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  1. <?xml version="1.0" encoding="utf-8"?><rss xmlns:a10="http://www.w3.org/2005/Atom" version="2.0"><channel xmlns:media="http://search.yahoo.com/mrss/" xmlns:content="http://purl.org/rss/1.0/modules/content/"><title>Articles: Digital Photography Review (dpreview.com)</title><link>https://www.dpreview.com/</link><description>All articles from Digital Photography Review</description><language>en-us</language><copyright>Copyright (c) 1998-2025 Digital Photograph Review</copyright><lastBuildDate>Thu, 06 Nov 2025 06:00:00 Z</lastBuildDate><image><url>https://www.dpreview.com/resources/images/logo-site-footer-light.png</url><title>Articles: Digital Photography Review (dpreview.com)</title><link>https://www.dpreview.com/</link></image><item><guid isPermaLink="true">https://www.dpreview.com/reviews/canon-eos-r6-iii-initial-review</guid><link>https://www.dpreview.com/reviews/canon-eos-r6-iii-initial-review</link><title>Canon EOS R6 III review-in-progress</title><description>&lt;div style="font-size: 12px; color: #888;"&gt;When you use DPReview links to buy products, the site may earn a commission.&lt;/div&gt;&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2. &lt;tbody&gt;
  3. &lt;tr&gt;
  4. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/sample-galleries/8588855420/canon-eos-r6-iii-product-photos" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii red background" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eos_r6iii_red_background.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_red_background.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eos_r6iii_red_background.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  5. &lt;/tr&gt;
  6. &lt;/tbody&gt;
  7. &lt;/table&gt;
  8. &lt;div&gt;&lt;div class="reviewWidgetPlaceholder"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Please open this article&amp;#39;s permalink in a browser to view this content.&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;
  9. &lt;div&gt;&lt;em&gt;Product Photos: Mitchell Clark&lt;/em&gt;&lt;/div&gt;
  10. &lt;p&gt;The Canon EOS R6 III is an enthusiast-class camera with a new 32MP full-frame CMOS sensor, aimed at photographers and videographers who need high burst rates and fast readout speeds.&lt;/p&gt;
  11. &lt;h3&gt;Key specifications&lt;/h3&gt;
  12. &lt;ul&gt;
  13. &lt;li&gt;32MP full-frame CMOS sensor&lt;/li&gt;
  14. &lt;li&gt;Built-in image stabilization rated to 8.5EV&lt;/li&gt;
  15. &lt;li&gt;40fps burst rate w/ pre-capture&lt;/li&gt;
  16. &lt;li&gt;3.0", 1.62M dot fully-articulating screen&lt;/li&gt;
  17. &lt;li&gt;7K recording up to 60p (Canon Cinema Raw Lite)&lt;/li&gt;
  18. &lt;li&gt;Oversampled 4K &amp;lt;60p, 4K 120p&lt;/li&gt;
  19. &lt;li&gt;3:2 Open Gate recording up to 30p&lt;/li&gt;
  20. &lt;/ul&gt;
  21. &lt;p&gt;The Canon EOS R6 III will be available from late November at a recommended price of $2799, a $300 premium over the Mark II's launch price. The EOS R6 II will formally drop to a $2299 price point. There'll also be a variant costing $100 more, designed to work with the professional stop-motion software, Dragonframe.&lt;/p&gt;
  22. &lt;p&gt;The EOS R6 III will be available as a kit with the RF 24-105mm F4-7.1 IS STM for around $3150 and with the RF 24-105mm F4.0 L IS USM for $4050.&lt;/p&gt;
  23. &lt;hr&gt;
  24. &lt;h3 class="newsLink" id="index"&gt;Index:&lt;/h3&gt;
  25. &lt;ul style="columns: 2; -webkit-columns: 2; -moz-columns: 2;"&gt;
  26. &lt;li class="newsLink"&gt;&lt;strong&gt;&lt;a href="https://www.dpreview.com/#WN"&gt;What's new?&lt;/a&gt;&lt;/strong&gt;&lt;/li&gt;
  27. &lt;li class="newsLink"&gt;&lt;strong&gt;&lt;a href="https://www.dpreview.com/#WI"&gt;What is it?&lt;/a&gt;&lt;/strong&gt;&lt;/li&gt;
  28. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#HC"&gt;&lt;strong&gt;In Context&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  29. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#BH"&gt;&lt;strong&gt;Body and handling&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  30. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#VT"&gt;&lt;strong&gt;Video&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  31. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#II"&gt;&lt;strong&gt;Initial Impressions&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  32. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#SG"&gt;&lt;strong&gt;Sample gallery&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  33. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/reviews/6602693486/2"&gt;&lt;strong&gt;Press release&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  34. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/reviews/6602693486/3"&gt;&lt;strong&gt;Specifications&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  35. &lt;/ul&gt;
  36. &lt;div class="buybuttons"&gt;&lt;hr&gt;&lt;/hr&gt;&lt;p class="header-text"&gt;Buy now:&lt;/p&gt;&lt;div class="buttons-wrapper"&gt;&lt;a href="https://www.amazon.ca/dp/B0BL7X3KLV?tag=gpsmed-1-20&amp;amp;linkCode=osi&amp;amp;th=1&amp;amp;psc=1" class="article-buybutton" target="_blank" rel="nofollow"&gt;&lt;span class="mdc-button text-button mdc-button--raised"&gt;&lt;div class="mdc-button__ripple"&gt;&lt;/div&gt;&lt;span class="mdc-button__label"&gt;$3399  at Amazon.com&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/div&gt;&lt;hr&gt;&lt;/hr&gt;&lt;/div&gt;
  37. &lt;h2 id="WN" style="margin-top: 8%;"&gt;What's new?&lt;/h2&gt;
  38. &lt;h3&gt;New sensor&lt;/h3&gt;
  39. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  40. &lt;tbody&gt;
  41. &lt;tr&gt;
  42. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_front_view_sensor.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii front view sensor" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eos_r6iii_front_view_sensor.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_front_view_sensor.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eos_r6iii_front_view_sensor.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  43. &lt;/tr&gt;
  44. &lt;/tbody&gt;
  45. &lt;/table&gt;
  46. &lt;p&gt;The 33MP FSI CMOS sensor at the heart of the EOS R6 III is a new one for Canon's hybrid mirrorless lineup, having only appeared recently in the &lt;a href="https://www.dpreview.com/news/0631874757/canon-eos-c50-cinema-camera-announcement" rel="noopener" target="_blank"&gt;cinema-focused EOS C50&lt;/a&gt;. Canon isn't claiming any particular technological leaps with this sensor, but our initial testing shows that it has even faster readout speeds than the lower-resolution chip found in the EOS R6 II. As usual for Canon, it has a dual pixel design with two sub-pixels at each location, one capturing the left half of the image, the other capturing the right, allowing the entire sensor to be used for phase detection AF.&lt;/p&gt;
  47. &lt;p&gt;The faster readout speeds, paired with changes to the card slot and processor (Canon says it's the same generation, but has some improvements) allow for big improvements to video capture. The stabilization system has also gotten a bit of a bump, going from 8EV to 8.5EV.&lt;/p&gt;
  48. &lt;h3&gt;Updated ports&lt;/h3&gt;
  49. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  50. &lt;tbody&gt;
  51. &lt;tr&gt;
  52. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_ports.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii ports" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://4.img-dpreview.com/files/p/E~TC4x3S590x0~articles/6602693486/product-shots/canon_eos_r6iii_ports.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_ports.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/6602693486/product-shots/canon_eos_r6iii_ports.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  53. &lt;/tr&gt;
  54. &lt;/tbody&gt;
  55. &lt;/table&gt;
  56. &lt;p&gt;The EOS R6 III replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one. While you can still use most of the camera's features with an SD card, you will need to use the faster, larger and more expensive storage to record Raw video.&lt;/p&gt;
  57. &lt;p&gt;Speaking of video, the EOS R6 II's microHDMI port is no more on the EOS R6 III. In its place is a full-size one, which is much more appropriate on a camera destined to be many people's workhorse.&lt;/p&gt;
  58. &lt;h3&gt;Better burst&lt;/h3&gt;
  59. &lt;p&gt;Despite having the same rates, the EOS R6 III improves on its predecessor's burst rates, no longer requiring a special Raw Burst mode to enable pre-burst capture. Instead, there's now a pre-continuous shooting option that you can simply enable when in the H+ drive mode. Canon says this is largely thanks to that CFexpress card slot and its faster write speeds.&lt;/p&gt;
  60. &lt;p&gt;Raw Burst mode is no longer on the camera, though it's hard to be sad about that. While there were benefits to Raw Burst mode, such as it displaying bursts as a single thumbnail in the playback menu, it was overall a relatively clunky experience. To edit the photos you took outside of Canon's own software, you had to select the individual frames you want, and save them as a standard .CR3 Raw files, JPEGs, HEIFs or combinations thereof. That extra step is no longer necessary.&lt;/p&gt;
  61. &lt;h3&gt;Raw, 7K and open-gate video&lt;/h3&gt;
  62. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  63. &lt;tbody&gt;
  64. &lt;tr&gt;
  65. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_mode_dial.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii mode dial" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eos_r6iii_mode_dial.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_mode_dial.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eos_r6iii_mode_dial.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  66. &lt;/tr&gt;
  67. &lt;/tbody&gt;
  68. &lt;/table&gt;
  69. &lt;p&gt;The Canon EOS R6 III gains the ability to record Raw video internally at up to 7K/60 in Canon's proprietary Canon Cinema Raw format. It can also now shoot 'open-gate' video at up to 7K/30, recording the entire area of the sensor to produce a 3:2 image that you can take vertical and landscape crops from.&lt;/p&gt;
  70. &lt;p&gt;The menus for selecting your recording mode have also been updated. The EOS R6 II presented you with an overwhelming list containing each possible combination of resolution, frame rate and compression settings, but the EOS R6 III thankfully lets you choose these all independently.&lt;/p&gt;
  71. &lt;p&gt;The EOS R6 III also now gains a dedicated red tally lamp, making it obvious to both you and your on-screen talent when you're recording.&lt;/p&gt;
  72. &lt;h3&gt;AF Upgrades&lt;/h3&gt;
  73. &lt;p&gt;Looking at the autofocus system, it seems largely the same as the one in the EOS R6 II, with subject recognition support for people, animals and vehicles, as well as an auto mode. However, Canon says the algorithms underpinning those modes have been updated to match the ones on cameras like the EOS R1 and EOS R5 II, making it even more reliable.&lt;/p&gt;
  74. &lt;p&gt;The EOS R6 III also gains the &lt;span style="font-weight: 400;"&gt;Register People Priority feature, where you can train it to recognize a specific person and principally focus on tracking them over other people that may be in the scene.&lt;/span&gt;&lt;/p&gt;
  75. &lt;p&gt;While the cameras theoretically have 'Digic X' processors, Canon says it's made intergenerational improvements to the chip that allow for some of the EOS R6 III's new features.&lt;/p&gt;
  76. &lt;hr&gt;
  77. &lt;h2 id="WI" style="margin-top: 8%;"&gt;What is it?&lt;/h2&gt;
  78. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  79. &lt;tbody&gt;
  80. &lt;tr&gt;
  81. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_three_quarter_view.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii three quarter view" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eos_r6iii_three_quarter_view.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_three_quarter_view.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eos_r6iii_three_quarter_view.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  82. &lt;/tr&gt;
  83. &lt;tr&gt;
  84. &lt;td class="caption" style="width: 590px;"&gt;The EOS R6 III is part of the class of "do anything" hybrid cameras.&lt;/td&gt;
  85. &lt;/tr&gt;
  86. &lt;/tbody&gt;
  87. &lt;/table&gt;
  88. &lt;p&gt;The EOS R6 III is Canon's enthusiast-tier full-frame camera, which means it's designed to excel at pretty much whatever you want to shoot with it. Like the rest of the cameras in this class (and its predecessor), it's capable enough for most kinds of photography, from landscape shooting to fast-paced action and sports, and comes equipped with the kinds of video features you would've had to buy a cinema camera to get just a few years ago. It also has weather sealing and dual card slots.&lt;/p&gt;
  89. &lt;p&gt;Of course, there are some things that separate it from the even higher-end Stacked sensor cameras like Canon's own EOS R5 II. It misses out on a bit of extra resolution and a few features that pros might want, such as the ability to control the focus point with your eye, in-camera 'AI' upscaling and Action Priority modes. &lt;a href="https://www.dpreview.com/interviews/0383076524/canon-cp-plus-2025-interview-go-tokura" rel="noopener" target="_blank"&gt;Canon says&lt;/a&gt; the latter two require a still-expensive co-processor that just wasn't in the budget for this camera, but it should still easily handle whatever tasks enthusiasts throw at it.&lt;/p&gt;
  90. &lt;p&gt;It can shoot at a 40fps burst rate for up to 150 seconds in Raw and JPEG, and supports pre-burst capture, which can help if you're just a bit too slow to the shutter. You no longer have to use the somewhat clunky Raw burst mode to access these features, like you did with the EOS R6 II.&lt;/p&gt;
  91. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="480"&gt;
  92. &lt;tbody&gt;
  93. &lt;tr&gt;
  94. &lt;td class="image" style="width: 480px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/screengrabs/Register_People_Priority_Menu.png" target="article-6602693486"&gt;&lt;img alt="Register People Priority Menu" border="0" data-thumbnail-height="0" data-thumbnail-width="480" height="320" src="https://3.img-dpreview.com/files/p/E~TS480x0~articles/6602693486/screengrabs/Register_People_Priority_Menu.png" width="480" data-filename="screengrabs/Register_People_Priority_Menu.png" srcset="https://2.img-dpreview.com/files/p/E~TS960x0~articles/6602693486/screengrabs/Register_People_Priority_Menu.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  95. &lt;/tr&gt;
  96. &lt;tr&gt;
  97. &lt;td class="caption" style="width: 480px;"&gt;The EOS R6 III's Register People Priority supports up to ten faces, and will prioritize them according to your set order.&lt;/td&gt;
  98. &lt;/tr&gt;
  99. &lt;/tbody&gt;
  100. &lt;/table&gt;
  101. &lt;p&gt;Canon has included its now-standard autofocus system, which has subject recognition for people, animals and vehicles, as well as an auto mode that searches for those within the scene. It also supports registering a specific person and having the camera prioritize them when choosing which subject to focus on.&lt;/p&gt;
  102. &lt;p&gt;It also supports HDR output, with its ability to produce 10-bit HEIF stills with the PQ tone curve, in place of JPEGs. While PQ isn't as broadly supported as the HLG curve used by other companies like Nikon and Panasonic, it can, at least, simultaneously record both HEIF and Raws, unlike Sony, which makes you choose between Raw capture and HDR output files. When shooting video, it can capture HDR video footage using either PQ or HLG. The latter is more widely supported when it comes to playback and is a new addition compared to the EOS R6 II.&lt;/p&gt;
  103. &lt;p&gt;Speaking of video, the EOS R6 III is well-equipped for motion pictures too. It supports internal Raw recording, a false color overlay to help you nail exposure and the &amp;gt;4K open gate capture gives you greater flexibility in post.&lt;/p&gt;
  104. &lt;hr&gt;
  105. &lt;h2 id="HC" style="margin-top: 8%;"&gt;The EOS R6 III in context&lt;/h2&gt;
  106. &lt;p&gt;The EOS R6 III is launching into a market segment with robust competition. Its predecessor was still quite a sensible option, so we've included it in the comparison, alongside the Nikon Z6III, which offers a similar combination of fast shooting, top-tier autofocus and incredible video specs. We're also comparing the Sony a7 IV, as its 33MP sensor makes it an obvious competitor, even if it can't match the speed of the other cameras on this list.&lt;/p&gt;
  107. &lt;div class="contentTable"&gt;
  108. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  109. &lt;tbody&gt;
  110. &lt;tr&gt;
  111. &lt;th width="20%"&gt; &lt;/th&gt;
  112. &lt;th width="20%"&gt;Canon EOS R6 III&lt;/th&gt;
  113. &lt;th width="20%"&gt;Canon EOS R6 II&lt;/th&gt;
  114. &lt;th width="20%"&gt;Nikon Z6III&lt;/th&gt;
  115. &lt;th width="20%"&gt;Sony a7 IV&lt;/th&gt;
  116. &lt;/tr&gt;
  117. &lt;tr&gt;
  118. &lt;th width="20%"&gt;MSRP (US / UK)&lt;/th&gt;
  119. &lt;td width="20%"&gt;$2800 / £2800&lt;/td&gt;
  120. &lt;td width="20%"&gt;$2300 / £2200&lt;/td&gt;
  121. &lt;td width="20%"&gt;$2700 / £2500&lt;/td&gt;
  122. &lt;td width="20%"&gt;$2700 / £2400&lt;/td&gt;
  123. &lt;/tr&gt;
  124. &lt;tr&gt;
  125. &lt;th width="20%"&gt;Sensor type&lt;/th&gt;
  126. &lt;td width="20%"&gt;Dual Pixel AF FSI CMOS&lt;/td&gt;
  127. &lt;td width="20%"&gt;Dual Pixel AF FSI CMOS&lt;/td&gt;
  128. &lt;td width="20%"&gt;'Partially stacked' CMOS&lt;/td&gt;
  129. &lt;td width="20%"&gt;BSI CMOS&lt;/td&gt;
  130. &lt;/tr&gt;
  131. &lt;tr&gt;
  132. &lt;th width="20%"&gt;Resolution&lt;/th&gt;
  133. &lt;td width="20%"&gt;33MP&lt;/td&gt;
  134. &lt;td width="20%"&gt;24MP&lt;/td&gt;
  135. &lt;td width="20%"&gt;24MP&lt;/td&gt;
  136. &lt;td width="20%"&gt;33MP&lt;/td&gt;
  137. &lt;/tr&gt;
  138. &lt;tr&gt;
  139. &lt;th width="20%"&gt;Maximum shooting rate&lt;/th&gt;
  140. &lt;td width="20%"&gt;12fps mech.&lt;br&gt;40fps e-shutter&lt;/td&gt;
  141. &lt;td width="20%"&gt;12fps mech.&lt;br&gt;40fps e-shutter&lt;/td&gt;
  142. &lt;td width="20%"&gt;14fps mech.&lt;br&gt;20fps e-shutter&lt;br&gt;60fps JPEG-only&lt;/td&gt;
  143. &lt;td class="low" width="20%"&gt;10fps lossy Raw&lt;/td&gt;
  144. &lt;/tr&gt;
  145. &lt;tr&gt;
  146. &lt;th width="20%"&gt;Pre-burst capture?&lt;/th&gt;
  147. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  148. &lt;td width="20%"&gt;Yes (Raw Burst mode)&lt;/td&gt;
  149. &lt;td width="20%"&gt;Yes (JPEG only)&lt;/td&gt;
  150. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  151. &lt;/tr&gt;
  152. &lt;tr&gt;
  153. &lt;th width="20%"&gt;Image stabilization&lt;/th&gt;
  154. &lt;td width="20%"&gt;8.5EV&lt;/td&gt;
  155. &lt;td width="20%"&gt;8EV&lt;/td&gt;
  156. &lt;td width="20%"&gt;8EV&lt;/td&gt;
  157. &lt;td class="low" width="20%"&gt;5.5EV&lt;/td&gt;
  158. &lt;/tr&gt;
  159. &lt;tr&gt;
  160. &lt;th width="20%"&gt;Stills rolling shutter rate (ms)&lt;/th&gt;
  161. &lt;td width="20%"&gt;∼13.5ms&lt;/td&gt;
  162. &lt;td width="20%"&gt;∼14.7ms (12-bit)&lt;/td&gt;
  163. &lt;td width="20%"&gt;∼14.6ms (14-bit)&lt;/td&gt;
  164. &lt;td class="low" width="20%"&gt;∼67.6ms (14-bit)&lt;/td&gt;
  165. &lt;/tr&gt;
  166. &lt;tr&gt;
  167. &lt;th width="20%"&gt;Flash sync speed&lt;/th&gt;
  168. &lt;td class="hi" width="20%"&gt;1/320 sec&lt;/td&gt;
  169. &lt;td width="20%"&gt;1/250 sec&lt;/td&gt;
  170. &lt;td width="20%"&gt;1/200 sec&lt;/td&gt;
  171. &lt;td width="20%"&gt;1/250 sec&lt;/td&gt;
  172. &lt;/tr&gt;
  173. &lt;tr&gt;
  174. &lt;th width="20%"&gt;AF subject detection&lt;/th&gt;
  175. &lt;td width="20%"&gt;Human&lt;br&gt;Animal (Dog / Cat / Bird / Horse)&lt;br&gt;Vehicle (car, motorcycle, plane, train)&lt;br&gt;Automatic&lt;/td&gt;
  176. &lt;td width="20%"&gt;Human&lt;br&gt;Animal (Dog / Cat / Bird / Horse)&lt;br&gt;Vehicle (car, motorcycle, plane, train)&lt;br&gt;Automatic&lt;/td&gt;
  177. &lt;td width="20%"&gt;Human&lt;br&gt;Dog/Cat&lt;br&gt;Bird&lt;br&gt;Plane&lt;br&gt;Car&lt;br&gt;Motorcycle / Bike&lt;br&gt;Train&lt;br&gt;Automatic&lt;/td&gt;
  178. &lt;td class="low" width="20%"&gt;Human &lt;br&gt;Animal&lt;br&gt;Bird&lt;/td&gt;
  179. &lt;/tr&gt;
  180. &lt;tr&gt;
  181. &lt;th width="20%"&gt;HDR still output&lt;/th&gt;
  182. &lt;td width="20%"&gt;PQ HEIF&lt;/td&gt;
  183. &lt;td width="20%"&gt;PQ HEIF&lt;/td&gt;
  184. &lt;td width="20%"&gt;HLG HEIF&lt;/td&gt;
  185. &lt;td class="low" width="20%"&gt;HLG HEIF (no Raw)&lt;/td&gt;
  186. &lt;/tr&gt;
  187. &lt;tr&gt;
  188. &lt;th width="20%"&gt;Video resolutions&lt;/th&gt;
  189. &lt;td class="hi" width="20%"&gt;7K DCI/60 (Raw)&lt;br&gt;7K/30 open-gate&lt;br&gt;4K/120 (full-width)&lt;br&gt;1080p/180 (full-width)&lt;/td&gt;
  190. &lt;td width="20%"&gt;
  191. &lt;p&gt;4K/60 (full-width, oversampled from 6K)&lt;br&gt;1080p/180 (full-width)&lt;/p&gt;
  192. &lt;/td&gt;
  193. &lt;td class="hi" width="20%"&gt;
  194. &lt;p&gt;6K/60 (Raw)&lt;br&gt;5.4K/60 (full-width)&lt;br&gt;UHD 4K/60 (full-width)&lt;br&gt;UHD 4K/120 (1.5x crop)&lt;/p&gt;
  195. &lt;/td&gt;
  196. &lt;td class="low" width="20%"&gt;
  197. &lt;p&gt;UHD 4K/30 (full-width)&lt;br&gt;UHD 4K/60 (1.5x crop)&lt;br&gt;&lt;br&gt;&lt;/p&gt;
  198. &lt;/td&gt;
  199. &lt;/tr&gt;
  200. &lt;tr&gt;
  201. &lt;th width="20%"&gt;Uncompressed video&lt;/th&gt;
  202. &lt;td width="20%"&gt;C-Raw&lt;/td&gt;
  203. &lt;td class="low" width="20%"&gt;6K over HDMI&lt;/td&gt;
  204. &lt;td width="20%"&gt;N-Raw&lt;br&gt;ProRes RAW&lt;/td&gt;
  205. &lt;td class="low" width="20%"&gt;Over HDMI&lt;/td&gt;
  206. &lt;/tr&gt;
  207. &lt;tr&gt;
  208. &lt;th width="20%"&gt;Video assist tools&lt;/th&gt;
  209. &lt;td width="20%"&gt;False color overlay&lt;br&gt;Waveform&lt;br&gt;Log view assists&lt;/td&gt;
  210. &lt;td width="20%"&gt;False color overlay&lt;br&gt;Log view assist&lt;/td&gt;
  211. &lt;td width="20%"&gt;Waveform&lt;br&gt;Log view assist&lt;br&gt;Shutter angle&lt;/td&gt;
  212. &lt;td width="20%"&gt;Log view assist&lt;/td&gt;
  213. &lt;/tr&gt;
  214. &lt;tr&gt;
  215. &lt;th width="20%"&gt;Viewfinder res/ magnification/&lt;br&gt;eyepoint&lt;/th&gt;
  216. &lt;td width="20%"&gt;3.69M dot&lt;br&gt;0.76x&lt;br&gt;23mm&lt;/td&gt;
  217. &lt;td width="20%"&gt;3.69M dot&lt;br&gt;0.76x&lt;br&gt;23mm&lt;/td&gt;
  218. &lt;td class="hi" width="20%"&gt;5.76M dot&lt;br&gt;0.8x&lt;br&gt;21mm&lt;/td&gt;
  219. &lt;td width="20%"&gt;3.69M dot&lt;br&gt;0.78x&lt;br&gt;23mm&lt;/td&gt;
  220. &lt;/tr&gt;
  221. &lt;tr&gt;
  222. &lt;th width="20%"&gt;Rear screen&lt;/th&gt;
  223. &lt;td width="20%"&gt;3.0"&lt;br&gt;1.62M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  224. &lt;td width="20%"&gt;3.0"&lt;br&gt;1.62M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  225. &lt;td class="hi" width="20%"&gt;3.2"&lt;br&gt;2.1M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  226. &lt;td width="20%"&gt;3.0"&lt;br&gt;1.03M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  227. &lt;/tr&gt;
  228. &lt;tr&gt;
  229. &lt;th width="20%"&gt;Media types&lt;/th&gt;
  230. &lt;td width="20%"&gt;1x CFexpress Type B &lt;br&gt;1x UHS-II SD&lt;/td&gt;
  231. &lt;td width="20%"&gt;2x UHS-II SD&lt;/td&gt;
  232. &lt;td width="20%"&gt;1x CFexpress Type B&lt;br&gt;1x UHS-II SD&lt;/td&gt;
  233. &lt;td width="20%"&gt;1x Combo CFexpress Type A / UHS-II SD &lt;br&gt;1x UHS-II SD&lt;/td&gt;
  234. &lt;/tr&gt;
  235. &lt;tr&gt;
  236. &lt;th width="20%"&gt;Battery life EVF / LCD&lt;/th&gt;
  237. &lt;td class="low" width="20%"&gt;270 / 510&lt;/td&gt;
  238. &lt;td width="20%"&gt;320 / 580&lt;/td&gt;
  239. &lt;td width="20%"&gt;360 / 390&lt;/td&gt;
  240. &lt;td class="hi" width="20%"&gt;520 / 580&lt;/td&gt;
  241. &lt;/tr&gt;
  242. &lt;tr&gt;
  243. &lt;th width="20%"&gt;Dimensions&lt;/th&gt;
  244. &lt;td width="20%"&gt;138 x 98 x 88mm&lt;br&gt;(5.5 x 3.9 x 3.5")&lt;/td&gt;
  245. &lt;td width="20%"&gt;138 x 98 x 88mm&lt;br&gt;(5.5 x 3.9 x 3.5")&lt;/td&gt;
  246. &lt;td width="20%"&gt;139 x 102 x 74mm&lt;br&gt;(5.5 x 4 x 3")&lt;/td&gt;
  247. &lt;td width="20%"&gt;
  248. &lt;p&gt;131 x 96 x 80mm&lt;br&gt;(5.3 x 3.8 x 3.1")&lt;/p&gt;
  249. &lt;/td&gt;
  250. &lt;/tr&gt;
  251. &lt;tr&gt;
  252. &lt;th width="20%"&gt;Weight&lt;/th&gt;
  253. &lt;td width="20%"&gt;699g&lt;br&gt;(25.7oz)&lt;/td&gt;
  254. &lt;td width="20%"&gt;680g&lt;br&gt;(24.0oz)&lt;/td&gt;
  255. &lt;td width="20%"&gt;670g &lt;br&gt;(23.6oz)&lt;/td&gt;
  256. &lt;td width="20%"&gt;658g &lt;br&gt;(23.2oz)&lt;/td&gt;
  257. &lt;/tr&gt;
  258. &lt;/tbody&gt;
  259. &lt;/table&gt;
  260. &lt;/div&gt;
  261. &lt;p&gt;The Z6III's partially Stacked sensor has higher read noise than other designs, which gives it a disadvantage when raising the shadows (though, importantly, this has no impact on the midtones). We'll have to wait until we get a production EOS R6 III to see how it performs in this regard. In both cases, it's worth checking to make sure whether the lenses you want exist before choosing a system, as both companies place restrictions on third-party lens makers.&lt;/p&gt;
  262. &lt;p&gt;While the a7 IV is still a quite capable camera, it's starting to look a little dated compared to the competition. Its rolling shutter performance when shooting full-width video is noticeably bad, it doesn't offer internal Raw video (though it's not an essential feature for most users), and while its autofocus is extremely capable, it's no longer the best that Sony offers. While Sony does allow third-party lenses on E-mount, buyers should be aware that it limits non-Sony lenses to 15fps (not that this is a problem for the a7 IV, with its 10fps max burst rate).&lt;/p&gt;
  263. &lt;hr&gt;
  264. &lt;h2 id="BH" style="margin-top: 8%;"&gt;Body and Handling&lt;/h2&gt;
  265. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  266. &lt;tbody&gt;
  267. &lt;tr&gt;
  268. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eosr6iii_in_hand_top_plate.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eosr6iii in hand top plate" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eosr6iii_in_hand_top_plate.jpeg" width="590" data-filename="product-shots/canon_eosr6iii_in_hand_top_plate.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eosr6iii_in_hand_top_plate.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  269. &lt;/tr&gt;
  270. &lt;/tbody&gt;
  271. &lt;/table&gt;
  272. &lt;p&gt;The EOS R6 III hews close to Canon's &lt;a href="https://www.dpreview.com/articles/5354325480/a-visit-to-canon-in-japan-and-why-it-wants-to-be-the-porsche-911-of-photography" rel="noopener" target="_blank"&gt;tried-and-true design formula&lt;/a&gt;, and its body is very similar – though not exactly the same – as the EOS R6 II. It has a hefty grip that fits well in your hand, even with a heavier lens attached. It has an array of customizable buttons – nine in total – which can have different functions depending on whether you're in stills or video mode. Switching between the two modes is handled by a dedicated lever to the left of the EVF.&lt;/p&gt;
  273. &lt;p&gt;The autofocus joystick and surrounding buttons are placed within easy reach of where your thumb naturally falls when you're holding the camera, and are grouped in ways that helps you tell which one you're pressing by feel, even when your eye is up to the EVF.&lt;/p&gt;
  274. &lt;h3&gt;Screen and viewfinder&lt;/h3&gt;
  275. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  276. &lt;tbody&gt;
  277. &lt;tr&gt;
  278. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_rear.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii rear" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eos_r6iii_rear.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_rear.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eos_r6iii_rear.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  279. &lt;/tr&gt;
  280. &lt;/tbody&gt;
  281. &lt;/table&gt;
  282. &lt;p&gt;The viewfinder and LCD have been unchanged from the EOS R6 II, though that's not really a complaint. The rear 3.0" screen is fully-articulated, which will be welcome to those using the camera for video. It's relatively bright, but can be a little difficult to see in extremely bright sunlight.&lt;/p&gt;
  283. &lt;p&gt;The viewfinder is large and can refresh at up to 120fps for a very responsive preview. It's not the highest resolution model out there, though, and it can't quite manage to show you a proper HDR preview when you're shooting in PQ mode, though it does have Canon's &lt;a href="https://www.dpreview.com/articles/2575223440/canon-eos-r3-s-ovf-simulation-what-it-is-and-why-it-matters" rel="noopener" target="_blank"&gt;OVF simulation mode&lt;/a&gt; that gives you a better idea of how much dynamic range you're capturing, at the cost of truly previewing your exposure.&lt;/p&gt;
  284. &lt;p&gt;There's no discernible viewfinder blackout when shooting in at the highest burst rate settings using the electronic viewfinder, though it'll show up when shooting in lower burst rates or with the mechanical shutter.&lt;/p&gt;
  285. &lt;h3&gt;Ports&lt;/h3&gt;
  286. &lt;p&gt;The EOS R6 III has all the connectivity you might expect from this class of camera: USB C, headphone and microphone sockets, a multi-function hotshoe, 2.5mm remote terminal and full-size HDMI port. The latter represents a bit upgrade from the less-reliable and robust microHDMI port found on the EOS R6 II.&lt;/p&gt;
  287. &lt;p&gt;It has two card slots: one CFexpress Type B, and one UHS-II SD. You'll have to use the former if you want to record Raw video internally.&lt;/p&gt;
  288. &lt;h3&gt;Battery&lt;/h3&gt;
  289. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  290. &lt;tbody&gt;
  291. &lt;tr&gt;
  292. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_battery.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii battery" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TC4x3S590x0~articles/6602693486/product-shots/canon_eos_r6iii_battery.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_battery.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/6602693486/product-shots/canon_eos_r6iii_battery.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  293. &lt;/tr&gt;
  294. &lt;/tbody&gt;
  295. &lt;/table&gt;
  296. &lt;p&gt;The EOS R6 III uses 16Wh LP-E6P battery, to give battery life ratings of 270 shots per charge via the viewfinder and 510 if you use the rear screen. These numbers jump to 390 and 620, respectively, if you engage power saving mode. As always, the CIPA-defined tests tend to under-represent how many images you can actually get, with double the rated figure not being unusual, but they're useful to compare between cameras. These are reasonable but not great for a camera likely to be used quite heavily by an enthusiast photographer.&lt;/p&gt;
  297. &lt;p&gt;The camera will still work with older batteries such as the LP-E6NH, though it warns that not all features will be available, and that some accessories won't work. Most notably, the camera loses support for network connectivity, refusing to connect to your smartphone or other devices.&lt;/p&gt;
  298. &lt;hr&gt;
  299. &lt;h2 id="VT" style="margin-top: 8%;"&gt;Video&lt;/h2&gt;
  300. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="590"&gt;
  301. &lt;tbody&gt;
  302. &lt;tr&gt;
  303. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_video.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii video" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/6602693486/product-shots/canon_eos_r6iii_video.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_video.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/6602693486/product-shots/canon_eos_r6iii_video.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  304. &lt;/tr&gt;
  305. &lt;tr&gt;
  306. &lt;td class="caption" style="width: 590px;"&gt;The EOS R6 III has all the video assist tools most shooters will need: proxies, waveform and false color, dual-level zebras and Log/HDR view assist.&lt;/td&gt;
  307. &lt;/tr&gt;
  308. &lt;/tbody&gt;
  309. &lt;/table&gt;
  310. &lt;p&gt;The EOS R6 III The highlights are its ability to record 7K open-gate footage at up to 30p, and support for oversampled 4K footage at up to 60p. It also lets you record in Canon's C-Log 2 or 3 response curves, and now has a button that defaults to opening the Color menu, making it a bit easier to switch between Log and non-Log recording.&lt;/p&gt;
  311. &lt;p&gt;It provides both DCI and UHD 4K options, though, humorously, the true 24fps mode is only available when recording DCI. Its Raw mode also lacks a 16:9 mode, but can record open-gate at up to 30p, from which you can take a UHD crop.&lt;/p&gt;
  312. &lt;p&gt;Its autofocus options remain the same throughout its recording modes; you still get continuous autofocus with subject recognition even when recording 4K/120 and 1080p/180. This is true both in the standard video recording mode and in the Slow-and-Fast mode that doesn't record audio and produces a file that plays back at a slower framerate.&lt;/p&gt;
  313. &lt;h3&gt;Recording modes&lt;/h3&gt;
  314. &lt;p&gt;While the EOS R6 III shares a sensor with the fan-cooled EOS C50, Canon includes several more options on its more cinema-focused camera. As an example, the EOS R6 III doesn't have an HQ Raw mode, nor does it support crop modes in Raw. It can, however, still record proxy files to its SD card slot, which could be quite useful when shooting Raw video.&lt;/p&gt;
  315. &lt;div class="contentTable"&gt;
  316. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  317. &lt;tbody&gt;
  318. &lt;tr&gt;
  319. &lt;th width="25%"&gt; &lt;/th&gt;
  320. &lt;th width="25%"&gt;Dimensions&lt;/th&gt;
  321. &lt;th width="25%"&gt;Rates&lt;/th&gt;
  322. &lt;th width="25%"&gt;Raw&lt;/th&gt;
  323. &lt;/tr&gt;
  324. &lt;tr&gt;
  325. &lt;th colspan="4" width="100%"&gt;1.89:1&lt;/th&gt;
  326. &lt;/tr&gt;
  327. &lt;tr&gt;
  328. &lt;th width="25%"&gt;7K&lt;/th&gt;
  329. &lt;td width="25%"&gt;6960 x 3672&lt;/td&gt;
  330. &lt;td width="25%"&gt;60, 50, 48, 30, 25, 24, 23.98&lt;/td&gt;
  331. &lt;td class="hi" width="25%"&gt;ST (up to 30p), LT&lt;/td&gt;
  332. &lt;/tr&gt;
  333. &lt;tr&gt;
  334. &lt;th width="25%"&gt;DCI 4K&lt;/th&gt;
  335. &lt;td width="25%"&gt;4096 x 2160&lt;/td&gt;
  336. &lt;td width="25%"&gt;120, 100, 60, 50, 48, 30, 25, 24, 23.98&lt;/td&gt;
  337. &lt;td style="text-align: center;" width="25%"&gt;–&lt;/td&gt;
  338. &lt;/tr&gt;
  339. &lt;tr&gt;
  340. &lt;th width="25%"&gt;DCI 2K&lt;/th&gt;
  341. &lt;td width="25%"&gt;2048 x 1080&lt;/td&gt;
  342. &lt;td width="25%"&gt;180&lt;span class="green"&gt;*&lt;/span&gt;, 150&lt;span class="green"&gt;*&lt;/span&gt;, 120, 100, 60, 50, 48, 30, 25, 24, 23.98&lt;/td&gt;
  343. &lt;td style="text-align: center;" width="25%"&gt;–&lt;/td&gt;
  344. &lt;/tr&gt;
  345. &lt;tr&gt;
  346. &lt;th colspan="4" width="100%"&gt;16:9 modes&lt;/th&gt;
  347. &lt;/tr&gt;
  348. &lt;tr&gt;
  349. &lt;th width="25%"&gt;UHD 4K&lt;/th&gt;
  350. &lt;td width="25%"&gt;3840 x 2160&lt;/td&gt;
  351. &lt;td width="25%"&gt;120, 100, 60, 50, 48, 30, 25, 24, 23.98&lt;/td&gt;
  352. &lt;td style="text-align: center;" width="25%"&gt;–&lt;/td&gt;
  353. &lt;/tr&gt;
  354. &lt;tr&gt;
  355. &lt;th width="25%"&gt;Full HD&lt;/th&gt;
  356. &lt;td width="25%"&gt;1920 x 1080&lt;/td&gt;
  357. &lt;td width="25%"&gt;180&lt;span class="green"&gt;*&lt;/span&gt;, 150&lt;span class="green"&gt;*&lt;/span&gt;, 120, 100, 60, 50, 48, 30, 25, 24, 23.98&lt;/td&gt;
  358. &lt;td style="text-align: center;" width="25%"&gt;–&lt;/td&gt;
  359. &lt;/tr&gt;
  360. &lt;tr&gt;
  361. &lt;th colspan="4" width="100%"&gt;3:2 Open gate&lt;/th&gt;
  362. &lt;/tr&gt;
  363. &lt;tr&gt;
  364. &lt;th width="25%"&gt;7K Raw&lt;/th&gt;
  365. &lt;td width="25%"&gt;6960 x 4640&lt;/td&gt;
  366. &lt;td width="25%"&gt;30, 25, 24, 23.98&lt;/td&gt;
  367. &lt;td class="hi" width="25%"&gt;ST, LT&lt;/td&gt;
  368. &lt;/tr&gt;
  369. &lt;tr&gt;
  370. &lt;th width="25%"&gt;7K Compressed&lt;/th&gt;
  371. &lt;td width="25%"&gt;6912 x 4608&lt;/td&gt;
  372. &lt;td width="25%"&gt;30, 25, 24, 23.98&lt;/td&gt;
  373. &lt;td style="text-align: center;" width="25%"&gt;–&lt;/td&gt;
  374. &lt;/tr&gt;
  375. &lt;/tbody&gt;
  376. &lt;/table&gt;
  377. &lt;span class="green"&gt;* - with a 1.13x crop&lt;/span&gt;&lt;/div&gt;
  378. &lt;p&gt;Both the 4K and Full HD modes can be used in the "Fine" oversampling modes at all but their highest frame rates; the former from 7K capture, and the latter from 3.5K capture. However, Canon does note that, while the 4K/60 Fine mode is still oversampled, it won't have the same image quality that you get from the 4K/30 and slower modes.&lt;/p&gt;
  379. &lt;h3&gt;Rolling shutter&lt;/h3&gt;
  380. &lt;p&gt;The R6 III has some truly impressive rolling shutter rates across its full-width recording modes, achieving excellent readout speeds in pretty much every mode we tested (though we haven't been able to measure the Raw modes yet, as we aren't able to decode the footage). Using the oversampled "fine" setting will roughly double the readout speeds over the standard ones, suggesting the standard mode is skipping half the lines, but they're still quick enough that fine mode should be usable in almost any scenario.&lt;/p&gt;
  381. &lt;div class="contentTable"&gt;
  382. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  383. &lt;tbody&gt;
  384. &lt;tr&gt;
  385. &lt;th width="50%"&gt; &lt;/th&gt;
  386. &lt;th width="50%"&gt;Rolling shutter&lt;/th&gt;
  387. &lt;/tr&gt;
  388. &lt;tr&gt;
  389. &lt;th width="50%"&gt;7K open gate&lt;/th&gt;
  390. &lt;td width="50%"&gt;17.9ms&lt;/td&gt;
  391. &lt;/tr&gt;
  392. &lt;tr&gt;
  393. &lt;th width="50%"&gt;4K24/60 standard&lt;/th&gt;
  394. &lt;td width="50%"&gt;7.2ms&lt;/td&gt;
  395. &lt;/tr&gt;
  396. &lt;tr&gt;
  397. &lt;th width="50%"&gt;4K24/60 "fine"&lt;/th&gt;
  398. &lt;td width="50%"&gt;14.3ms&lt;/td&gt;
  399. &lt;/tr&gt;
  400. &lt;/tbody&gt;
  401. &lt;/table&gt;
  402. &lt;/div&gt;
  403. &lt;p&gt;The only mode we'd advise any caution around is its 7K open gate setting. 17.9ms is still very fast, and will improve if you take a landscape crop of the frame, but if you're showing the full frame a little artifacting may start to creep in if you're capturing very fast pans or subjects.&lt;/p&gt;
  404. &lt;h3&gt;Workflow&lt;/h3&gt;
  405. &lt;p&gt;Canon includes a variety of tools to help making shooting video and, in particular, nailing exposure, easier. The EOS R6 III has options for both waveform monitoring, which provides more detail about what parts of your image are clipping than a traditional histogram, and a false color overlay, which makes it easier to tell if your skin tones are properly exposed.&lt;/p&gt;
  406. &lt;p&gt;It's also now &lt;em&gt;much&lt;/em&gt; easier to set your white balance in video mode; you can capture it from the live view, rather than having to set it from a still image on the card (a process that, on other Canon cameras, meant switching into stills mode, taking a picture of your gray card, then switching back into the video mode before diving back into the settings). Speaking of live view, the camera also provides access to level gauges and magnification while recording, so you can make sure your horizon is perfect and your subject is in focus while you're rolling.&lt;/p&gt;
