a constant f/2.8 aperture. But where most f/2.8 standard zooms have a 24-70mm focal length, the new Sigma ups the ante by offering a 28-105mm focal range.

The Sigma 28-105mm F2.8 DG DN | Art has been designed for a wide range of subjects, from landscapes to all forms of portraiture, and even close-up shots, thanks to a 40cm minimum focus distance available throughout the focal range. That large maximum aperture also means low light needn't be an issue, and Sigma is claiming the 12-blade rounded diaphragm produces "beautiful" bokeh.

Read more:
The best standard zoom lenses
The best Sony lenses
The best L-mount lenses

Inside is an 18-element optical stack incorporating two FLD (“F” Low Dispersion), one SLD (Special Low Dispersion) and a whopping five aspherical elements. Sigma also states that one aspherical element is an especially large 66.4mm diameter and is therefore very difficult to produce, requiring advanced manufacturing techniques in Sigma's facility in Aizu, Japan. Nano Porous Coating and Super Multi-Layer Coating are applied to minimize flare and ghosting, and the lens is said to have been designed using advanced simulation technology to further reduce flare and ghosting.

This isn't the first time we've seen a constant f/2.8 standard zoom lens that goes longer than 70mm. Canon's RF 24-105mm F2.8L IS USM Z manages a similar feat, but the new Sigma is significantly smaller and lighter. Where the big Canon measures 88.5 x 199mm and weighs a hefty 1,430g, the Sigma is just 87.8 x 157.9mm, and around a third lighter at 995g. This weight reduction is thanks to the use of magnesium-alloy rather than aluminium for the lens barrel, which is responsible for a two-third reduction in barrel weight, while still maintaining good rigidity. Despite the weight-saving, the lens is fitted with weather seals, making it dust and splash-resistant, while the front element features a water- and oil-repellent coating. In addition to improving image quality, those five aspherical elements also help reduce the overall length of the lens without compromising optical sharpness.

Like its Canon 24-105mm counterpart, the Sigma 28-105mm F2.8 DG DN | Art is designed for both stills and video use. It incorporates an HLA (High-response Linear Actuator) autofocus motor for fast, responsive, precise and smooth AF, along with "noise-free" performance when shooting video. Also aiding video use is a dedicated aperture ring, equipped with a de-click switch, as well as a locking switch to prevent unintentional aperture adjustment. The zoom ring can also be locked, and released either by switch or by rotating the zoom ring.

The SIGMA 28-105mm F2.8 DG DN | Art will be available from September 26 , in Sony E-mount and L-Mount variants, priced at $1,499/£1,399.

Pre-order E-mount version from B&H
Pre-order L-mount version from B&H

Sigma's second lens for the Canon RF mount is here, and it's one that APS-C shooters have been patiently waiting for: the Sigma 10-18mm f/2.8 DC DN | Contemporary. 

Announced back in October for Sony E, Fujifilm X and L-Mount, the 10-18mm f/2.8 is "the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras" – and is the perfect complement to Sigma's first Canon RF lens, the Sigma 18-50mm f/2.8 DC DN Contemporary.

With an equivalent focal range of 16-28.8mm in full frame terms, and a constant f/2.8 aperture throughout the zoom range, the lens fills a much-needed gap for Canon EOS R7, R10, R50 and R100 owners, essentially providing a wide-angle trinity pro lens for APS-C cameras. 

The lens retains the same core technical specs as seen on the other mounts, with 13 elements in 10 groups, 7 aperture blades, a minimum focus distance of 11.6cm at the wide end and 19.1cm at the telephoto, weather sealing, a filter thread of 67mm and a length of just 62mm. 

It is, however, slightly heavier at 270g (rather than 260g on other mounts), and has a slightly different angle of view range of 106.6° - 73.4°.

While the components may be the same, Sigma has customized the software to meet Canon's autofocus and speed performance.