  407. &lt;p&gt;The EOS R6 III lets you upload LUTs into the camera, so you can preview an effect you wish to apply, but you can't bake the result into your footage. The EOS R6 III can output lower-resolution proxy files to an SD card while you capture your main footage to the CFexpress card. The only exception is Open gate shooting, where you can capture a proxy alongside Raw shooting but not if you're using MP4 as your main output.&lt;/p&gt;
  408. &lt;p&gt;One feature Canon's retained for its cinema cameras is shutter angle, which derives the shutter speed from the recording framerate, rather than an absolute setting. This means you don't have to adjust your shutter speed after changing frame rates to retain the same level of motion blur. It's a setting that most of the EOS R6 III's competitors, such as the Nikon Z6III and Panasonic S1II, have, but that it lacks.&lt;/p&gt;
  409. &lt;hr&gt;
  410. &lt;h2 id="II" style="margin-top: 8%;"&gt;Initial Impressions&lt;/h2&gt;
  411. &lt;p style="margin-top: -3%;"&gt;&lt;em&gt;By Mitchell Clark&lt;/em&gt;&lt;/p&gt;
  412. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  413. &lt;tbody&gt;
  414. &lt;tr&gt;
  415. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6602693486/product-shots/canon_eos_r6iii_name_plate.jpeg" target="article-6602693486"&gt;&lt;img alt="canon eos r6iii name plate" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://2.img-dpreview.com/files/p/E~TC4x3S590x0~articles/6602693486/product-shots/canon_eos_r6iii_name_plate.jpeg" width="590" data-filename="product-shots/canon_eos_r6iii_name_plate.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/6602693486/product-shots/canon_eos_r6iii_name_plate.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  416. &lt;/tr&gt;
  417. &lt;/tbody&gt;
  418. &lt;/table&gt;
  419. &lt;p&gt;Is it weird to say that the EOS R6 III is kind of surprising? Not the mere fact of its existence, of course; the enthusiast full-frame camera is the market's bread-and-butter, so Canon updating its model makes sense. But it feels like the kind of upgrade you'd see from a company trying to claw customers away from competitors, not one already at the top of the market.&lt;/p&gt;
  420. &lt;p&gt;The EOS R6 II, which Canon says will remain in its lineup for at least the medium term, is still a very competitive camera. Not only does it earn second place in our &lt;a href="https://www.dpreview.com/reviews/buying-guide-best-cameras-under-2500" target="article-6602693486"&gt;under $2500 buying guide&lt;/a&gt;, but Canon tells us it's the top-selling full-frame camera on the market, from any brand. It feels like Canon could've just made a few small improvements and called it a day, and if you just glance at the spec sheet or list of new features, you might get the impression that it has. But the changes it's made are ones that really matter, especially when it comes to competing with the other cameras in this class.&lt;/p&gt;
  421. &lt;blockquote class="pullQuote"&gt;It feels like Canon looked at what other companies were doing, and said "okay, us too, but better."&lt;/blockquote&gt;
  422. &lt;p&gt;Essentially, it feels like Canon looked at what the other companies were doing, and said "okay, us too, but better." Sony's shooting 33MP? The EOS R6 III does too, but with the blistering speeds of the lower-res Nikon Z6III and Panasonic S1II, so you no longer have to pick between higher resolution and being able to shoot faster than 10fps. Those two cameras also offer Raw video, another spec the EOS R6 III has caught up on. And for good measure, Canon threw in full-width 4K 120p for the people who like slow-mo, and open gate recording, since Panasonic shooters are so keen on it.&lt;/p&gt;
  423. &lt;p&gt;With every Canon release, there are people quick to point out how it's segmenting the market; what features does it lack that higher-end models do? Of course, there are features the much more expensive EOS R5 II has that this doesn't, but they're ones &lt;a href="https://www.dpreview.com/interviews/0383076524/canon-cp-plus-2025-interview-go-tokura/1#AP" target="article-6602693486"&gt;we're told have hardware costs&lt;/a&gt; and that, frankly, most people won't find themselves missing. If there are features Canon cut to make its more expensive models more appealing, they aren't obvious to me.&lt;/p&gt;
  424. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/nI1gL6f3wUQ?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  425. &lt;p&gt;Canon says this camera is still squarely aimed at stills shooters, albeit ones who also need to be able to shoot video, so we're definitely looking forward to getting our hands on a production model to see if the ultra-fast sensor comes with any image quality impact, as was the case with the Nikon Z6III's&lt;a href="https://www.dpreview.com/articles/9570948051/nikon-z6iii-added-to-studio-scene" rel="noopener" target="_blank"&gt; 'partially Stacked' sensor&lt;/a&gt;. Even if there is, though, we're clearly well into the evolution of Canon's 6-series line; in the DSLR days, the EOS 6D was a decent camera, but one with obvious compromises relative to higher-end models. With the EOS R6 III, those compromises are getting much harder to find.&lt;/p&gt;
  426. &lt;div class="buybuttons"&gt;&lt;hr&gt;&lt;/hr&gt;&lt;p class="header-text"&gt;Buy now:&lt;/p&gt;&lt;div class="buttons-wrapper"&gt;&lt;a href="https://www.amazon.ca/dp/B0BL7X3KLV?tag=gpsmed-1-20&amp;amp;linkCode=osi&amp;amp;th=1&amp;amp;psc=1" class="article-buybutton" target="_blank" rel="nofollow"&gt;&lt;span class="mdc-button text-button mdc-button--raised"&gt;&lt;div class="mdc-button__ripple"&gt;&lt;/div&gt;&lt;span class="mdc-button__label"&gt;$3399  at Amazon.com&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/div&gt;&lt;hr&gt;&lt;/hr&gt;&lt;/div&gt;
  427. &lt;h2 id="SG" style="margin-top: 8%;"&gt;Sample Gallery&lt;/h2&gt;
  428. &lt;p&gt;Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (&lt;a href="https://www.dpreview.com/misc/termsandconditions" rel="noopener" target="_blank"&gt;see our copyright page&lt;/a&gt;). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.&lt;/p&gt;
  429. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/7308908964/canon-eos-r6-iii-pre-production-sample-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/7308908964/canon-eos-r6-iii-pre-production-sample-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;</description><pubDate>Thu, 06 Nov 2025 06:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/reviews/canon-eos-r6-iii-initial-review" /><media:thumbnail url="https://4.img-dpreview.com/files/p/E~C427x0S3413x2560T1200x900~articles/6602693486/product-shots/canon_eos_r6iii_red_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/5773673718/canon-eos-45mm-f1p2-stm-costs-470-dollars</guid><link>https://www.dpreview.com/news/5773673718/canon-eos-45mm-f1p2-stm-costs-470-dollars</link><title>Canon's latest F1.2 lens is surprisingly fast, shockingly inexpensive</title><description>&lt;div style="font-size: 12px; color: #888;"&gt;When you use DPReview links to buy products, the site may earn a commission.&lt;/div&gt;&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  430. &lt;tbody&gt;
  431. &lt;tr&gt;
  432. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5773673718/Canon_RF45_F1p2_STM.jpeg" target="article-5773673718"&gt;&lt;img alt="Canon RF45 F1p2 STM" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/5773673718/Canon_RF45_F1p2_STM.jpeg" width="590" data-filename="Canon_RF45_F1p2_STM.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/5773673718/Canon_RF45_F1p2_STM.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  433. &lt;/tr&gt;
  434. &lt;tr&gt;
  435. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  436. &lt;/tr&gt;
  437. &lt;/tbody&gt;
  438. &lt;/table&gt;
  439. &lt;p&gt;Canon has announced the RF 45mm F1.2 STM, a super-fast normal prime lens for full-frame at the unexpectedly reasonable price of $470.&lt;/p&gt;
  440. &lt;p&gt;The 45mm F1.2 is a wide-aperture lens that fits alongside the existing 24, 28, 35, 50 and 85mm STM lenses, but offers an F1.2 maximum aperture, rather than the F1.8, F2.0 and F2.8s of its siblings.&lt;/p&gt;
  441.  
  442. &lt;p&gt;It's a relatively simple design with 9 elements in 7 groups, and the samples we've taken so far suggest it exhibits quite significant vignetting, as you open the aperture up. The lens also requires the use of distortion correction as part of its design. Canon suggested to us that it's a lens that delivers "character" rather than being for "MTF chasers."&lt;/p&gt;
  443. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  444. &lt;tbody&gt;
  445. &lt;tr&gt;
  446. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5773673718/Canon_RF_45mm_F1p2.jpeg" target="article-5773673718"&gt;&lt;img alt="Canon RF 45mm F1p2" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/5773673718/Canon_RF_45mm_F1p2.jpeg" width="590" data-filename="Canon_RF_45mm_F1p2.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/5773673718/Canon_RF_45mm_F1p2.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  447. &lt;/tr&gt;
  448. &lt;tr&gt;
  449. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  450. &lt;/tr&gt;
  451. &lt;/tbody&gt;
  452. &lt;/table&gt;
  453. &lt;h3&gt;Far from normal pricing&lt;/h3&gt;
  454. &lt;p&gt;It's driven by a gear-type stepper motor and has a relatively large amount of glass to move, so it's not the fastest to focus lens Canon makes. In use we found the performance to be comparable with the likes of the RF85 F2.0 STM: reasonably quick for most things but with a slight 'chuntering' sound and vibration if it's trying to continuous AF on a static subject.&lt;/p&gt;
  455. &lt;p&gt;The lens is relatively compact: 78 x 75mm (3.1 x 3.0") and accepts 67mm filters. It weighs 346g (12.2oz). Minimum focus distance is 45cm (17.7"), yielding a maximum magnification ratio of 0.13x.&lt;/p&gt;
  456. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/nHiQrT6AH_Q?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  457. &lt;p&gt;The thing that makes the 45mm F1.2 stand out, though, is the price. At $470 it's less expensive than the 85mm F2.0 STM and significantly below the $2699 list price of the L-series 50mm F1.2L USM. If you want a lens hood to go with it, you'll need to pay an extra $70.&lt;/p&gt;
  458. &lt;p&gt;The Canon RF45 F1.2 STM will be available from December 2025.&lt;/p&gt;
  459.  
  460. &lt;h3&gt;Canon RF45 F1.2 STM sample Gallery&lt;/h3&gt;
  461. &lt;p&gt;&lt;em&gt;With thanks to Lensrentals for the loan of the Canon EOS R5 II used for this gallery.&lt;/em&gt;&lt;/p&gt;
  462. &lt;p&gt;Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.&lt;/p&gt;
  463. &lt;div&gt;&lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/4280251038/canon-rf45mm-f1-2-stm-pre-production-samples"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/4280251038/canon-rf45mm-f1-2-stm-pre-production-samples"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;
  464. &lt;div id="pr" class="pressRelease"&gt;
  465. &lt;p&gt;Press release:&lt;/p&gt;
  466. &lt;h2&gt;Canon Unveils New EOS R6 Mark III Hybrid Powerhouse Camera and Canon Unveils New EOS R6 Mark III Hybrid Powerhouse Camera and Compact RF45mm F1.2 STM Lens&lt;/h2&gt;
  467. &lt;p&gt;&lt;strong&gt;MELVILLE, N.Y., November 6, 2025&lt;/strong&gt; — Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the launch of the EOS R6 Mark III full-frame mirrorless camera and the RF45mm F1.2 STM lens. The EOS R6 Mark III camera builds on Canon's renowned 5-series and 1-series legacy, delivering pro-level hybrid performance for advanced photographers, videographers, content creators, and hybrid enthusiasts shooting across portraits, events, wildlife, sports, and social media production. The RF45mm F1.2 STM lens introduces a compact, lightweight prime optic with outstanding f/1.2 performance, ideal for everyday shooting and creative expression.&lt;/p&gt;
  468. &lt;h4&gt;Canon EOS R6 Mark III Camera Delivers Pro Performance in a Versatile Package&lt;/h4&gt;
  469. &lt;p&gt;The EOS R6 Mark III camera combines high-resolution imaging, advanced video capabilities, and reliable design to empower hybrid creators.&lt;/p&gt;
  470. &lt;p&gt;Key features include:&lt;/p&gt;
  471. &lt;ul&gt;
  472. &lt;li&gt;32.5-megapixel full-frame sensor supporting up to 40fps electronic shutter shooting with 20 frames of pre-continuous shooting, and mechanical shutter/electronic first curtain at up to 12fps.&lt;/li&gt;
  473. &lt;li&gt;CFexpress type B + SD card for improved hybrid shooting performance.&lt;/li&gt;
  474. &lt;li&gt;Advanced video features including 7K 59.94p RAW Light recording, 4K 119.8p and Slow and Fast motion mode, and 7K 30p "Open Gate" video for increased vertical resolution, compositional flexibility, and post-production stabilization.&lt;/li&gt;
  475. &lt;li&gt;Oversampled 4K 60p/30p recording (with 7K oversampling for 30p), Canon Log 2 with up to15 stops of dynamic range, waveform monitoring, Register People Priority and Focus Accel/Decel algorithms inspired by Cinema EOS C400 and C80 cameras for natural, professional autofocus behavior. As well as white balance and operational improvements when recording video.&lt;/li&gt;
  476. &lt;/ul&gt;
  477. &lt;p&gt;This camera offers versatility for professionals and enthusiasts, from portrait, wedding and event shooters to birding and landscape photographers and emerging videographers transitioning from smartphones.&lt;/p&gt;
  478. &lt;h4&gt;&lt;strong&gt;Canon RF45mm F1.2 STM Lens Designed to Redefine Compact f/1.2 Prime Performance&lt;/strong&gt;&lt;/h4&gt;
  479. &lt;p&gt;The RF45mm F1.2 STM is a 45mm standard prime lens designed for natural perspectives close to human vision, with a wider angle than traditional 50mm options. It's lightweight (approx. 346g) and compact build makes it easy to handle for portraits, snapshots, landscapes, and more-equivalent to approx. 72mm on APS-C bodies like the EOS R7 or R50 cameras.&lt;/p&gt;
  480. &lt;p&gt;Key features include:&lt;/p&gt;
  481. &lt;ul&gt;
  482. &lt;li&gt;Wide f/1.2 aperture enabled by innovative PMo aspherical lenses and gear-type STM with magnetic detection, reducing size and weight compared to larger f/1.2 lenses&lt;/li&gt;
  483. &lt;li&gt;Rich, three-dimensional bokeh with nine aperture blades for smooth, circular blur; digital lens optimizer corrects distortions for outstanding rendering&lt;/li&gt;
  484. &lt;li&gt;Fixed rear-lens focusing system minimizes image quality shifts across distances; aperture range (f/1.2 to f/16) allows flexible depth control, faster shutters, and low-ISO shooting&lt;/li&gt;
  485. &lt;li&gt;Enhanced compactness via fixed-length barrel and minimum focusing distance, delivering value and reliability for diverse applications&lt;/li&gt;
  486. &lt;/ul&gt;
  487. &lt;h4&gt;Availability&lt;/h4&gt;
  488. &lt;p&gt;The Canon EOS R6 Mark III camera body only and kits with either the Canon RF24-105 F4 L IS USM, the RF24-105 F4-7.1 IS STM USM lens, or the Stop Motion Animation Firmware are expected to be available in November 2025, for an estimated retail price of $2,799.00, $4,049.00, $3,149.00 and $2,899.00 respectively&lt;span class="green"&gt;*&lt;/span&gt;. The RF45mm F1.2 STM lens is expected to be available in December 2025, for an estimated retail price of $469.99&lt;span class="green"&gt;*&lt;/span&gt;. For more information about Canon's latest innovations and products, please visit &lt;a href="http://www.usa.canon.com" rel="noopener" target="_blank"&gt;www.usa.canon.com&lt;/a&gt;.&lt;/p&gt;
  489. &lt;p&gt;&lt;span class="green"&gt;* Specifications, availability and prices are subject to change without notice.&lt;/span&gt;&lt;/p&gt;
  490. &lt;/div&gt;</description><pubDate>Thu, 06 Nov 2025 06:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/5773673718/canon-eos-45mm-f1p2-stm-costs-470-dollars" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C241x385S3849x2887T1200x900~articles/5773673718/Canon_RF45_F1p2_STM.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/3022058799/question-of-the-week-whats-the-most-memorable-photograph-youve-created</guid><link>https://www.dpreview.com/articles/3022058799/question-of-the-week-whats-the-most-memorable-photograph-youve-created</link><title>Question of the Week: What's the most memorable photograph you've created?</title><description>
  491. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  492. &lt;tbody&gt;
  493. &lt;tr&gt;
  494. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3022058799/storm_clouds_with_wisps_of_rain_hover_above_a_line_of_mountains_with_glowing_yellow_sky_a_city_sprawls_in_front_of_the_mountains.jpeg" target="article-3022058799"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/3022058799/storm_clouds_with_wisps_of_rain_hover_above_a_line_of_mountains_with_glowing_yellow_sky_a_city_sprawls_in_front_of_the_mountains.jpeg" width="590" data-filename="storm_clouds_with_wisps_of_rain_hover_above_a_line_of_mountains_with_glowing_yellow_sky_a_city_sprawls_in_front_of_the_mountains.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/3022058799/storm_clouds_with_wisps_of_rain_hover_above_a_line_of_mountains_with_glowing_yellow_sky_a_city_sprawls_in_front_of_the_mountains.jpeg 2x" alt="storm clouds with wisps of rain hover above a line of mountains with glowing yellow sky a city sprawls in front of the mountains"&gt;&lt;/a&gt;&lt;/td&gt;
  495. &lt;/tr&gt;
  496. &lt;tr&gt;
  497. &lt;td class="caption" style="width: 590px;"&gt;One of the most memorable situations I've photographed was on a short flight with my husband on July 4th, 2016. He flew us from Centennial, Colorado, to Limon, Colorado, and on the way home, we were treated to an incredible sunset, plus the start of fireworks while in the air.&lt;br&gt;&lt;em&gt;Photo: Abby Ferguson&lt;/em&gt;&lt;/td&gt;
  498. &lt;/tr&gt;
  499. &lt;/tbody&gt;
  500. &lt;/table&gt;
  501. &lt;p&gt;Welcome back to another edition of our community-focused Question of the Week! For those unfamiliar, this series invites you to share your experiences and insights in response to photography-related questions. Thus far, we've primarily focused on the gear side of things. We asked about your process for buying new cameras and lenses, how you deal with defective lenses and your favorite local camera shops. That last one had some really great photographs of &lt;a href="https://www.dpreview.com/articles/3468853182/diamonds-in-the-rough-the-camera-stores-dpreview-readers-enjoy-visiting-the-most" rel="noopener" target="_blank"&gt;unique camera shops&lt;/a&gt;!&lt;/p&gt;
  502. &lt;p&gt;This time around, though, we're shifting focus. We want to know more about what you actually use that gear for. After all, the point of having a camera and lens is to take photographs, and we want to know about images you've created that stand out in your mind.&lt;/p&gt;
  503. &lt;h2&gt;What's your most memorable photograph or situation you've photographed?&lt;/h2&gt;
  504. &lt;p&gt;Photography can put us in positions to capture remarkable moments. For example, we recently shared photos from Dan Zafra, who had the rare experience of &lt;a href="https://www.dpreview.com/articles/7526167980/a-photographer-s-journey-to-capture-one-of-nature-s-rarest-and-most-enchanting-displays" target="article-3022058799"&gt;photographing red sprites&lt;/a&gt; above the Milky Way while in New Zealand. "I’ll never forget the adrenaline rush of seeing those first frames appear on my camera, realizing what I had captured," he said of the occasion. Many of us have likely had some similar feelings, even if it was on a smaller scale.&lt;/p&gt;
  505. &lt;p&gt;Unforgettable photographs don't have to be so dramatic, either. Sometimes it's quiet, unassuming moments that lead to memorable photographs. Or, at times, the situation you're in is more memorable than the photograph itself.&lt;/p&gt;
  506. &lt;p&gt;&lt;a href="https://www.dpreview.com/forums/threads/whats-the-most-memorable-photograph-youve-created.4820654/" target="article-3022058799"&gt;This week&lt;/a&gt;, we want to hear the stories behind your most memorable photographs or the most unforgettable situations you've photographed. Tell us what, where and who made it so memorable. We want to know why it was so special. Even better, share your image, too. Show us the scene and show off your work. Next week, we'll be highlighting some of our favorites in an article on the homepage of the site.&lt;/p&gt;
  507. &lt;p class="actionButton"&gt;&lt;a href="https://www.dpreview.com/forums/threads/whats-the-most-memorable-photograph-youve-created.4820654/"&gt;Click here to answer the Question of the Week&lt;/a&gt;&lt;/p&gt;</description><pubDate>Wed, 05 Nov 2025 20:48:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/3022058799/question-of-the-week-whats-the-most-memorable-photograph-youve-created" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C141x0S2279x1709T1200x900~articles/3022058799/storm_clouds_with_wisps_of_rain_hover_above_a_line_of_mountains_with_glowing_yellow_sky_a_city_sprawls_in_front_of_the_mountains.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/0357477385/the-new-dji-osmo-mobile-8-will-have-you-spinning</guid><link>https://www.dpreview.com/news/0357477385/the-new-dji-osmo-mobile-8-will-have-you-spinning</link><title>The new DJI Osmo Mobile 8 will have you spinning</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  508. &lt;tbody&gt;
  509. &lt;tr&gt;
  510. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/0357477385/a_hand_holds_the_dji_osmo_mobile_8_gimbal_while_recording_a_man_in_a_park.jpeg" target="article-0357477385"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/0357477385/a_hand_holds_the_dji_osmo_mobile_8_gimbal_while_recording_a_man_in_a_park.jpeg" width="590" data-filename="a_hand_holds_the_dji_osmo_mobile_8_gimbal_while_recording_a_man_in_a_park.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/0357477385/a_hand_holds_the_dji_osmo_mobile_8_gimbal_while_recording_a_man_in_a_park.jpeg 2x" alt="a hand holds the dji osmo mobile 8 gimbal while recording a man in a park"&gt;&lt;/a&gt;&lt;/td&gt;
  511. &lt;/tr&gt;
  512. &lt;tr&gt;
  513. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: DJI&lt;/em&gt;&lt;/td&gt;
  514. &lt;/tr&gt;
  515. &lt;/tbody&gt;
  516. &lt;/table&gt;
  517. &lt;p&gt;It's been less than a year since DJI released the Osmo Mobile 7 (and 7P), and yet, the company has already announced its successor. The Osmo Mobile 8 is a subtle upgrade, but it brings a handful of new features such as 360-degree horizontal panning, Apple DockKit support and the ability to track cats and dogs. &lt;/p&gt;
  518. &lt;p&gt;The Osmo Mobile 8, like its predecessors, offers three-axis stabilization. However, it adds full 360-degree horizontal rotation, which is a first for the Osmo Mobile lineup. The full rotation capabilities will make it easier to create sweeping panoramic shots and full-circle follow videos. &lt;/p&gt;
  519. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  520. &lt;tbody&gt;
  521. &lt;tr&gt;
  522. &lt;td class="image" style="width: 582px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/0357477385/the_osmo_mobile_8_gimbal_and_phone_mount_are_on_a_white_table_with_a_plant_in_front.jpeg" target="article-0357477385"&gt;&lt;img border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="437" src="https://2.img-dpreview.com/files/p/E~TC4x3S590x0~articles/0357477385/the_osmo_mobile_8_gimbal_and_phone_mount_are_on_a_white_table_with_a_plant_in_front.jpeg" width="582" data-filename="the_osmo_mobile_8_gimbal_and_phone_mount_are_on_a_white_table_with_a_plant_in_front.jpeg" alt="the osmo mobile 8 gimbal and phone mount are on a white table with a plant in front"&gt;&lt;/a&gt;&lt;/td&gt;
  523. &lt;/tr&gt;
  524. &lt;tr&gt;
  525. &lt;td class="caption" style="width: 582px;"&gt;&lt;em&gt;Image: DJI&lt;/em&gt;&lt;/td&gt;
  526. &lt;/tr&gt;
  527. &lt;/tbody&gt;
  528. &lt;/table&gt;
  529. &lt;p&gt;The new gimbal supports three different subject tracking methods, including another first for the Osmo series: support for Apple DockKit. Support for Apple's tracking technology enables subject tracking with the native iPhone camera app, as well as the 200 iOS apps that are compatible with it. Alternatively, the DJI Mimo app for iOS and Android offers DJI's proprietary ActiveTrack 7.0.1 tracking technology that can track people, pets or objects. The app uses both the wide-angle and telephoto lenses to follow a subject even in challenging situations, and it can even detect multiple subjects. &lt;/p&gt;
  530. &lt;p&gt;DJI also brought over support for its Multifunctional Module, which it introduced with the Osmo Mobile 7P, though with even more tracking modes. The little accessory is now capable of tracking dogs and cats in addition to humans, so that users can get epic videos of their pets. The module attaches magnetically to the gimbal and offers an integrated light with temperature and brightness controls. It also functions as a microphone receiver, supporting DJI's Mic 3, Mic 2, and Mic Mini, and has indicator lights to monitor tracking status. &lt;/p&gt;
  531. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  532. &lt;tbody&gt;
  533. &lt;tr&gt;
  534. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/0357477385/Osmo_Mobile_8_module_sits_on_a_black__table.jpeg" target="article-0357477385"&gt;&lt;img border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://2.img-dpreview.com/files/p/E~TC4x3S590x0~articles/0357477385/Osmo_Mobile_8_module_sits_on_a_black__table.jpeg" width="590" data-filename="Osmo_Mobile_8_module_sits_on_a_black__table.jpeg" alt="Osmo Mobile 8 module sits on a black  table"&gt;&lt;/a&gt;&lt;/td&gt;
  535. &lt;/tr&gt;
  536. &lt;tr&gt;
  537. &lt;td class="caption" style="width: 590px;"&gt;The Multifunctional Module offers a light with brightness and temperature control and a tracking status indicator. &lt;br&gt;&lt;em&gt;Image: DJI&lt;/em&gt;&lt;/td&gt;
  538. &lt;/tr&gt;
  539. &lt;/tbody&gt;
  540. &lt;/table&gt;
  541. &lt;p&gt;The Osmo Mobile 8 reintroduces the side wheel that was first featured on the Osmo Mobile 6. DJI had nixed the wheel on the base Osmo Mobile 7 model, instead only offering it on the 7P. The rest of the Osmo Mobile 8 remains consistent. It has numerous on-handle buttons for faster control and offers an integrated tripod and a built-in extension rod. DJI promises 10 hours of battery life from the gimbal, and it can also charge your phone while you're recording. &lt;/p&gt;
  542. &lt;p&gt;Unfortunately for US customers, as with other DJI products this year, the Osmo Mobile 8 will not be officially available in the US. However, it is available globally starting today for £135 / €159. &lt;/p&gt;
  543. &lt;div id="pr" class="pressRelease"&gt;
  544. &lt;p&gt;Press release:&lt;/p&gt;
  545. &lt;h2&gt;DJI Introduces Osmo Mobile 8 with Intelligent Subject Tracking&lt;/h2&gt;
  546. &lt;p&gt;New Flagship Gimbal Features Apple DockKit Compatibility for Active Tracking and Seamless 360° Horizontal Pan Rotation&lt;/p&gt;
  547. &lt;p&gt;November 5, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Mobile 8 – allowing anyone with a smartphone to create cinematic footage. The latest generation of DJI's popular smartphone gimbal features a 360° horizontal pan rotation and ultra-comfortable grip for low-angle shooting capability, providing a new level of freedom and flexibility when shooting content on a smartphone. With intelligent subject tracking, the gimbal now allows creators to keep cats and dogs in addition to people in frame.&lt;/p&gt;
  548. &lt;p&gt;The Multifunctional Module includes a microphone receiver compatible with DJI Mic 3, DJI Mic 2 and DJI Mic Mini transmitters, enabling high-quality audio capture, as well as adjustable built-in lighting options&lt;span class="green"&gt;1 &lt;/span&gt;for creative scenes. Finally, an integrated extension rod and tripod provides flexibility without the need for additional accessories.&lt;/p&gt;
  549. &lt;p&gt;&lt;strong&gt;Track Subjects Three Different Ways&lt;/strong&gt;&lt;/p&gt;
  550. &lt;p&gt;Osmo Mobile 8 offers three different subject-tracking methods, bringing freedom of composition to creators. For the first time, Osmo Mobile users with iPhones&lt;span class="green"&gt;2&lt;/span&gt; can also track subjects using Apple DockKit, Apple's intelligent subject-tracking technology. This allows for subject tracking within the native iPhone camera app or any of the 200+ iOS applications compatible with Apple DockKit.&lt;/p&gt;
  551. &lt;p&gt;Supporting both iPhone and Android phones, the Osmo Mobile 8 Multifunctional Module is now able to track dogs and cats&lt;span class="green"&gt;1&lt;/span&gt; in addition to humans, making it possible to capture heartwarming moments with pets with little effort. Magnetically attached to the gimbal, the module's tracking capability works across the native camera and livestreaming apps, and excels in multi-person scenarios, responding steadily to keep up with the selected target.&lt;/p&gt;
  552. &lt;p&gt;Finally, the DJI Mimo app for iOS and Android enables ActiveTrack 7.0.1, DJI's proprietary&lt;br&gt;advanced tracking technology that can now track people, pets, or objects. With Dual Lens&lt;br&gt;Boost&lt;span class="green"&gt;2&lt;/span&gt;, the app uses both a phone's wide-angle and telephoto lenses together to ensure the subject is never lost, no matter how fast the movement or how crowded the scene. Meanwhile, Smart Capture can detect multiple subjects and makes it easy to switch between subjects, even in a complicated environment.&lt;/p&gt;
  553. &lt;p&gt;&lt;strong&gt;The Power of the DJI OM Multifunctional Module&lt;/strong&gt;&lt;/p&gt;
  554. &lt;p&gt;In addition to subject tracking, the Multifunctional Module also features a fill light with eight levels of brightness and eight levels of color temperature. Controlled by a side wheel, creators can easily create the desired lighting effect and mood for the scene. A microphone receiver compatible with DJI Mic 3, DJI Mic 2 and DJI Mic Mini transmitters&lt;span class="green"&gt;1&lt;/span&gt; is built into the module, providing crystal-clear sound for livestreams and vlogs.&lt;/p&gt;
  555. &lt;p&gt;The Multifunctional Module can be easily attached to the gimbal with a simple magnetic clip. It can be controlled using hand gestures to take photos, start or stop recording, activate tracking, or adjust a composition.&lt;/p&gt;
  556. &lt;ul&gt;
  557. &lt;li&gt;Showing your palm to the module starts or stops intelligent tracking.&lt;/li&gt;
  558. &lt;li&gt;Making a “V” gesture takes a photo. It can also start or stop video recording.&lt;/li&gt;
  559. &lt;li&gt;Making a “Double L” gesture twice with two hands adjusts a subject's framing.&lt;/li&gt;
  560. &lt;/ul&gt;
  561. &lt;p&gt;&lt;strong&gt;Getting the Shot&lt;/strong&gt;&lt;/p&gt;
  562. &lt;p&gt;The Osmo Mobile 8 is the first Osmo Mobile generation to offer a pan axis that supports 360° horizontal rotation, capturing smooth panoramic photos and videos from any angle. The gimbal can lock onto moving subjects with intelligent tracking, and the unlimited 360° rotation provides seamless, engaging footage. The Osmo Mobile 8 also offers an ultra-comfortable grip that enables low-angle shots, complementing the gimbal's new ability to track pets and unlocking new creative perspectives.&lt;/p&gt;
  563. &lt;p&gt;&lt;strong&gt;Keeping Utility Front and Center&lt;/strong&gt;&lt;/p&gt;
  564. &lt;p&gt;Osmo Mobile 8 utilizes DJI's seventh-generation, three-axis stabilization technology to provide consistent stability without compromising image quality. Creators can smoothly switch between the phone's front and rear cameras with the gimbal, making stories more dynamic and vivid. Three presses on the gimbal's trigger rotates the phone's rear camera to face the user to enable rear camera selfies, achieving seamless transitions between subjects and scenery at the same high resolution image quality. It features an integrated tripod and a built-in extension rod, expanding the field of view to include more friends, pets, or scenery.&lt;/p&gt;
  565. &lt;p&gt;Weighing 370g, the Osmo Mobile 8 offers up to 10 hours of operating time, and can even charge a phone – ideal for extended outdoor filming and livestreaming.&lt;/p&gt;
  566. &lt;p&gt;&lt;strong&gt;Price and Availability&lt;/strong&gt;&lt;/p&gt;
  567. &lt;p&gt;DJI Osmo Mobile 8 is available to order from store.dji.com and authorized retail partners, with shipping starting today.&lt;/p&gt;
  568. &lt;p&gt;Osmo Mobile 8 retails for 135 GBP.&lt;/p&gt;
  569. &lt;p&gt;Accessories available include:&lt;/p&gt;
  570. &lt;ul&gt;
  571. &lt;li&gt;DJI OM Magnetic Quick-Release Mount&lt;/li&gt;
  572. &lt;li&gt;DJI Mic Mini Transmitter&lt;/li&gt;
  573. &lt;li&gt;DJI Mic 2 Transmitter&lt;/li&gt;
  574. &lt;li&gt;DJI Mic 3 Transmitter&lt;/li&gt;
  575. &lt;li&gt;DJI OM Grip Tripod&lt;/li&gt;
  576. &lt;li&gt;DJI OM 8 Tracking Kit&lt;/li&gt;
  577. &lt;/ul&gt;
  578. &lt;p&gt;&lt;strong&gt;DJI Care Refresh&lt;/strong&gt;&lt;/p&gt;
  579. &lt;p&gt;DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for&lt;br&gt;Osmo Mobile 8. Accidental damage is covered by the replacement service, including natural wear, collisions, and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.&lt;/p&gt;
  580. &lt;p&gt;DJI Care Refresh (1-Year Plan) includes up to 2 replacements in 1 year. DJI Care Refresh&lt;br&gt;(2-Year Plan) includes up to 4 replacements in 2 years. Other services of DJI Care Refresh&lt;br&gt;include official warranty, international warranty service and free shipping. For a full list of&lt;br&gt;details, please visit: &lt;a href="https://www.dji.com/support/service/djicare-refresh" target="article-null"&gt;https://www.dji.com/support/service/djicare-refresh&lt;/a&gt;&lt;/p&gt;
  581. &lt;p&gt;For more information, please refer to: &lt;a href="https://www.dji.com/osmo-mobile-8" target="article-null"&gt;https://www.dji.com/osmo-mobile-8&lt;/a&gt;&lt;/p&gt;
  582. &lt;p&gt;&lt;span class="green"&gt;1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.&lt;/span&gt;&lt;/p&gt;
  583. &lt;p&gt;&lt;span class="green"&gt;2 For compatibility information, refer to the smartphone compatibility list on the official DJI&lt;/span&gt;&lt;br&gt;&lt;span class="green"&gt;website.&lt;/span&gt;&lt;/p&gt;
  584. &lt;/div&gt;</description><pubDate>Wed, 05 Nov 2025 12:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/0357477385/the-new-dji-osmo-mobile-8-will-have-you-spinning" /><media:thumbnail url="https://4.img-dpreview.com/files/p/E~C0x0S2457x1843T1200x900~articles/0357477385/a_hand_holds_the_dji_osmo_mobile_8_gimbal_while_recording_a_man_in_a_park.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/0964567621/ppa-photovision-platform-brings-thousands-of-educational-resources-to-photographers</guid><link>https://www.dpreview.com/news/0964567621/ppa-photovision-platform-brings-thousands-of-educational-resources-to-photographers</link><title>This new platform brings thousands of educational resources to photographers</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  585. &lt;tbody&gt;
  586. &lt;tr&gt;
  587. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/0964567621/black_text_is_on_a_pale_green_gradient_background.jpeg" target="article-0964567621"&gt;&lt;img border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TC4x3S590x0~articles/0964567621/black_text_is_on_a_pale_green_gradient_background.jpeg" width="590" data-filename="black_text_is_on_a_pale_green_gradient_background.jpeg" alt="black text is on a pale green gradient background"&gt;&lt;/a&gt;&lt;/td&gt;
  588. &lt;/tr&gt;
  589. &lt;tr&gt;
  590. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Logo: PPA&lt;/em&gt;&lt;/td&gt;
  591. &lt;/tr&gt;
  592. &lt;/tbody&gt;
  593. &lt;/table&gt;
  594. &lt;p&gt;The Professional Photographers of America (PPA) has announced the launch of &lt;a href="https://www.ppa.com/photovision" target="article-0964567621"&gt;PhotoVision&lt;/a&gt;, a new resource for photographers looking for educational content. The new subscription-based streaming platform is aimed at all levels and various disciplines, with updated videos and resources each week.&lt;/p&gt;
  595. &lt;p&gt;At the time of its launch, PPA's PhotoVision platform featured more than 2500 videos and 1700 articles. PPA will release new content weekly, so that number will only continue to grow. The videos range from short options, similar to YouTube Shorts, to long-form, step-by-step content and documentary-style stories. There are also curated playlists that offer multiple videos around a single topic.&lt;/p&gt;
  596. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  597. &lt;tbody&gt;
  598. &lt;tr&gt;
  599. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/0964567621/a_row_of_four_video_topic_cards_labeled_branding_entrepreneurial_success_gear_and_lighting.jpeg" target="article-0964567621"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="165" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/0964567621/a_row_of_four_video_topic_cards_labeled_branding_entrepreneurial_success_gear_and_lighting.jpeg" width="590" data-filename="a_row_of_four_video_topic_cards_labeled_branding_entrepreneurial_success_gear_and_lighting.jpeg" alt="a row of four video topic cards labeled branding entrepreneurial success gear and lighting"&gt;&lt;/a&gt;&lt;/td&gt;
  600. &lt;/tr&gt;
  601. &lt;tr&gt;
  602. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;A screenshot from the PPA PhotoVision website.&lt;/em&gt;&lt;/td&gt;
  603. &lt;/tr&gt;
  604. &lt;/tbody&gt;
  605. &lt;/table&gt;
  606. &lt;p&gt;PPA says that PhotoVision is aimed at helping photographers at every stage of their professional and personal journey. As a result, it offers a broad range of articles and videos. That includes inspirational content, business-focused materials, on-set segments and tutorials on lighting, posing and more. PPA says it's meant to "nourish the educational, experiential and entertaining vision" of photographers. &lt;/p&gt;
  607. &lt;p&gt;The Professional Photographers of America (PPA) is a nonprofit association dedicated to supporting photographers. The PhotoVision platform is just the latest of its offerings, which already include equipment insurance, certification programs, business advice, contract templates, networking, legal advocacy and more.&lt;/p&gt;
  608. &lt;p&gt;&lt;a href="https://www.ppa.com/photovision" target="article-0964567621"&gt;PhotoVision&lt;/a&gt; is free for all new and existing &lt;a href="https://www.ppa.com/join-now" target="article-0964567621"&gt;PPA members&lt;/a&gt;. Alternatively, if you prefer not to become a PPA member, you can still access the full PhotoVision platform for $50 per year or $5 per month.&lt;/p&gt;
  609. &lt;div id="pr" class="pressRelease"&gt;
  610. &lt;p&gt;Press release:&lt;/p&gt;
  611. &lt;h2&gt;Professional Photographers of America Launches PhotoVision, the World’s Largest Curated Streaming Platform for Photography Content&lt;/h2&gt;
  612. &lt;p&gt;&lt;em&gt;Immersive platform provides photographers of all skill levels with engaging videos, tutorials and more to elevate their craft and expand their business, with new content drops weekly&lt;/em&gt;&lt;/p&gt;
  613. &lt;p&gt;Professional Photographers of America (PPA), the world’s largest nonprofit photography association for professional photographers, today announces the launch of PhotoVision, a new streaming platform boasting 2,500+ videos and 1,700+ articles, with new content drops weekly, designed to educate photographers at every stage of their professional and personal journey.&lt;/p&gt;