"A control algorithm including AF drive and communication speed optimization has been developed specifically for Canon RF Mount interchangeable lenses," says Sigma. 

"In addition to realizing high-speed AF, the lens also supports Servo AF and in-camera aberration correction" on cameras that feature the latter function.

The Sigma 10-18mm f/2.8 DC DN | Contemporary for Canon RF goes on sale September 26 with a retail price of $659/£649 (Australian pricing to be confirmed). 

You might be interested in the best Canon RF lenses, along with the best wide-angle lenses and the best Canon wide-angle zoom lenses.

DJI is one of the most renowned drone manufacturers in the photography and video industry, developing camera drones for beginners, drones for travel, and FPV drones. It also, however, produces a top-tier professional cinematography drone in the form of its Inspire 3, and it has just received an exciting new lens.

As a DL lens it is not only compatible with the Inspire 3 but also the Ronin 4D and other drones with the DL mount, including some in the Matrice series depending on the accessories fitted.

The DJI DL 75mm f/1.8 lens is a new medium telephoto lens that provides the longest focal length and widest aperture out of all existing DL lens options. The lens was custom-designed specially for the Inspire 3 cinema drone's Zenmuse X9-Air gimbal camera, providing optimal image quality and versatility.

The DJI DL lens series was officially launched last year enabling the use of full-frame DJI lenses on DJI drones. The addition of the 75mm now means that the range covers ultra-wide, wide, standard, and medium telephoto focal lengths, providing more shooting options for cinematographers.

DJI Creative Director Ferdinand Wolf states, "With the new DJI DL 75mm lens, we continue to bring innovation to the filmmaking industry by pushing aerial and handheld cinematography to new heights. As a leader in civil drone and creative camera technology, we aim to provide creators with the professional tools they need to unlock their creative potential and bring their visions to life."

The DJI DL 75mm f/1.8 lens is constructed of 10 elements in 9 groups including three extra-low dispersion lenses providing what DJI states as 'outstanding optical quality.' UMC coating further minimizes internal reflections to deliver higher contrast and clearer images, which is vital when shooting in any case, but especially for drones.

The wide f/1.8 aperture enables users to capture smooth rich details and beautiful bokeh/fall-off, during the day and into the evening. Combined with the Inspire 3's dual ISO of 800 and 4000, shooting in low light needn't be an issue and the sample footage provides proof of this.

The lighter the lens you attach to your drone the more flexibility and maneuverability you have. The 75mm is optimized for aerial cinematography, constructed with an integrated carbon fiber housing, and weighs just 269 grams.

Alongside the announcment, DJI released a video showing sample footage, and it is breathtaking, especially the lowlight performance of capturing the city skyline at night – check it out above or over on the DJI YouTube channel.

The DJI DL 75 mm f/1.8 Lens is available to order today from DJI for $1,299 / £1,295 / AU$2,259 and includes the lens, lens protective glass, lens counterweight ring, pitch axis counterweight block, yaw axis counterweight block, storage box, screwdriver, and screws.

You may also be interested in our guides to the best camera drones, the best drones for beginners, and the best drones for kids.

In late August Sony released its second-generation 85mm f/1.4 G-Master lens: the FE 85mm F1.4 GM II. Coming a whole eight years after the release of the original 85mm f/1.4 GM, we were expecting a lot from the new lens, and we weren't disappointed. Compared to the original, the new lens proved sharper throughout its aperture range, while delivering better bokeh quality and faster autofocus. We also appreciated the inclusion of extra handling features, as well as the slightly reduced overall weight.

Sony FE 85mm F1.4 GM II full review

But while the Sony FE 85mm F1.4 GM II is undoubtedly a great portrait prime (and it should be, for the price you'll have to pay for one), how does it compare to the competition? After all, Canon, Nikon and Sigma each offer fast, high-quality 85mm primes, while the Sigma 85mm F1.4 DG DN Art does so at a much lower price point. Here we'll compare the Sony FE 85mm F1.4 GM II to the aforementioned Sony-fit Sigma 85mm, as well as the Canon RF 85mm f/1.2L USM DS and Nikon Z 85mm f/1.2 S (these are the closest rival lenses to the Sony, as neither Canon nor Nikon produces f/1.4 mirrorless 85mm lenses).

When judged on our lens lab test metrics: image sharpness, severity of chromatic aberration, and lens distortion, which manufacturer produces the best 85mm fast prime? Let's find out...

Image sharpness

In terms of outright sharpness in the center of the image frame, the Nikon reigns supreme, though the new Sony G-Master lens isn't far behind. The Canon and Sigma lenses both deliver respectable center sharpness, but they're noticeably softer than the Nikon, and to some extent, the Sony. Though the Canon and Sigma can't match the outright sharpness of the other lenses, they are do at least provide very consistent sharpness at all apertures.

However, the Nikon Z 85mm f/1.2 S has clearly been optimized for maximum center sharpness, and this comes at the expense of corner sharpness. It's far softer in the corners than the Sony and Canon lenses, especially at larger apertures (though it could easily be argued that a lack of corner sharpness isn't a deal-breaker for a lens that'll likely be used for portraiture, where the corners of an image will almost always be out of focus anyway).

The Sony FE 85mm F1.4 GM II comes out on top for corner sharpness, albeit by a narrow margin. It's worth noting that we tested the Sigma lens using a relatively old 24.3MP Sony a7 (mark 1), whereas the Nikon and Sony lenses were tested with a 45.7MP Z7 II and a 42.4MP a7R III, respectively. While a higher-resolution body may extract more sharpness out of the Sigma lens, we tested the Canon 85mm f/1.2 using an original EOS R body, and its 30.3MP sensor didn't stop the Canon lens massively outperforming the Nikon 85mm in terms of corner sharpness, despite the Nikon being tested on a 45.7MP body.

Chromatic aberration

As for chromatic aberration (purple fringing visible on sharp boundaries between very dark and very light elements of an image), all four lenses score well, keeping fringing below a level that'd be easily noticeable to the naked eye. The Sigma lens is the best performer here, and is so at all apertures, but the Canon and Sony lenses aren't far behind. The Nikon is statistically worst, but the results are close enough to the competition for any difference to go unnoticed in real-world shooting.

Distortion

We'd expect 85mm lenses to be relatively neutral when it comes to distortion, and this is the case for the Sony, Canon and Nikon lenses. Only the Sigma lens generates noticeable distortion, in this case of the pincushion variety.

Verdict

Of course, there are far more factors in determining a great lens than just the image quality metrics we lab test. Other image quality attributes like contrast and bokeh should be considered, as should autofocus and stabilization performance, along with overall build quality. But even with all these factors in mind, as well as its excellent performance across all of our lab tests, the Sony lens is still hard to beat.

The Canon and Nikon f/1.2 lenses are better in some areas and worse in others, but crucially they're also far more expensive to buy. Even if you ignore their extra cost, apart from being marginally faster, neither is convincingly better than the Sony lens. 

The Sigma 85mm F1.4 DG DN Art is significantly cheaper than the Sony, and this does justify it performing less well in our lab tests. For many it'll be the smart, value-focussed buy. But if you can splash the extra cash, you'll be rewarded with superior image quality from the Sony lens, as well as cutting-edge features and technology. It all comes together to make the Sony FE 85mm F1.4 GM II the best full-frame 85mm lens on the market right now.

Viltrox is working on new super-slim lens to add its fast-growing range of autofocus primes. The new Viltrox AF 28mm f/4.5 VCM ASPH ED pancake lens will be set to launch as a crowdfunded project - with a new name that the Chinese company has yet to decide upon.