  614. &lt;p&gt;PPA has been serving professional photographers since its formation in 1868, empowering and safeguarding pro photographers through insurance, certification, education and copyright protection offered through PPA membership. In 2024, PPA recognized the demand and need to elevate its offerings to members and engage new generations of part-time photographers, videographers, lifelong learners, content creators and photography enthusiasts through a platform like PhotoVision.&lt;/p&gt;
  615. &lt;p&gt;Investing more than 18 months of time and resources, PPA created what is now the world’s largest immersive streaming hub for expert-level instruction, tutorials, business insights and inspiring photography content. PhotoVision features smart, personalized learning with curated channels and intelligent searches that guide every user to the content that matters most to them. It will continuously nourish the educational, experiential and entertaining vision of every photographer’s journey.&lt;/p&gt;
  616. &lt;p&gt;"PhotoVision changes everything," says Mark Campbell, President, PPA. "For the first time, the photographic industry has a place to come together. It feels familiar the moment you arrive. It's inspirational. It's mesmerizing. It's a lot of fun!"&lt;/p&gt;
  617. &lt;p&gt;PhotoVision access is complimentary for all current PPA members. Non-members can activate a PhotoVision subscription for an annual fee of $49.99 or a monthly fee of $4.99 to access content that includes:&lt;/p&gt;
  618. &lt;ul&gt;
  619. &lt;li&gt;Curated learning paths: Handpicked series so members can "build your business your own way"—from startup pricing to advanced lighting and sales.&lt;/li&gt;
  620. &lt;li&gt;Multiple formats, one destination: Shorts for quick wins, step-by-step long-form classes and documentary stories that reveal the "why" behind the work.&lt;/li&gt;
  621. &lt;li&gt;Trusted business education: Clear guidance on pricing, licensing, sales and sustainable studio operations—backed by PPA’s standards.&lt;/li&gt;
  622. &lt;li&gt;Real-world access: Live demos, on-set/behind-the-scenes segments and working-pro walkthroughs that translate directly to client work.&lt;/li&gt;
  623. &lt;li&gt;Weekly content updates: Browse thousands of resources and get fresh content delivered every week from photography experts.&lt;/li&gt;
  624. &lt;/ul&gt;
  625. &lt;p&gt;Offering content for photographers of every skill level to learn, grow and pursue their passion, PhotoVision pairs practical ‘how-to’ education with the kind of inspiration that sustains a career.&lt;/p&gt;
  626. &lt;p&gt;"I'm so excited that professional photographers have a place they can come every single day to find inspiration, education and connection," says Angela Kurkian, Deputy CEO. "Through PhotoVision, we're able to share more information and stories than ever before, celebrating our diverse community, and the extraordinary ways that photography shapes how we see the world."&lt;/p&gt;
  627. &lt;p&gt;For more information about PhotoVision, visit &lt;a href="https://cts.businesswire.com/ct/CT?id=smartlink&amp;url=https%3A%2F%2Fwww.ppa.com%2Fphotovision&amp;esheet=54350463&amp;newsitemid=20251103019514&amp;lan=en-US&amp;anchor=PPA.com%2FPhotoVision&amp;index=2&amp;md5=c12ac9072923ad08c524676548c27055" target="article-null"&gt;PPA.com/PhotoVision&lt;/a&gt;.&lt;/p&gt;
  628. &lt;/div&gt;</description><pubDate>Tue, 04 Nov 2025 16:57:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/0964567621/ppa-photovision-platform-brings-thousands-of-educational-resources-to-photographers" /><media:thumbnail url="https://2.img-dpreview.com/files/p/E~C0x0S689x517T1200x900~articles/0964567621/black_text_is_on_a_pale_green_gradient_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/5543117219/how-could-they-omit-ibis-a-look-at-how-the-x-t30-iii-compares</guid><link>https://www.dpreview.com/articles/5543117219/how-could-they-omit-ibis-a-look-at-how-the-x-t30-iii-compares</link><title>How could they omit IBIS? A look at how the X-T30 III compares</title><description>&lt;div style="font-size: 12px; color: #888;"&gt;When you use DPReview links to buy products, the site may earn a commission.&lt;/div&gt;&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  629. &lt;tbody&gt;
  630. &lt;tr&gt;
  631. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/Fujifilm_X-T30_III_three-quarter_view.jpeg" target="article-5543117219"&gt;&lt;img alt="Fujifilm X-T30 III three-quarter view" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/Fujifilm_X-T30_III_three-quarter_view.jpeg" width="590" data-filename="Fujifilm_X-T30_III_three-quarter_view.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/Fujifilm_X-T30_III_three-quarter_view.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  632. &lt;/tr&gt;
  633. &lt;tr&gt;
  634. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  635. &lt;/tr&gt;
  636. &lt;/tbody&gt;
  637. &lt;/table&gt;
  638. &lt;p&gt;The Fujifilm X-T30 III is a subtle refresh of the company's least expensive SLR-shaped X-mount mirroless camera. It sits above the rangefinder-styled X-M5, adding a viewfinder, and below the image stabilized X-S20, and shares its 26MP APS-C sized BSI CMOS sensor with all three models.&lt;/p&gt;
  639. &lt;p&gt;The update brings more advanced subject recognition autofocus, improved video capabilities and a Film Simulation dial, putting one of its key distinguishing features to the fore.&lt;/p&gt;
  640. &lt;p&gt;But how does that leave it fitting into the marketplace, particularly in the light of inflation and tariff led price increases? The Fujifilm X-T30 III retails for $1000, body-only or $1150 with a 13-33mm F3.5-6.3 OIS kit zoom.&lt;/p&gt;
  641. &lt;div class="contentTable"&gt;
  642. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  643. &lt;tbody&gt;
  644. &lt;tr&gt;
  645. &lt;th width="20%"&gt; &lt;/th&gt;
  646. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  647. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  648. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  649. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  650. &lt;/tr&gt;
  651. &lt;tr&gt;
  652. &lt;th width="20%"&gt;MSRP US&lt;/th&gt;
  653. &lt;td width="20%"&gt;$1000,&lt;br&gt;$1150 w/ 13-33mm&lt;/td&gt;
  654. &lt;td width="20%"&gt;$1010,&lt;br&gt;$1150 w/&lt;br&gt;16-50mm&lt;/td&gt;
  655. &lt;td width="20%"&gt;$1100,&lt;br&gt;$1250 w/&lt;br&gt;18-45mm&lt;/td&gt;
  656. &lt;td width="20%"&gt;$1500.&lt;br&gt;$1600 w/&lt;br&gt;15-45mm&lt;/td&gt;
  657. &lt;/tr&gt;
  658. &lt;tr&gt;
  659. &lt;th width="20%"&gt;MSRP UK&lt;/th&gt;
  660. &lt;td width="20%"&gt;£830,&lt;br&gt;£1000 w/ 13-33mm&lt;/td&gt;
  661. &lt;td width="20%"&gt;£800,&lt;br&gt;£1000 w/&lt;br&gt;16-50mm&lt;/td&gt;
  662. &lt;td width="20%"&gt;£1000,&lt;br&gt;£1100 w/&lt;br&gt;18-45mm&lt;/td&gt;
  663. &lt;td width="20%"&gt;£1250.&lt;br&gt;£1400 w/&lt;br&gt;15-45mm&lt;/td&gt;
  664. &lt;/tr&gt;
  665. &lt;/tbody&gt;
  666. &lt;/table&gt;
  667. &lt;/div&gt;
  668. &lt;p&gt;We're primarily going to compare it with the similarly-priced Nikon Z50II and Canon EOS R10, both also mirrorless cameras with unstabilized APS-C sensors. We'll also look at the more expensive X-S20, which is built from very similar components but with a different control system and image stablization.&lt;/p&gt;
  669. &lt;p&gt;And, although they don't really fit in the tables, we're going to include some detail about the OM System OM-5 II ($1200) and Sony a6400 ($1000) too.&lt;/p&gt;
  670. &lt;h2&gt;Resolution&lt;/h2&gt;
  671. &lt;p&gt;There's not much to choose between cameras in this class, in terms of resolution. At 26MP the Fujifilms have a few more megapixels then the EOS R10, but not to a degree that makes any real difference.&lt;/p&gt;
  672. &lt;div class="contentTable"&gt;
  673. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  674. &lt;tbody&gt;
  675. &lt;tr&gt;
  676. &lt;th width="20%"&gt; &lt;/th&gt;
  677. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  678. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  679. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  680. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  681. &lt;/tr&gt;
  682. &lt;tr&gt;
  683. &lt;th width="20%"&gt;Resolution&lt;/th&gt;
  684. &lt;td width="20%"&gt;26MP&lt;/td&gt;
  685. &lt;td width="20%"&gt;21MP&lt;/td&gt;
  686. &lt;td width="20%"&gt;24MP&lt;/td&gt;
  687. &lt;td width="20%"&gt;26MP&lt;/td&gt;
  688. &lt;/tr&gt;
  689. &lt;/tbody&gt;
  690. &lt;/table&gt;
  691. &lt;/div&gt;
  692. &lt;p&gt;There's a bit more of a gap to the 21MP Nikon and the 20MP OM-5 II, but it's still only about a 12% difference in linear resolution, so we wouldn't recommend selecting between these cameras on the basis of pixel count. All the current cameras use sensors that are modern enough that there's not a huge difference in performance (the move to BSI doesn't make a big difference to IQ in sensors this big).&lt;/p&gt;
  693. &lt;h2&gt;Stabilization&lt;/h2&gt;
  694. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  695. &lt;tbody&gt;
  696. &lt;tr&gt;
  697. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/OM_System_OM-5_II_showing_sensor.jpeg" target="article-5543117219"&gt;&lt;img alt="OM System OM-5 II showing sensor" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/OM_System_OM-5_II_showing_sensor.jpeg" width="590" data-filename="OM_System_OM-5_II_showing_sensor.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/OM_System_OM-5_II_showing_sensor.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  698. &lt;/tr&gt;
  699. &lt;tr&gt;
  700. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Mitchell Clark&lt;/em&gt;&lt;/td&gt;
  701. &lt;/tr&gt;
  702. &lt;/tbody&gt;
  703. &lt;/table&gt;
  704. &lt;p&gt;None of the $1000 APS-C models from Fujifilm, Canon, Nikon or Sony includes in-camera stabilization.&lt;/p&gt;
  705. &lt;div class="contentTable"&gt;
  706. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  707. &lt;tbody&gt;
  708. &lt;tr&gt;
  709. &lt;th width="20%"&gt; &lt;/th&gt;
  710. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  711. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  712. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  713. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  714. &lt;/tr&gt;
  715. &lt;tr&gt;
  716. &lt;th width="20%"&gt;Stabilization&lt;/th&gt;
  717. &lt;td width="20%"&gt;Lens only&lt;/td&gt;
  718. &lt;td width="20%"&gt;Lens only&lt;/td&gt;
  719. &lt;td width="20%"&gt;Lens only&lt;/td&gt;
  720. &lt;td class="hi" width="20%"&gt;In-body &lt;br&gt;(up to 7EV)&lt;/td&gt;
  721. &lt;/tr&gt;
  722. &lt;/tbody&gt;
  723. &lt;/table&gt;
  724. &lt;/div&gt;
  725. &lt;p&gt;All of them tend to come bundled with stabilized lenses, which means you can use slower shutter speeds without having to worry about hand shake, when you're using that lens. But you'll have to upgrade to a more expensive camera if you want an in-body stabilization system that tends to work better for video. The OM System OM-5 II is the least expensive option, while you'll need to spend a fair bit more again to get in-body stabilization and an APS-C-sized sensor.&lt;/p&gt;
  726. &lt;div class="buybuttons"&gt;&lt;hr&gt;&lt;/hr&gt;&lt;p class="header-text"&gt;Buy now:&lt;/p&gt;&lt;div class="buttons-wrapper"&gt;&lt;a href="https://www.amazon.ca/dp/B0FWVJ75LV?tag=gpsmed-1-20&amp;amp;linkCode=osi&amp;amp;th=1&amp;amp;psc=1" class="article-buybutton" target="_blank" rel="nofollow"&gt;&lt;span class="mdc-button text-button mdc-button--raised"&gt;&lt;div class="mdc-button__ripple"&gt;&lt;/div&gt;&lt;span class="mdc-button__label"&gt;$1249  at Amazon.com&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/div&gt;&lt;hr&gt;&lt;/hr&gt;&lt;/div&gt;
  727. &lt;h2&gt;Continuous shooting and Autofocus&lt;/h2&gt;
  728. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  729. &lt;tbody&gt;
  730. &lt;tr&gt;
  731. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/Nikon_Z50II_three-quarter-view.jpeg" target="article-5543117219"&gt;&lt;img alt="Nikon Z50II three-quarter-view" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/Nikon_Z50II_three-quarter-view.jpeg" width="590" data-filename="Nikon_Z50II_three-quarter-view.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/Nikon_Z50II_three-quarter-view.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  732. &lt;/tr&gt;
  733. &lt;tr&gt;
  734. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  735. &lt;/tr&gt;
  736. &lt;/tbody&gt;
  737. &lt;/table&gt;
  738. &lt;p&gt;As comparatively lowly models in their respective ranges, none of these cameras is designed as an out-and-out action camera, and yet they all boast shooting rates (at least in their distortion and flicker prone e-shutter modes) that exceed those offered by professional sports cameras, not much more than a decade ago.&lt;/p&gt;
  739. &lt;div class="contentTable"&gt;
  740. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  741. &lt;tbody&gt;
  742. &lt;tr&gt;
  743. &lt;th&gt; &lt;/th&gt;
  744. &lt;th&gt;Fujifilm X-T30 III&lt;/th&gt;
  745. &lt;th&gt;Nikon Z50II&lt;/th&gt;
  746. &lt;th&gt;Canon EOS R10&lt;/th&gt;
  747. &lt;th&gt;Fujifilm X-S20&lt;/th&gt;
  748. &lt;/tr&gt;
  749. &lt;tr&gt;
  750. &lt;th&gt;Cont. burst rate&lt;/th&gt;
  751. &lt;td&gt;8fps Mech&lt;br&gt;20fps Elec&lt;/td&gt;
  752. &lt;td&gt;11fps Mech&lt;br&gt;15fps Elec&lt;/td&gt;
  753. &lt;td class="hi"&gt;15fps Mech&lt;br&gt;23fps Elec&lt;/td&gt;
  754. &lt;td&gt;8fps Mech&lt;br&gt;20fps Elec&lt;/td&gt;
  755. &lt;/tr&gt;
  756. &lt;/tbody&gt;
  757. &lt;/table&gt;
  758. &lt;/div&gt;
  759. &lt;p&gt;None of these models is really designed for pitch-side use, but they'll do pretty well for capturing short bursts of movement.&lt;/p&gt;
  760. &lt;p&gt;The Nikon has the most reliable AF system here and a pretty deep buffer: tracking whatever you point it at pretty well. The Canon is a touch behind, but still very capable. All four models have subject recognition modes trained to identify and lock onto specific subjects, and if you're shooting one of these subjects, the performance gap between the Fujifilm and its peers definitely narrows.&lt;/p&gt;
  761. &lt;p&gt;The Sony is very good at general tracking and eye detection but has little subject recogniton beyond this. The OM-5 II is also limited to humans in terms of subject recognition and its tracking AF is well off the pace.&lt;/p&gt;
  762. &lt;h2&gt;Viewfinder and screens&lt;/h2&gt;
  763. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  764. &lt;tbody&gt;
  765. &lt;tr&gt;
  766. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/Canon_EOS_R10_screen_flipped_out.jpeg" target="article-5543117219"&gt;&lt;img alt="Canon EOS R10 screen flipped out" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/Canon_EOS_R10_screen_flipped_out.jpeg" width="590" data-filename="Canon_EOS_R10_screen_flipped_out.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/Canon_EOS_R10_screen_flipped_out.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  767. &lt;/tr&gt;
  768. &lt;tr&gt;
  769. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Shaminder Dulai&lt;/em&gt;&lt;/td&gt;
  770. &lt;/tr&gt;
  771. &lt;/tbody&gt;
  772. &lt;/table&gt;
  773. &lt;p&gt;There's not a lot to choose in this class in terms of viewfinders: they're all built around the same 2.36M dot OLED panels, with the optics mounted in front of them affecting how large the finder ends up looking. Nikon does the best job here, though its large viewfinder hump also making it the tallest camera here by some margin, as a consequence.&lt;/p&gt;
  774. &lt;div class="contentTable"&gt;
  775. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  776. &lt;tbody&gt;
  777. &lt;tr&gt;
  778. &lt;th width="20%"&gt; &lt;/th&gt;
  779. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  780. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  781. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  782. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  783. &lt;/tr&gt;
  784. &lt;tr&gt;
  785. &lt;th width="20%"&gt;EVF&lt;/th&gt;
  786. &lt;td width="20%"&gt;2.36M dots&lt;br&gt;0.62x mag&lt;/td&gt;
  787. &lt;td width="20%"&gt;2.36M dots&lt;br&gt;0.67x mag&lt;/td&gt;
  788. &lt;td width="20%"&gt;2.36M dots &lt;br&gt;0.59x mag&lt;/td&gt;
  789. &lt;td width="20%"&gt;2.36M dot&lt;br&gt;0.62x mag&lt;/td&gt;
  790. &lt;/tr&gt;
  791. &lt;tr&gt;
  792. &lt;th width="20%"&gt;Rear screen&lt;/th&gt;
  793. &lt;td width="20%"&gt;1.62 dots&lt;br&gt;3.0"&lt;br&gt;Tilt up/down&lt;/td&gt;
  794. &lt;td width="20%"&gt;1.04M dots&lt;br&gt;3.2"&lt;br&gt;Fully-artic.&lt;/td&gt;
  795. &lt;td width="20%"&gt;1.04M dots&lt;br&gt;3.0"&lt;br&gt;Fully-artic.&lt;/td&gt;
  796. &lt;td width="20%"&gt;1.84 dots&lt;br&gt;3.0"&lt;br&gt;Fully-artic.&lt;/td&gt;
  797. &lt;/tr&gt;
  798. &lt;/tbody&gt;
  799. &lt;/table&gt;
  800. &lt;/div&gt;
  801. &lt;p&gt;There's a bit more of a decision to be made when it comes to rear screens. The X-T30 III has the highest resolution screen, with its 900 x 600 pixel resolution, but it's also the only one that tilts up and down, rather than extending to the side and rotating.&lt;/p&gt;
  802. &lt;p&gt;The Nikon promises a slightly larger panel, but with slightly reduced 720 x 640 pixel res. The Canon offers this resolution and the smaller panel. It's a similar story with the OM-5 II: a 2.36M dot EVF with 0.69x magnification, and a 3.0" 1.04M dot fully articulated rear screen. The Sony has the largest viewfinder, at 0.7x magnification but also the lowest res rear screen: approximately 720 x 415 pixels in a 16:9 aspect ratio.&lt;/p&gt;
  803. &lt;h2&gt;Video&lt;/h2&gt;
  804. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  805. &lt;tbody&gt;
  806. &lt;tr&gt;
  807. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/Nikon_Z50II_side-on_with_Rode_mic_attached.jpeg" target="article-5543117219"&gt;&lt;img alt="Nikon Z50II side-on with Rode mic attached" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/Nikon_Z50II_side-on_with_Rode_mic_attached.jpeg" width="590" data-filename="Nikon_Z50II_side-on_with_Rode_mic_attached.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/Nikon_Z50II_side-on_with_Rode_mic_attached.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  808. &lt;/tr&gt;
  809. &lt;tr&gt;
  810. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  811. &lt;/tr&gt;
  812. &lt;/tbody&gt;
  813. &lt;/table&gt;
  814. &lt;p&gt;Video is one of the areas that distinguishes between cameras at this price. All four of the main cameras we're looking at can shoot 10-bit footage, either as Log footage to maximise flexibility for color grading, or as HDR footage for playback on high dynamic range displays.&lt;/p&gt;
  815. &lt;div class="contentTable"&gt;
  816. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  817. &lt;tbody&gt;
  818. &lt;tr&gt;
  819. &lt;th width="20%"&gt; &lt;/th&gt;
  820. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  821. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  822. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  823. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  824. &lt;/tr&gt;
  825. &lt;tr&gt;
  826. &lt;th width="20%"&gt;Video options&lt;/th&gt;
  827. &lt;td width="20%"&gt;6.2K/30 open gate&lt;br&gt;4K/60 1.18x crop&lt;br&gt;4K/30 full-width&lt;/td&gt;
  828. &lt;td width="20%"&gt;4K/60 1.44x crop&lt;br&gt;4K/30 full-width&lt;/td&gt;
  829. &lt;td class="low" width="20%"&gt;4K/60 1.6x crops&lt;br&gt;4K/30 full-width&lt;/td&gt;
  830. &lt;td width="20%"&gt;6.2K/30 open gate&lt;br&gt;4K/60 1.18x crop&lt;br&gt;4K/30 full-width&lt;/td&gt;
  831. &lt;/tr&gt;
  832. &lt;tr&gt;
  833. &lt;th width="20%"&gt;Mic / 'phones?&lt;/th&gt;
  834. &lt;td width="20%"&gt;2.5mm / Via USB adapter&lt;/td&gt;
  835. &lt;td class="hi" width="20%"&gt;Yes / Yes&lt;/td&gt;
  836. &lt;td class="low" width="20%"&gt;Yes / No&lt;/td&gt;
  837. &lt;td class="hi" width="20%"&gt;Yes / Yes&lt;/td&gt;
  838. &lt;/tr&gt;
  839. &lt;/tbody&gt;
  840. &lt;/table&gt;
  841. &lt;/div&gt;
  842. &lt;p&gt;All these cameras boast pretty good specs, including the ability to capture 4K/60 if you can tolerate some degree of crop (though it makes capturing wide-angle footage harder and will tend to be noisier). The Nikon has the most dependable video autofocus in this group, and also lets you capture and monitor external audio without the need for adapters. Only the X-S20 has image stabilization, though, and even then it's not the smoothest of systems.&lt;/p&gt;
  843. &lt;p&gt;Both the OM-5 II and a6400 show their age or, at least, the age of their processors, by only being able to capture 8-bit video. This limits the flexibility of its Log footage (especially the more ambitious S-Log3 curve, and means it can't shoot true HDR footage.&lt;/p&gt;
  844. &lt;p&gt;OM System's in-body stabilization means the OM-5 II is an easier camera to shoot video with than most of the others here, but its autofocus undermines it, in this regard, so all of them will require a bit of work in one way or another.&lt;/p&gt;
  845. &lt;h2&gt;Dimensions&lt;/h2&gt;
  846. &lt;p&gt;The X-T30 III is the smallest of cameras here, by some margin, and also the lightest.&lt;/p&gt;
  847. &lt;div class="contentTable"&gt;
  848. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  849. &lt;tbody&gt;
  850. &lt;tr&gt;
  851. &lt;th width="20%"&gt; &lt;/th&gt;
  852. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  853. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  854. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  855. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  856. &lt;/tr&gt;
  857. &lt;tr&gt;
  858. &lt;th width="20%"&gt;Dimensions&lt;/th&gt;
  859. &lt;td width="20%"&gt;118 x 83 x 47mm&lt;/td&gt;
  860. &lt;td width="20%"&gt;127 x 97 x 67mm&lt;/td&gt;
  861. &lt;td width="20%"&gt;123 x 88 x 83mm&lt;/td&gt;
  862. &lt;td width="20%"&gt;128 x 85 x 65mm&lt;/td&gt;
  863. &lt;/tr&gt;
  864. &lt;tr&gt;
  865. &lt;th width="20%"&gt;Weight&lt;/th&gt;
  866. &lt;td width="20%"&gt;378g&lt;/td&gt;
  867. &lt;td width="20%"&gt;550g&lt;/td&gt;
  868. &lt;td width="20%"&gt;429g&lt;/td&gt;
  869. &lt;td width="20%"&gt;491g&lt;/td&gt;
  870. &lt;/tr&gt;
  871. &lt;/tbody&gt;
  872. &lt;/table&gt;
  873. &lt;/div&gt;
  874. &lt;p&gt;There are some definite downsides to this: the X-T30 III has lots of external controls but also the least surface space to fit them on, so, perhaps unsurprisingly, it feels the most fiddly and cramped to operate.&lt;/p&gt;
  875. &lt;p&gt;The Nikon is the only camera in this group not to have an autofocus joystick; something that's also the case for the OM-5 II and a6400. And, while the Nikon's tracking AF makes up for this to an extent, we generally find it more engaging to be able to pre-position or move the AF point via a tactile control point.&lt;/p&gt;
  876. &lt;p&gt;Ergonomics are ultimately a matter of taste, but it's only really this omission that stops the Nikon being the standout camera, in this regard. For us, the Canon and the Nikon are the most comfortable of this cohort to shoot with.&lt;/p&gt;
  877. &lt;h2&gt;Kit lenses&lt;/h2&gt;
  878. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  879. &lt;tbody&gt;
  880. &lt;tr&gt;
  881. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/Fujifilm_X-T30_III_top_plate.jpeg" target="article-5543117219"&gt;&lt;img alt="Fujifilm X-T30 III top plate" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/Fujifilm_X-T30_III_top_plate.jpeg" width="590" data-filename="Fujifilm_X-T30_III_top_plate.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/Fujifilm_X-T30_III_top_plate.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  882. &lt;/tr&gt;
  883. &lt;tr&gt;
  884. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  885. &lt;/tr&gt;
  886. &lt;/tbody&gt;
  887. &lt;/table&gt;
  888. &lt;p&gt;One of the biggest differences between the cameras in terms of real-world use isn't down to the cameras themselves at all: it's the lenses they come bundled with. A lot of users in this price bracket tend to primarily use these 'kit' zooms, so choosing the most flexible one makes a significant difference.&lt;/p&gt;
  889. &lt;div class="contentTable"&gt;
  890. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  891. &lt;tbody&gt;
  892. &lt;tr&gt;
  893. &lt;th width="20%"&gt; &lt;/th&gt;
  894. &lt;th width="20%"&gt;Fujifilm X-T30 III&lt;/th&gt;
  895. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  896. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  897. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  898. &lt;/tr&gt;
  899. &lt;tr&gt;
  900. &lt;th width="20%"&gt;Default kit lens&lt;/th&gt;
  901. &lt;td width="20%"&gt;13-33mm F3.5-6.3 OIS&lt;/td&gt;
  902. &lt;td width="20%"&gt;16-50mm F3.5-6.3 VR&lt;/td&gt;
  903. &lt;td width="20%"&gt;18-45mm F4.5-6.3 IS&lt;/td&gt;
  904. &lt;td width="20%"&gt;15-45mm&lt;br&gt;F3.5-5.6 PZ&lt;/td&gt;
  905. &lt;/tr&gt;
  906. &lt;tr&gt;
  907. &lt;th width="20%"&gt;In &lt;a href="https://www.dpreview.com/learn/2799100497/equivalence-in-a-nutshell" target="article-5543117219"&gt;equivalent terms&lt;/a&gt;&lt;/th&gt;
  908. &lt;td width="20%"&gt;20-51mm &lt;em&gt;e&lt;/em&gt;F5.5-9.7&lt;/td&gt;
  909. &lt;td width="20%"&gt;24-77mm &lt;em&gt;e&lt;/em&gt;F5.5-9.7&lt;/td&gt;
  910. &lt;td width="20%"&gt;29-73mm &lt;em&gt;e&lt;/em&gt;F7.3-10.2&lt;/td&gt;
  911. &lt;td width="20%"&gt;23-69mm&lt;br&gt;&lt;em&gt;e&lt;/em&gt;F5.5-8.7&lt;/td&gt;
  912. &lt;/tr&gt;
  913. &lt;/tbody&gt;
  914. &lt;/table&gt;
  915. &lt;/div&gt;
  916. &lt;p&gt;The X-T30 III comes with a retractable manual zoom that goes much wider than the ones offered by its peers, which is hugely useful, especially if you're used to shooting with the relatively wide angle lenses that smartphones tend to feature. The Nikon and X-S20's power zoom lenses perhaps offer the best balance between wide-angle capability and reach at the other end, but we've liked what we've seen of the new 13-33mm so far.&lt;/p&gt;
  917. &lt;p&gt;The OM-5 II's default 12-45mm F4.0 kit lens comes from the company's 'Pro' series and, as the branding implies, it's a rather more substantially built option than its peers. It has a constant F4.0 maximum aperture, so while it's a third of a stop darker in absolute terms and a whole stop darker in equivalent terms at the wide end, it's brighter by both metrics at the long end. And its 24-90mm equivalent range is pretty handy, too, though it takes the combined cost to $1600, $450 more than most of these other rivals.&lt;/p&gt;
  918. &lt;h2&gt;Summary&lt;/h2&gt;
  919. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  920. &lt;tbody&gt;
  921. &lt;tr&gt;
  922. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5543117219/Fujifilm_X-T30_III_film-simulation_dials.jpeg" target="article-5543117219"&gt;&lt;img alt="Fujifilm X-T30 III film-simulation dials" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/5543117219/Fujifilm_X-T30_III_film-simulation_dials.jpeg" width="590" data-filename="Fujifilm_X-T30_III_film-simulation_dials.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/5543117219/Fujifilm_X-T30_III_film-simulation_dials.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  923. &lt;/tr&gt;
  924. &lt;tr&gt;
  925. &lt;td class="caption" style="width: 590px;"&gt;
  926. &lt;p&gt;The Film Simulation dial is one of the X-T30 III's changes, relative to its predecessor and also represents one of the camera's stand-out features, relative to its peers.&lt;/p&gt;
  927. &lt;p&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/p&gt;
  928. &lt;/td&gt;
  929. &lt;/tr&gt;
  930. &lt;/tbody&gt;
  931. &lt;/table&gt;
  932. &lt;p&gt;The cost of an 'entry-level' camera has risen markedly in recent years. There are a couple of cameras for sale cheaper than these, but you really notice the corners that have been cut and the build quality that's been sacrificed. But if you can stretch to the $1000 mark, you have a choice of very capable models.&lt;/p&gt;
  933. &lt;div class="buybuttons"&gt;&lt;hr&gt;&lt;/hr&gt;&lt;p class="header-text"&gt;Buy now:&lt;/p&gt;&lt;div class="buttons-wrapper"&gt;&lt;a href="https://www.amazon.ca/dp/B0FWVJ75LV?tag=gpsmed-1-20&amp;amp;linkCode=osi&amp;amp;th=1&amp;amp;psc=1" class="article-buybutton" target="_blank" rel="nofollow"&gt;&lt;span class="mdc-button text-button mdc-button--raised"&gt;&lt;div class="mdc-button__ripple"&gt;&lt;/div&gt;&lt;span class="mdc-button__label"&gt;$1249  at Amazon.com&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/div&gt;&lt;hr&gt;&lt;/hr&gt;&lt;/div&gt;
  934. &lt;p&gt;All these cameras offer excellent image quality, increasingly sophisticated autofocus and video capabilities that would have been unthinkable, quite recently. There are definitely factors to help you choose between them, whether that's the Fujifilm's attractive range of color modes, the provision of an AF joystick or the inclusion of a headphone socket for audio monitoring, but for the most part it's hard to go far wrong.&lt;/p&gt;
  935. &lt;p&gt;The Fujifilm X-T30 III is a very subtle refresh of its predecessor. We can't imagine many Mark II owners choosing to make the upgrade, but its specs are enough to keep it competitive against its immediate peers.&lt;/p&gt;
  936. &lt;p class="actionButton"&gt;&lt;a href="https://www.dpreview.com/reviews/fujifilm-x-t30-iii-initial-review" rel="noopener" target="_blank"&gt;Read our intial impressions of the Fujifilm X-T30 III&lt;/a&gt;&lt;/p&gt;</description><pubDate>Tue, 04 Nov 2025 15:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/5543117219/how-could-they-omit-ibis-a-look-at-how-the-x-t30-iii-compares" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C427x0S3413x2560T1200x900~articles/5543117219/Fujifilm_X-T30_III_three-quarter_view.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/4052585340/every-piece-of-gear-a-conflict-photographer-carries-and-why</guid><link>https://www.dpreview.com/articles/4052585340/every-piece-of-gear-a-conflict-photographer-carries-and-why</link><title>Every piece of gear a conflict photographer carries (and why)</title><description>&lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/4JgaSjzGkJ0?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  937. &lt;p&gt;War photography is incredibly demanding, requiring superb technical skills, a finely tuned kit and the ability to adapt and survive in harsh environments. Photojournalist Jonathan Alpeyrie knows this all too well, having spent more than 20 years covering major conflicts across the globe, including those in Ukraine, Iraq, Syria, Gaza and the international drug trade. In a recent video, Alpeyrie walked through his kit for assignments, while also sharing his experiences and insight into being a conflict photographer.&lt;/p&gt;
  938. &lt;p&gt;Alpeyrie said that he has been packing the same way for over 20 years, and his kit is straightforward: a camera, flak jacket, phone, bag and computer. These days, his gear includes the Canon EOS R camera, which he said he likes because it's discreet and allows him to look more like a tourist than anything else. &lt;/p&gt;
  939. &lt;p&gt;On the lens side, Alpeyrie recommends not skimping on quality. "The lens is where you want to spend your money. The body you can pick and choose," he explains in the video. His current lens of choice is the Canon EOS R 50mm F1.2L USM. He says the 50mm lens is the only one he uses right now, in part because the wide aperture is ideal for working in dark situations. It's also smaller than other lenses, which is helpful when you're taking cover from artillery fire. He says he has had larger lenses, such as 200mm or 300mm, break in these situations.&lt;/p&gt;
  940. &lt;p&gt;Beyond gear choices, Alpeyrie shares lots of valuable insights in the video. He touches on how he protects his camera and memory cards in dangerous places, the importance of knowing your camera and how to use manual settings, tips on framing and composition, and so much more. It's well worth a watch all the way through. &lt;/p&gt;</description><pubDate>Tue, 04 Nov 2025 15:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/4052585340/every-piece-of-gear-a-conflict-photographer-carries-and-why" /><media:thumbnail url="https://2.img-dpreview.com/files/p/E~C0x0S614x461T1200x900~articles/4052585340/A_person_sits_at_a_table_displaying_a_camera_two_lens_caps_a_small_bag_a_laptop_and_folded_clothing_against_a_dark_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/7667381118/raw-power-move-dxo-update-challenges-adobes-raw-editing-workflow</guid><link>https://www.dpreview.com/news/7667381118/raw-power-move-dxo-update-challenges-adobes-raw-editing-workflow</link><title>Raw power move: DxO update challenges Adobe's Raw editing workflow</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  941. &lt;tbody&gt;
  942. &lt;tr&gt;
  943. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7667381118/a_silver_desktop_monitor_has_an_image_of_a_group_dancing_with_a_rainbow_gradient_behiind_the_displayjpg.jpeg" target="article-7667381118"&gt;&lt;img alt="a silver desktop monitor has an image of a group dancing with a rainbow gradient behiind the displayjpg" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="361" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/7667381118/a_silver_desktop_monitor_has_an_image_of_a_group_dancing_with_a_rainbow_gradient_behiind_the_displayjpg.jpeg" width="590" data-filename="a_silver_desktop_monitor_has_an_image_of_a_group_dancing_with_a_rainbow_gradient_behiind_the_displayjpg.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  944. &lt;/tr&gt;
  945. &lt;tr&gt;
  946. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: DxO&lt;/em&gt;&lt;/td&gt;
  947. &lt;/tr&gt;
  948. &lt;/tbody&gt;
  949. &lt;/table&gt;
  950. &lt;p&gt;Software company DxO has announced a modest update for its Raw processing software, PureRaw, which promises to make it easier to use as an alternative to Adobe's Camera Raw (ACR). It should result in a more streamlined and flexible workflow when using PureRaw and Photoshop in combination. The company also announced minor changes to PhotoLab and Nik Collection.&lt;/p&gt;
  951. &lt;p&gt;DxO announced &lt;a href="https://www.dpreview.com/news/3938772793/dxo-pureraw-5-announcement" target="article-null"&gt;PureRaw 5&lt;/a&gt; earlier this year, which offered more robust upgrades. PureRaw 5.5 is a minor update, featuring a single change: the ability to edit non-destructively by opening files from PureRaw as Smart Objects in Photoshop.&lt;/p&gt;
  952. &lt;p&gt;The new workflow means users can process files in PureRaw instead of Adobe Camera Raw, and then open them in Photoshop to continue editing. Because it's a Smart Object, users can also re-process the Raw file at any point, even after saving and closing the Photoshop file. It unlocks the ability to use PureRaw as an alternative to ACR while still maintaining a non-destructive editing workflow.&lt;/p&gt;
  953. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  954. &lt;tbody&gt;
  955. &lt;tr&gt;
  956. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7667381118/a_laptop_mockup_has_an_image_of_a_woman_at_a_beach_with_various_menu_icons_popped_up_around_the_Screen.jpeg" target="article-7667381118"&gt;&lt;img alt="a laptop mockup has an image of a woman at a beach with various menu icons popped up around the Screen" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="349" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/7667381118/a_laptop_mockup_has_an_image_of_a_woman_at_a_beach_with_various_menu_icons_popped_up_around_the_Screen.jpeg" width="590" data-filename="a_laptop_mockup_has_an_image_of_a_woman_at_a_beach_with_various_menu_icons_popped_up_around_the_Screen.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  957. &lt;/tr&gt;
  958. &lt;tr&gt;
  959. &lt;td class="caption" style="width: 590px;"&gt;DxO says that PhotoLab 9.2 offers better AI masking tools. &lt;br&gt;&lt;em&gt;Image: DxO&lt;/em&gt;&lt;/td&gt;
  960. &lt;/tr&gt;
  961. &lt;/tbody&gt;
  962. &lt;/table&gt;
  963. &lt;p&gt;Outside of the PureRaw update, DxO also announced small updates to PhotoLab and Nik Collection. With PhotoLab 9.2, the company says its AI masking tools, which were added to &lt;a href="https://www.dpreview.com/news/9595323730/dxo-s-photolab-9-promises-actually-useful-ai-features" target="article-7667381118"&gt;PhotoLab 9&lt;/a&gt; this summer, are now even better. It promises greater precision and fewer artifacts and smudging around selections. Additionally, the company added the ability to reorganize masks and submasks, and created the ability to filter your library by editing stage.&lt;/p&gt;
  964. &lt;p&gt;In Nik Collection 8.2, DxO expanded its Analog Efex option with a new paper texture tool. You can access Analog Efex from a toolbar option in Photoshop, and then select from 30 different paper textures, including fine-art matte and watercolor paper. You can adjust various parameters to fine-tune the link, including changing the color of the paper and selecting different blending modes.&lt;/p&gt;
  965. &lt;p&gt;PureRaw 5.5 is available for free for owners of DxO Pure Raw 5. All others will need to purchase either a new license for $130 or an upgrade license from DxO PureRaw 3 or 4 for $90. Likewise, PhotoLab 9.2 is free for those with DxO PhotoLab 9, or $120 to upgrade from 7 or 8 and $240 for a new license. Nik Collection 8.2 is available for free to Nik Collection 8 users and costs $100 for an upgrade license or $170 for a new license.&lt;/p&gt;
  966. &lt;div id="pr" class="pressRelease"&gt;
  967. &lt;p&gt;Press release:&lt;/p&gt;
  968. &lt;h2&gt;DxO PureRAW 5.5 transforms Photoshop RAW editing, delivering cleaner, sharper, more detailed images&lt;/h2&gt;
  969. &lt;p&gt;By leveraging Smart Filters, DxO PureRAW becomes a seamless alternative to Adobe Camera Raw inside Photoshop.&lt;/p&gt;
  970. &lt;p&gt;Paris (France): DxO, the global leader in RAW image processing, today announces the release of DxO PureRAW 5.5, a free update that introduces a game-changing integration with Adobe Photoshop. With the ability to work as a Photoshop Smart Filter, DxO PureRAW now gives photographers direct access to its world-class RAW conversion tools — including the recently released DeepPRIME 3 and DeepPRIME XD3 for X-Trans sensors — without ever leaving Photoshop.&lt;/p&gt;
  971. &lt;p&gt;"With DxO PureRAW 5.5, Photoshop users finally have a true alternative to Camera Raw — one that delivers visibly superior results straight from their RAW files," said Jean-Marc Alexia, VP of Product Strategy. "This is a major step forward for photographers who demand the highest image quality without compromising on workflow flexibility."&lt;/p&gt;
  972. &lt;p&gt;&lt;strong&gt;Photoshop, supercharged&lt;/strong&gt;&lt;/p&gt;
  973. &lt;p&gt;Until now, Photoshop users have relied on Adobe Camera Raw to handle the first stage of RAW development. With DxO PureRAW 5.5, they gain an alternative that seamlessly slots into their workflow, offering unmatched noise reduction, detail recovery, and optical corrections. The new Smart Filter integration means PureRAW can be applied non-destructively, with the&lt;br&gt;flexibility to return and fine-tune processing at any point in the editing journey.&lt;/p&gt;
  974. &lt;p&gt;&lt;strong&gt;Cleaner, sharper, more detailed images&lt;/strong&gt;&lt;/p&gt;
  975. &lt;ul&gt;
  976. &lt;li&gt;The third generation of DxO’s pioneering technology, DeepPRIME 3, delivers&lt;br&gt;unprecedented image quality — free of noise and with exceptional color rendering — for images captured at high ISO levels.&lt;/li&gt;