As is the beauty of the best pancake lenses, the key attraction of the 28mm f/4.5 will be its diminutive size. It will weight just 60g - that's a mere 2.1 ounces - and will be only 15.3mm deep (0.6 inches).

The lens is being produced to fit Sony full-frame mirrorless cameras - but can also be used on E-mount APS-C models too, where the effective focal length becomes 42mm.

The f/4.5 maximum aperture is particularly slow for a wide-angle prime - but the lens will appeal for those who want a lightweight option for street photography.

The lens is constructed from six non-grouped elements including two ED lenses, two aspherical lenses, with HD nano multilayer coating and a front lens waterproof anti-fouling coating.

The minimum focus of the lens is 0.32m (12.6in) - and the autofocus system uses a VCM voice-coil motor.

Unusually, the lens boasts a built-in lens cover and doesn't have a front filter ring.

The price and the launch date for the new 28mm f/4.5 lens have yet to be announced.

See our reviews of current Viltrox lenses

• Viltrox AF 13mm F1.4 review
• Viltrox AF 16mm F1.8 review
• Viltrox AF 20mm F2.8 review
• Viltrox AF 23mm F1.4 Z review
• Viltrox AF 27mm F1.2 Pro review
• Viltrox AF 33mm F1.4 review
• Viltrox AF 40mm F2.5 review
• Viltrox AF 56mm F1.4 review
• Viltrox AF 56mm F1.7 review

Photographers, like any other artists, are influenced by a range of different factors and creativity is an important aspect of photography just as it is in any other form of art. 

“Music has played an integral part in my work and within my social media presence; to heighten the emotional narrative and connection of my work,” Josh says. “Therefore, it seemed appropriate to capture an image ahead of the world-famous Glastonbury Festival.

“This frame captures the iconic Pyramid Stage against the backdrop of the Orion constellation, bringing together photography, astronomy and music. This self-portrait image mimics the stars that have been before – the likes of David Bowie, Dolly Parton and Sir Elton John.” In this narrative, Josh captures the king of the stars; Orion taking center stage.

The image has been featured on the BBC and various news channels ahead of this year’s Glastonbury festival. Josh dedicates the shot to two of his music idols, Kate Bush and Grace Jones.

Josh’s main gear

Sony A7s III 

Sony has set a high standard for low-light capabilities among mirrorless cameras, enabling the capture of real-time footage and improved signal-to-noise ratio capabilities. “This range of cameras, combined with fast-shooting, wide-angle lenses, is ideal for a power-house setup,” says Josh. “A greater aperture and low-light sensitivity make it possible to reduce the SNR within low-level environments, providing excellent clarity for landscape astrophotography.”

Sigma 15mm f/1.4 Diagonal Fisheye 

In his astrophotography, Josh is fortunate to be testing out the latest lenses on the market, including the Diagonal Fisheye lens from Sigma. “Sigma lenses are revolutionizing the astrophotography market,” he says. “They are the first lenses of their kind to capture wide-angle images with an impressive aperture capability of f/1.4.”

Canon EOS R5 and Canon 200-800mm f/6.3-9 IS USM

Canon’s latest cameras and telephoto lenses are changing the game for astrophotography, especially for solar and lunar targets, as they are perfect for alignment photography. “The R Series from Canon provides a greater megapixel count alongside greater focal lengths, making a superb combination for capturing celestial events,” Josh says. “This could include transits, eclipses and comets, among others.”

Benro Tortoise 24CLV P

Benro leads the market for versatile, affordable, yet durable tripod designs. “I’ve tested a number of different tripods but my preference is Benro’s Tortoise 24CLV,” Josh says. “It is constructed from carbon fiber, but not only is it immensely lightweight, it is durable and more suitable for use in colder environments.”

Viltrox has just told us that a Sony E-mount version of its Viltrox AF 40mm f/2.5 lens is now available. The budget-priced autofocus prime was first launched in the Nikon Z mirrorless mount earlier in the year.