  977. &lt;li&gt;DxO’s DeepPRIME XD technology is designed for the most demanding files captured in challenging conditions. As well as eliminating noise, it draws out unprecedented detail from the RAW file. Introduced in DxO PureRAW 5, DeepPRIME XD3 for X-Trans brings DxO’s most advanced denoising technology to Fujifilm users.&lt;/li&gt;
  978. &lt;li&gt;Exclusive to DxO software and built on more than 20 years of cutting-edge research and analysis, DxO Modules automatically optimize lens sharpness, and correct distortion, vignetting, and chromatic aberration, delivering the best possible performance from more than 100,000 camera and lens combinations.&lt;/li&gt;
  979. &lt;li&gt;New in DxO PureRAW 5.5, integration with Photoshop’s Smart Filters ensures complete control, giving users the freedom to revisit DxO PureRAW settings at any time.&lt;/li&gt;
  980. &lt;/ul&gt;
  981. &lt;p&gt;&lt;strong&gt;Price and availability&lt;/strong&gt;&lt;/p&gt;
  982. &lt;p&gt;DxO PureRAW 5.5 is available today from the DxO website (&lt;a href="https://shop.dxo.com/en/" target="article-null"&gt;shop.dxo.com&lt;/a&gt;) for macOS and&lt;br&gt;Windows machines:&lt;/p&gt;
  983. &lt;p&gt;New license 129.99$ / 119.99€ / 109.99£&lt;/p&gt;
  984. &lt;p&gt;Upgrade from DxO PureRAW 3 or 4 89.99$ / 79.99€ / 69.99£&lt;/p&gt;
  985. &lt;p&gt;A 14-day free trial is available from &lt;a href="https://www.dxo.com/dxo-pureraw/download/" target="article-null"&gt;dxo.com/en/dxo-pureraw/download&lt;/a&gt;.&lt;/p&gt;
  986. &lt;p&gt;Version 5.5 is available as a free update to owners of DxO PureRAW 5.&lt;/p&gt;
  987. &lt;/div&gt;
  988. &lt;div id="pr" class="pressRelease"&gt;
  989. &lt;p&gt;Press release:&lt;/p&gt;
  990. &lt;h2&gt;DxO PhotoLab’s acclaimed AI masks get even better in version 9.2 — plus workflow upgrades to match&lt;/h2&gt;
  991. &lt;p&gt;&lt;strong&gt;The ultimate RAW photo editing software continues to evolve, with more accurate selections, re-organizable masks, and new PhotoLibrary filters.&lt;/strong&gt;&lt;/p&gt;
  992. &lt;p&gt;Paris (France): DxO, the imaging science pioneer and developer of the world’s most advanced RAW photo editing software, today announces the release of DxO PhotoLab 9.2, bringing significant improvements to its widely acclaimed AI-powered masking tools alongside a set of workflow enhancements designed to make photographers more productive than ever.&lt;/p&gt;
  993. &lt;p&gt;“We’ve been delighted with how our AI masks have been received, and now we’ve made them even better,” said Jean-Marc Alexia, VP of Product Strategy. “With these enhancements, photographers can guarantee more accurate selections, freeing them up to concentrate on their creativity.”&lt;/p&gt;
  994. &lt;p&gt;&lt;strong&gt;Acclaimed AI Masks get further improvements&lt;/strong&gt;&lt;/p&gt;
  995. &lt;p&gt;DxO’s AI masks — introduced in PhotoLab 9 — already allow photographers to make complex local adjustments in just a few clicks, with a flexible mask and submask system that lets them build sophisticated, interacting selections for even greater precision and control.&lt;/p&gt;
  996. &lt;p&gt;With version 9.2, these masks become even more powerful thanks to improved matting and an upgraded sensibility threshold for cleaner, more accurate edges around complex subjects. The result is an AI masking system that feels smarter, faster, and more intuitive than ever.&lt;/p&gt;
  997. &lt;p&gt;&lt;strong&gt;Workflow upgrades photographers will love&lt;/strong&gt;&lt;/p&gt;
  998. &lt;p&gt;DxO PhotoLab 9.2 also introduces several workflow refinements:&lt;/p&gt;
  999. &lt;ul&gt;
  1000. &lt;li&gt;Re-organizable masks with improved labelling — With this update, users gain even greater control over their local adjustments. Masks and sub-masks can now be freely reordered, making it easier to keep complex edits organized and intuitive. In addition, when a mask is duplicated, the software automatically labels the new version with a sequential number, saving time and avoiding confusion. These refinements streamline workflows and help photographers stay focused on the creative process rather than on file management.&lt;/li&gt;
  1001. &lt;li&gt;New PhotoLibrary filters — File management and image curation become even more efficient in DxO PhotoLab 9.2 thanks to the addition of three new filters designed to speed up the way photographers locate their work. Alongside the existing options, users can now instantly display only Unedited Images, quickly isolate Edited Images, or focus specifically on Edited Images featuring Local corrections. Whether you want to return to untouched RAW files, review your overall edits, or check exactly where you applied selective adjustments, these new filters make it faster and simpler to navigate even the largest photo libraries.&lt;/li&gt;
  1002. &lt;li&gt;Improved History panel for Windows — Already available on macOS, the History panel now remembers every step of an edit even after the software is closed and reopened. Windows users can now step back to any point in their editing workflow across multiple sessions, ensuring complete editing continuity.&lt;/li&gt;
  1003. &lt;/ul&gt;
  1004. &lt;p&gt;&lt;strong&gt;Industry-acclaimed AI masks with next-level precision&lt;/strong&gt;&lt;/p&gt;
  1005. &lt;p&gt;DxO PhotoLab 9’s AI masks have already redefined what photographers can expect from&lt;br&gt;intelligent local adjustments, earning widespread praise in the industry press. They allow users to instantly isolate subjects, skies, or backgrounds, and their advanced functionality means masks can be organized with sub-masks that interact with one another for highly complex, layered selections.&lt;/p&gt;
  1006. &lt;p&gt;Whether combining, subtracting, or refining, DxO PhotoLab 9 makes intricate editing workflows both powerful and remarkably fluid. And when even greater precision is needed, DxO’s renowned U Point™ technology offers intuitive fine-tuning with control points and brushes.&lt;/p&gt;
  1007. &lt;p&gt;&lt;strong&gt;Price and availability&lt;/strong&gt;&lt;/p&gt;
  1008. &lt;p&gt;DxO PhotoLab 9.2 is available today from the DxO website (&lt;a href="https://shop.dxo.com/en/" target="article-7667381118"&gt;shop.dxo.com&lt;/a&gt;) for macOS and&lt;br&gt;Windows machines:&lt;/p&gt;
  1009. &lt;p&gt;New license 239.99$/ 239.99€ / 219.99£&lt;/p&gt;
  1010. &lt;p&gt;Upgrade from DxO PhotoLab 7 or 8 119.99$/ 119.99€ / 109.99£&lt;/p&gt;
  1011. &lt;p&gt;A 30-day trial is available from &lt;a href="https://www.dxo.com/dxo-photolab/download/" target="article-7667381118"&gt;dxo.com/en/dxo-photolab/download&lt;/a&gt;.&lt;/p&gt;
  1012. &lt;p&gt;Version 9.2 is available as a free update to owners of DxO PhotoLab 9.&lt;/p&gt;
  1013. &lt;/div&gt;
  1014. &lt;div id="pr" class="pressRelease"&gt;
  1015. &lt;p&gt;Press release:&lt;/p&gt;
  1016. &lt;h2&gt;Nik Collection 8.2, the essential Photoshop plugin suite, expands Analog Efex with new paper texture tool for print-inspired looks&lt;/h2&gt;
  1017. &lt;p&gt;&lt;strong&gt;The creative powerhouse introduces 30 new overlays to give images a tactile, storytelling edge, adding to a wealth of vintage looks.&lt;/strong&gt;&lt;/p&gt;
  1018. &lt;p&gt;Paris (France): DxO, the pioneering imaging software company, is pleased to announce the release of Nik Collection 8.2, the latest update to its powerful suite of creative plugins for photographers and retouchers. This new version introduces a fresh set of authentic paper textures, expanding the creative possibilities for artists who want to give their images unique depth, tactility, and character.&lt;/p&gt;
  1019. &lt;p&gt;With Nik Collection’s renowned filters and effects already helping photographers transform their work, the addition of paper textures brings a whole new dimension. From fine-art matte finishes to richly grained watercolor surfaces, these textures let users add subtle atmosphere or bold artistic style with just a few clicks.&lt;/p&gt;
  1020. &lt;p&gt;“Texture is a versatile tool in creative photography,” said Boris Oliviero, Product Director. “With the new paper textures in Nik Collection 8.2, photographers can now infuse their images with the timeless look of print and fine art, while enjoying the speed and flexibility that makes Nik Collection the gold standard for creative expression.”&lt;/p&gt;
  1021. &lt;p&gt;&lt;strong&gt;The art of texture, redefined&lt;/strong&gt;&lt;/p&gt;
  1022. &lt;p&gt;Nik Analog Efex celebrates the art of imperfection, recreating the charm and unpredictability of classic cameras, lenses, and films. With its rich palette of analog-inspired effects — from light leaks and lens distortions to vintage film grains and color casts — it gives photographers the freedom to transport their images into another era.&lt;/p&gt;
  1023. &lt;p&gt;The new tool for adding paper textures offers:&lt;/p&gt;
  1024. &lt;ul&gt;
  1025. &lt;li&gt;30 authentic paper surfaces — Inspired by traditional photographic, artistic and antique papers, the new textures add grain, depth, and character to images.&lt;/li&gt;
  1026. &lt;li&gt;Fine control — Adjust intensity, blend modes, and tonal integration to achieve everything from subtle mood to striking artistic impact.&lt;/li&gt;
  1027. &lt;li&gt;Effortless workflow — Nik Collection 8 integrates effortlessly with Adobe Photoshop, and works efficiently alongside DxO PhotoLab, Adobe Lightroom Classic, and Affinity Photo.&lt;/li&gt;
  1028. &lt;/ul&gt;
  1029. &lt;p&gt;Nik Collection 8.2 continues DxO’s commitment to creative freedom, blending heritage with cutting-edge technology. Alongside the new paper textures, users benefit from ongoing stability improvements and performance optimizations across the suite’s seven plugins.&lt;/p&gt;
  1030. &lt;p&gt;&lt;strong&gt;Price and availability&lt;/strong&gt;&lt;/p&gt;
  1031. &lt;p&gt;Nik Collection 8.2 is available today from the DxO website (&lt;a href="https://shop.dxo.com/en/" target="article-7667381118"&gt;shop.dxo.com&lt;/a&gt;) for macOS and&lt;br&gt;Windows machines:&lt;/p&gt;
  1032. &lt;p&gt;New license 169.99$ / 159.99€ / 144.99£&lt;/p&gt;
  1033. &lt;p&gt;Upgrade from Nik Collection 6 or 7 99.99$ / 89.99€ / 79.99£&lt;/p&gt;
  1034. &lt;p&gt;A 30-day trial is available from &lt;a href="https://nikcollection.dxo.com/download/" target="article-7667381118"&gt;nikcollection.dxo.com/download&lt;/a&gt;.&lt;/p&gt;
  1035. &lt;p&gt;Version 8.2 is available as a free update to owners of Nik Collection 8.&lt;/p&gt;
  1036. &lt;/div&gt;</description><pubDate>Tue, 04 Nov 2025 14:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/7667381118/raw-power-move-dxo-update-challenges-adobes-raw-editing-workflow" /><media:thumbnail url="https://4.img-dpreview.com/files/p/E~C97x0S860x645T1200x900~articles/7667381118/a_silver_desktop_monitor_has_an_image_of_a_group_dancing_with_a_rainbow_gradient_behiind_the_displayjpg.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/opinion/2251284824/adobe-max-2025-ai-partner-models-subscription</guid><link>https://www.dpreview.com/opinion/2251284824/adobe-max-2025-ai-partner-models-subscription</link><title>Adobe's new plan to justify its subscriptions: be a one-stop AI shop</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1037. &lt;tbody&gt;
  1038. &lt;tr&gt;
  1039. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/2251284824/adobe_creativity_ai_age.jpeg" target="article-2251284824"&gt;&lt;img alt="adobe creativity ai age" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="392" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/2251284824/adobe_creativity_ai_age.jpeg" width="590" data-filename="adobe_creativity_ai_age.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/2251284824/adobe_creativity_ai_age.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1040. &lt;/tr&gt;
  1041. &lt;tr&gt;
  1042. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Mitchell Clark&lt;/em&gt;&lt;/td&gt;
  1043. &lt;/tr&gt;
  1044. &lt;/tbody&gt;
  1045. &lt;/table&gt;
  1046. &lt;p&gt;&lt;em&gt;Disclosure: DPReview attended Adobe Max, with Adobe covering travel and lodging expenses.&lt;/em&gt;&lt;/p&gt;
  1047. &lt;p&gt;The subscription payment model is a tough one; customers have made it clear that they're fatigued by having to pay for everything every month, and companies have to continuously justify why their software shouldn't just be a one-time payment.&lt;/p&gt;
  1048. &lt;p&gt;It's an argument we've seen time and time again here at DPReview almost any time Adobe's Creative Cloud comes up, with commenters bemoaning the lost days of simply being able to buy Photoshop once (at least, until the next version came out in a few years).&lt;/p&gt;
  1049. &lt;p&gt;In the age of generative AI, Adobe seems to have found a new answer: being a one-stop shop for AI services that would typically require separate subscriptions. Partner Models in particular have come up again and again at this year's Adobe Max conference, from keynotes to product demos. And while AI will almost certainly have terrifying implications for society at large and the art of photography in particular, I find myself coming away strangely optimistic for the future of the artform, at least as a hobby.&lt;/p&gt;
  1050. &lt;blockquote class="pullQuote"&gt;In the age of generative AI, Adobe wants to be a one-stop shop for AI services&lt;/blockquote&gt;
  1051. &lt;p&gt;Let's lay some groundwork quickly for those who haven't &lt;a href="https://www.dpreview.com/news/9361295768/adobe-max-2025-photoshop-lightroom-feature-release" rel="noopener" target="_blank"&gt;been following along&lt;/a&gt;. This week, Adobe announced and released several new features for Photoshop and Lightroom, programs that many photographers consider essential.&lt;/p&gt;
  1052. &lt;p&gt;As usual, most of it revolved around AI: there's a chatbot coming to Photoshop that you can ask to make certain edits and complete tasks for you, the Generative Remove tool that lets you erase unwanted distractions is now better, and you can "Harmonize" foreground and background layers to turn compositing into a single-click process.&lt;/p&gt;
  1053. &lt;h2&gt;AI from partners, and Adobe&lt;/h2&gt;
  1054. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1055. &lt;tbody&gt;
  1056. &lt;tr&gt;
  1057. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/2251284824/adobe_partner_models_slide" target="article-2251284824"&gt;&lt;img alt="adobe_partner_models_slide" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/2251284824/adobe_partner_models_slide" width="590" data-filename="adobe_partner_models_slide" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/2251284824/adobe_partner_models_slide 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1058. &lt;/tr&gt;
  1059. &lt;tr&gt;
  1060. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Mitchell Clark&lt;/em&gt;&lt;/td&gt;
  1061. &lt;/tr&gt;
  1062. &lt;/tbody&gt;
  1063. &lt;/table&gt;
  1064. &lt;p&gt;The biggest change, though, is the introduction of Partner Models. Up until now, features like Generative Fill, which let you add AI-generated elements to your images, and AI Upscale, relied on Adobe's in-house Firefly models. And while you can still use those, Adobe's now letting you use other models too, such as Google's goofily-named Nano Banana image generator and Topaz Labs' increasingly popular upscale, denoise and sharpen models.&lt;/p&gt;
  1065. &lt;p&gt;Rather than relying on separate paid subscriptions and apps for each of those services, it all happens within Photoshop using AI credits that are included in your Creative Cloud plan (provided you've &lt;a href="https://helpx.adobe.com/creative-cloud/apps/generative-ai/generative-credits-faq.html#monthly-generative-credits" rel="noopener" target="_blank"&gt;chosen the right one&lt;/a&gt;).&lt;/p&gt;
  1066. &lt;p&gt;Put another way, Adobe is mediating your relationship with other AI vendors. It doesn't want you to view them as separate services that you have to manage depending on what tasks you have this month, but tools you can access within its apps that – importantly – you don't have to pay for separately.&lt;/p&gt;
  1067. &lt;p&gt;The company laid the groundwork for this change in advance, changing up its Creative Cloud subscription &lt;a href="https://www.dpreview.com/news/7664309074/adobe-creative-cloud-us-pricing-all-apps-pro-standard" rel="noopener" target="_blank"&gt;earlier this year&lt;/a&gt; with its plans now centering around how many AI credits are included. In retrospect, it's obvious that this was vital if it wanted to let its users access otherwise expensive AI models without needing a separate subscription.&lt;span class="green"&gt;*&lt;/span&gt;&lt;/p&gt;
  1068. &lt;h2&gt;What's the impact?&lt;/h2&gt;
  1069. &lt;p&gt;This could be a sign of profound changes to come for photographers. Not because I think the future of Creative Cloud as a subscription hinges on whether this gambit works. Realistically, that battle is over; it seems like most people are willing to pay the rent, and, realistically, there's probably a lot of overlap between the anti-subscription and anti-AI crowds. (I say this with love.) No, it could be something much deeper.&lt;/p&gt;
  1070. &lt;p&gt;While many of us hobbyists like to imagine that being a professional photographer would let us pursue all our artistic ambitions in interesting locales, the reality is that the largest market for paid photography is less glamorous commercial work; capturing images to be used in advertisements and other collateral by corporations.&lt;/p&gt;
  1071. &lt;blockquote class="pullQuote"&gt;Try as they might, companies have never been able to fully extract the photographer from that equation&lt;/blockquote&gt;
  1072. &lt;p&gt;But try as they might, companies have never been able to fully extract the photographer from that equation; there's still a human who has to hold the camera and make what are ultimately creative decisions. Generative AI may finally be the thing that lets them do that. At the very least, there's a good chance that human photographers will become less and less important in the creative process. The photo doesn't quite match the senior VP of marketing's vision? They can fire up Photoshop and have generative AI "fix" it with a simple prompt.&lt;/p&gt;
  1073. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/wQza2t9Qs64?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1074. &lt;div class="caption"&gt;Adobe's demo of making a model change which way they're facing. They pitch it as being at the behest of the model, but that doesn't strike me as the most likely scenario.&lt;/div&gt;
  1075. &lt;p&gt;To be clear, this isn't a hypothetical future; during its keynote, Adobe showed an example of using the Generative Fill tool to change which direction a model was looking. Higher-ups could always mandate changes, but the barriers to them doing so have never been so low; before, they would've had to weigh the costs of dragging everyone back into the studio. Now, all it takes is a couple of clicks and some AI credits. And with tools like Firefly and Express, Adobe's trying to make it so you don't even have to know which model works best for which purposes.&lt;/p&gt;
  1076. &lt;h2&gt;Our AI, your voice&lt;/h2&gt;
  1077.  
  1078. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1079. &lt;tbody&gt;
  1080. &lt;tr&gt;
  1081. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/2251284824/model_customization_slide.png" target="article-2251284824"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="331" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/2251284824/model_customization_slide.png" width="590" data-filename="model_customization_slide.png" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/2251284824/model_customization_slide.png 2x" alt="model customization slide"&gt;&lt;/a&gt;&lt;/td&gt;
  1082. &lt;/tr&gt;
  1083. &lt;tr&gt;
  1084. &lt;td class="caption" style="width: 590px;"&gt;Custom models are Adobe's solution to living in what it calls a "content-first" world.&lt;br&gt;&lt;em&gt;Image: Adobe&lt;/em&gt;&lt;/td&gt;
  1085. &lt;/tr&gt;
  1086. &lt;/tbody&gt;
  1087. &lt;/table&gt;
  1088. &lt;p&gt;It goes even further. Adobe also introduced something called Custom Models, which lets you feed your existing work into its Firefly AI and train it to produce images in a similar style. There's also a super-charged version for corporations that will let them dump their entire intellectual property into it, generating on-brand content (yuck) without the need for any artistic input. The work of all the creatives that have worked with the company becomes grist for the ever-accelerating content mill.&lt;/p&gt;
  1089. &lt;p&gt;Okay, so what about the part where I said I don't think it's the apocalypse? Well, for those of us who do photography as a hobby, not a job (which I suspect is actually most of us), this approach could be helpful, especially if AI tools are only a very occasional part of how we work with our images.&lt;/p&gt;
  1090. &lt;p&gt;Take Topaz's Gigapixel upscaler, something that gets recommended relatively frequently in our forums and comments. It's not something I'd personally spend $12 a month on, but it's something I'd sometimes use to touch up older photos if I had access to it. If it's just included in my Creative Cloud subscription, I can do so without really having to think about it.&lt;/p&gt;
  1091. &lt;p&gt;The drive to add more and more AI features could also result in more features that are genuinely useful to photographers. Work that went into features like the cloud-based remove tool could inform tools like Lightroom's Assisted Culling tool, which has to recognize eyes that are out of focus and missed exposures.&lt;/p&gt;
  1092. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1093. &lt;tbody&gt;
  1094. &lt;tr&gt;
  1095. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/2251284824/Lightroom_visual_stacks.png" target="article-2251284824"&gt;&lt;img alt="Lightroom visual stacks" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="474" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/2251284824/Lightroom_visual_stacks.png" width="590" data-filename="Lightroom_visual_stacks.png" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/2251284824/Lightroom_visual_stacks.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1096. &lt;/tr&gt;
  1097. &lt;tr&gt;
  1098. &lt;td class="caption" style="width: 590px;"&gt;Lightroom has its fair share of AI features, but largely remains a bastion for people who care about photography.&lt;/td&gt;
  1099. &lt;/tr&gt;
  1100. &lt;/tbody&gt;
  1101. &lt;/table&gt;
  1102. &lt;p&gt;Cloud processing is making it possible to search your Lightroom catalogue using natural language, rather than having to rely on tags that you've manually added. And while Adobe views the AI Photoshop assistant more as a way to automate repetitive tasks, it could be a powerful tool in helping people learn a piece of increasingly complicated software.&lt;/p&gt;
  1103. &lt;p&gt;There are clearly still lots of people at Adobe who recognize that photography can be a passion, not just a means to an end, and who are finding ways for AI to enhance what humans do, not replace it. And, at least for now, they still seem to have the space and resources to do that work.&lt;/p&gt;
  1104. &lt;blockquote class="pullQuote"&gt;Adobe is building tools for people who don't care to learn the craft they're practicing&lt;/blockquote&gt;
  1105. &lt;p&gt;However, that work &lt;em&gt;is&lt;/em&gt; being showcased alongside the latest innovations in placing business needs over human ones, and tools built for people who don't care to learn the craft they're practicing. See the Firefly video editor, for people who want video edited but don't want to edit it, and Photoshop AI assistant for people who want things photoshopped but don't want to Photoshop it.&lt;/p&gt;
  1106. &lt;p&gt;At the end of it all, it's hard to say what vision will win out, or what balance will be struck. Certainly, the latter seems to be the one being sold the hardest here at Max, but maybe that's just because it's not as &lt;em&gt;prima facie&lt;/em&gt; enticing to an audience that still includes a lot of creative people. I'm not sure who's buying that vision of the future, and I'm honestly a little scared to find out. But I do think that it'll come with a lot of side benefits for photographers, intended and not.&lt;/p&gt;
  1107. &lt;p&gt;&lt;span style="color: #33ff33;"&gt;* It also likely represents some big deals between Adobe and other AI companies, which doesn't help assuage my concerns about &lt;/span&gt;&lt;a href="https://www.nbcnews.com/business/economy/openai-nvidia-amd-deals-risks-rcna234806" rel="noopener" target="_blank"&gt;how bubbly the map of the AI economy looks&lt;/a&gt;&lt;span style="color: #33ff33;"&gt; one bit.&lt;/span&gt;&lt;/p&gt;</description><pubDate>Mon, 03 Nov 2025 14:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/opinion/2251284824/adobe-max-2025-ai-partner-models-subscription" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C221x0S3399x2549T1200x900~articles/2251284824/adobe_creativity_ai_age.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/samples/8422729889/om-system-om-5-ii-sample-gallery</guid><link>https://www.dpreview.com/samples/8422729889/om-system-om-5-ii-sample-gallery</link><title>OM System OM-5 II production sample gallery: out and about</title><description>&lt;div style="font-size: 12px; color: #888;"&gt;When you use DPReview links to buy products, the site may earn a commission.&lt;/div&gt;&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1108. &lt;tbody&gt;
  1109. &lt;tr&gt;
  1110. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8422729889/puppy-rolling-around-in-grass.jpeg" target="article-8422729889"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/8422729889/puppy-rolling-around-in-grass.jpeg" width="590" data-filename="puppy-rolling-around-in-grass.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/8422729889/puppy-rolling-around-in-grass.jpeg 2x" alt="puppy-rolling-around-in-grass"&gt;&lt;/a&gt;&lt;/td&gt;
  1111. &lt;/tr&gt;
  1112. &lt;/tbody&gt;
  1113. &lt;/table&gt;
  1114. &lt;p&gt;Earlier this week, we &lt;a href="https://www.dpreview.com/reviews/om-system-om-5-mark-ii-in-depth-review" rel="noopener" target="_blank"&gt;released our review of the OM System OM-5 II&lt;/a&gt;. We didn't find any surprises when it comes to image quality (it uses the same sensor and processor as its predecessor, so it would've been a bit odd if we had), but, as always, our review processes included using the camera a lot. That leaves us with a collection of images to share with the audience, both as illustrations and as proof that we've put in the work.&lt;/p&gt;
  1115. &lt;p&gt;Of course, if you're not familiar with what this camera is capable of, the sample gallery will be a good illustration; it includes high-ISO examples, as well as a few shots taken using some of the camera's computational photography modes. You can also check out our pre-production sample gallery below to see more sample images from the OM-5 II.&lt;/p&gt;
  1116. &lt;p class="actionButton"&gt;&lt;a href="https://www.dpreview.com/sample-galleries/0761839447/om-system-om-5-ii-sample-gallery"&gt;See the production sample gallery&lt;/a&gt;&lt;/p&gt;
  1117. &lt;p&gt;Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (&lt;a href="https://www.dpreview.com/misc/termsandconditions" rel="noopener" target="_blank"&gt;see our copyright page&lt;/a&gt;). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.&lt;/p&gt;
  1118. &lt;h2&gt;Production sample gallery&lt;/h2&gt;
  1119. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/0761839447/om-system-om-5-ii-sample-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/0761839447/om-system-om-5-ii-sample-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;
  1120. &lt;h2&gt;Pre-production sample gallery&lt;/h2&gt;
  1121. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/7014780791/om-system-om-5-ii-pre-production-sample-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/7014780791/om-system-om-5-ii-pre-production-sample-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;</description><pubDate>Sun, 02 Nov 2025 14:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/samples/8422729889/om-system-om-5-ii-sample-gallery" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C0x486S3888x2916T1200x900~articles/8422729889/Sheep_looking_into_the_sky_square.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/3725595119/porsche-made-a-really-fast-camera-car</guid><link>https://www.dpreview.com/articles/3725595119/porsche-made-a-really-fast-camera-car</link><title>Porsche made a really fast camera (car)</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1122. &lt;tbody&gt;
  1123. &lt;tr&gt;
  1124. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3725595119/a_person_with_a_camera_held_to_their_face_sits_in_the_front_trunk_of_a_black_porsche_while_it_speeds_down_a_track.jpeg" target="article-a03f78c30ca24761a7db5ef622e9942e"&gt;&lt;img alt="a person with a camera held to their face sits in the front trunk of a black porsche while it speeds down a track" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/3725595119/a_person_with_a_camera_held_to_their_face_sits_in_the_front_trunk_of_a_black_porsche_while_it_speeds_down_a_track.jpeg" width="590" data-filename="a_person_with_a_camera_held_to_their_face_sits_in_the_front_trunk_of_a_black_porsche_while_it_speeds_down_a_track.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/3725595119/a_person_with_a_camera_held_to_their_face_sits_in_the_front_trunk_of_a_black_porsche_while_it_speeds_down_a_track.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1125. &lt;/tr&gt;
  1126. &lt;tr&gt;
  1127. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Porsche&lt;/em&gt;&lt;/td&gt;
  1128. &lt;/tr&gt;
  1129. &lt;/tbody&gt;
  1130. &lt;/table&gt;
  1131. &lt;p&gt;In 2017, a group of apprentices from Porsche Leipzig GmbH undertook a dramatic conversion of a Porsche Boxster, transforming it into a unique camera car. It was kept behind the scenes, but now, the company has made &lt;a href="https://newsroom.porsche.com/en/2025/company/porsche-camera-car-apprentices-boxster-leipzig-40953.html" target="article-null"&gt;details of the vehicle public&lt;/a&gt;, showing off the highly modified vehicle along with information about its conversion.&lt;/p&gt;
  1132. &lt;p&gt;Porsche says nine apprentices modified the Porsche 718 Boxster S as part of a project for their second year of training. The idea came about because the previous camera car, an older Porsche Boxster, could no longer keep up with current models on the track. The apprentices were then tasked with converting the new vehicle with guidance from training supervisor Carsten Pohle.&lt;/p&gt;
  1133. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1134. &lt;tbody&gt;
  1135. &lt;tr&gt;
  1136. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3725595119/a_car_with_a_photographer_in_the_front_trunk_follows_a_white_orange_and_blue_race_Car.jpeg" target="article-3725595119"&gt;&lt;img alt="a car with a photographer in the front trunk follows a white orange and blue race Car" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/3725595119/a_car_with_a_photographer_in_the_front_trunk_follows_a_white_orange_and_blue_race_Car.jpeg" width="590" data-filename="a_car_with_a_photographer_in_the_front_trunk_follows_a_white_orange_and_blue_race_Car.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/3725595119/a_car_with_a_photographer_in_the_front_trunk_follows_a_white_orange_and_blue_race_Car.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1137. &lt;/tr&gt;
  1138. &lt;tr&gt;
  1139. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Porsche&lt;/em&gt;&lt;/td&gt;
  1140. &lt;/tr&gt;
  1141. &lt;/tbody&gt;
  1142. &lt;/table&gt;
  1143. &lt;p&gt;To convert the Boxster, the team removed the soft-top roof and installed a robust roll bar, which doubles as an elevated mounting point. They added steel tube mounts on the front, rear and sides to allow for additional camera positions. The crew also painted the vehicle and all of its add-on parts with matte black paint to cut down on reflections when filming.&lt;/p&gt;
  1144. &lt;p&gt;Of course, with people aboard the vehicle, safety also needed to be a consideration. Porsche says that they padded both the front and rear luggage compartments and added harness systems. There's also a standing platform between the front seats and rear trunk with the necessary safety harness. There is still plenty of risk for the photographer sitting exposed in the front luggage compartment or standing up in the middle of the car. Still, these positions do enable a very clear view for filming and photography.&lt;/p&gt;
  1145. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1146. &lt;tbody&gt;
  1147. &lt;tr&gt;
  1148. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3725595119/a_person_wearing_a_helmet_and_holding_a_camera_sits_in_the_front_trunk_of_a_porsche_boxster_as_it_speeds_down_a_track.jpeg" target="article-3725595119"&gt;&lt;img alt="a person wearing a helmet and holding a camera sits in the front trunk of a porsche boxster as it speeds down a track" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/3725595119/a_person_wearing_a_helmet_and_holding_a_camera_sits_in_the_front_trunk_of_a_porsche_boxster_as_it_speeds_down_a_track.jpeg" width="590" data-filename="a_person_wearing_a_helmet_and_holding_a_camera_sits_in_the_front_trunk_of_a_porsche_boxster_as_it_speeds_down_a_track.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/3725595119/a_person_wearing_a_helmet_and_holding_a_camera_sits_in_the_front_trunk_of_a_porsche_boxster_as_it_speeds_down_a_track.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1149. &lt;/tr&gt;
  1150. &lt;tr&gt;
  1151. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Porsche&lt;/em&gt;&lt;/td&gt;
  1152. &lt;/tr&gt;
  1153. &lt;/tbody&gt;
  1154. &lt;/table&gt;
  1155. &lt;p&gt;The company also provided details on how the car was built with photography and videography workflows in mind, too. For example, the team added internal wiring that allows for a direct connection between the camera and laptop, with the latter able to be securely mounted in the passenger area. There's also an inverter to supply power and recharge all of the camera equipment.&lt;/p&gt;
  1156. &lt;p&gt;Porsche says that the car has been used regularly for filming shoots on the Leipzig track since its completion. External productions have also used the vehicle, including shoots for Motor Presse Stuttgart. Motorsport legend Walter Röhrl has even been filmed with the camera car. Most recently, the car ventured beyond the Leipzig track, serving as the camera car for the Tutto Bene Hillclimb near Lake Maggiore.&lt;/p&gt;</description><pubDate>Sat, 01 Nov 2025 14:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/3725595119/porsche-made-a-really-fast-camera-car" /><media:thumbnail url="https://2.img-dpreview.com/files/p/E~C0x0S2881x2161T1200x900~articles/3725595119/a_person_with_a_camera_held_to_their_face_sits_in_the_front_trunk_of_a_black_porsche_while_it_speeds_down_a_track.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/7526167980/a-photographer-s-journey-to-capture-one-of-nature-s-rarest-and-most-enchanting-displays</guid><link>https://www.dpreview.com/articles/7526167980/a-photographer-s-journey-to-capture-one-of-nature-s-rarest-and-most-enchanting-displays</link><title>Right place, right time: capturing one of nature's rarest and most enchanting displays</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1157. &lt;tbody&gt;
  1158. &lt;tr&gt;
  1159. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7526167980/the_milky_way_and_red_sprites_glow_above_a_rock_formation_and_mountains.jpeg" target="article-ffc2206d26f34a2aae53a238551180c8"&gt;&lt;img alt="the milky way and red sprites glow above a rock formation and mountains" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="472" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/7526167980/the_milky_way_and_red_sprites_glow_above_a_rock_formation_and_mountains.jpeg" width="590" data-filename="the_milky_way_and_red_sprites_glow_above_a_rock_formation_and_mountains.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/7526167980/the_milky_way_and_red_sprites_glow_above_a_rock_formation_and_mountains.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1160. &lt;/tr&gt;
  1161. &lt;tr&gt;
  1162. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Dan Zafra&lt;/em&gt;&lt;/td&gt;
  1163. &lt;/tr&gt;
  1164. &lt;/tbody&gt;
  1165. &lt;/table&gt;
  1166. &lt;p&gt;Photography has a way of leading us into rare and unrepeatable moments. Such was recently the case for photographer Dan Zafra, the co-founder of Capture the Atlas. While capturing the dark skies of New Zealand, Zafra witnessed red sprites flashing above the Milky Way. Making it even more special, the scene was accompanied by some Aurora Australis glow and a little comet called SWAN.&lt;/p&gt;
  1167. &lt;p&gt;Zafra says he was photographing at the Clay Cliffs, South Island, New Zealand, on October 11, 2025 under clear skies when he began to notice faint flashes on the horizon from a distant thunderstorm over the Southern Alps in New Zealand. "At first, they looked like normal lightning, but after a few test shots, I realized my camera was capturing red sprites," Zafra explained.&lt;/p&gt;
  1168. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/7108720292/dan-zafra-red-sprites-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/7108720292/dan-zafra-red-sprites-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;
  1169. &lt;div class="caption"&gt;Click on the image above to see the photographs in full resolution.&lt;/div&gt;
  1170. &lt;p&gt;Red sprites are luminous flashes that occur high above thunderstorm clouds, typically at altitudes between 50 and 90 kilometers (unlike traditional lightning, which is within the lower atmosphere). They are almost impossible to see with the naked eye, but in images, they appear as red tendrils and usually only last a few milliseconds. They are a rare phenomenon, especially in New Zealand, where major lightning storms are rare.&lt;/p&gt;
  1171. &lt;p&gt;Zafra said it was even more magical because of how things aligned. He explained that he could see the Milky Way glowing above the horizon while seeing red tendrils of light above the storm hundreds of kilometers away. "It was one of those moments when you know you’re witnessing something you’ll probably never see again," he said.&lt;/p&gt;
  1172. &lt;p&gt;To capture this incredible event, Zafra used a Sony a7 III with a Sony FE 24mm F1.4 GM lens. His settings for the sky exposure were F1.4, 10 sec. and ISO 6400, while the foreground exposure was a longer 2 minutes (with the rest of the settings remaining the same). He says he used minimal contrast and noise adjustments during processing. He blended the foreground for clarity, but didn't use any other stacking or star-tracking techniques.&lt;/p&gt;
  1173. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/gTwM30VQjwg?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1174. &lt;p&gt;Zafra also created a timelapse video of the event that shows the sprites flashing in real time. It shows just how fleeting those flashes are.&lt;/p&gt;