Weighing just 180g (6.3oz), the lens is suitable for both full-frame Sony cameras - with the effective focal length becoming 60mm when used on an APS-C model.

The big appeal of this new lens (as with the Nikon version) is the budget price - with the Sony version now on sale for $168 / £165.

With an f/2.5 maximum aperture, it is not quite as fast as some rival primes with this 'standard' focal length - but the affordability makes it a useful addition to a camera bag full of slower zooms.

The lens is constructed from 10 elements in six groups, including one ED lens, three high refractive (HR) index lenses, and one aspherical lens. The front element has a nano multi-layered coating designed repel water, grease, and grime. The new Viltox has seven aperture blades, a 52mm filter thread, and a minimum focus distance of 0.34cm (1.1ft).

See our reviews of current Viltrox lenses

• Viltrox AF 13mm F1.4 review
• Viltrox AF 16mm F1.8 review
• Viltrox AF 20mm F2.8 review
• Viltrox AF 23mm F1.4 Z review
• Viltrox AF 27mm F1.2 Pro review
• Viltrox AF 33mm F1.4 review
• Viltrox AF 40mm F2.5 review
• Viltrox AF 56mm F1.4 review
• Viltrox AF 56mm F1.7 review

Fujifilm’s camera history has been kind of like a game of two halves. It made its name with compact retro-styled X-T, X-E, and X-Pro cameras with compact bodies and external exposure controls. These came with a range of compact f/2 prime lenses designed for compactness and affordability, including an 18mm f/2, 23mm f/2, 35mm f/2, and 50mm f/2. This XF16mm F2.8 came along a little later to provide a 24mm equivalent prime no larger than the rest, and yet with a physical aperture ring and weather sealing.

These are among the best Fujifilm lenses, certainly for travel photography and fans of old-school external exposure controls.

Since then, though, Fujifilm has shifted gears, aiming for a more mainstream enthusiast/hybrid market with the X-S10 and X-S20, and higher-end professional users, with the Fujifilm X-H2 and X-H2s. These are among the best Fujifilm cameras to buy today but have lost some of the uniqueness of earlier models.

The X-T series carries on with the Fujifilm X-T5 and X-T50, but the X-E and X-Pro range appear to have gone. Along with this has been a shift towards larger, professional zooms and fast f1/4 primes which appeal to a wider market but don’t sit so well on the smaller cameras.

The XF16mm F2.8, however, will still have strong appeal for owners of smaller or more modest Fujifilm bodies. Its maximum aperture may be modest, but it’s compact, inexpensive, and practical – and it could fill a gap in many users’ prime lens line-up.

Fujinon XF 16mm F2.8: Specifications

Fujinon XF 16mm F2.8: Price and availability

The Fujinon XF16mm F2.8 is widely available and costs around $399 / £339. Fujifilm also makes an XF16mm F1.4 R WR which is quite tempting, because it has a maximum aperture 2 stops faster – though it does cost almost three times as much. The other alternative is the much newer Fujinon XF18mm F1.4 R LM WR, but that has a slightly longer equivalent focal length of 27mm, and as well as being a lot more expensive, it’s physically larger and longer too. If you’re happy with an f/2.8 maximum aperture, the little XF16mm F2.8 is terrific value for money.

Fujinon XF16mm F2.8: Design and handling

The XF16mm F2.8 is pretty cheap by prime lens standards, especially for one that has a physical aperture ring and weather-sealed construction. It feels very well made indeed, with a metal mounting plate (of course) and a petal-shaped lens hood included.

Everything about this lens feels well-designed. The aperture ring is clearly marked and is beautifully weighted with 1/3-stop clicks between the major aperture markings and an A (auto) setting past f/22, where the lens aperture is controlled by the camera body.

The manual focus ring feels really smooth and is mounted ahead of the aperture ring where the lens barrel tapers in slightly. This means there’s no danger of mistaking one ring for the other and you can find both easily by touch.