  1175. &lt;p&gt;Zafra added that, as far as he's been able to find, there are no previously registered images or timelapses showing red sprites and the Southern Hemisphere Milky Way together. "I’ll never forget the adrenaline rush of seeing those first frames appear on my camera, realizing what I had captured," he explained. "I felt incredibly lucky to be there; in the right place, at the right time, and ready for it." Moments like these remind us how powerful a tool photography can be.&lt;/p&gt;</description><pubDate>Sat, 01 Nov 2025 13:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/7526167980/a-photographer-s-journey-to-capture-one-of-nature-s-rarest-and-most-enchanting-displays" /><media:thumbnail url="https://4.img-dpreview.com/files/p/E~C0x96S3840x2880T1200x900~articles/7526167980/the_milky_way_and_red_sprites_glow_above_a_rock_formation_and_mountains.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/9636871302/a-new-fcc-rule-raises-the-prospects-of-a-dji-ban-in-the-us</guid><link>https://www.dpreview.com/news/9636871302/a-new-fcc-rule-raises-the-prospects-of-a-dji-ban-in-the-us</link><title>A new FCC rule raises the prospects of a DJI ban in the US</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1176. &lt;tbody&gt;
  1177. &lt;tr&gt;
  1178. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/9636871302/a_hand_pulls_out_the_battery_of_the_dji_mini_5_pro.jpeg" target="article-5676643662ef4bdca79ff87f1a60ebe2"&gt;&lt;img alt="a hand pulls out the battery of the dji mini 5 pro" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://2.img-dpreview.com/files/p/E~TC4x3S590x0~articles/9636871302/a_hand_pulls_out_the_battery_of_the_dji_mini_5_pro.jpeg" width="590" data-filename="a_hand_pulls_out_the_battery_of_the_dji_mini_5_pro.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/9636871302/a_hand_pulls_out_the_battery_of_the_dji_mini_5_pro.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1179. &lt;/tr&gt;
  1180. &lt;tr&gt;
  1181. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: DJI&lt;/em&gt;&lt;/td&gt;
  1182. &lt;/tr&gt;
  1183. &lt;/tbody&gt;
  1184. &lt;/table&gt;
  1185. &lt;p&gt;The US Federal Communications Commission (FCC) recently voted unanimously to give itself sweeping new powers to ban electronic devices retroactively. The vote makes a nationwide DJI ban even more likely after December 23, 2025. This decision builds on years of threats to ban DJI products due to apparent security concerns and legislative action against the most popular drone maker.&lt;/p&gt;
  1186. &lt;p&gt;The move, first reported by &lt;a href="https://www.theverge.com/report/808104/fcc-order-retroactive-ban-transmitter-national-security" target="article-null"&gt;&lt;em&gt;The Verge&lt;/em&gt;&lt;/a&gt;, means that the FCC can ban devices previously approved for entry into the US if it deems the company behind them a national security risk. It's being framed as a national security measure aimed at protecting US networks &lt;a href="https://www.theverge.com/2022/2/4/22918611/rip-and-replace-hauwei-zte-fcc-cell-network-securty" rel="noopener" target="_blank"&gt;from backdoors in Chinese telecom gear&lt;/a&gt;. But it's also part of intensifying efforts to restrict technology from foreign companies, especially Chinese firms.&lt;/p&gt;
  1187. &lt;p&gt;The FCC's decision is just the latest threat to DJI. There have been calls to ban DJI products since 2017, driven by worries that the drones could send sensitive data to China, a risk the company has &lt;a href="https://viewpoints.dji.com/blog/get-the-facts-countering-ccp-drones-act" rel="noopener" target="_blank"&gt;repeatedly downplayed&lt;/a&gt;. At the end of last year, the National Defense Authorization Act (NDAA), the annual defense spending bill, outlined a potential path toward a ban, although it did not specifically name DJI. It requires an "appropriate national security agency" to declare that a company's products don't "pose an unacceptable risk to the national security of the United States." That risk audit must be completed by December 23, 2025.&lt;/p&gt;
  1188. &lt;blockquote class="pullQuote"&gt;"It would result in an automatic ban of all new DJI products that use radio transmitters in the US"&lt;/blockquote&gt;
  1189. &lt;p&gt;If the risk assessment isn't completed by December 23, DJI products (and those by other companies) will be added to the "Covered List" under the Secure and Trusted Communication Networks Act. That move would result in an automatic ban of all new DJI products that use radio transmitters in the US, which would include drones, gimbals and the Osmo line of pocket-sized cameras. At the time of writing, no security agency has taken up the audit, despite more than 10 months having passed and only a few months to go before the deadline.&lt;/p&gt;
  1190. &lt;p&gt;In a statement to&lt;span style="box-sizing: border-box; margin: 0px; padding: 0px;"&gt; &lt;a href="https://www.theverge.com/report/808104/fcc-order-retroactive-ban-transmitter-national-security" target="article-null"&gt;&lt;em&gt;The Verge&lt;/em&gt;&lt;/a&gt;, DJI's global policy head, Adam Welsh,&lt;/span&gt; said the company &lt;a href="https://viewpoints.dji.com/blog/six-months-to-the-ndaa-deadline-time-is-ticking-for-a-dji-audit" rel="noopener" target="_blank"&gt;welcomes an investigation&lt;/a&gt;. "As the deadline approaches, we urge the U.S. government to start the mandated review or grant an extension to ensure a fair, evidence-based process that protects American jobs, safety, and innovation," he said.&lt;/p&gt;
  1191. &lt;blockquote class="pullQuote"&gt;"[T]he continued use of such equipment that is already in the hands of users would remain authorized"&lt;/blockquote&gt;
  1192. &lt;p&gt;There are limits to the potential ban, though. A &lt;a href="https://docs.fcc.gov/public/attachments/DOC-415051A1.pdf" target="article-null"&gt;60-page document outlines&lt;/a&gt; how the FCC order will work; importantly, it won’t confiscate or deactivate products that are already in the hands of consumers in its current form. "[T]he continued use of such equipment that is already in the hands of users would remain authorized," it says. Additionally, it says the FCC must provide public notice, conduct a "public interest analysis," and allow the opportunity for public comment for a minimum of 30 days.&lt;/p&gt;
  1193. &lt;p&gt;With the December deadline approaching, DJI's future in the US market remains tenuous. The company hasn't made any of its releases this year officially available in the US (though some units have snuck through to stores), and that looks likely to continue as DJI’s next steps remain uncertain.&lt;/p&gt;</description><pubDate>Fri, 31 Oct 2025 18:15:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/9636871302/a-new-fcc-rule-raises-the-prospects-of-a-dji-ban-in-the-us" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C1x0S1228x921T1200x900~articles/9636871302/a_hand_pulls_out_the_battery_of_the_dji_mini_5_pro.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/8256018725/the-allure-of-historic-photo-processes-finding-connection-through-analog-portraits</guid><link>https://www.dpreview.com/articles/8256018725/the-allure-of-historic-photo-processes-finding-connection-through-analog-portraits</link><title>The allure of historic photo processes: finding connection through analog portraits</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1194. &lt;tbody&gt;
  1195. &lt;tr&gt;
  1196. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8256018725/a_woman_with_curled_hair_glances_sideways_while_on_front_of_a_white_background.jpeg" target="article-8256018725"&gt;&lt;img alt="a woman with curled hair glances sideways while on front of a white background" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/8256018725/a_woman_with_curled_hair_glances_sideways_while_on_front_of_a_white_background.jpeg" width="590" data-filename="a_woman_with_curled_hair_glances_sideways_while_on_front_of_a_white_background.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1197. &lt;/tr&gt;
  1198. &lt;tr&gt;
  1199. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Plate: Markus Hofstätter&lt;/em&gt;&lt;/td&gt;
  1200. &lt;/tr&gt;
  1201. &lt;/tbody&gt;
  1202. &lt;/table&gt;
  1203. &lt;p&gt;While many choose to focus on the fast-moving world of modern photography, Markus Hofstätter, an award-winning photographer, builds his art on patience, tradition and tangible connection. Using large-format analog cameras and labor-intensive wet plate processes, he creates portraits that are as much about human interaction as they are about photographic technique. I had the opportunity to (virtually) sit down with Hofstätter, learning more about his background, technique and mindset.&lt;/p&gt;
  1204. &lt;p&gt;His passion for photography began around 2008, well past film's heyday, while photographing billiards games, a challenge that soon turned into far more than a casual hobby. After learning the ropes, Hofstätter started capturing weddings, local events and more, to make money from his photography. It was all digital, though. But one day, he picked up a Mamiya 645E. While Hofstätter still photographs digitally, from that point on, analog processes became central to his personal work.&lt;/p&gt;
  1205. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1206. &lt;tbody&gt;
  1207. &lt;tr&gt;
  1208. &lt;td class="image" style="width: 484px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8256018725/a_woman_with_dark_hair_stares_forward_with_her_hair_wrapped_around_her_face.jpeg" target="article-8256018725"&gt;&lt;img alt="a woman with dark hair stares forward with her hair wrapped around her face" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="655" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/8256018725/a_woman_with_dark_hair_stares_forward_with_her_hair_wrapped_around_her_face.jpeg" width="484" data-filename="a_woman_with_dark_hair_stares_forward_with_her_hair_wrapped_around_her_face.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1209. &lt;/tr&gt;
  1210. &lt;tr&gt;
  1211. &lt;td class="caption" style="width: 484px;"&gt;&lt;em&gt;Plate: Markus Hofstätter&lt;/em&gt;&lt;/td&gt;
  1212. &lt;/tr&gt;
  1213. &lt;/tbody&gt;
  1214. &lt;/table&gt;
  1215. &lt;p&gt;With his Mamiya 645E in hand, Hofstätter started taking &lt;a href="http://www.street-portraits.eu/" target="article-8256018725"&gt;portraits of people on the streets&lt;/a&gt;, which sparked a general love of portrait photography. Another turning point came when he had a friend let him try a 4x5 Linhof Master Technika. The large-format camera sparked a new interest for him.&lt;/p&gt;
  1216. &lt;p&gt;However, Hofstätter says he got a bit bored with that as well. He then stumbled on a video of &lt;a href="https://www.ianruhter.com/" target="article-8256018725"&gt;photographer Ian Ruhter&lt;/a&gt; making massive collodion wet plates and fell in love. "I tried to learn that by myself on 4x5 plates, and I failed so badly for many months. I only made black plates, so that was very frustrating," he said. But he didn't give up. He picked up a book by Quinn Jacobson and started making his own chemicals, eventually figuring out the process. Hofstätter says he hasn't looked back since.&lt;/p&gt;
  1217. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/4pIKMrCjcyg?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1218. &lt;p&gt;These days, Hofstätter uses a Kodak 2D camera (which he modified, as you can see above) for studio setups and a Century No.2 for outside. He's mostly working with historical processes like wet plates and salt prints.&lt;/p&gt;
  1219. &lt;p&gt;He explained that he is a very independent person and loves to work with his hands, which is part of why he's so drawn to the old analog processes. It is stressful trying to get everything right for a successful print, but Hofstätter says the demanding process keeps him sharp, a kind of creative tension that helps him focus. "I was always a little stressed or anxious before pool tournaments," he said. "Then I learned that when the stress comes, it means I get extra energy. It means I'm ready now, and I'm going to be extra careful and extra good because the stress is here. It's the same in the darkroom."&lt;/p&gt;
  1220. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/3946766122/markus-hofst-tter-behind-the-scenes-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/3946766122/markus-hofst-tter-behind-the-scenes-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;
  1221. &lt;p&gt;Hofstätter sees benefits for portraiture from the slow analog process. His sessions result in only a single plate, which is drastically different from a portrait session with digital cameras. Of course, that also introduces challenges. You only have one shot to produce an image, after all. Hofstätter said that means you have to really figure out the individual before starting to take the photograph.&lt;/p&gt;
  1222. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="590"&gt;
  1223. &lt;tbody&gt;
  1224. &lt;tr&gt;
  1225. &lt;td class="image" style="width: 490px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8256018725/a_man_squinting_one_eye_holds_something_to_his_mouth_between_his_thumb_and_pointer_finger-.jpeg" target="article-8256018725"&gt;&lt;img alt="a man squinting one eye holds something to his mouth between his thumb and pointer finger-" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="655" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/8256018725/a_man_squinting_one_eye_holds_something_to_his_mouth_between_his_thumb_and_pointer_finger-.jpeg" width="490" data-filename="a_man_squinting_one_eye_holds_something_to_his_mouth_between_his_thumb_and_pointer_finger-.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1226. &lt;/tr&gt;
  1227. &lt;tr&gt;
  1228. &lt;td class="caption" style="width: 490px;"&gt;&lt;em&gt;Plate: Markus Hofstätter&lt;/em&gt;&lt;/td&gt;
  1229. &lt;/tr&gt;
  1230. &lt;/tbody&gt;
  1231. &lt;/table&gt;
  1232. &lt;p&gt;Hofstätter also explained that with wet plate processes, the subject is involved in the whole process. They get to see the plate getting prepped, the camera set up, the development and so on. That means he gets a lot more interaction with the people he's photographing, which lends itself to a different type of connection. The longer exposure times also lend themselves to unique results for portraiture. "I get to capture something different with the process because you have to sit still for two to three seconds," he explained. "You cannot fake good energy if you're not in a good mood for three seconds. So you get a different kind of personality, a real personality."&lt;/p&gt;
  1233. &lt;blockquote class="pullQuote"&gt;"If you want really great portraits, take at least 30 minutes per person."&lt;/blockquote&gt;
  1234. &lt;p&gt;Looking at Hofstätter's work reveals truly intimate, powerful portraits. Creating portraits like that involves a deep knowledge of how to work with people. "Portrait photography is mostly not about technique, it's about how you handle people," he said. It also requires a lot of trust and connection with the subject. When asked how he builds that trust, Hofstätter emphasized the importance of time. His main suggestion: take time. "If you want really great portraits, take at least 30 minutes per person," he said. "Chat with them before you even get started. Get to know who they are."&lt;/p&gt;
  1235. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1236. &lt;tbody&gt;
  1237. &lt;tr&gt;
  1238. &lt;td class="image" style="width: 461px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8256018725/a_woman_with_long_hair_stands_with_a_slight_smile_while_her_hands_grip_her_shirt_collar.jpeg" target="article-8256018725"&gt;&lt;img alt="a woman with long hair stands with a slight smile while her hands grip her shirt collar" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="614" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/8256018725/a_woman_with_long_hair_stands_with_a_slight_smile_while_her_hands_grip_her_shirt_collar.jpeg" width="461" data-filename="a_woman_with_long_hair_stands_with_a_slight_smile_while_her_hands_grip_her_shirt_collar.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1239. &lt;/tr&gt;
  1240. &lt;tr&gt;
  1241. &lt;td class="caption" style="width: 461px;"&gt;&lt;em&gt;Plate: Markus Hofstätter&lt;/em&gt;&lt;/td&gt;
  1242. &lt;/tr&gt;
  1243. &lt;/tbody&gt;
  1244. &lt;/table&gt;
  1245. &lt;p&gt;Of course, every person is different. Each individual will require a slightly different technique to get them comfortable in front of the lens. One method he likes to use is to have the subject close their eyes and only open them when they are ready. Then, when the eyes open, he takes the photograph. It gives the subject time to collect their thoughts and relax before he creates the image.&lt;/p&gt;
  1246. &lt;p&gt;When asked whether he plans to explore other historical processes, Hofstätter said it isn’t a priority right now. "I want to create, I don't want to try. I figured it out now, and I just want to create portraits. At some point, when I'm limited, then I'll try something new," he explained. He gave an example of this problem-solving from when he was photographing a couple comprised of a woman with really dark skin and a really light man. The process is only blue-light sensitive, so she nearly completely disappeared. So, Hofstätter had to figure out a different recipe for his chemicals and tweak his lighting, which enabled him to get all of the skin tones to better handle such situations.&lt;/p&gt;
  1247. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/cPeF975bIys?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1248. &lt;p&gt;That doesn't mean Hofstätter is entirely opposed to trying new things, of course. A few years ago, he came across an antique retouching desk dating back to the late 19th and early 20th century. While many only associate retouching with digital processes and Photoshop, retouching has been around nearly as long as photography itself. After staring at it for those few years, he finally decided to put it to use. In a recent video and &lt;a href="https://blog.markus-hofstaetter.at/?p=11690" target="article-8256018725"&gt;blog post&lt;/a&gt;, Hofstätter shared the process of learning how to retouch a plate with the antique table, which he said is more comfortable than the LED table he had used in the past.&lt;/p&gt;
  1249. &lt;p&gt;Hofstätter was retouching his plates prior to buying this table using Photoshop. He explained that his retouching is always to make the digital copy look like the original. Seeing a plate in person is a much different experience, since tilting it or moving around it changes how the shadows and highlights appear. Because of that, he'll dodge and burn in Photoshop to get the digital version closer to the original. These days, he also shares videos of his plates to provide a better view of how they look in real life.&lt;/p&gt;
  1250. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1251. &lt;tbody&gt;
  1252. &lt;tr&gt;
  1253. &lt;td class="image" style="width: 460px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8256018725/a_person_with_a_rabbit_head_costume_on_their_head_stands_in_front_of_thick_vegitation.jpeg" target="article-8256018725"&gt;&lt;img alt="a person with a rabbit head costume on their head stands in front of thick vegitation" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="614" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/8256018725/a_person_with_a_rabbit_head_costume_on_their_head_stands_in_front_of_thick_vegitation.jpeg" width="460" data-filename="a_person_with_a_rabbit_head_costume_on_their_head_stands_in_front_of_thick_vegitation.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1254. &lt;/tr&gt;
  1255. &lt;tr&gt;
  1256. &lt;td class="caption" style="width: 460px;"&gt;A preview of "The White Rabbit," an image included in his storytelling-based portrait series.&lt;br&gt;&lt;em&gt;Plate: Markus Hofstätter&lt;/em&gt;&lt;/td&gt;
  1257. &lt;/tr&gt;
  1258. &lt;/tbody&gt;
  1259. &lt;/table&gt;
  1260. &lt;p&gt;As his practice continues to evolve, Hofstätter is preparing a book that pays tribute to the individuals who have inspired him. At the same time, he is delving into more story-driven work, weaving narratives into his plates while continuing with these historical processes. You can see more of his work on his website, his &lt;a href="https://www.instagram.com/mhaustria" rel="noopener" target="_blank"&gt;Instagram&lt;/a&gt; or his &lt;a href="https://www.youtube.com/@mhaustria" target="article-8256018725"&gt;YouTube channel&lt;/a&gt;, and you can &lt;a href="https://www.markus-hofstaetter.at/pages/inspired/" target="article-8256018725"&gt;sign up for his newsletter&lt;/a&gt; to stay up to date on his Inspired series.&lt;/p&gt;</description><pubDate>Fri, 31 Oct 2025 13:44:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/8256018725/the-allure-of-historic-photo-processes-finding-connection-through-analog-portraits" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C76x0S461x346T1200x900~articles/8256018725/a_woman_with_curled_hair_glances_sideways_while_on_front_of_a_white_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/3559947371/adobe-max-2025-photoshop-lightroom-photography-tools</guid><link>https://www.dpreview.com/articles/3559947371/adobe-max-2025-photoshop-lightroom-photography-tools</link><title>Demoing the latest and most interesting features in Lightroom and Photoshop</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1261. &lt;tbody&gt;
  1262. &lt;tr&gt;
  1263. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/212A0031.jpeg" target="article-3559947371"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/3559947371/212A0031.jpeg" width="590" data-filename="212A0031.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/3559947371/212A0031.jpeg 2x" alt="212A0031"&gt;&lt;/a&gt;&lt;/td&gt;
  1264. &lt;/tr&gt;
  1265. &lt;tr&gt;
  1266. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Mitchell Clark&lt;/em&gt;&lt;/td&gt;
  1267. &lt;/tr&gt;
  1268. &lt;/tbody&gt;
  1269. &lt;/table&gt;
  1270. &lt;p&gt;&lt;em&gt;Disclosure: DPReview is attending Adobe Max, with Adobe covering travel and lodging expenses.&lt;/em&gt;&lt;/p&gt;
  1271. &lt;p&gt;Over the past few days at the Adobe Max conference, I've been able to talk with product managers from the Photoshop and Lightroom teams, and demo some new and in-the-works features that didn't get much time, if any, in &lt;a href="https://www.dpreview.com/news/9361295768/adobe-max-2025-photoshop-lightroom-feature-release" rel="noopener" target="_blank"&gt;the keynote presentation&lt;/a&gt;. We'll go over the most interesting ones here, and wrap up with some of the things I'd like to see in future releases.&lt;/p&gt;
  1272. &lt;hr&gt;
  1273. &lt;h2&gt;The Lightroom Demos&lt;/h2&gt;
  1274. &lt;h3&gt;Assisted Culling and Auto Stacks&lt;/h3&gt;
  1275. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1276. &lt;tbody&gt;
  1277. &lt;tr&gt;
  1278. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/lightroom_assisted_culling_tool.png" target="article-3559947371"&gt;&lt;img alt="lightroom assisted culling tool" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="328" src="https://1.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/lightroom_assisted_culling_tool.png" width="520" data-filename="lightroom_assisted_culling_tool.png" srcset="https://1.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/lightroom_assisted_culling_tool.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1279. &lt;/tr&gt;
  1280. &lt;tr&gt;
  1281. &lt;td class="caption" style="width: 520px;"&gt;The tool lets you fine-tune most of the parameters.&lt;/td&gt;
  1282. &lt;/tr&gt;
  1283. &lt;/tbody&gt;
  1284. &lt;/table&gt;
  1285. &lt;p&gt;The headlining Lightroom feature this year is Assisted Culling, which is available as an "early access" feature in Lightroom and Lightroom Classic. We've gone &lt;a href="https://www.dpreview.com/news/3756735793/adobe-ai-lightroom-photoshop-filters-remove-distractions-reflections" rel="noopener" target="_blank"&gt;more in-depth on it here&lt;/a&gt;, but essentially, it's a way to quickly sort through dozens or hundreds of photos so you only see the ones that are exposed properly and in focus. There are controls to set how picky you want it to be, and you can easily mark photos the system rejected as selects, or &lt;em&gt;vice versa&lt;/em&gt;.&lt;/p&gt;
  1286. &lt;p&gt;The culling tool can be accessed either in your library or in the import window, depending on where you're trying to use it.&lt;/p&gt;
  1287. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1288. &lt;tbody&gt;
  1289. &lt;tr&gt;
  1290. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/Lightroom_visual_stacks.png" target="article-3559947371"&gt;&lt;img alt="Lightroom visual stacks" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="418" src="https://1.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/Lightroom_visual_stacks.png" width="520" data-filename="Lightroom_visual_stacks.png" srcset="https://1.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/Lightroom_visual_stacks.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1291. &lt;/tr&gt;
  1292. &lt;/tbody&gt;
  1293. &lt;/table&gt;
  1294. &lt;p&gt;Adobe has also updated the Stacks feature in Lightroom. While it has long been able to group photos by capture time, it can now do so based on visual similarity too (and, again, you can choose how similar photos have to be to be stacked together). Combining the two features lets you process a lot of photos very quickly. When you have your selects, you can run a batch process on both them and the rejects, applying colored labels, star ratings and/or flags, or adding them to an album.&lt;/p&gt;
  1295. &lt;p&gt;The system generally works with both files in the cloud and on local files, though at the moment, you can only do visually similar stacking on local files in Lightroom Classic, not Lightroom.&lt;/p&gt;
  1296. &lt;p&gt;Adobe says Assisted Culling is currently geared towards portrait photography, but that we can expect to see controls that make sense for other genres of photography in the future.&lt;/p&gt;
  1297. &lt;h3&gt;A better remove tool&lt;/h3&gt;
  1298. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1299. &lt;tbody&gt;
  1300. &lt;tr&gt;
  1301. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/Remove_tool_selection_cropped.png" target="article-3559947371"&gt;&lt;img alt="Remove tool selection cropped" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="323" src="https://3.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/Remove_tool_selection_cropped.png" width="520" data-filename="Remove_tool_selection_cropped.png" srcset="https://3.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/Remove_tool_selection_cropped.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1302. &lt;/tr&gt;
  1303. &lt;tr&gt;
  1304. &lt;td class="caption" style="width: 520px;"&gt;Note that this selection doesn't include the player's shadows.&lt;/td&gt;
  1305. &lt;/tr&gt;
  1306. &lt;/tbody&gt;
  1307. &lt;/table&gt;
  1308. &lt;p&gt;Adobe has also been hard at work on the remove tool, which photographers can use to automatically get rid of distracting elements in their photos. For one, it can now detect and delete dust spots from your sensor or lens, and can do so as a batch process. So, if you've just come back from a shoot and realized your sensor was dirty, you won't have to go through each photo to fix them manually one by one.&lt;/p&gt;
  1309. &lt;p&gt;The remove model also now supports smarter object detection. Previously, if you selected a person and asked Lightroom to remove them, it'd do it, but might leave their shadow or reflection. Worse, it might look at the image, see that there's a shadow, and try to insert something into the selected area, defeating the point entirely. Now, if you select the Detect Objects box, it will automatically detect and remove shadows and reflections too, even if you've only selected the object.&lt;/p&gt;
  1310. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1311. &lt;tbody&gt;
  1312. &lt;tr&gt;
  1313. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/remove_tool_selection_shadows.png" target="article-3559947371"&gt;&lt;img alt="remove tool selection shadows" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="325" src="https://1.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/remove_tool_selection_shadows.png" width="520" data-filename="remove_tool_selection_shadows.png" srcset="https://1.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/remove_tool_selection_shadows.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1314. &lt;/tr&gt;
  1315. &lt;tr&gt;
  1316. &lt;td class="caption" style="width: 520px;"&gt;With the "Detect objects" option selected, Lightroom fully selected the players' bodies and their shadows, even though I didn't completely scribble over them.&lt;/td&gt;
  1317. &lt;/tr&gt;
  1318. &lt;/tbody&gt;
  1319. &lt;/table&gt;
  1320. &lt;p&gt;Adobe also says it's updated the model used in &lt;a href="https://www.dpreview.com/news/6455767240/adobe-camera-raw-reflection-removal-ai" rel="noopener" target="_blank"&gt;its reflection removal tool&lt;/a&gt;, allowing it to handle more complex situations.&lt;/p&gt;
  1321. &lt;p&gt;While all the features we've talked about so far have been available on the desktop versions of Lightroom, there's a new one coming exclusively to the Mobile and Web versions (for now): automatic blemish removal. It's available as a Quick Action in the retouch menu, and, as with most Quick Actions, there's a slider to control how strong you want the effect to be. Adobe says it's one of the most requested features, but that it's rolling it out in Early Access to get feedback before making it more widely available (it is messing with people's faces, after all).&lt;/p&gt;
  1322. &lt;h3&gt;Smarter searching&lt;/h3&gt;
  1323. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1324. &lt;tbody&gt;
  1325. &lt;tr&gt;
  1326. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/lightroom_improved_search.png" target="article-3559947371"&gt;&lt;img alt="lightroom improved search" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="300" src="https://4.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/lightroom_improved_search.png" width="520" data-filename="lightroom_improved_search.png" srcset="https://2.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/lightroom_improved_search.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1327. &lt;/tr&gt;
  1328. &lt;tr&gt;
  1329. &lt;td class="caption" style="width: 520px;"&gt;It worked in this example, but didn't do so well in others. When I tried "black and white portraits" and "people with cats," it included images that didn't match those descriptions, and didn't find all the ones that did. Clearly still a work in progress!&lt;/td&gt;
  1330. &lt;/tr&gt;
  1331. &lt;/tbody&gt;
  1332. &lt;/table&gt;
  1333. &lt;p&gt;Another feature that's in beta is an improved search tool that's much better at the semantic-type searching you may be familiar with using in cloud-based photo management tools from the likes of Apple and Google. While you've been able to search for things like "dog" or "person" for a while now, the improved search is much more granular. In the demo I saw, the presenter searched for "man standing at the end of a pier," and it was able to find the photo he was looking for.&lt;/p&gt;
  1334. &lt;p&gt;It's currently only on Lightroom for the Web (which means it only works on photos you've uploaded to your account), and it has to do a scan of your library after you turn it on. While Adobe says it plans on bringing it to the desktop in the near-to-mid-future, you'll currently have to go to your profile, then enable the Improved Search feature in the Technology Previews section to use it.&lt;/p&gt;
  1335. &lt;h3&gt;What the heck is color variance?&lt;/h3&gt;
  1336. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1337. &lt;tbody&gt;
  1338. &lt;tr&gt;
  1339. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/Color_variance_original.png" target="article-3559947371"&gt;&lt;img alt="Color variance original" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="327" src="https://4.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/Color_variance_original.png" width="520" data-filename="Color_variance_original.png" srcset="https://2.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/Color_variance_original.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1340. &lt;/tr&gt;
  1341. &lt;tr&gt;
  1342. &lt;td class="caption" style="width: 520px;"&gt;The color variance slider, with no changes applied.&lt;br&gt;&lt;em&gt;Photo: Richard Butler&lt;/em&gt;&lt;/td&gt;
  1343. &lt;/tr&gt;
  1344. &lt;/tbody&gt;
  1345. &lt;/table&gt;
  1346. &lt;p&gt;If I'm being honest, when I originally wrote about Adobe adding a "variance" slider to the point color panel, I wasn't completely sure what it did. After seeing it in action, though, I get it: it essentially lets you select a hue in your image, and then move similar hues either closer to it or further apart, removing or adding color contrast.&lt;/p&gt;
  1347. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1348. &lt;tbody&gt;
  1349. &lt;tr&gt;
  1350. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/Variance_cranked.png" target="article-3559947371"&gt;&lt;img alt="Variance cranked" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="335" src="https://1.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/Variance_cranked.png" width="520" data-filename="Variance_cranked.png" srcset="https://1.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/Variance_cranked.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1351. &lt;/tr&gt;
  1352. &lt;tr&gt;
  1353. &lt;td class="caption" style="width: 520px;"&gt;Turning the slider up can (in this case, over-)emphasise the difference between similar hues in your image.&lt;/td&gt;
  1354. &lt;/tr&gt;
  1355. &lt;/tbody&gt;
  1356. &lt;/table&gt;
  1357. &lt;p&gt;The original use for it was for evening out skin tones, which helps demphasize blemishes without entirely smoothing someone's face. However, it can also be used to emphasize subjects in your scene without having to resort to globally increasing contrast, saturation or clarity. I saw demos of it being used to make foliage, which had looked relatively monochromatic in the original picture, really pop, or to make the Taj Mahal stand out despite being behind a thick layer of smog.&lt;/p&gt;
  1358. &lt;h3&gt;Agentic Editing&lt;/h3&gt;
  1359. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1360. &lt;tbody&gt;
  1361. &lt;tr&gt;
  1362. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/Lightroom_web_edit_suggestions.png" target="article-3559947371"&gt;&lt;img alt="Lightroom web edit suggestions" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="375" src="https://4.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/Lightroom_web_edit_suggestions.png" width="520" data-filename="Lightroom_web_edit_suggestions.png" srcset="https://2.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/Lightroom_web_edit_suggestions.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1363. &lt;/tr&gt;
  1364. &lt;tr&gt;
  1365. &lt;td class="caption" style="width: 520px;"&gt;Suggestions are like presets, but instead of preset changes, they analyze the actual image you're applying them to.&lt;/td&gt;
  1366. &lt;/tr&gt;
  1367. &lt;/tbody&gt;
  1368. &lt;/table&gt;
  1369. &lt;p&gt;The Lightroom team also showed me a beta feature called Edit Suggestions, which they described as their first toe into the waters of "agentic style" editing. It's a bit of a mix of the current Quick Actions found in Lightroom Mobile and Web and the Adaptive Profiles that analyze your photos to give you a better baseline for your edits (though the team tells me it doesn't rely on the tech from the latter).&lt;/p&gt;
  1370. &lt;p&gt;Essentially, it's a tab that says "make my photo look" and then gives you several pre-made options, such as "vintage" or "cinematic." It will then change a bunch of parameters, such as color mixing, grain settings, curves and, of course, the standard exposure sliders.&lt;/p&gt;
  1371. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1372. &lt;tbody&gt;
  1373. &lt;tr&gt;
  1374. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/lightroom_cinematic_results.png" target="article-3559947371"&gt;&lt;img alt="lightroom cinematic results" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="520" height="390" src="https://3.img-dpreview.com/files/p/E~TC4x3S520x0~articles/3559947371/lightroom_cinematic_results.png" width="520" data-filename="lightroom_cinematic_results.png" srcset="https://3.img-dpreview.com/files/p/E~TC4x3S1040x0~articles/3559947371/lightroom_cinematic_results.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1375. &lt;/tr&gt;
  1376. &lt;tr&gt;
  1377. &lt;td class="caption" style="width: 520px;"&gt;Lightroom explains what changes it made, and of course lets you refine the tweaks it made.&lt;/td&gt;
  1378. &lt;/tr&gt;
  1379. &lt;/tbody&gt;
  1380. &lt;/table&gt;
  1381. &lt;p&gt;The team made it clear that these aren't just presets, though; it won't make the same exact changes each time. Instead, the adjustments it makes, and how far it takes them, will be based on the specific photo. Ask for the same thing on a different photo, and you'll get different settings.&lt;/p&gt;
  1382. &lt;p&gt;It's easy to imagine a more open-ended version of this in the future, similar to the AI assistant that's coming to Photoshop, though the team isn't making any announcements in that direction yet.&lt;/p&gt;
  1383. &lt;hr&gt;
  1384. &lt;h2&gt;The Photoshop demos&lt;/h2&gt;
  1385. &lt;p&gt;With Photoshop, I didn't get to see many features that I hadn't already written about, but I was able to get some insight into how they worked under the hood and how the folks at Adobe were thinking about them.&lt;/p&gt;
  1386. &lt;h3&gt;Same remove tool improvements&lt;/h3&gt;
  1387. &lt;p&gt;To start, the Remove tool received the same updates as the one in Lightroom, and should now be better at removing both an object and any reflections and shadows it may cast. And while the process still uses cloud-based generative AI, Adobe says that they were able to make the model so efficient that the feature doesn't cost any of the &lt;a href="https://helpx.adobe.com/creative-cloud/apps/generative-ai/generative-credits-faq.html#monthly-generative-credits" rel="noopener" target="_blank"&gt;generative credits that come with its plans&lt;/a&gt; (which is good news for those using the standard Creative Cloud plan or the inexpensive Photography plans, which only come with a few).&lt;/p&gt;
  1388. &lt;p&gt;I also got a pro tip from Stephen Nielson, Sr. Director of Product Management of Photoshop, who said that people often try to use the Generative Fill feature to remove unwanted elements from an image, rather than the Remove tool. He doesn't recommend that. For one, it costs credits, and two, it's actually not as good at erasing something from an image; you might end up with the problem that most of us are likely familiar with, where you try to get rid of something, only to have it replaced by something else.&lt;/p&gt;
  1389. &lt;h3&gt;Generative Fill and Partner Models&lt;/h3&gt;
  1390. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1391. &lt;tbody&gt;
  1392. &lt;tr&gt;