However, there’s no focus distance scale on this lens, and hence no depth of field markings for zone or hyperfocal distances. These can be displayed on the camera, though, so it’s still perfectly doable.

Beyond that, there’s not much more to say. This is a simple, solid-feeling little lens that gets on with the job without any fuss or distractions. It also looks good and balances well on any Fujifilm bodies.

Fujinon XF16mm F2.8: Performance

Optically, the XF16mm F2.8 is good but not stellar. Fujifilm’s in-body corrections and embedded profiles effectively remove chromatic aberration, vignetting, and distortion, but while the edge-to-edge performance is good on older Fujifilm bodies, the 40MP sensor in my X-T5 does make the fall-off in resolution towards the edges of the frame more apparent.

This is the curse of high-resolution sensors. All those megapixels can turn anyone into a pixel-peeper, and it’s only human nature to zoom right in to see how much detail you’ve captured. Provided you don’t zoom in too far – say 100% on a 4K monitor – the images from this lens look great. Zoom in further to 200%, say, and you’ll see that while the center resolution is excellent, it does fall away somewhat toward the edges.

Will this bother you? On a 26MP, 24MP, or older 16MP Fujifilm camera, I doubt it. It’s only with the latest 40MP sensors it starts to become apparent. That’s a bit of a shame because the little XF16mm 2.8 is such a wonderful match for an X-T5 body, and especially the new X-T50.

The autofocus performance is excellent. Fujifilm’s smaller lenses don’t get the company’s high-speed Linear Motor actuators but it doesn’t seem to matter here. The XF16mm F2.8 is whisper quiet and focuses in an instant.

Fujinon XF16mm F2.8: Sample images

Here’s a selection of shots taken with the XF16mm F2.8. It’s an ideal walkaround lens for city streets and architecture, and landscapes too. The modest F2.8 maximum aperture only becomes a limitation in dimly-lit interiors, but if you’re using a later Fujifilm body with IBIS, you can get around that with slower shutter speeds.

Fujinon XF16mm F2.8: Verdict

The Fujinon 16mm F2.8 is a super little lens that’s really well made and nice to handle. The controls and finish are so good that it feels as if it ought to cost a lot more than it actually does. What keeps the cost and the size down is that maximum aperture of f/2.8, which isn’t much in a world where 24mm equivalent primes are typically f/1.8 or f/1.4. But if that’s the price of compactness and affordability then I’m happy to pay for it. (I actually did pay for it – I own this lens.)

Ideally I would like it to be a little sharper at the edges than it is when I use it on my X-T5, but that’s an issue raised by this camera’s unprecedented resolution. It is proving quite difficult to find affordable X-mount lenses that can live up to this sensor’s potential.

I don’t want to overstate this, though. You have to be a bit of a pixel peeper to notice in the first place, and if you’re using a 26MP body or lower, then it’s pretty much a no-issue.

I say that because it would be a real shame if this lens was overlooked because it’s not perfect. It’s small, affordable, practical and beautifully made.

Fujinon XF16mm F2.8: Alternatives

The original Sony FE 85mm f/1.4 GM is unquestionably a Sony lens classic, originally launched in 2016 as one of the first of three G-Master lenses, it proved that Sony could make lenses for its new mirrorless cameras that rivaled the best DSLR lenses for optical quality. 

Over the years as lens technology has evolved the original 85mm G-Master is starting to show its age, with slow autofocus, prominent chromatic aberrations, and a large size that doesn’t perfectly balance with smaller bodies. So, Sony has gone back to the drawing board to design a more compact and lightweight 85mm lens that solves the previous version’s optical flaws – and has come back with the Sony FE 85mm f/1.4 GM II.

With 14 elements in 11 groups, including x2 XA and x2 ED elements, as well as a Nanon AR II coating on the front of the lens, Sony is promising this second-generation’s refined optics will produce significantly less color fringing and improved chromatic aberrations. Sony demonstrated some images taken with both generations of the lens, and this definitely looks to be improved, as well as the lens being clearly sharper than the Mark I version. However, we will have to test this ourselves in our review. 

The 11-blade aperture should make for a nice rounded bokeh, with the classic 85mm portrait focal length being a favorite of many for creamy background falloff. Sony has brought all its lens technology to bear here, claiming its XA elements are manufactured to a 0.01-micron surface precision to remove any onion ring effects in the bokeh.

According to Sony’s calculations, the lens should be three times faster during autofocus (AF-S) than the previous version, with two XD linear motors driving the internal autofocus. This should allegedly make for a seven-fold improvement in subject tracking speed, with 120fps tracking supported. The lens has also been engineered to suppress focus breathing and will work alongside the focus breathing compensation in Sony’s latest cameras.

The Mark II version of the lens has shrunk down, measuring 84.7x107cm, versus the 89.5 x 107.5 mm of the original lens, and is also much lighter, weighing in at 642g versus 820g for the Mark I. The lens features two focus hold buttons, a manual focus ring, a de-clickable aperture/iris ring, and an iris lock switch.

The Sony FE 85mm f/1.4 GM II will be available at the beginning of September 2024 for a launch price of $1,799 / £1,850, with AU pricing to be confirmed. This is a jump from the $1,699 / £1,499 price of the original, although 8 years is a long time, so this price hike isn’t completely unexpected.

For more on all things Sony – check out our guides to the best Sony camera and the best Sony lenses.

The Beijing International Radio, TV & Film Equipment Exhibition (BIRTV) is one of the most significant events dedicated to the broadcasting, film, and TV industries in Asia. Laowa was among the brands showcasing new equipment including many exciting new cine lenses, including macro, anamorphic, and tilt-shift options!

Laowa has been releasing some incredible cine lens options of late, and much like its range of photography lenses, covers just about every shooting scenario imaginable. At this year's BIRTV not less than 6 cine lens ranges were on display, including some exciting new offerings.

According to Asobinet, Laowa's new, and to the best of my knowledge first, Ultima 12-120mm 10X S35 Broadcast lens was on show, and although not much is known about the release of the lens, there are a few features that look to impress.

Laowa states that the 10X zoom range lens offers an 'excellent optical design' with 28 lenses in 20 groups, and is ideal for 8K broadcast cameras, especially as it is Equipped with a server and can be connected to a channel system.

Also showcased was the 'soon-to-be-released' Laowa Sword series of full-frame macro cine lenses. The series will feature 6 lenses covering a focal range of 15mm to 180mm, with a maximum magnification of 1X to 2X.

Multiple ED lenses are included to suppress chromatic aberration and a large aperture of T2.9 enables 'excellent' low light performance. Again, there is no further information regarding when these lenses might be available, but I expect later this year.

Laowa is renowned for creating unique lenses, and it certainly maintains this mantle by providing a look at its upcoming tilt-shift cinema lenses. Tilt-shift lenses are of course very common in photography, however, I can't recall any cine-specific tilt-shift lenses.

Potentially still in production, all we know about these two lenses is the focal lengths of 15mm and 20mm, which have a T4.8 and T4.1 aperture respectively. Laowa does state that they will both have a 'unique tilt-shift function that achieves a tilt-shift of ±11mm'.

Ultra-wide prime cinema lenses, 1.5X Anamorphic Macro Cinema lenses, and the Laowa Ranger 16-30mm T2.9 FF were also on display, a statement from Laoea that it means business.

In addition to creating unique lenses, Laowa produces fantastic optical-designed glass at more often than not a competitive price point. As these new cine lenses are ready enough to show off at an event such as BIRTV, I can't imagine it will be too long before we see them released.

You may also be interested in our guides to the best cine lenses, the best cinema cameras, and the best tilt-sift lenses.