  1393. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/partner_upscale_models.png" target="article-3559947371"&gt;&lt;img alt="partner upscale models" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="326" src="https://2.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/partner_upscale_models.png" width="520" data-filename="partner_upscale_models.png" srcset="https://4.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/partner_upscale_models.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1394. &lt;/tr&gt;
  1395. &lt;tr&gt;
  1396. &lt;td class="caption" style="width: 520px;"&gt;You can now use Topaz's Gigapixel upscaling model from right within Photoshop, though doing so will require premium credits.&lt;/td&gt;
  1397. &lt;/tr&gt;
  1398. &lt;/tbody&gt;
  1399. &lt;/table&gt;
  1400. &lt;p&gt;With that said, Generative Fill has gotten a big upgrade with the introduction of Partner Models, which let you do image generation not just using Adobe's own Firefly AI, but also with services like Google's Gemini 2.5 Flash Image (AKA Nano Banana) model. Nielson says the new models available, including Adobe's latest-gen one, will now be much better at following prompts, when they couldn't before (though that didn't stop users from trying). For example, if you wanted it to change the color of someone's sweater, or even add a whole new overcoat, Generative Fill is now much better equipped to do so.&lt;/p&gt;
  1401. &lt;p&gt;While a lot of photographers would rather not use generative AI to alter their images, Partner Models touches on other features as well. For example, if you frequent DPReview's forums and comments, you'll likely have seen recommendations for several of Topaz Labs' AI tools, such as the Gigapixel upscaler and its denoise software. The AI models underpinning those are now available to use in Photoshop, alongside Adobe's own models, without you having to have a separate subscription for them.&lt;/p&gt;
  1402. &lt;h3&gt;The local selection&lt;/h3&gt;
  1403. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1404. &lt;tbody&gt;
  1405. &lt;tr&gt;
  1406. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/select_tool.png" target="article-3559947371"&gt;&lt;img alt="select tool" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="337" src="https://2.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/select_tool.png" width="520" data-filename="select_tool.png" srcset="https://4.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/select_tool.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1407. &lt;/tr&gt;
  1408. &lt;tr&gt;
  1409. &lt;td class="caption" style="width: 520px;"&gt;The select tool did a pretty decent job with this very complex object (even if it did miss a few very low-contrast spokes and treat the two bikes as one).&lt;/td&gt;
  1410. &lt;/tr&gt;
  1411. &lt;/tbody&gt;
  1412. &lt;/table&gt;
  1413. &lt;p&gt;Speaking of AI models, the subject select tool, which lets you cut out an object from an image, has been improved, too. Nielson said this actually came in April, when Adobe added the ability to run the subject recognition process in the cloud, using a more complex model that could do a better job with fine details. Now, though, that model no longer requires the cloud; it can run right on your computer.&lt;/p&gt;
  1414. &lt;p&gt;I asked Nielson if that was something the Photoshop team was interested in bringing to more AI features, and while he cautioned that not every model could even be run on today's desktops and laptops, it was definitely something the team considered. "If we can bring a model to run locally, yeah, we'll do it," he says.&lt;/p&gt;
  1415. &lt;h3&gt;Jarvis, label my layers&lt;/h3&gt;
  1416. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/wQza2t9Qs64?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1417. &lt;p&gt;The splashiest feature was likely the Photoshop AI assistant, which I actually didn't get to see a demo of; it's currently only available in closed beta and in Photoshop for the Web. The idea is that you'll have a chat box that you can type commands into that an AI will try to execute within Photoshop. The crowd-pleasing demo shown during the keynote asked it to name all the layers, but Adobe says it'll be able to make adjustments to how your image looks and even give you feedback on your current edits.&lt;/p&gt;
  1418. &lt;p&gt;The latter part was, to me, a surprisingly big focus for Adobe. Nielson says the AI isn't analyzing whether the image or design is good or bad, &lt;em&gt;per se&lt;/em&gt;, but rather just looking for ways that it could be better (though it wasn't exactly clear where the definition of "better" comes from). While he conceded that it could be used as a tool to learn how to do more complex edits or to remind you how to do a specific operation, he says they don't want it to just be a super-powered help tool. They view the AI more as an automation tool, something that'll do repetitive tasks that you can't be bothered with, but with a contextual understanding of your image that you wouldn't be able to get with, say, Actions or macros. Speaking of, though...&lt;/p&gt;
  1419. &lt;h3&gt;Action-packed&lt;/h3&gt;
  1420. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="520"&gt;
  1421. &lt;tbody&gt;
  1422. &lt;tr&gt;
  1423. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/3559947371/New_action_panel.jpeg" target="article-3559947371"&gt;&lt;img alt="New action panel" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="336" src="https://4.img-dpreview.com/files/p/E~TS520x0~articles/3559947371/New_action_panel.jpeg" width="520" data-filename="New_action_panel.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1040x0~articles/3559947371/New_action_panel.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1424. &lt;/tr&gt;
  1425. &lt;tr&gt;
  1426. &lt;td class="caption" style="width: 520px;"&gt;Adobe is carefully reworking the Actions panel.&lt;br&gt;&lt;em&gt;Image: Adobe&lt;/em&gt;&lt;/td&gt;
  1427. &lt;/tr&gt;
  1428. &lt;/tbody&gt;
  1429. &lt;/table&gt;
  1430. &lt;p&gt;I also got a sneak peek at some of the progress being made to the &lt;a href="https://helpx.adobe.com/photoshop/using/actions-actions-panel.html" rel="noopener" target="_blank"&gt;updated Actions panel&lt;/a&gt;, which can also suggest edits to you based on the image you're working on. According to Pete Green, another Photoshop product manager, it pulls suggestions from a bank of over 500 pre-made actions. The team is also working on revamping the workflow for creating and recording custom actions, letting you add icons and labels to them to make them easier to pick out from the list.&lt;/p&gt;
  1431. &lt;p&gt;According to Green, there's been a lot of effort to make sure the actions made by the new system are backwards-compatible, and that all your existing actions should still work. He says the team is being meticulous about the updates it makes, with the knowledge that actions are a long-standing and vital part of many people's workflows.&lt;/p&gt;
  1432. &lt;hr&gt;
  1433. &lt;h2&gt;What's next?&lt;/h2&gt;
  1434. &lt;p&gt;Looking at the demos I saw this week, the thing that stood out to me most is that the gap between Lightroom and Photoshop's purposes has never been wider. Photoshop has become Adobe's main tool for dealing with imagery, and several of its features may seem like utter anathema to those who care about capturing moments and whatever truths may lie within them. Lightroom, meanwhile, is laser-focused on the needs of photographers, gaining features that I suspect will be quite popular, especially with our audience.&lt;/p&gt;
  1435. &lt;p&gt;I do think there's room for a bit more of Photoshop to bleed into Lightroom, though. I was honestly surprised that Lightroom isn't getting the Topaz partner models, as I can imagine a lot of photographers wanting to use those, especially on older photos. The Lightroom team told me that they haven't ruled out the possibility of adding them and that customer feedback would be an important part of their considerations.&lt;/p&gt;
  1436. &lt;p&gt;That raises the question: what would &lt;em&gt;you&lt;/em&gt; like to see in Photoshop or Lightroom? Leave a comment down below or in our forums.&lt;/p&gt;</description><pubDate>Fri, 31 Oct 2025 13:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/3559947371/adobe-max-2025-photoshop-lightroom-photography-tools" /><media:thumbnail url="https://1.img-dpreview.com/files/p/E~C633x0S7285x5464T1200x900~articles/3559947371/212A0031.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/site-news/7273468638/update-our-forums-are-in-read-only-mode-while-we-upgrade-software</guid><link>https://www.dpreview.com/site-news/7273468638/update-our-forums-are-in-read-only-mode-while-we-upgrade-software</link><title>Update: Our forums are in read-only mode while we upgrade software</title><description>&lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/t750DQzf0jE?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1437. &lt;div class="caption"&gt;Our Community Manager, Mathew Anderson, created this 5-minute video to give you a preview of what the updated forums will look like.&lt;/div&gt;
  1438. &lt;p&gt;As previously announced &lt;a href="https://www.dpreview.com/forums/post/68486483"&gt;in our forums&lt;/a&gt;, &lt;a href="https://www.dpreview.com/site-news/4700902322/the-next-chapter-for-the-dpreview-forums-is-coming-soon"&gt;on our homepage&lt;/a&gt;, and via a Halloween‑orange banner on the site, we will be upgrading the software that powers DPReview's &lt;a href="https://www.dpreview.com/forums"&gt;discussion forums&lt;/a&gt;. During this upgrade, the forums will be in read‑only mode while we migrate all existing forum data to the new system.&lt;/p&gt;
  1439. &lt;p&gt;The forums will enter read‑only mode on &lt;strong&gt;Friday, October 31, at 1:00 pm Pacific (20:00 UTC)&lt;/strong&gt;. During the read-only period, you can continue to browse, read, and search the forums, but you won't be able to create new posts or upload photos. We expect the forums to come back online beginning Wednesday, November 5.&lt;/p&gt;
  1440. &lt;p&gt;The move to a modern platform will ensure the forums remain healthy, secure, and sustainable for the years ahead. It will allow us to roll out important performance improvements and new features.&lt;/p&gt;
  1441. &lt;p&gt;When the upgrade is complete, your discussions, posting history, photo albums, private messages, and other data will all be preserved.&lt;/p&gt;
  1442. &lt;p&gt;Want a preview of the new forums? Our Community Manager, Mathew Anderson, put together a 5‑minute video walkthrough, which you can find at the top of this article.&lt;/p&gt;
  1443. &lt;p&gt;To learn more about the upgrade and why we're doing it, please see our &lt;a href="https://www.dpreview.com/forums/post/68486483" rel="noopener" target="_blank"&gt;detailed forum post&lt;/a&gt;.&lt;/p&gt;
  1444. &lt;p class="actionButton"&gt;&lt;a href="https://www.dpreview.com/forums/post/68486483"&gt;Read our post about the forum upgrade&lt;/a&gt;&lt;/p&gt;
  1445. &lt;p&gt;We've also published &lt;a href="https://www.dpreview.com/forums/post/68467400"&gt;a comprehensive FAQ&lt;/a&gt; about these changes. If your question isn't covered, add it to the FAQ forum thread and we'll find the answer.&lt;/p&gt;
  1446. &lt;p class="actionButton"&gt;&lt;a href="https://www.dpreview.com/forums/post/68467400"&gt;Read the FAQ&lt;/a&gt;&lt;/p&gt;
  1447. &lt;p&gt;Finally, thank you to everyone who's contributed to the forums over the years – the experts, the beginners, and yes, even the trolls. We can't wait for more discussions, debates, and shared discoveries in the years ahead.&lt;/p&gt;</description><pubDate>Thu, 30 Oct 2025 22:29:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/site-news/7273468638/update-our-forums-are-in-read-only-mode-while-we-upgrade-software" /><media:thumbnail url="https://4.img-dpreview.com/files/p/E~C118x0S1885x1414T1200x900~articles/7273468638/a_field_of_quote_bubbles_on_an_oragne_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/7020455528/sony-s-video-content-credentials-are-finally-here-on-cameras-you-will-recognize</guid><link>https://www.dpreview.com/news/7020455528/sony-s-video-content-credentials-are-finally-here-on-cameras-you-will-recognize</link><title>Sony's video content credentials are finally here on cameras you will recognize</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1448. &lt;tbody&gt;
  1449. &lt;tr&gt;
  1450. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7020455528/the_sony_a9_iii_and_a1_ii_are_on_a_blurred_black_and_blue_background.jpeg" target="article-7020455528"&gt;&lt;img alt="the sony a9 iii and a1 ii are on a blurred black and blue background" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://4.img-dpreview.com/files/p/E~TC4x3S590x0~articles/7020455528/the_sony_a9_iii_and_a1_ii_are_on_a_blurred_black_and_blue_background.jpeg" width="590" data-filename="the_sony_a9_iii_and_a1_ii_are_on_a_blurred_black_and_blue_background.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1451. &lt;/tr&gt;
  1452. &lt;tr&gt;
  1453. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: Sony&lt;/em&gt;&lt;/td&gt;
  1454. &lt;/tr&gt;
  1455. &lt;/tbody&gt;
  1456. &lt;/table&gt;
  1457. &lt;p&gt;Sony has released firmware updates for the a9 III, a1 II, FX30, FX3 and PXW-Z300 camcorder, bringing &lt;a href="https://www.dpreview.com/opinion/9132701970/content-credentials-mainstream-opinion-z6iii-google-pixel" rel="noopener" target="_blank"&gt;C2PA content credentials&lt;/a&gt; to video for the first time. Additionally, Ver. 4.00 for Sony's two flagship mirrorless models promises to improve autofocus capabilities and add other upgrades.&lt;/p&gt;
  1458. &lt;p&gt;Sony first teased Content Credentials for video at the launch of its &lt;a href="https://www.dpreview.com/articles/5048769642/sony-camcorder-c2pa-content-authenticity-for-video" target="article-7020455528"&gt;PXW-Z300 camcorder&lt;/a&gt; this summer, saying the feature would be available via a future firmware update. Now, that time is here, with it and the a9 III, a1 II, FX30 and FX3 getting support for the "Write Digital Signature" function for movies.&lt;/p&gt;
  1459. &lt;p&gt;The embedded digital signature confirms that the content was captured by a specific Sony camera and not generated by AI. Going even further, Sony says that the system can "detect 3D depth information in video content, enabling highly accurate verification that videos were captured of actual, existing subjects" to offer two levels of authentication.&lt;/p&gt;
  1460. &lt;p&gt;As with the stills Digital Signature tool, this is a paid license. And, as of now, that license is only available for certain media outlets, not for general use. The firmware update page reveals that Sony still hasn't specified when its Camera Authenticity Solution, and therefore Content Credentials, may be expanded to general users.&lt;/p&gt;
  1461. &lt;blockquote class="pullQuote"&gt;It plans to add support for C2PA standards for video on the a7R V, a7 IV and a1 in November&lt;/blockquote&gt;
  1462. &lt;p&gt;Still, it's good to see Sony expanding its content authenticity efforts, and the feature showing up for video on Alpha cameras alongside the cinema cameras is a good step, especially as more and more news agencies adopt them into their workflows. Sony added that it plans to add support for C2PA standards for video on the a7R V, a7 IV and a1 in November 2025, and the a7S III sometime in 2026.&lt;/p&gt;
  1463. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/-AlYZsWpqQk?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1464. &lt;p&gt;Beyond content authenticity, the firmware updates for the a1 II and a9 III also bring about some autofocus upgrades. Both now support improved subject detection and tracking capabilities. According to the company, the updated system will provide "stable recognition of people even in complex situations such as crowds or team sports." Ver. 4.00 also promises more precise and consistent tracking, even when the subject is small or if they are temporarily obstructed.&lt;/p&gt;
  1465. &lt;p&gt;Additionally, the a9 III is being updated to let you to set the subject recognition to Auto, instead of manually selecting your subject type. That feature was available on the a1 II when it launched, but it is new on the a9 III. Like the a1 II, you'll be able to exclude certain types of subjects from the auto mode for faster processing.&lt;/p&gt;
  1466. &lt;p&gt;There are smaller updates for the cameras, too. Both now offer Sony's FL2 (Film 2) and FL3 (Film 3) to the Creative Look options, promise improved metering when using bounce flash and add support for the Preset Focus function with non-power zoom lenses. The a9 III also enables the ability to customize whether you change the Shooting Mode, Drive Mode or Focus Mode using the dial or the menu.&lt;/p&gt;
  1467. &lt;p&gt;You can see all of the changes available in Ver. 4.00 for the a9 III and a1 II, and download the new firmware on the respective support pages.&lt;/p&gt;
  1468. &lt;p class="actionButton"&gt;&lt;a href="https://www.sony.com/electronics/support/e-mount-body-ilce-9-series/ilce-9m3/software/00341218"&gt;Sony a9 III Ver. 4.00&lt;/a&gt;&lt;/p&gt;
  1469. &lt;p class="actionButton"&gt;&lt;a href="https://www.sony.com/electronics/support/e-mount-body-ilce-1-series/ilce-1m2/software/00349486"&gt;Sony a1 II Ver. 4.00&lt;/a&gt;&lt;/p&gt;
  1470. &lt;div id="pr" class="pressRelease"&gt;
  1471. &lt;p&gt;Press release:&lt;/p&gt;
  1472. &lt;h2&gt;Sony Electronics Launches Industry First&lt;span class="green"&gt;1&lt;/span&gt; Video-Compatible Camera Authenticity Solution for News Organizations and Broadcasters&lt;/h2&gt;
  1473. &lt;p&gt;Current Support for Five Cameras with Expansion to Four More Models by 2026&lt;/p&gt;
  1474. &lt;p&gt;SAN DIEGO. Oct. 30, 2025 - Sony Electronics is furthering its commitment to authenticity in video content by extending its verification technology to a broader lineup of cameras. This initiative marks the next significant step in providing news organizations with the industry's first camera authenticity solution compatible with video (C2PA&lt;span class="green"&gt;2&lt;/span&gt; standard-compliant), starting October 30.&lt;/p&gt;
  1475. &lt;p&gt;As generative AI continues to evolve, concerns are growing about the impact of tampered and fake images spreading widely. For news organizations and broadcasters in particular, the importance of providing accurate and reliable information has increased. To address this challenge, Sony has been providing camera authenticity solutions.&lt;/p&gt;
  1476. &lt;p&gt;In response to growing demand for authenticity support, Sony has advanced its technology development to enable news organizations and broadcasters to verify the authenticity of video and image content, supporting the work of photojournalists, video journalists and photographers. Through initiatives and verification experiments&lt;span class="green"&gt;3&lt;/span&gt;, Sony has validated the authenticity of video content in collaboration with the Research &amp;amp; Development Department of the UK's public broadcaster BBC. In addition, the company works closely with the C2PA (The Coalition for Content Provenance and Authenticity), a standards organization that develops open standards and technical specifications for the provenance and authenticity of digital content, serving as a Steering Committee Member since March 2022.&lt;/p&gt;
  1477. &lt;p&gt;Sony's camera authenticity solution verification site enables authenticity verification for both still images and videos, confirming that content was captured by a Sony camera rather than AI-generated. The system can also detect 3D depth information in video content, enabling highly accurate verification that videos were captured of actual, existing subjects&lt;span class="green"&gt;4&lt;/span&gt;. Additionally, a trim function that allows extraction and verification of only necessary portions while maintaining signatures enables rapid authenticity verification even for large-capacity video files. As use of the verification site requires a digital signature license and installation of the digital signature license on Sony-compatible cameras, Sony will also begin providing digital signature licenses for video&lt;span class="green"&gt;5&lt;/span&gt;.&lt;/p&gt;
  1478. &lt;p&gt;In Sony's cloud-based collaboration solution for video production, Ci Media Cloud, the display of C2PA standard-compliant digital signature information that certifies content authenticity will become available for news organizations and broadcasters.&lt;/p&gt;
  1479. &lt;p&gt;[Sony Cameras Supporting Recording of Authenticity Information for Video]&lt;/p&gt;
  1480. &lt;p&gt;Interchangeable-Lens Cameras: Alpha 1 II, Alpha 9 III&lt;/p&gt;
  1481. &lt;p&gt;Cinema Line Cameras: FX3, FX30&lt;/p&gt;
  1482. &lt;p&gt;(NEWLY Launched) XDCAM Memory Camcorder: PXW-Z300iv&lt;/p&gt;
  1483. &lt;p&gt;* Interchangeable-Lens Cameras Alpha 7R V, Alpha 7 IV, Alpha 1: scheduled to be supported from after November 2025 or later* Interchangeable-Lens Cameras Alpha7S III: Support planned from 2026 onwards&lt;/p&gt;
  1484. &lt;p&gt;For details on the camera authenticity solution including still images, please visit:&lt;/p&gt;
  1485. &lt;p&gt;&lt;a href="https://authenticity.sony.net/camera/en-gb/" target="article-7020455528"&gt;Camera Authenticity Solution | Sony&lt;/a&gt;&lt;/p&gt;
  1486. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;strong&gt;Notes:&lt;/strong&gt;&lt;/p&gt;
  1487. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;span class="green"&gt;1 As a video authenticity verification service compliant with C2PA standards. As of October 2025. Based on Sony research.&lt;/span&gt;&lt;/p&gt;
  1488. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;span class="green"&gt;2 C2PA (The Coalition for Content Provenance and Authenticity) is a standards organization that develops open standards and technical specifications for the provenance and authenticity of digital content. Sony supports the objectives of C2PA and has participated as a Steering Committee Member since March 2022.iii September 8, 2025, Sony Europe announcement:&lt;/span&gt;&lt;/p&gt;
  1489. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;span class="green"&gt;"BBC Research &amp;amp; Development and Sony collaborate to raise awareness on the risks of synthetic content and establish C2PA compliant standards for digital provenance"&lt;/span&gt;&lt;/p&gt;
  1490. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;span class="green"&gt;https://www.sony.eu/presscentre/bbc-research--development-and-sony-collaborate-to-raise-awareness-on-the-risks-of-synthetic-content-and-establish-c2pa-compliant-standards-for-digital-provenance&lt;/span&gt;&lt;/p&gt;
  1491. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;span class="green"&gt;4 The XDCAM Memory Camcorder PXW-Z300 does not support 3D depth information detection.&lt;/span&gt;&lt;/p&gt;
  1492. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;span class="green"&gt;5 Same as still image licenses, this is a one-year limited-term license. In addition to individual sales of still image and video licenses, package sales combining both licenses will also be available.&lt;/span&gt;&lt;/p&gt;
  1493. &lt;/div&gt;
  1494. &lt;div id="pr" class="pressRelease"&gt;
  1495. &lt;p class="styles_paragraph__6o_o7"&gt;Press release:&lt;/p&gt;
  1496. &lt;h2&gt;Free Software Update to Enhance Real-time Recognition AF (Auto-Focus) Performance and Other Features for Sony Electronics’ Interchangeable-lens cameras Alpha 1 II and Alpha 9 III&lt;/h2&gt;
  1497. &lt;p&gt;SAN DIEGO. Oct. 30, 2025 – Sony Electronics is providing free software updates&lt;span class="green"&gt;1&lt;/span&gt; for the interchangeable-lens cameras Alpha 1 II and Alpha 9 III starting October 30, 2025. These updates support "Real-time Recognition AF+ (Plus)" with improved person recognition performance and recording of authenticity information for videos. Some features of this software update are planned for deployment to other models in the future.&lt;/p&gt;
  1498. &lt;p&gt;Key updates for both the Alpha 1 II and Alpha 9 III models:&lt;/p&gt;
  1499. &lt;ul&gt;
  1500. &lt;li&gt;Support for Real-time Recognition AF+ with improved person recognition performance: Enhanced human pose estimation technology allows the camera to continuously track initially captured subjects with high accuracy, even in challenging sports scenes where athletes cross paths.&lt;/li&gt;
  1501. &lt;li&gt;Support for recording authenticity information in videos&lt;span class="green"&gt;2&lt;/span&gt;: Authenticity data, once available only for still images, can now be attached to video recordings as digital signatures, enhancing content verification. For details, please refer here.&lt;/li&gt;
  1502. &lt;li&gt;Enable preset focus function for zoom lenses without power zoom: The preset focus function can now be used with zoom lenses that do not have power zoom.&lt;/li&gt;
  1503. &lt;/ul&gt;
  1504. &lt;p&gt;Additionally, the Alpha 9 III has received the following updates:&lt;/p&gt;
  1505. &lt;ul&gt;
  1506. &lt;li&gt;The Addition of [Auto] mode to Recognition Target: When Auto is selected in the Recognition Target subject setting, the camera automatically selects and recognizes a subject from among the recognition targets to which check marks were added on the [Auto Recog. Target] screen&lt;span class="green"&gt;3&lt;/span&gt;&lt;/li&gt;
  1507. &lt;li&gt;Vertical orientation support for shooting information layout&lt;span class="green"&gt;4&lt;/span&gt;: The shooting information layout displayed on screen now supports both horizontal and vertical orientations.&lt;/li&gt;
  1508. &lt;/ul&gt;
  1509. &lt;p&gt;For compatible models and details of each function, please visit the support page for each camera.&lt;/p&gt;
  1510. &lt;p&gt;&lt;a href="https://www.sony.com/electronics/support/digital-cameras-interchangeable-lens-cameras/downloads" target="article-7020455528"&gt;https://www.sony.com/electronics/support/digital-cameras-interchangeable-lens-cameras/downloads&lt;/a&gt;&lt;/p&gt;
  1511. &lt;p class="styles_paragraph__6o_o7"&gt;&lt;strong&gt;Notes:&lt;/strong&gt;&lt;/p&gt;
  1512.  
  1513. &lt;p&gt;&lt;span class="green"&gt;1 'Alpha 1 II' (Ver. 4.0), 'Alpha 9 III' (Ver. 4.0) More information here: https://www.sony.com/electronics/support/digital-cameras-interchangeable-lens-cameras/downloads&lt;/span&gt;&lt;/p&gt;
  1514. &lt;p&gt;&lt;span class="green"&gt;2 Models planned to support recording of authenticity information for videos in the Alpha ™ series:&lt;/span&gt;&lt;/p&gt;
  1515. &lt;p&gt;&lt;span class="green"&gt;'Alpha 7R V' 'Alpha 7 IV' 'Alpha 1': scheduled to be supported from November 2025 or later.&lt;/span&gt;&lt;/p&gt;
  1516. &lt;p&gt;&lt;span class="green"&gt;'Alpha 7S III': scheduled to be supported from year 2026 onwards.&lt;/span&gt;&lt;/p&gt;
  1517. &lt;p&gt;&lt;span class="green"&gt;3 When Auto is selected the camera will normally recognize the subject type automatically, but the wrong type may be selected in some situations. In such cases manually selecting the intended subject type may solve the problem. More information here: ILCE-1M2 | Help Guide | Recognition Target (still image/movie)&lt;/span&gt;&lt;/p&gt;
  1518. &lt;p&gt;&lt;span class="green"&gt;4 Models planned to support vertical orientation for shooting information layout:&lt;/span&gt;&lt;/p&gt;
  1519. &lt;p&gt;&lt;span class="green"&gt;'Alpha 7R V' 'Alpha 7 IV' 'Alpha 1': scheduled to be supported from November 2025 or later.&lt;/span&gt;&lt;/p&gt;
  1520. &lt;/div&gt;</description><pubDate>Thu, 30 Oct 2025 20:52:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/7020455528/sony-s-video-content-credentials-are-finally-here-on-cameras-you-will-recognize" /><media:thumbnail url="https://2.img-dpreview.com/files/p/E~C0x0S1043x782T1200x900~articles/7020455528/the_sony_a9_iii_and_a1_ii_are_on_a_blurred_black_and_blue_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/5229499714/affinity-is-now-one-app-that-s-completely-free-forever-mostly</guid><link>https://www.dpreview.com/news/5229499714/affinity-is-now-one-app-that-s-completely-free-forever-mostly</link><title>Affinity is now one app that’s "completely free, forever"… mostly</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1521. &lt;tbody&gt;
  1522. &lt;tr&gt;
  1523. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5229499714/app_icons_are_lined_up_on_a_black_background.jpeg" target="article-0d55eb87d85c4abca88e1f5b61454f20"&gt;&lt;img alt="app icons are lined up on a black background" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/5229499714/app_icons_are_lined_up_on_a_black_background.jpeg" width="590" data-filename="app_icons_are_lined_up_on_a_black_background.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1524. &lt;/tr&gt;
  1525. &lt;tr&gt;
  1526. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: Affinity&lt;/em&gt;&lt;/td&gt;
  1527. &lt;/tr&gt;
  1528. &lt;/tbody&gt;
  1529. &lt;/table&gt;
  1530. &lt;p&gt;At the beginning of this month, rumors were buzzing as creative app platform &lt;a href="https://www.dpreview.com/news/2744582289/affinity-photo-apps-pulled-from-sale-big-changes-announced-canva-purchase" target="article-5229499714"&gt;Affinity pulled all of its software from sale&lt;/a&gt;. Now, we have answers to why, as parent company Canva has announced an all-new version of Affinity. The update is a complete refresh, resulting in a single, free app.&lt;/p&gt;
  1531. &lt;p&gt;Previously, Affinity was a suite of three apps: Affinity Designer, Affinity Photo and Affinity Publisher. Now, under the direction Canva, all vector, photo and layout tools are in a single app called Affinity. A "one app to rule them all" type of situation, if you will. That means users can tackle a diverse range of tasks, from graphic design to Raw photo processing and retouching to laying out brochures. The app's file support reveals how diverse the platform is. It supports PSD, AI, PDF, SVG, TIFF, IDML and more.&lt;/p&gt;
  1532. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1533. &lt;tbody&gt;
  1534. &lt;tr&gt;
  1535. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5229499714/a_screenshot_of_the_affinity_editing_app_has_surreal_image_of_two_women_on_a_playground_with_pink_and_blue_colors.jpeg" target="article-0d55eb87d85c4abca88e1f5b61454f20"&gt;&lt;img alt="a screenshot of the affinity editing app has surreal image of two women on a playground with pink and blue colors" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/5229499714/a_screenshot_of_the_affinity_editing_app_has_surreal_image_of_two_women_on_a_playground_with_pink_and_blue_colors.jpeg" width="590" data-filename="a_screenshot_of_the_affinity_editing_app_has_surreal_image_of_two_women_on_a_playground_with_pink_and_blue_colors.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1536. &lt;/tr&gt;
  1537. &lt;tr&gt;
  1538. &lt;td class="caption" style="width: 590px;"&gt;
  1539. &lt;p&gt;Affinity provides access to familiar photo editing tools and supports non-destructive editing.&lt;br&gt;&lt;em&gt;Image: Affinity&lt;/em&gt;&lt;/p&gt;
  1540. &lt;/td&gt;
  1541. &lt;/tr&gt;
  1542. &lt;/tbody&gt;
  1543. &lt;/table&gt;
  1544. &lt;p&gt;Like previous versions of Affinity Photo, the new app supports non-destructive editing, so users can go wild on edits or changes without losing the original. It also features tools to help speed up repetitive edits, including Smart Selections, live filters and batch processing. Affinity also says that GPU acceleration helps keep editing fast. It promises a high-performance engine with real-time updates, instant previews and edits at up to 10,000,000% zoom, even with endless layers.&lt;/p&gt;
  1545. &lt;p&gt;Affinity says the updated app is fully customizable, letting users can build a workspace that flows with their process. It says you can choose what tools are (and are not) displayed and rearrange panels. You can also save multiple setups for different types of projects and share those customized views with others. That could be an ideal feature for creative teams or educators.&lt;/p&gt;
  1546. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="590"&gt;
  1547. &lt;tbody&gt;
  1548. &lt;tr&gt;
  1549. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5229499714/a_photo_of_a_man_wearing_a_green_jacket_with_a_purple_background_is_in_the_affinity_editing_app.jpeg" target="article-0d55eb87d85c4abca88e1f5b61454f20"&gt;&lt;img alt="a photo of a man wearing a green jacket with a purple background is in the affinity editing app" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/5229499714/a_photo_of_a_man_wearing_a_green_jacket_with_a_purple_background_is_in_the_affinity_editing_app.jpeg" width="590" data-filename="a_photo_of_a_man_wearing_a_green_jacket_with_a_purple_background_is_in_the_affinity_editing_app.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/5229499714/a_photo_of_a_man_wearing_a_green_jacket_with_a_purple_background_is_in_the_affinity_editing_app.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1550. &lt;/tr&gt;
  1551. &lt;tr&gt;
  1552. &lt;td class="caption" style="width: 590px;"&gt;The new Affinity allows you to fully customize what tools are displayed. &lt;br&gt;&lt;em&gt;Image: Affinity&lt;/em&gt;&lt;/td&gt;
  1553. &lt;/tr&gt;
  1554. &lt;/tbody&gt;
  1555. &lt;/table&gt;
  1556. &lt;p&gt;The new Affinity offers some integration with Canva as well. Users can export Affinity projects to Canva with a few clicks, making it easier to share with clients.&lt;/p&gt;
  1557. &lt;p&gt;One of the concerns when Canva acquired Affinity in 2024 was that a subscription model would be introduced. After all, Canva operates on a subscription model, but Affinity Photo and its other apps were the go-to perpetual license option for photographers who wanted to avoid Adobe's subscription. Luckily, with this announcement, Affinity says the app is free for everyone. Ash Hewson, the CEO of Affinity, even goes so far as to say it is "completely free, forever."&lt;/p&gt;
  1558. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1559. &lt;tbody&gt;
  1560. &lt;tr&gt;
  1561. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5229499714/a_screenshot_of_the_affinity_app_shows_access_to_layout_tools.jpeg" target="article-0d55eb87d85c4abca88e1f5b61454f20"&gt;&lt;img alt="a screenshot of the affinity app shows access to layout tools" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="332" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/5229499714/a_screenshot_of_the_affinity_app_shows_access_to_layout_tools.jpeg" width="590" data-filename="a_screenshot_of_the_affinity_app_shows_access_to_layout_tools.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/5229499714/a_screenshot_of_the_affinity_app_shows_access_to_layout_tools.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1562. &lt;/tr&gt;
  1563. &lt;tr&gt;
  1564. &lt;td class="caption" style="width: 590px;"&gt;Tabs on the top allow you to switch between different tools related to design, photo editing and layout. &lt;br&gt;&lt;em&gt;Image: Affinity&lt;/em&gt;&lt;/td&gt;
  1565. &lt;/tr&gt;
  1566. &lt;/tbody&gt;
  1567. &lt;/table&gt;
  1568. &lt;p&gt;There is a slight catch, though. One of the key features of the Canva integration within Affinity is its AI tools. However, using those AI tools requires a Canva premium account, which costs $120 per year. With that subscription, users have access to the new Canva AI Studio, which offers Generative Fill, Expand &amp;amp; Edit and Remove Background. However, it also includes tools that most people honestly won’t need or use, a scheme that's similar to what the other big Adobe competitor, Davinci Resolve, does.&lt;/p&gt;
  1569. &lt;p&gt;Affinity told us that the server connection AI tools require comes at a cost, but they know not everyone wants to use AI tools. So, those who don't want AI features can use the app for free, and those who would like access can pay a month-to-month fee. The company clarified that no one is locked into a year-long subscription with cancellation fees, and that you don't lose access to your work if you stop paying. Hewson also specified that Canva AI "runs on the user's device, and work is not accessed to train AI features."&lt;/p&gt;
  1570. &lt;p&gt;The &lt;a href="http://www.affinity.studio/" target="article-null"&gt;new Affinity is available today&lt;/a&gt; for Mac and Windows. An iPad version is coming next year. Existing Canva users can activate Affinity with their existing account, but existing Affinity customers (and new users) will need to create a free Canva account to download Affinity.&lt;/p&gt;
  1571. &lt;div id="pr" class="pressRelease"&gt;
  1572. &lt;h2&gt;Introducing the all-new Affinity: professional design, now free for everyone&lt;/h2&gt;
  1573. &lt;ul&gt;
  1574. &lt;li&gt;&lt;em&gt;The all-new Affinity is here. A fully reimagined professional design app that unites photo editing, vector design, and layout tools in one powerful platform.&lt;/em&gt;&lt;/li&gt;
  1575. &lt;li&gt;&lt;em&gt;Designed for ultimate flexibility, creatives can personalize their workspace, mix and match tools, and share custom studios for a workflow that adapts to the way they work best.&lt;/em&gt;&lt;/li&gt;
  1576. &lt;li&gt;&lt;em&gt;Affinity is now free for everyone. Professional-grade design software, available at no cost to all users.&lt;/em&gt;&lt;/li&gt;
  1577. &lt;li&gt;&lt;em&gt;The launch introduces a bold new Affinity brand and visual identity, marking the next evolution in professional design and its new chapter as part of Canva.&lt;/em&gt;&lt;/li&gt;
  1578. &lt;/ul&gt;
  1579. &lt;p&gt;When Affinity joined the Canva family last year last year, we made a promise to preserve its power while expanding what’s possible. Today, that vision comes to life with the all-new Affinity: a studio-grade creative app that brings vector, photo, and layout tools together in one high-performance platform. Fully featured. Lightning-fast. And completely free.&lt;/p&gt;
  1580. &lt;p&gt;For too long, professional designers have had almost no choice in the tools they use, from bloated software that slows them down, to subscriptions that stack up, and workflows that interrupt creativity. Across the creative community, we’ve heard the same frustrations: a call for speed, for power, for freedom. Designers have been asking for the tools they love, so we listened, and we built something better.&lt;/p&gt;
  1581. &lt;p&gt;&lt;strong&gt;A new era for Affinity&lt;/strong&gt;&lt;/p&gt;
  1582. &lt;p&gt;For ten years, Affinity has been the tool of choice for professionals who care deeply about craft. Designers who value precision, speed, and control, and who expect their tools to keep up.&lt;/p&gt;
  1583. &lt;p&gt;Now, that legacy enters a new chapter. The all-new Affinity was built in close collaboration with its community of creators, shaped by thousands of conversations, feature requests, and shared ideas. Guided by Canva’s Designer Advisory Board, this release reflects what professionals told us matters most: performance, reliability, and creative freedom.&lt;/p&gt;
  1584. &lt;p&gt;From the smallest details to the biggest design systems, every feature has been built with respect for the people who use it.&lt;/p&gt;
  1585. &lt;p&gt;&lt;strong&gt;One app to craft it all&lt;/strong&gt;&lt;/p&gt;
  1586. &lt;p&gt;The all new Affinity app brings professional vector, photo, and layout tools together in one powerful space, featuring everything you need to design, edit, and publish without switching apps or breaking flow.&lt;/p&gt;
  1587. &lt;p&gt;For designers who think in lines, curves, and grids, Affinity’s vector tools deliver precision and speed in perfect balance. Every adjustment happens in real time: paths adjust instantly, shapes snap into place, and even large files pan and zoom smoothly. From comprehensive brand systems to complex illustrations, everything feels responsive and effortless.&lt;/p&gt;
  1588. &lt;p&gt;Affinity’s award-winning photo editing tools give you the freedom to experiment without limits. Every adjustment, from RAW development to retouching and compositing, is non-destructive, so you can refine endlessly without losing your original work. Plus, GPU acceleration keeps even the most complex files fast and fluid, while intelligent tools like Smart Selections, live filters, and batch processing help speed up repetitive edits.&lt;/p&gt;
  1589. &lt;p&gt;With Affinity’s layout tools, structure and creativity work side by side. From short brochures to multi-page reports, you can edit images, graphics, and text directly within your document and see every change update live. Smart Master Pages, shared text styles, and advanced typographic controls keep everything consistent while giving you the freedom to experiment.&lt;/p&gt;
  1590. &lt;p&gt;Whether you’re editing a portrait, building a brand identity, or designing a publication, the all new Affinity keeps you in flow, combining power, precision, and speed in a single studio-grade environment.&lt;/p&gt;
  1591. &lt;p&gt;&lt;strong&gt;Design your workspace, your way&lt;/strong&gt;&lt;/p&gt;
  1592. &lt;p&gt;Every designer works differently, and now, Affinity does too. The updated app introduces a new level of personalization with fully customizable studios.&lt;/p&gt;
  1593. &lt;p&gt;Creatives can mix and match tools from the Vector, Pixel, and Layout studios to build a workspace that fits their unique process. Rearrange panels, choose the tools you need, remove the ones you don’t, and save multiple setups for different projects or tasks.&lt;/p&gt;
  1594. &lt;p&gt;Custom studios can also be shared and downloaded, opening new ways for teams and creative communities to exchange workflows and learn from one another.&lt;/p&gt;
  1595. &lt;p&gt;It’s flexibility built for focus, with professional tools that adapt to you and the way you work best. And no matter how you work, Affinity keeps up. Built on a high-performance engine, every adjustment updates in real time, from instant previews and detailed edits at 10,000,000% zoom to projects with thousands of layers. It’s ultra-fast, super-smooth, and precise down to the last pixel.&lt;/p&gt;
  1596. &lt;p&gt;While the all-new Affinity has been reimagined, it still feels instantly familiar to those who know it best. The tools, workflows, and precision you rely on are all here – refined but not replaced. Every update builds on what professionals already love, so you can pick up where you left off and feel right at home.&lt;/p&gt;
  1597. &lt;p&gt;&lt;strong&gt;Free for everyone&lt;/strong&gt;&lt;/p&gt;
  1598. &lt;p&gt;From the beginning, Affinity set out to challenge the idea that powerful design tools should come with a hefty price tag. Today, we’re taking that even further.&lt;/p&gt;
  1599. &lt;p&gt;&lt;strong&gt;Affinity is now completely free, forever.&lt;/strong&gt; The full, professional-grade Affinity experience, available to everyone.&lt;/p&gt;
  1600. &lt;p&gt;There’s no catch, no stripped-back version, and no gotchas. The same precise, high-performance tools that professionals rely on every day are now open to all, because creative freedom shouldn’t come with a cost.&lt;/p&gt;
  1601. &lt;p&gt;Whether you’re an independent designer, a creative studio, or a team building your brand, we believe everyone should have access to the tools they need to create their best work.&lt;/p&gt;
  1602. &lt;p&gt;&lt;strong&gt;Affinity and Canva: Stronger together&lt;/strong&gt;&lt;/p&gt;
  1603. &lt;p&gt;Affinity has always been built for people who care deeply about design. Professionals who notice the details others might miss, who stay up late perfecting the final pixel, and who take pride in their craft. That hasn’t changed. But we couldn’t launch the all-new Affinity without something special for the Canva community.&lt;/p&gt;
  1604. &lt;p&gt;For everyone with a Canva premium account, Canva AI’s tools are now accessible directly inside Affinity through the new Canva AI Studio. This includes familiar favorites like Generative Fill, Expand &amp;amp; Edit, and Remove Background – powerful features that speed up repetitive steps while keeping designers in full control of every detail.&lt;/p&gt;
  1605. &lt;p&gt;Everything that makes Affinity a precision tool for creative professionals remains at its core: the speed, the control, the depth. Now, those same qualities are enhanced by Canva’s technology, giving you new ways to work faster, experiment more freely, and know that your tools will always keep up. Whether you’re refining a complex composite or extending parts of an image, these features work quietly in the background, supporting your process without ever getting in the way of craft.&lt;/p&gt;
  1606. &lt;p&gt;We know that transparency around AI use and data handling is essential, and your creative work will always remain yours. Canva AI features are built with privacy and control in mind, ensuring that your creative work in Affinity stays secure, runs on the user's device, and work is not accessed to train AI features.&lt;/p&gt;
  1607. &lt;p&gt;And when you’re ready to collaborate, scale or publish, you can export your Affinity projects into Canva in just a few clicks, to share with colleagues or clients. It’s the first of many steps toward connecting professional design with everyday creation.&lt;/p&gt;
  1608. &lt;p&gt;This is a new chapter for professional design. We know some of our community may be curious about what this means for Affinity’s identity. It remains exactly what it’s always been: a professional design suite built for people who care deeply about their craft, now strengthened by Canva’s support and resources to take it even further.&lt;/p&gt;
  1609. &lt;p&gt;You can also bring your existing work with you. Affinity supports PSD, AI, PDF, SVG, TIFF, IDML, and more, making it easy to open, edit, and collaborate without starting from scratch.&lt;/p&gt;
  1610. &lt;p&gt;&lt;strong&gt;Today is just the beginning. We’re continuing to invest in both Affinity’s professional design tools and Canva’s all-in-one platform, building a future where everyone can design at the highest level, without barriers.&lt;/strong&gt;&lt;/p&gt;
  1611. &lt;p&gt;The all-new Affinity is available today for Mac and Windows, with iPad coming next year. The Canva community can activate Affinity with their existing account, while existing Affinity customers and new users can create a free Canva account to download Affinity directly.&lt;/p&gt;
  1612. &lt;/div&gt;</description><pubDate>Thu, 30 Oct 2025 17:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/5229499714/affinity-is-now-one-app-that-s-completely-free-forever-mostly" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C72x0S461x346T1200x900~articles/5229499714/app_icons_are_lined_up_on_a_black_background.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/7122226127/what-the-letters-on-canon-lenses-mean</guid><link>https://www.dpreview.com/articles/7122226127/what-the-letters-on-canon-lenses-mean</link><title>Cracking the Canon code: what letters like VCM, RF-S and DO tell you about your lens</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1613. &lt;tbody&gt;
  1614. &lt;tr&gt;
  1615. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7122226127/hands_hold_a_canon_camera_with_white_lens_attached.jpeg" target="article-7122226127"&gt;&lt;img alt="hands hold a canon camera with white lens attached" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/7122226127/hands_hold_a_canon_camera_with_white_lens_attached.jpeg" width="590" data-filename="hands_hold_a_canon_camera_with_white_lens_attached.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1616. &lt;/tr&gt;
  1617. &lt;tr&gt;
  1618. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: Canon&lt;/em&gt;&lt;/td&gt;
  1619. &lt;/tr&gt;
  1620. &lt;/tbody&gt;
  1621. &lt;/table&gt;
  1622. &lt;p&gt;As with other brands, Canon's lenses feature many letters and acronyms in the lens names. Seeing something like Canon RF 24-105mm F4L IS USM can leave you scratching your head if you don't know what each of those things means. Each acronym refers to something useful, though, so understanding how to decipher Canon lens names can help you quickly grasp what the lens offers without digging into specs. In this article, we'll be breaking down Canon's common lens terminology, demystifying the company's lens names.&lt;/p&gt;
  1623. &lt;h2&gt;Lens mount type&lt;/h2&gt;
  1624. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1625. &lt;tbody&gt;
  1626. &lt;tr&gt;
  1627. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7122226127/the_canon_14_to_30mm_lens_is_on_a_white_background.jpeg" target="article-7122226127"&gt;&lt;img alt="the canon 14 to 30mm lens is on a white background" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://4.img-dpreview.com/files/p/E~TC4x3S590x0~articles/7122226127/the_canon_14_to_30mm_lens_is_on_a_white_background.jpeg" width="590" data-filename="the_canon_14_to_30mm_lens_is_on_a_white_background.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1628. &lt;/tr&gt;
  1629. &lt;tr&gt;
  1630. &lt;td class="caption" style="width: 590px;"&gt;The Canon RF-S 14-30mm f/4-6.3 IS STM PZ lens is built for mirrorless RF mount cameras. &lt;br&gt;&lt;em&gt;Image: Canon&lt;/em&gt;&lt;/td&gt;
  1631. &lt;/tr&gt;
  1632. &lt;/tbody&gt;
  1633. &lt;/table&gt;
  1634. &lt;p&gt;As with most first-party lens offerings, the first part of every Canon lens name refers to the lens mount. It's important to know what mount your camera uses so that you buy lenses that are compatible.&lt;/p&gt;
  1635. &lt;h3&gt;RF and RF-S&lt;/h3&gt;
  1636. &lt;p&gt;If the lens name starts with RF or RF-S, the lens is specifically designed for the company's EOS R mirrorless cameras, which use the RF mount. These lenses are not compatible with the company's DSLR cameras, which use the EF mount.&lt;/p&gt;
  1637. &lt;p&gt;It's also important to know the difference between RF and RF-S. RF lenses are built for full-frame cameras, while RF-S lenses are Canon's APS-C lenses designed for its crop sensor cameras.&lt;/p&gt;
  1638. &lt;p&gt;Both use the same mount, so you can use RF and RF-S lenses on any Canon EOS R camera. However, since RF-S lenses are meant for APS-C cameras, they project smaller image circles. The camera will automatically crop for you, but using such a lens on a full-frame body will only utilize part of the sensor, meaning you’ll lose the full-frame sensor’s benefits and image area. Using an RF lens on an APS-C camera, on the other hand, primarily results in a change in field of view due to the crop factor.&lt;/p&gt;
  1639. &lt;h3&gt;EF-M&lt;/h3&gt;
  1640. &lt;p&gt;EF-M lenses are for Canon’s discontinued EOS M mirrorless cameras, which use APS-C sensors. Canon officially discontinued the system in October 2023, focusing development on the EOS R lineup.. You cannot use EF-M lenses on EOS R cameras.&lt;/p&gt;
  1641. &lt;h3&gt;EF, EF-S&lt;/h3&gt;
  1642. &lt;p&gt;Lastly, Canon EF and EF-S lenses are the brand's legacy DSLR camera lenses. EF stands for Electronic Focus. These lenses work with Canon's full-frame DSLRs and APS-C DSLRs. You can also get adapters that allow you to use EF lenses on EOS R mirrorless cameras.&lt;/p&gt;
  1643. &lt;p&gt;EF-S lenses are designed for APS-C DSLRs. They are not compatible with full-frame DSLR cameras. You can, however, use EF-S lenses on EOS M and EOS R cameras with an adapter.&lt;/p&gt;
  1644. &lt;h2&gt;Focus systems&lt;/h2&gt;
  1645. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1646. &lt;tbody&gt;
  1647. &lt;tr&gt;
  1648. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7122226127/a_canon_85mm_lens_with_aperture_Ring_is_on_a_white_background.jpeg" target="article-7122226127"&gt;&lt;img alt="a canon 85mm lens with aperture Ring is on a white background" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/7122226127/a_canon_85mm_lens_with_aperture_Ring_is_on_a_white_background.jpeg" width="590" data-filename="a_canon_85mm_lens_with_aperture_Ring_is_on_a_white_background.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1649. &lt;/tr&gt;
  1650. &lt;tr&gt;
  1651. &lt;td class="caption" style="width: 590px;"&gt;The Canon RF 85mm F1.4 L VCM uses a VCM autofocus system. &lt;br&gt;&lt;em&gt;Image: Canon&lt;/em&gt;&lt;/td&gt;
  1652. &lt;/tr&gt;
  1653. &lt;/tbody&gt;
  1654. &lt;/table&gt;
  1655. &lt;p&gt;After the focal length and aperture information, you may see various acronyms in the lens name that refer to the type of autofocus motor the lens uses.&lt;/p&gt;
  1656. &lt;h3&gt;VCM&lt;/h3&gt;
  1657. &lt;p&gt;The VCM in the lens name means it uses a Voice Coil Motor to drive autofocus. VCM autofocus systems are powerful, fast and quiet, and they are typically used in higher-end, professional-grade lenses.&lt;/p&gt;
  1658. &lt;h3&gt;USM&lt;/h3&gt;
  1659. &lt;p&gt;USM stands for Ultrasonic Autofocus Motor. These lenses offer manual focus override and fast, smooth and comparatively quiet autofocus. The original, 'ring-type' USM system is typically used in Canon's DSLR lenses and its professional telephoto lenses.&lt;/p&gt;
  1660. &lt;p&gt;Though not in the lens name beyond USM, many more recent lenses use a Nano USM autofocus system. Nano USM is a specific type of motor that combines attributes of both USM (speed) and STM (smoothness) technologies. These lenses are generally meant for action photography and videography.&lt;/p&gt;
  1661. &lt;h3&gt;STM&lt;/h3&gt;
  1662. &lt;p&gt;STM stands for Stepper Motor, which provides quiet and smooth autofocus ideal for video applications. Canon's consumer and enthusiast lenses typically use its stepper motor.&lt;/p&gt;
  1663. &lt;h2&gt;Optical technology and image quality&lt;/h2&gt;
  1664. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1665. &lt;tbody&gt;
  1666. &lt;tr&gt;
  1667. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7122226127/a_canon_85mm_lens_is_standing_against_a_white_background.jpeg" target="article-7122226127"&gt;&lt;img alt="a canon 85mm lens is standing against a white background" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/7122226127/a_canon_85mm_lens_is_standing_against_a_white_background.jpeg" width="590" data-filename="a_canon_85mm_lens_is_standing_against_a_white_background.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1668. &lt;/tr&gt;
  1669. &lt;tr&gt;
  1670. &lt;td class="caption" style="width: 590px;"&gt;The RF 85mm F1.2 L USM DS lens features Canon's Defocus Smoothing coating. &lt;br&gt;&lt;em&gt;Image: Canon&lt;/em&gt;&lt;/td&gt;
  1671. &lt;/tr&gt;
  1672. &lt;/tbody&gt;
  1673. &lt;/table&gt;
  1674. &lt;p&gt;You may see additional acronyms when a lens offers special optical technology or image quality features. These include IS, DO, DS and BR.&lt;/p&gt;
  1675. &lt;h3&gt;IS&lt;/h3&gt;
  1676. &lt;p&gt;IS stands for Image Stabilizer. As with any brand's image stabilization system, it aims to reduce the effects of camera shake to produce a sharper image. If you see IS in the name, that means it offers optical image stabilization, and you can see how many stops of stabilization it offers in the lens's description.&lt;/p&gt;
  1677. &lt;h3&gt;DS&lt;/h3&gt;
  1678. &lt;p&gt;DS, which stands for Defocus Smoothing coating, is meant to improve the out-of-focus elements (bokeh) in your photos. Canon says it makes bokeh smoother compared to lenses without this feature.&lt;/p&gt;
  1679. &lt;h3&gt;DO and BR&lt;/h3&gt;
  1680. &lt;p&gt;Both DO and BR Optics refer to lens elements. DO, or diffractive optics, are special Fresnel-style lens elements that allow for a more compact size while maintaining quality. For example, they allow Canon to make telephoto lenses, like its EF 400mm f/4 DO IS II USM, smaller than they otherwise would be without DO elements. Canon’s DO lenses often have a green ring on the front for quick identification.&lt;/p&gt;
  1681. &lt;p&gt;Though not included in the lens name, you may see BR, also referred to as BR Optics, in descriptions of Canon lenses. BR refers to Canon’s Blue Spectrum Refractive lens element, which it says eliminates color fringing and chromatic aberrations.&lt;/p&gt;
  1682. &lt;h2&gt;Lens class and special features&lt;/h2&gt;
  1683. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1684. &lt;tbody&gt;
  1685. &lt;tr&gt;
  1686. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/7122226127/a_canon_70_to_200mm_lens_has_a_power_zoom_accessory_attached.jpeg" target="article-7122226127"&gt;&lt;img alt="a canon 70 to 200mm lens has a power zoom accessory attached" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="442" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/7122226127/a_canon_70_to_200mm_lens_has_a_power_zoom_accessory_attached.jpeg" width="590" data-filename="a_canon_70_to_200mm_lens_has_a_power_zoom_accessory_attached.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  1687. &lt;/tr&gt;
  1688. &lt;tr&gt;
  1689. &lt;td class="caption" style="width: 590px;"&gt;The Canon RF 70-200mm F2.8 L IS USM Z lens is part of the L lineup of professional lenses and is compatible with Canon's Power Zoom Adapter. &lt;br&gt;&lt;em&gt;Image: Canon&lt;/em&gt;&lt;/td&gt;
  1690. &lt;/tr&gt;
  1691. &lt;/tbody&gt;
  1692. &lt;/table&gt;
  1693. &lt;p&gt;Finally, just like other lens companies, Canon has some specific lens classes or special features that may be included in the lens name.&lt;/p&gt;
  1694. &lt;h3&gt;L&lt;/h3&gt;
  1695. &lt;p&gt;If you see an L in a Canon lens name, such as in RF 85mm f/1.2 L USM DS, that means the lens is part of the brand's L series, which stands for Luxury Lens. L-series lenses are Canon's professional offerings, made with higher optical quality, improved weather sealing and build quality and better overall performance. They demand steeper price tags as a result. Beyond having an L in the name, L-series lenses also typically have a red ring around the end of the lens.&lt;/p&gt;
  1696. &lt;h3&gt;Z and PZ&lt;/h3&gt;
  1697. &lt;p&gt;If you see a Z in a Canon lens name, that doesn't mean it works with Nikon Z mount. Instead, it means that the lens is compatible with Canon's Power Zoom Adapter PZ-E2 and PZ-E2B. Those adapters enable motorized control of the zoom ring for smoother video work.&lt;/p&gt;
  1698. &lt;p&gt;You may also see PZ, which stands for power zoom, in the lens name. That means the lens offers an electronic zoom mechanism instead of a zoom ring. Just like the Power Zoom Adapter, PZ lenses are ideal for video applications.&lt;/p&gt;
  1699. &lt;h3&gt;Macro, TS-E and MP-E&lt;/h3&gt;
  1700. &lt;p&gt;Canon now spells out its Macro lenses, with the name simply including the full word. If you see Macro in the name, that means the minimum focusing distance is smaller, allowing you to get closer to your subjects. Some EF mount macro lenses are labeled as MP-E, though, indicating 'Macro Photo.'&lt;/p&gt;
  1701. &lt;p&gt;TS-E refers to tilt-shift lenses, which allow you to adjust the focal plane (tilt) and perspective (shift). Canon hasn't released any tilt-shift lenses for its mirrorless system, so all TS-E lenses are EF mount offerings.&lt;/p&gt;</description><pubDate>Thu, 30 Oct 2025 13:00:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/7122226127/what-the-letters-on-canon-lenses-mean" /><media:thumbnail url="https://2.img-dpreview.com/files/p/E~C0x0S614x461T1200x900~articles/7122226127/hands_hold_a_canon_camera_with_white_lens_attached.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/1828770470/adobe-max-sneaks-2025-show</guid><link>https://www.dpreview.com/news/1828770470/adobe-max-sneaks-2025-show</link><title>Live from Adobe Max: a sneak peek at some potential future Photoshop features</title><description>&lt;h2&gt;Adobe Sneaks 2025&lt;/h2&gt;
  1702. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1703. &lt;tbody&gt;
  1704. &lt;tr&gt;
  1705. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/212A0009.jpeg" target="article-1828770470"&gt;&lt;img alt="212A0009" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="347" src="https://4.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/212A0009.jpeg" width="520" data-filename="212A0009.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/212A0009.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1706. &lt;/tr&gt;
  1707. &lt;/tbody&gt;
  1708. &lt;/table&gt;
  1709. &lt;p&gt;&lt;em&gt;Disclosure: DPReview is attending Adobe Max, with Adobe covering travel and lodging expenses.&lt;/em&gt;&lt;/p&gt;
  1710. &lt;p&gt;This year at Adobe Max, the company held its traditional "Sneaks" show, where the engineers show off tech demos of features they've been working on that may eventually make it into production. As an example, last year it &lt;a href="https://www.dpreview.com/interviews/0986832194/the-story-behind-new-features-in-adobe-photoshop-lightroom" rel="noopener" target="_blank"&gt;showed off a feature&lt;/a&gt; called "Perfect Blend," meant to automatically match lighting and color between layers in Photoshop. This week, it &lt;a href="https://www.dpreview.com/news/9361295768/adobe-max-2025-photoshop-lightroom-feature-release" rel="noopener" target="_blank"&gt;officially launched as a feature called "Harmonize."&lt;/a&gt; We had the chance to catch the show live, getting a preview of some of Photoshop's potential future features.&lt;/p&gt;
  1711. &lt;h2&gt;Project Surface Swap&lt;/h2&gt;
  1712. &lt;div class="caption"&gt;
  1713. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1714. &lt;tbody&gt;
  1715. &lt;tr&gt;
  1716. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/212A0014.jpeg" target="article-1828770470"&gt;&lt;img alt="212A0014" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="347" src="https://4.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/212A0014.jpeg" width="520" data-filename="212A0014.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/212A0014.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1717. &lt;/tr&gt;
  1718. &lt;/tbody&gt;
  1719. &lt;/table&gt;
  1720. The car was originally a goldish-yellow, but the presenter was able to select it with a single click and change the color using Photoshop's standard tools.&lt;/div&gt;
  1721. &lt;p&gt;The first Photoshop "sneak" was for something called "Project Surface Swap." It's essentially a more context-aware selection tool; in the demo the presenter used it to change the color of a car, despite it not being particularly easy to select with Photoshop's traditional selection tools because of the reflections and shadows on the paint. He also showed off the ability to select a wooden countertop in a photo, despite it being covered with other wooden objects, like a sushi rolling mat and a cutting board.&lt;/p&gt;
  1722. &lt;p&gt;As the name implies, the tool was also able to load a reference image and use it as a texture, automatically applied with the correct perspective and tiling. When making selections it could take some factors, like varying opacity, into account and, like other selection tools in Photoshop, could be used for creating masks..&lt;/p&gt;
  1723. &lt;h2&gt;Project Light Touch&lt;/h2&gt;
  1724. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1725. &lt;tbody&gt;
  1726. &lt;tr&gt;
  1727. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/212A0020.jpeg" target="article-1828770470"&gt;&lt;img alt="212A0020" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="347" src="https://1.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/212A0020.jpeg" width="520" data-filename="212A0020.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/212A0020.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1728. &lt;/tr&gt;
  1729. &lt;/tbody&gt;
  1730. &lt;/table&gt;
  1731. &lt;p&gt;Project Light Touch is a tool that allows the user to "relight" a scene, imagining what a photo would look like had a light been turned on, rather than left off, or if the lighting had been diffuse instead of harsh sunlight that cast shadows. It also lets the presenter create a virtual light that would interact with the entire scene. He, of course, demoed it by adding a virtual candle to a picture of a carved pumpkin, showing it first lighting the outside of the pumpkin, and then lighting it from the inside, taking depth and occlusion into account.&lt;/p&gt;
  1732. &lt;h2&gt;Project Trace Erase&lt;/h2&gt;
  1733. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1734. &lt;tbody&gt;
  1735. &lt;tr&gt;
  1736. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/Project_sneaks_trace_erase.jpeg" target="article-1828770470"&gt;&lt;img alt="Project sneaks trace erase" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="260" src="https://3.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/Project_sneaks_trace_erase.jpeg" width="520" data-filename="Project_sneaks_trace_erase.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/Project_sneaks_trace_erase.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1737. &lt;/tr&gt;
  1738. &lt;/tbody&gt;
  1739. &lt;/table&gt;
  1740. &lt;p&gt;If I were betting, Project Trace Erase seemed like the demo most likely to turn into a real feature from this year's presentation. It builds on top of the existing Remove Tool, letting the presenter select an object from a photo with a single stroke, rather than having to make multiple passes to take out the object, its shadows, and reflections. Part of the demo involved removing a person walking down a sidewalk, along with their shadow and reflection in a glass wall. Even more impressively, the presenter used it to remove a stove and the smoke it was emitting, a lamp and the light it was putting, and a lens flare that was washing out essentially the entire frame.&lt;/p&gt;
  1741. &lt;p&gt;The demo showed an impressive amount of contextual awareness. When the presenter selected a person walking in a snow, it also automatically removed the footprints they had left, and did something similar with a jet skier's wake. Each demo took just a few seconds, and didn't require particularly precise selections.&lt;/p&gt;
  1742. &lt;h2&gt;Project Clean Take&lt;/h2&gt;
  1743. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1744. &lt;tbody&gt;
  1745. &lt;tr&gt;
  1746. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/Screenshot_2025-10-29_at_19.26.25.png" target="article-1828770470"&gt;&lt;img alt="Screenshot 2025-10-29 at 19.26.25" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="292" src="https://2.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/Screenshot_2025-10-29_at_19.26.25.png" width="520" data-filename="Screenshot_2025-10-29_at_19.26.25.png" srcset="https://4.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/Screenshot_2025-10-29_at_19.26.25.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1747. &lt;/tr&gt;
  1748. &lt;/tbody&gt;
  1749. &lt;/table&gt;
  1750. &lt;p&gt;On the video side, Adobe showed off a a demo called "Project Clean Take," which focused on improving audio in a variety of ways. In the demo, the person was able to fix some incorrect dialogue by editing the transcript, and then "regenerating" the speech with a convincing simulation of the presenter's voice (despite the clip only being a few seconds long). They also showed off the ability to completely replace an audio track with a regenerated one, changing the presenter's voice to sound more enthusiastic, or to make it sound like they were speaking in a whisper.&lt;/p&gt;
  1751. &lt;p&gt;The software was also able to take a single audio track and break out separate components, such as the presenter's voice, background sounds, and music playing in the background.&lt;span class="green"&gt;*&lt;/span&gt; That not only allowed the presenter to mute or tamp down on unwanted noise, but replace copyrighted music with something that sounds similar from Adobe Stock, and then automatically match the reverb and other acoustic properties that were present in the original clip.&lt;/p&gt;
  1752. &lt;p&gt;&lt;span class="green"&gt;* Fun fact: Peter Jackson (yes, that Peter Jackson) &lt;a href="https://www.youtube.com/watch?v=APJAQoSCwuA" rel="noopener" target="_blank"&gt;used similar tech&lt;/a&gt; on a demo that John Lennon recorded, which is how we got &lt;a href="https://www.youtube.com/watch?v=AW55J2zE3N4" rel="noopener" target="_blank"&gt;the new Beatles song "Now And Then"&lt;/a&gt; in 2023.&lt;/span&gt;&lt;/p&gt;
  1753. &lt;h2&gt;Project Frame Forward&lt;/h2&gt;
  1754. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1755. &lt;tbody&gt;
  1756. &lt;tr&gt;
  1757. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/212A0026.jpeg" target="article-1828770470"&gt;&lt;img alt="212A0026" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="347" src="https://3.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/212A0026.jpeg" width="520" data-filename="212A0026.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/212A0026.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1758. &lt;/tr&gt;
  1759. &lt;/tbody&gt;
  1760. &lt;/table&gt;
  1761. &lt;p&gt;There was also Project Frame Forward, which showed off a feature that I've personally dreamed about forever. The presenter took a video, made an edit to the first frame in Photoshop, then brought the edited frame back into the tool. It was then able to apply the change he made to the rest of the frames in the video.&lt;/p&gt;
  1762. &lt;p&gt;Unsurprisingly, the tool relies on generative AI, not tracking and masking, which allowed it to remove particularly tricky subjects like a car ripping around a track, billowing smoke from its tires. It was also able to handle multiple edits, including replacing the sky, changing white balance, and removing multiple people from the background.&lt;/p&gt;
  1763. &lt;h2&gt;A reminder&lt;/h2&gt;
  1764. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop single center" data-image-height="null" data-image-width="520"&gt;
  1765. &lt;tbody&gt;
  1766. &lt;tr&gt;
  1767. &lt;td class="image" style="width: 520px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1828770470/212A0024.jpeg" target="article-1828770470"&gt;&lt;img alt="212A0024" border="0" data-thumbnail-height="0" data-thumbnail-width="520" height="347" src="https://1.img-dpreview.com/files/p/E~TS520x0~articles/1828770470/212A0024.jpeg" width="520" data-filename="212A0024.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1040x0~articles/1828770470/212A0024.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1768. &lt;/tr&gt;
  1769. &lt;/tbody&gt;
  1770. &lt;/table&gt;
  1771. &lt;p&gt;Again, these features aren't necessarily coming to Photoshop, Lightroom or Premiere anytime soon, or even at all. But they do offer an interesting look at some of the interesting projects Adobe's engineers are working on that may someday become features in the software many of us use.&lt;/p&gt;
  1772. &lt;p&gt;You can watch the entire presentation on &lt;a href="https://www.youtube.com/watch?v=_SBn0Iu3K-U" rel="noopener" target="_blank"&gt;Adobe's YouTube channel&lt;/a&gt;.&lt;/p&gt;</description><pubDate>Thu, 30 Oct 2025 02:42:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/1828770470/adobe-max-sneaks-2025-show" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C333x0S6692x5019T1200x900~articles/1828770470/212A0009.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/articles/1412238276/how-dpreview-readers-handle-defective-lenses</guid><link>https://www.dpreview.com/articles/1412238276/how-dpreview-readers-handle-defective-lenses</link><title>What happens when your new lens is a dud? Real advice from photographers</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="590"&gt;
  1773. &lt;tbody&gt;
  1774. &lt;tr&gt;
  1775. &lt;td class="image" style="width: 590px;"&gt;&lt;img alt="a yellow word bubble with blue lines overlaps a blue one with a white question mark" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/1412238276/a_yellow_word_bubble_with_blue_lines_overlaps_a_blue_one_with_a_white_question_mark.jpeg" width="590" data-filename="a_yellow_word_bubble_with_blue_lines_overlaps_a_blue_one_with_a_white_question_mark.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/1412238276/a_yellow_word_bubble_with_blue_lines_overlaps_a_blue_one_with_a_white_question_mark.jpeg 2x"&gt;&lt;/td&gt;
  1776. &lt;/tr&gt;
  1777. &lt;tr&gt;
  1778. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: MirageC / Moment via Getty Images&lt;/em&gt;&lt;/td&gt;
  1779. &lt;/tr&gt;
  1780. &lt;/tbody&gt;
  1781. &lt;/table&gt;
  1782. &lt;p&gt;Last week, as part of our 'Question of the Week' series, we asked &lt;a href="https://www.dpreview.com/articles/1609060761/question-of-the-week-defective-lenses-happen-do-you-return-repair-or-live-with-it" target="article-1412238276"&gt;how you handle defective lenses&lt;/a&gt;, otherwise known as bad copies. Unfortunately, such lenses are just a fact of life for photographers. Bad copies happen even with well-reputed lenses and can cause issues like uneven sharpness, obvious blurring and more. They can significantly impact overall image quality, or they could cause only a subtle change.&lt;/p&gt;
  1783. &lt;p&gt;Of course, everyone takes a slightly different approach to dealing with such lenses. Here's what &lt;a href="https://www.dpreview.com/forums/post/68487207" target="article-1412238276"&gt;you all had to say&lt;/a&gt;.&lt;/p&gt;
  1784. &lt;h2&gt;Deal with minor faults&lt;/h2&gt;
  1785. &lt;p&gt;Many of you said that if the lens has minor faults, especially if it's a budget lens, you simply deal with any imperfections. &lt;a href="https://www.dpreview.com/dpreview.com/members/4520161865" target="article-null"&gt;Jon555&lt;/a&gt; also pointed out, "There are two issues, sample variation and actually getting a dud." &lt;a href="https://www.dpreview.com/forums/post/68491365" target="article-null"&gt;ProfHankD&lt;/a&gt; added to this thought, sharing insight from his experience: "Commercial products are designed to meet specifications, not to be perfect – which is good, because no lens is ever perfect. With over 300 lenses, I have had easily measurable imperfections in every one I've tested."&lt;/p&gt;
  1786. &lt;h2&gt;Return&lt;/h2&gt;
  1787. &lt;p&gt;Major faults or issues with pro-grade glass are significantly less tolerated. With those, DPReview members overwhelmingly prefer to return defective lenses. "When I’ve come across a bad copy, I usually test it thoroughly – checking sharpness, corners, and consistency at different apertures. If it shows clear defects, I return or exchange it. Life’s too short to struggle with a lens that isn’t performing properly," &lt;a href="https://www.dpreview.com/forums/post/68487967" target="article-null"&gt;says Julia90&lt;/a&gt;.&lt;/p&gt;
  1788. &lt;p&gt;How you go about returning depends on where you purchased the lens, with many of you specifying that you only purchased from trusted sellers that have robust return policies. "Buy new from a reputable source who's return policy is solid. Especially if its a 3rd party lens with a reputation for QC issues and you know there is a solid chance you might not be happy with the first copy," &lt;a href="https://www.dpreview.com/forums/post/68487514" target="article-null"&gt;says TBLF&lt;/a&gt;.&lt;/p&gt;
  1789. &lt;p&gt;Some of you shared that dealing with returns to the manufacturer is much more challenging, while retailers are more understanding, resulting in a straightforward return and/or replacement process. "It is usually better to exchange unsatisfactory copies with camera stores (which are usually generous) rather than Nikon (they sometimes have interesting ideas about what 'meets specifications' means)," said &lt;a href="https://www.dpreview.com/forums/post/68490711" target="article-null"&gt;BasilG&lt;/a&gt;.&lt;/p&gt;
  1790. &lt;blockquote class="pullQuote"&gt;For many of you, replacing the faulty lens is the preferred process.&lt;/blockquote&gt;
  1791. &lt;p&gt;For many of you, replacing the faulty lens is the preferred process. You are willing to try a second (or third) copy to get a quality lens. However, others said they will look for something else entirely. "Generally, if I encounter a defective lens, I return the lens and look for an alternative. If the QC on that lens was that bad it's unlikely that others in the lot will be much better," said &lt;a href="https://www.dpreview.com/forums/post/68488706" target="article-null"&gt;Thomas Kachadurian&lt;/a&gt;. "I'm not one of those people who will try and return several copies of the same lens looking for a jewel in the rocks."&lt;/p&gt;
  1792. &lt;h2&gt;Last resort: repair&lt;/h2&gt;
  1793. &lt;p&gt;For just about everyone, sending the lens off for repairs is a last resort. &lt;a href="https://www.dpreview.com/forums/post/68487282" target="article-null"&gt;AshleyMC&lt;/a&gt; shared their four options, with repair not part of the list. "Over the years, I have never exercised the repair option," they said. Most of you said that repairing a lens is only considered when return and replacement are not possible. "If I bought new and can't return then I'll try for a warranty repair," said &lt;a href="https://www.dpreview.com/forums/post/68487609" rel="noopener" target="_blank"&gt;Gato Amarillo&lt;/a&gt;.&lt;/p&gt;
  1794. &lt;p&gt;Even then, most of you stressed getting a lens repaired under warranty to avoid pricey bills. Gato Amarillo went on to say that "A paid repair would be far down my list of options. Modern lenses are extremely complex and built to very tight tolerances. I wouldn't trust anything other than a factory repair, and I'd be worried about that."&lt;/p&gt;
  1795. &lt;h2&gt;Be sure to test your lenses&lt;/h2&gt;
  1796. &lt;p&gt;Another common theme was the importance of testing your new lenses. Many of you shared various methods for testing your lenses. They range from simple and real-world practical, like photographing a flat surface of some variety. For example, &lt;a href="https://www.dpreview.com/forums/post/68488642" target="article-null"&gt;RussW&lt;/a&gt; said, "First thing I do when I get a new lens or camera is to test it by photographing my garage door." Some shared about the four corners or upside-down methods. A smaller number of you have more in-depth processes, such as photographing detailed scenes or specific charts.&lt;/p&gt;
  1797. &lt;blockquote class="pullQuote"&gt;If you wait too long, the return period may lapse, or the warranty for the lens may run out.&lt;/blockquote&gt;
  1798. &lt;p&gt;No matter how you test, timing is essential. "This is why I think it's important to test your lenses when you get them and deal with any quality issues sooner rather than later," said &lt;a href="https://www.dpreview.com/forums/post/68490032" target="article-1412238276"&gt;Sirhawkeye64&lt;/a&gt;. If you wait too long, the return period may lapse, or the warranty for the lens may run out. That means you'll have to pay for a replacement or repairs out of pocket.&lt;/p&gt;
  1799. &lt;p&gt;&lt;a href="https://www.dpreview.com/forums/post/68487243" rel="noopener" target="_blank"&gt;MikeyL&lt;/a&gt; shared his experience of not discovering the issue until it was too late. "In one other case I also bought from this same retailer but did not discover the issue until it was out of the time period for a replacement," he wrote. "At that point I had to deal with the manufacturer. It was a 3rd party manufacturer, and they wanted 2/3rds of the price of the lens just to fix it (even though it was defective from purchase). So in that case I had no recourse. That lens still sits on a shelf in my hobby room today, pretty much useless."&lt;/p&gt;
  1800. &lt;p&gt;No matter what, your best bet is to test your lenses early to catch any possible issues. How you handle it from there depends on your needs and preferences, and what options your retailer has.&lt;/p&gt;</description><pubDate>Wed, 29 Oct 2025 19:13:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/articles/1412238276/how-dpreview-readers-handle-defective-lenses" /><media:thumbnail url="https://1.img-dpreview.com/files/p/E~C0x0S3000x2250T1200x900~articles/1412238276/Close-up_of_wideangle_lens.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/8114707353/oppo-find-x9-pro-announcement-hasselblad-teleconverter-telephoto-lens-accessory</guid><link>https://www.dpreview.com/news/8114707353/oppo-find-x9-pro-announcement-hasselblad-teleconverter-telephoto-lens-accessory</link><title>Oppo's latest phone comes alongside a surprising Hasselblad accessory</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1801. &lt;tbody&gt;
  1802. &lt;tr&gt;
  1803. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8114707353/Oppo_find_x9_pro_three_colors_black_silver_red.jpeg" target="article-8114707353"&gt;&lt;img alt="Oppo find x9 pro three colors black silver red" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TC4x3S590x0~articles/8114707353/Oppo_find_x9_pro_three_colors_black_silver_red.jpeg" width="590" data-filename="Oppo_find_x9_pro_three_colors_black_silver_red.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/8114707353/Oppo_find_x9_pro_three_colors_black_silver_red.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1804. &lt;/tr&gt;
  1805. &lt;tr&gt;
  1806. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: Oppo&lt;/em&gt;&lt;/td&gt;
  1807. &lt;/tr&gt;
  1808. &lt;/tbody&gt;
  1809. &lt;/table&gt;
  1810. &lt;p&gt;Oppo has announced the Find X9 Pro, its latest flagship smartphone, which it says has a camera system tuned by Hasselblad. But as impressive as the cameras included on the phone may be, it's a sold-separately accessory that really caught our attention: the Hasselblad Teleconverter is a lens that attaches to the phone via a custom case. It gives the telephoto camera a 230mm equiv field of view and offers a true 10x zoom from the main camera.&lt;/p&gt;
  1811. &lt;p&gt;Even without augmentation, though, the base cameras are still relatively impressive. The main shooter pairs an optically stabilized 23mm equiv. F1.5 lens with a 50MP Type-1/1.28 Sony LYT 828 sensor (74.4mm²), and is joined by a 70mm equiv. F2.1 telephoto camera, again with OIS, and a 15mm equiv. F2 ultra-wide. As with previous models, Oppo also includes another sensor dedicated to measuring ambient light to make sure your colors are accurate even in difficult lighting conditions.&lt;/p&gt;
  1812. &lt;div class="contentTable"&gt;
  1813. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  1814. &lt;tbody&gt;
  1815. &lt;tr&gt;
  1816. &lt;th width="20%"&gt; &lt;/th&gt;
  1817. &lt;th width="20%"&gt;Sensor size / resolution&lt;/th&gt;
  1818. &lt;th width="20%"&gt;Focal length equiv.&lt;/th&gt;
  1819. &lt;th width="20%"&gt;Aperture&lt;/th&gt;
  1820. &lt;th width="20%"&gt;Crop factor&lt;/th&gt;
  1821. &lt;/tr&gt;
  1822. &lt;tr&gt;
  1823. &lt;th width="20%"&gt;Main Camera&lt;/th&gt;
  1824. &lt;td width="20%"&gt;Type 1/1.28 (74.4mm²)&lt;br&gt;50MP&lt;/td&gt;
  1825. &lt;td width="20%"&gt;23mm&lt;/td&gt;
  1826. &lt;td width="20%"&gt;F1.5&lt;/td&gt;
  1827. &lt;td width="20%"&gt;3.47x&lt;/td&gt;
  1828. &lt;/tr&gt;
  1829. &lt;tr&gt;
  1830. &lt;th width="20%"&gt;Ultra-Wide&lt;/th&gt;
  1831. &lt;td width="20%"&gt;
  1832. &lt;p&gt;Type 1/2.76 (22.3mm²)&lt;br&gt;50MP&lt;/p&gt;
  1833. &lt;/td&gt;
  1834. &lt;td width="20%"&gt;15mm&lt;/td&gt;
  1835. &lt;td width="20%"&gt;F2.0&lt;/td&gt;
  1836. &lt;td width="20%"&gt;6.62x&lt;/td&gt;
  1837. &lt;/tr&gt;
  1838. &lt;tr&gt;
  1839. &lt;th width="20%"&gt;Telephoto&lt;/th&gt;
  1840. &lt;td width="20%"&gt;Type 1/1.56 (50mm²)&lt;br&gt;200MP&lt;/td&gt;
  1841. &lt;td width="20%"&gt;70mm&lt;/td&gt;
  1842. &lt;td width="20%"&gt;F2.1&lt;/td&gt;
  1843. &lt;td width="20%"&gt;4.24x&lt;/td&gt;
  1844. &lt;/tr&gt;
  1845. &lt;/tbody&gt;
  1846. &lt;/table&gt;
  1847. &lt;/div&gt;
  1848. &lt;p&gt;The telephoto camera is the only one explicitly branded as Hasselblad (the company says it uses Hasselblad's "Natural Colour Solution" processing). But the camera app also has a branded "XPan" mode that gives you a wide aspect-ratio preview and the ability to switch between color modes that emulate film stocks. There's also a "Master Mode" that lets you manually set ISO, shutter speed, focus and white balance.&lt;/p&gt;
  1849. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1850. &lt;tbody&gt;
  1851. &lt;tr&gt;
  1852. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8114707353/Hasselblad_mode_oppo_find_x9_pro.jpeg" target="article-8114707353"&gt;&lt;img alt="Hasselblad mode oppo find x9 pro" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="296" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/8114707353/Hasselblad_mode_oppo_find_x9_pro.jpeg" width="590" data-filename="Hasselblad_mode_oppo_find_x9_pro.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/8114707353/Hasselblad_mode_oppo_find_x9_pro.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1853. &lt;/tr&gt;
  1854. &lt;tr&gt;
  1855. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: Hasselblad&lt;/em&gt;&lt;/td&gt;
  1856. &lt;/tr&gt;
  1857. &lt;/tbody&gt;
  1858. &lt;/table&gt;
  1859. &lt;p&gt;While Oppo says you can zoom in up to 120x using a combination of center cropping and AI upscaling, telephoto enthusiasts have a better option. The pocket-sized 3.28x Hasselblad Teleconverter lets you forget digital zoom and use optics instead. However, some early reviews have mentioned that, unsurprisingly, it can be a little hard to frame such a long focal length handheld with a phone.&lt;/p&gt;
  1860. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1861. &lt;tbody&gt;
  1862. &lt;tr&gt;
  1863. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/8114707353/oppo_x9_pro_hasselblad_teleconverter.jpeg" target="article-8114707353"&gt;&lt;img alt="oppo x9 pro hasselblad teleconverter" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="369" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/8114707353/oppo_x9_pro_hasselblad_teleconverter.jpeg" width="590" data-filename="oppo_x9_pro_hasselblad_teleconverter.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/8114707353/oppo_x9_pro_hasselblad_teleconverter.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1864. &lt;/tr&gt;
  1865. &lt;tr&gt;
  1866. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Image: Oppo&lt;/em&gt;&lt;/td&gt;
  1867. &lt;/tr&gt;
  1868. &lt;/tbody&gt;
  1869. &lt;/table&gt;
  1870. &lt;p&gt;Aside from the cameras, the phone is bursting with all the features you'd expect for a top-of-the-line model. It has two side buttons – one for launching the camera app, the other to act as a customizable shortcut. It also features a 6.78" display that runs at 120Hz and can reach 3600 nit peak brightness. There's a massive 27.34Wh battery that supports 80W charging over a wire when paired with a charger that uses the company's "SUPERVOOC" tech, and up to 50W with wireless charging. It's powered by a MediaTek Dimensity 9500 SOC, paired with 16GB of RAM.&lt;/p&gt;
  1871. &lt;p&gt;Pricing for the Find X9 Pro will vary by region, and, as usual for Oppo phones, it's not available in the US. In the UK, it sells for £1099, and in Europe it's €1299. Oppo hasn't officially said how much the Teleconverter accessory will cost, or when it will be for sale.&lt;/p&gt;
  1872. &lt;div id="pr" class="pressRelease"&gt;
  1873. &lt;p&gt;Press release:&lt;/p&gt;
  1874. &lt;h2&gt;OPPO Find X9 Series Launches Globally, Redefining Flagship Experience with 200MP Hasselblad Telephoto, 7000+mAh Battery, Top-Tier Performance, and ColorOS 16&lt;/h2&gt;
  1875. &lt;p&gt;&lt;strong&gt;BARCELONA, October 28, 2025&lt;/strong&gt;–Leading global smart device brand OPPO today announced the worldwide availability of its latest flagship smartphones, Find X9 and Find X9 Pro. This new series delivers an exceptional all-around experience, combining a camera system co-engineered with Hasselblad, revolutionary battery life, powerful performance, and the smart, smooth ColorOS 16.&lt;/p&gt;
  1876. &lt;p&gt;"Find X9 Series represents a giant leap forward in mobile imaging, driven by industry-leading innovations like the 200MP Hasselblad Telephoto," said Pete Lau, SVP and Chief Product Officer at OPPO. "As OPPO's new-generation flagship, Find X9 Series delivers a comprehensive, top-to-bottom upgrade, setting a new global standard for smartphone excellence."&lt;/p&gt;
  1877. &lt;p&gt;&lt;strong&gt;Precision in Every Pixel: The New-Generation Hasselblad Master Camera System&lt;/strong&gt;&lt;/p&gt;
  1878. &lt;p&gt;Continuing the Find X legacy of imaging innovation, Find X9 Series debuts a new-generation Hasselblad Master Camera System. By pairing cutting-edge hardware with advanced computational photography, the series represents a major leap in image quality.&lt;/p&gt;
  1879. &lt;p&gt;Find X9 features a pro-level 50MP main camera with a 1/1.4-inch Sony LYT-808 sensor and an f/1.6 aperture, capturing 57% more light for stunning clarity. It's joined by a versatile 50MP ultra-wide camera with autofocus for macro photography and a 50MP periscope telephoto camera featuring a 1/1.95-inch Sony LYT600 sensor for superior zoom shots. Complementing the three 50MP cameras is an industry-first True Color Camera. This dedicated spectral sensor precisely measures ambient light, resulting in more accurate color reproduction even in the most difficult lighting.&lt;/p&gt;
  1880. &lt;p&gt;Find X9 Pro builds on this foundation with an upgraded main and telephoto camera. The Ultra XDR Main Camera features a customized 1/1.28-inch Sony LYT 828 sensor. This sensor uses groundbreaking Real-Time Triple Exposure technology that captures breathtaking detail in both shadows and highlights. Amping up its telephoto capabilities, Find X9 Pro introduces the 200MP Hasselblad Telephoto. Developed in partnership with Hasselblad, this 3x camera features a massive 1/1.56-inch 200MP sensor. It's paired with a Hasselblad-certified lens that has an ultra-fast f/2.1 aperture for superior light gathering and a 10cm minimum focus distance for incredible macro shots. To carry that even further, OPPO developed an Active Optical Alignment process that precisely matches the lens with the sensor, boosting resolution by an additional 15%.&lt;/p&gt;
  1881. &lt;p&gt;Debuting on Find X9 Series is the brand-new LUMO Image Engine, OPPO's suite of computational photography algorithms that enhances clarity, dynamic range, and color science while ensuring photos look natural. By rebuilding the imaging pipeline with Parallel Computing, the engine achieves more with less: up to 50% less CPU usage, 60% less memory usage, and 50% less power consumption.1&lt;/p&gt;
  1882. &lt;p&gt;The efficiency of the LUMO Image Engine unlocks the full potential of the high-resolution sensors. In bright daylight, users can capture photos in full 50MP resolution by default, delivering over four times the detail of standard 12MP images. In low light or other challenging cases, the camera intelligently switches to 25MP or 12MP modes, using pixel binning for superior noise control.&lt;/p&gt;
  1883. &lt;p&gt;The series also introduces industry-first 4K Motion Photos, elevating video resolution from 1080p to 4K for dramatically clearer results. Additionally, users can extract any frame as a high-resolution still image, ensuring every moment is preserved in perfect detail.&lt;/p&gt;
  1884. &lt;p&gt;&lt;strong&gt;Your Best Companion for Concerts&lt;/strong&gt;&lt;/p&gt;
  1885. &lt;p&gt;Find X9 Series is engineered to be the perfect companion for concerts and live events, providing unrivaled zoom in both photo and video shooting.&lt;/p&gt;
  1886. &lt;p&gt;By intelligently cropping its 200MP sensor, Find X9 Pro delivers high-quality lossless zoom up to 13.2x, while both models feature OPPO's Super Zoom algorithm for enhanced clarity up to 120x. With OPPO's Stage Mode, users can capture concert photos with enhanced contrast and tone for a dramatic, atmospheric effect.&lt;/p&gt;
  1887. &lt;p&gt;The series' pro-grade video capabilities are equally impressive, as both devices support 4K 120fps Dolby Vision HDR video recording on the main camera, with Find X9 Pro extending this capability to its 200MP Hasselblad Telephoto. For professional users, Find X9 Series supports LOG recording with ACES certification, providing a flat, data-rich file that serves as the perfect canvas for professional color grading.&lt;/p&gt;
  1888. &lt;p&gt;For the ultimate advantage, OPPO also offers the Hasselblad Teleconverter. This professional-grade optical accessory, designed exclusively for Find X9 Pro, transforms the phone into a 10x optical super-zoom powerhouse, enabling up to 200x digital zoom for photos and 50x for video.&lt;/p&gt;
  1889. &lt;p&gt;A New Era of Battery Power: 7000mAh and Beyond&lt;/p&gt;
  1890. &lt;p&gt;Find X9 is equipped with a substantial 7025mAh battery, all within a slim 7.99mm profile. Taking advantage of its larger size, Find X9 Pro packs an even more impressive 7500mAh battery, the largest in any OPPO flagship.&lt;/p&gt;
  1891. &lt;p&gt;Fitting all that battery power into such a slender frame is made possible by the third-generation OPPO Silicon-Carbon Battery, which has 15% silicon content. And with OPPO's customized spherical carbon material, Find X9 Series is engineered for long-term reliability, retaining over 80% of its original capacity even after five years of typical use.&lt;span class="green"&gt;1&lt;/span&gt;&lt;/p&gt;
  1892. &lt;p&gt;When it's time to recharge, both models support 80W OPPO SUPERVOOCTM; wired flash charging, 50W AIRVOOCTM; wireless charging, and 10W reverse wireless charging for convenient power top-ups.&lt;/p&gt;
  1893. &lt;p&gt;Elegant Design, Built to Last&lt;/p&gt;
  1894. &lt;p&gt;Find X9 Series features a modern, flat-edged aesthetic with a subtly contoured frame for a comfortable grip. The streamlined camera module is positioned to stay clear of fingers during use.&lt;/p&gt;
  1895. &lt;p&gt;Both models feature a new-generation flat display with ultra-thin, 1.15mm symmetrical bezels for an immersive, borderless viewing experience. The 120Hz displays boast a peak outdoor brightness of 3600 nits and a minimum brightness of 1 nit, combined with high-frequency PWM dimming for eye comfort in all conditions.&lt;/p&gt;
  1896. &lt;p&gt;Find X9 is available in three sophisticated finishes: Titanium Grey, Space Black, and Velvet Red. Find X9 Pro is offered in exclusive Silk White and Titanium Charcoal finishes. All models feature a matte aluminum frame and glass back cover that resists fingerprints.&lt;/p&gt;
  1897. &lt;p&gt;Beyond aesthetics, both devices are engineered for exceptional durability. With IP66, IP68, and IP69 ratings, Find X9 Series delivers class-leading protection against dust, powerful water jets, water submersion, and even high-temperature spray.&lt;/p&gt;
  1898. &lt;p&gt;&lt;strong&gt;Unleash the Peak Power of Dimensity&lt;/strong&gt;&lt;/p&gt;
  1899. &lt;p&gt;Find X9 Series is powered by the cutting-edge MediaTek Dimensity 9500 chipset. Built on TSMC's third-generation 3nm process, its All-Big-Core CPU architecture achieves up to 32% higher performance and 55% less peak power consumption. The Arm G1-Ultra GPU delivers a massive boost as well, with 33% higher graphics performance and 42% better power efficiency, while the new MediaTek NPU 990 offers over double the performance with 56% more efficiency. These capabilities are enhanced by Find X9 Series' customized vapor chambers, ensuring smooth and stable gameplay that stays cool to the touch.&lt;span class="green"&gt;2&lt;/span&gt;&lt;/p&gt;
  1900. &lt;p&gt;Developed in close collaboration with MediaTek, OPPO's All-New Trinity Engine redefines chip-level resource management for sustained high performance and superior power efficiency. This includes features like Chip-Level Dynamic Frame Sync for greater fluency in high-stress scenarios, a Unified Computing Power Model for over 90% accuracy in power-consumption prediction, and Sensor Offload, resulting in 16.1% less power usage during 4K 60fps HDR video recording.&lt;span class="green"&gt;1&lt;/span&gt;&lt;/p&gt;
  1901. &lt;p&gt;&lt;strong&gt;ColorOS 16: Smarter, Smoother, More Connected&lt;/strong&gt;&lt;/p&gt;
  1902. &lt;p&gt;Debuting on OPPO Find X9 Series, ColorOS 16 sets a new benchmark for smoothness, intelligence, and connectivity.&lt;/p&gt;
  1903. &lt;p&gt;Building on the foundation of ColorOS 15's Parallel Animation, the new Seamless Animation delivers instantaneous, fluid interactions powered by the All-New Luminous Rendering Engine.&lt;/p&gt;
  1904. &lt;p&gt;ColorOS 16 also brings a range of AI-powered features that boost productivity and creativity. With AI Mind Space, users can capture on-screen content instantly using the new Snap Key. AI Recorder automatically generates titles and summaries, while AI Portrait Glow enhances low-light portraits by balancing light and skin tones with a single tap.&lt;/p&gt;
  1905. &lt;p&gt;Expanding its cross-device capabilities, O+ Connect now supports both Mac and Windows. Users can manage phone files from their computer or remotely control their PC via their phone. Screen Mirroring allows up to five apps to be displayed and operated using a mouse and keyboard—perfect for multitasking across devices.&lt;/p&gt;
  1906. &lt;p&gt;&lt;strong&gt;OPPO Find X9 and Find X9 Pro Availability&lt;/strong&gt;&lt;/p&gt;
  1907. &lt;p&gt;OPPO Find X9 and Find X9 Pro will be available globally beginning at early November. Find X9 comes in 12GB + 256GB, 12GB + 512GB, and 16GB + 512GB configurations, while the Find X9 Pro is offered in a 16GB + 512GB configuration.&lt;span class="green"&gt;3&lt;/span&gt;&lt;/p&gt;
  1908. &lt;p&gt;The devices will be offered through official OPPO stores, authorized retailers, and partner carriers worldwide. For detailed information about pre-orders and launch promotions, visit oppo.com/global or follow OPPO's official social media channels.&lt;/p&gt;
  1909. &lt;p&gt;&lt;span class="green"&gt;1. Data from OPPO Lab.&lt;/span&gt;&lt;/p&gt;
  1910. &lt;p&gt;&lt;span class="green"&gt;2. Data from MediaTek.&lt;/span&gt;&lt;/p&gt;
  1911. &lt;p&gt;&lt;span class="green"&gt;3. Specific available date, price and configuration may vary among different regions.&lt;/span&gt;&lt;/p&gt;
  1912. &lt;/div&gt;</description><pubDate>Wed, 29 Oct 2025 19:03:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/8114707353/oppo-find-x9-pro-announcement-hasselblad-teleconverter-telephoto-lens-accessory" /><media:thumbnail url="https://3.img-dpreview.com/files/p/E~C498x133S810x608T1200x900~articles/8114707353/Screenshot_2025-10-29_at_11.37.08.png" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/5843584955/moment-fast-and-light-lineup-announcement</guid><link>https://www.dpreview.com/news/5843584955/moment-fast-and-light-lineup-announcement</link><title>Moment’s new camera carrying system blurs quite a few lines</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1913. &lt;tbody&gt;
  1914. &lt;tr&gt;
  1915. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5843584955/a_person_stands_holding_a_camera_up_to_her_face_while_another_faces_away_with_a_white_backpack_on.jpeg" target="article-bb9c1dc82c6d4ec88330cd7466ffd1ba"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="295" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/5843584955/a_person_stands_holding_a_camera_up_to_her_face_while_another_faces_away_with_a_white_backpack_on.jpeg" width="590" data-filename="a_person_stands_holding_a_camera_up_to_her_face_while_another_faces_away_with_a_white_backpack_on.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/5843584955/a_person_stands_holding_a_camera_up_to_her_face_while_another_faces_away_with_a_white_backpack_on.jpeg 2x" alt="a person stands holding a camera up to her face while another faces away with a white backpack on"&gt;&lt;/a&gt;&lt;/td&gt;
  1916. &lt;/tr&gt;
  1917. &lt;tr&gt;
  1918. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: Moment&lt;/em&gt;&lt;/td&gt;
  1919. &lt;/tr&gt;
  1920. &lt;/tbody&gt;
  1921. &lt;/table&gt;
  1922. &lt;p&gt;Camera accessory brand Moment has introduced a new line of camera bags that take a fresh look at lightweight packs. The &lt;a href="https://www.shopmoment.com/pages/fast-and-light" target="article-null"&gt;Moment Fast &amp;amp; Light camera bags&lt;/a&gt; aim to offer slimmed-down, minimalist options for adventurers, with looks that can transition to everyday carry. &lt;/p&gt;
  1923. &lt;p&gt;Moment says the Fast &amp;amp; Light line was inspired by running and cycling gear, and that's especially true of the vest, the most interesting offering in the lineup. After all, the Exposure 10L Vest looks more like a running vest than a traditional photographer's vest. Moment says the vest can be worn loosely or tightened down for a no-bounce fit using bungees on the sides. It also features bungee sternum straps instead of the front zipper closure found on photographer's vests, allowing a snug fit.&lt;/p&gt;
  1924. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/GzZOwk3ytk4?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  1925. &lt;p&gt;The front pocket design also takes cues from running vests. It offers a zippered stretch pocket and a quick-access stretch pocket on the front straps for easy access to things like film, your phone or those ever-important snacks. The back design borrows features from a cycling jersey, with stretch back pockets that allow for no-look access without removing the vest.&lt;/p&gt;
  1926. &lt;p&gt;There's a main compartment that supports up to a 14" laptop, a tablet or a hydration bladder. A dedicated battery pocket in the main compartment is connected to a charging channel that lets you run a charging cable through the vest to keep your phone charged while in the front stretch pocket. &lt;/p&gt;
  1927. &lt;p&gt;Moment says it's designed to keep your gear close to your body so that it "moves the way you do." The pockets disperse items between your side, front, and back, which helps get rid of bulk and keep the weight comfortable. The vest is also lightweight, at just 0.8kg (1.7 lbs). It's made of the company's 210-denier fabric called LiteWeave Ripstop and features a durable water repellent (DWR) coating for protection against the elements. It comes only in black but is available in two sizes: S/M, which fits chest sizes 38-45 inches, and L/XL, which fits chest sizes 45-55 inches.&lt;/p&gt;
  1928. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1929. &lt;tbody&gt;
  1930. &lt;tr&gt;
  1931. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5843584955/a_person_wears_a_tan_backpack_over_black_jacket_and_a_person_wearing_white_pants_holds_a_tan_packpack_down_by_their_legs_while_standing_in_front_of_mountains.jpeg" target="article-bb9c1dc82c6d4ec88330cd7466ffd1ba"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="293" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/5843584955/a_person_wears_a_tan_backpack_over_black_jacket_and_a_person_wearing_white_pants_holds_a_tan_packpack_down_by_their_legs_while_standing_in_front_of_mountains.jpeg" width="590" data-filename="a_person_wears_a_tan_backpack_over_black_jacket_and_a_person_wearing_white_pants_holds_a_tan_packpack_down_by_their_legs_while_standing_in_front_of_mountains.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/5843584955/a_person_wears_a_tan_backpack_over_black_jacket_and_a_person_wearing_white_pants_holds_a_tan_packpack_down_by_their_legs_while_standing_in_front_of_mountains.jpeg 2x" alt="a person wears a tan backpack over black jacket and a person wearing white pants holds a tan packpack down by their legs while standing in front of mountains"&gt;&lt;/a&gt;&lt;/td&gt;
  1932. &lt;/tr&gt;
  1933. &lt;tr&gt;
  1934. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photos: Moment&lt;/em&gt;&lt;/td&gt;
  1935. &lt;/tr&gt;
  1936. &lt;/tbody&gt;
  1937. &lt;/table&gt;
  1938. &lt;p&gt;Also in the new lineup is the Sequence 23L Camera Backpack, which looks like a much more traditional camera bag, though with plenty of useful features. Inside the bag are padded dividers that you can fold away when they aren't needed. A removable waist belt adds stability and comfort when needed. It offers two access points, including top access for quick-grab items like layers, and front access for camera gear.&lt;/p&gt;
  1939. &lt;p&gt;The pack also features vest-inspired shoulder straps with pockets, LightWeave Ripstop fabric with a DWR coating and a laptop sleeve that doubles as a hydration bladder compartment with a pass-through hole for the tube. Side stuff pockets allow you to store water bottles, a tripod or additional layers. It's available in black, white and green. &lt;/p&gt;
  1940. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1941. &lt;tbody&gt;
  1942. &lt;tr&gt;
  1943. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/5843584955/a_camera_snacks_wallet_and_other_items_are_laid_out_on_a_white_table_around_a_tan_sling.jpeg" target="article-bb9c1dc82c6d4ec88330cd7466ffd1ba"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="260" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/5843584955/a_camera_snacks_wallet_and_other_items_are_laid_out_on_a_white_table_around_a_tan_sling.jpeg" width="590" data-filename="a_camera_snacks_wallet_and_other_items_are_laid_out_on_a_white_table_around_a_tan_sling.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/5843584955/a_camera_snacks_wallet_and_other_items_are_laid_out_on_a_white_table_around_a_tan_sling.jpeg 2x" alt="a camera snacks wallet and other items are laid out on a white table around a tan sling"&gt;&lt;/a&gt;&lt;/td&gt;
  1944. &lt;/tr&gt;
  1945. &lt;tr&gt;
  1946. &lt;td class="caption" style="width: 590px;"&gt;The 1.5L sling is designed for compact cameras and essentials. &lt;br&gt;&lt;em&gt;Photo: Moment&lt;/em&gt;&lt;/td&gt;
  1947. &lt;/tr&gt;
  1948. &lt;/tbody&gt;
  1949. &lt;/table&gt;
  1950. &lt;p&gt;Finally, the Fast &amp;amp; Light line includes 4L and 1.5L slings. Both can be worn as waist packs or crossbody bags and offer one-handed quick adjustments without hanging straps to dial in fit. They also each offer a front mesh pocket for quick access items and two zippered pockets for better organization. The 4L sling features a removable three-point stability strap that keeps the bag against your body when you're on the move and straps for jackets and tripods. &lt;/p&gt;
  1951. &lt;p&gt;The new bags are now available for pre-order through Moment's website. Moment says the first 100 units will ship by the end of December, but the second batch won't arrive until March. The &lt;a href="https://www.shopmoment.com/products/exposure-vest?variant=50588087288123" target="article-null"&gt;Exposure Vest&lt;/a&gt; costs $120 and the &lt;a href="https://www.shopmoment.com/products/moment-sequence-backpack-23l?variant=50588022800699" target="article-null"&gt;Sequence Backpack&lt;/a&gt; $230. The &lt;a href="https://www.shopmoment.com/products/take-sling-1-5-l?variant=50588070510907" target="article-null"&gt;1.5L sling&lt;/a&gt; is priced at $55, and the &lt;a href="https://www.shopmoment.com/products/slate-sling-4l?variant=50588052160827" target="article-null"&gt;4L sling&lt;/a&gt; at $99. &lt;/p&gt;</description><pubDate>Wed, 29 Oct 2025 14:51:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/5843584955/moment-fast-and-light-lineup-announcement" /><media:thumbnail url="https://1.img-dpreview.com/files/p/E~C480x0S1920x1440T1200x900~articles/5843584955/a_person_stands_holding_a_camera_up_to_her_face_while_another_faces_away_with_a_white_backpack_on.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/reviews/om-system-om-5-mark-ii-in-depth-review</guid><link>https://www.dpreview.com/reviews/om-system-om-5-mark-ii-in-depth-review</link><title>OM System OM-5 II in-depth review: the innovator showing its age</title><description>&lt;div style="font-size: 12px; color: #888;"&gt;When you use DPReview links to buy products, the site may earn a commission.&lt;/div&gt;&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  1952. &lt;tbody&gt;
  1953. &lt;tr&gt;
  1954. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/sample-galleries/7863515661/om-system-om-5-ii-product-photos" target="article-1924689625"&gt;&lt;img alt="OM-5 II front with lens" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TC4x3S590x0~articles/1924689625/Product-photos/OM-5_II_front_with_lens.jpeg" width="590" data-filename="Product-photos/OM-5_II_front_with_lens.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/1924689625/Product-photos/OM-5_II_front_with_lens.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1955. &lt;/tr&gt;
  1956. &lt;/tbody&gt;
  1957. &lt;/table&gt;
  1958. &lt;div class="reviewWidgetPlaceholder"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Please open this article&amp;#39;s permalink in a browser to view this content.&lt;/div&gt;&lt;/div&gt;
  1959. &lt;div&gt;&lt;em&gt;Product Photos by Mitchell Clark&lt;/em&gt;&lt;/div&gt;
  1960. &lt;div class="rightFloatedBox"&gt;&lt;a class="articleProductBadgeAndScore" href="/reviews/1924689625/1#CN"&gt;&lt;span class="badge"&gt;&lt;img src="https://3.img-dpreview.com/resources/images/award-tested-dark.png?v=5767" alt="No Award" title="No Award"&gt;&lt;/span&gt;&lt;div class="scoreContainer"&gt;&lt;div class="score"&gt;82%&lt;/div&gt;&lt;div class="scoreTip"&gt;Overall score&lt;/div&gt;&lt;/div&gt;&lt;div class="link"&gt;Jump to conclusion&lt;span class="caret"&gt;&lt;/span&gt;&lt;/div&gt;&lt;/a&gt;&lt;/div&gt;
  1961. &lt;p&gt;The OM System OM-5 II is a Micro Four Thirds mirrorless camera that uses the same stabilized 20MP sensor as its predecessor. It also features the same processor as the OM-5, so the list of new features is relatively subtle, but it gains some minor updates that make it feel a bit more modern.&lt;/p&gt;
  1962. &lt;h3&gt;Key Specifications&lt;/h3&gt;
  1963. &lt;ul&gt;
  1964. &lt;li&gt;20MP Four Thirds CMOS sensor&lt;/li&gt;
  1965. &lt;li&gt;50MP handheld high-res multi-shot mode&lt;/li&gt;
  1966. &lt;li&gt;Up to 7.5EV stabilization with Sync IS lenses&lt;/li&gt;
  1967. &lt;li&gt;Up to 30fps continuous shooting, configurable pre-capture&lt;/li&gt;
  1968. &lt;li&gt;2.36M-dot 0.68x OLED viewfinder&lt;/li&gt;
  1969. &lt;li&gt;IP53 dust and water resistance rating&lt;/li&gt;
  1970. &lt;li&gt;USB-C for charging / data transfer&lt;/li&gt;
  1971. &lt;li&gt;Updated menu system&lt;/li&gt;
  1972. &lt;/ul&gt;
  1973. &lt;p&gt;The OM-5 II retails for $1199 body-only, the same as its predecessor, and is available now. It comes in black, silver and a "sand beige" tan.&lt;/p&gt;
  1974. &lt;div class="buybuttons"&gt;&lt;hr&gt;&lt;/hr&gt;&lt;p class="header-text"&gt;Buy now:&lt;/p&gt;&lt;div class="buttons-wrapper"&gt;&lt;a href="https://www.amazon.ca/dp/B016LKFEWG?tag=gpsmed-1-20&amp;amp;linkCode=osi&amp;amp;th=1&amp;amp;psc=1" class="article-buybutton" target="_blank" rel="nofollow"&gt;&lt;span class="mdc-button text-button mdc-button--raised"&gt;&lt;div class="mdc-button__ripple"&gt;&lt;/div&gt;&lt;span class="mdc-button__label"&gt;$498  at Amazon.com&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/div&gt;&lt;hr&gt;&lt;/hr&gt;&lt;/div&gt;
  1975. &lt;h3 id="index"&gt;Index:&lt;/h3&gt;
  1976. &lt;ul style="columns: 2; -webkit-columns: 2; -moz-columns: 2;"&gt;
  1977. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#WN"&gt;&lt;strong&gt;What's new?&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1978. &lt;li class="newsLink"&gt;&lt;strong&gt;&lt;a href="https://www.dpreview.com/#HC"&gt;How it compares&lt;/a&gt;&lt;/strong&gt;&lt;/li&gt;
  1979. &lt;li class="newsLink"&gt;&lt;strong&gt;&lt;a href="https://www.dpreview.com/#BC"&gt;Body and handling&lt;/a&gt;&lt;/strong&gt;&lt;/li&gt;
  1980. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#IQ"&gt;&lt;strong&gt;Image Quality&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1981. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#AF"&gt;&lt;strong&gt;Autofocus&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1982. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#VD"&gt;&lt;strong&gt;Video&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1983. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#IU"&gt;&lt;strong&gt;In Use&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1984. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#CN"&gt;&lt;strong&gt;Conclusion&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1985. &lt;li class="newsLink"&gt;&lt;a href="https://www.dpreview.com/#SG"&gt;&lt;strong&gt;Sample gallery&lt;/strong&gt;&lt;/a&gt;&lt;/li&gt;
  1986. &lt;li class="newsLink"&gt;&lt;strong&gt;&lt;a href="https://www.dpreview.com/reviews/1924689625/2"&gt;Specifications&lt;/a&gt;&lt;/strong&gt;&lt;/li&gt;
  1987. &lt;li class="newsLink"&gt;&lt;strong&gt;&lt;a href="https://www.dpreview.com/reviews/1924689625/3"&gt;Press release&lt;/a&gt;&lt;/strong&gt;&lt;/li&gt;
  1988. &lt;/ul&gt;
  1989. &lt;hr&gt;
  1990. &lt;h2 id="WN" style="margin-top: 8%;"&gt;What's New&lt;/h2&gt;
  1991. &lt;h3&gt;USB-C&lt;/h3&gt;
  1992. &lt;p&gt;When the OM-5 launched in 2022, its use of a micro USB port instead of a USB-C one felt like a huge omission, especially given that the European Union was already well on its way to mandating the more modern charging and communication standard. Thankfully, the OM-5 II doesn't repeat that mistake; it uses USB-C for charging and connecting to your computer, where it retains the ability to act as a webcam without any additional software or drivers via the UVC/UAC protocol.&lt;/p&gt;
  1993. &lt;p&gt;This is mostly an upgrade to the charging experience. You'll still want to use an SD card reader for offloading photos, as the type C port still runs at USB 2.0, less than a tenth the speed of the 5Gbps "SuperSpeed" ports found on a majority of modern cameras.&lt;/p&gt;
  1994. &lt;h3&gt;Updated grip&lt;/h3&gt;
  1995. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="" data-image-width="590"&gt;
  1996. &lt;tbody&gt;
  1997. &lt;tr&gt;
  1998. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_vs_OM-5_top_plates.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II vs OM-5 top plates" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_vs_OM-5_top_plates.jpeg" width="590" data-filename="Product-photos/OM-5_II_vs_OM-5_top_plates.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_vs_OM-5_top_plates.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  1999. &lt;/tr&gt;
  2000. &lt;/tbody&gt;
  2001. &lt;/table&gt;
  2002. &lt;p&gt;While the OM-5 II's design is mostly unchanged from its predecessor's, OM System has made the grip a touch larger to help with ergonomics. Compared to the OM-5's, it fills out your hand just a bit more, which helps make it a touch more comfortable and easier to handle.&lt;/p&gt;
  2003. &lt;h3&gt;New menus&lt;/h3&gt;
  2004. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="" data-image-width="480"&gt;
  2005. &lt;tbody&gt;
  2006. &lt;tr&gt;
  2007. &lt;td class="image" style="width: 480px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_Menu.png" target="article-1924689625"&gt;&lt;img alt="OM-5 II Menu" border="0" data-thumbnail-height="0" data-thumbnail-width="480" height="270" src="https://4.img-dpreview.com/files/p/E~TS480x0~articles/1924689625/Product-photos/OM-5_II_Menu.png" width="480" data-filename="Product-photos/OM-5_II_Menu.png" srcset="https://1.img-dpreview.com/files/p/E~TS960x0~articles/1924689625/Product-photos/OM-5_II_Menu.png 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2008. &lt;/tr&gt;
  2009. &lt;tr&gt;
  2010. &lt;td class="caption" style="width: 480px;"&gt;The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work &lt;em&gt;a lot&lt;/em&gt; like Canon's.&lt;/td&gt;
  2011. &lt;/tr&gt;
  2012. &lt;/tbody&gt;
  2013. &lt;/table&gt;
  2014. &lt;p&gt;OM System has also brought over its updated menu system from the OM-1 and OM-3, with color-coded sections and tabs. Unlike its predecessor, the camera will try to give you an explanation for why certain items are unavailable instead of leaving you to guess what you need to change to access those features.&lt;/p&gt;
  2015. &lt;p&gt;You can navigate through the sections using the front dial and switch pages using the rear one, which can be very quick once you get the hang of it. The four-way controller is required for changing your settings; you can use the touchscreen to switch tabs and sections, but not to navigate through or adjust the settings themselves.&lt;/p&gt;
  2016. &lt;h3&gt;CP button&lt;/h3&gt;
  2017. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2018. &lt;tbody&gt;
  2019. &lt;tr&gt;
  2020. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_CP_Button.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II CP Button" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_CP_Button.jpeg" width="590" data-filename="Product-photos/OM-5_II_CP_Button.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_CP_Button.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2021. &lt;/tr&gt;
  2022. &lt;/tbody&gt;
  2023. &lt;/table&gt;
  2024. &lt;p&gt;OM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on &lt;a href="https://www.dpreview.com/reviews/om-system-om-3-review" rel="noopener" target="_blank"&gt;the OM-3&lt;/a&gt;. It gives you quick access to the camera's myriad computational photography modes; giving it a single press will activate your last-used mode, and if you press and hold it, you can use either command dial to scroll through the various modes and select the one you'd like to use.&lt;/p&gt;
  2025. &lt;p&gt;The OM-5 II doesn't gain any new computational features compared to its predecessor, which is a bit of a shame since we've found the Live Graduated ND feature included in the higher-end models to be useful in some situations (though that may only be possible because of those cameras' Stacked sensors, which capture images faster, with less risk of rolling shutter). However, the OM-5 II still has a suite of useful computational modes:&lt;/p&gt;
  2026. &lt;div class="contentTable"&gt;
  2027. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  2028. &lt;tbody&gt;
  2029. &lt;tr&gt;
  2030. &lt;th width="33.333333333333336%"&gt; &lt;/th&gt;
  2031. &lt;th width="33.333333333333336%"&gt;OM-5 II&lt;/th&gt;
  2032. &lt;th width="33.333333333333336%"&gt;OM-1 (II) / OM-3&lt;/th&gt;
  2033. &lt;/tr&gt;
  2034. &lt;tr&gt;
  2035. &lt;th width="33.333333333333336%"&gt;Multi-shot high-res&lt;/th&gt;
  2036. &lt;td width="33.333333333333336%"&gt;50MP handheld / 80MP tripod&lt;/td&gt;
  2037. &lt;td width="33.333333333333336%"&gt;50MP handheld / 80MP tripod&lt;/td&gt;
  2038. &lt;/tr&gt;
  2039. &lt;tr&gt;
  2040. &lt;th width="33.333333333333336%"&gt;Live ND&lt;/th&gt;
  2041. &lt;td width="33.333333333333336%"&gt;1-4EV&lt;/td&gt;
  2042. &lt;td class="hi" width="33.333333333333336%"&gt;1-6EV / 1-7EV for OM-1 II&lt;/td&gt;
  2043. &lt;/tr&gt;
  2044. &lt;tr&gt;
  2045. &lt;th width="33.333333333333336%"&gt;Live graduated ND&lt;/th&gt;
  2046. &lt;td width="33.333333333333336%"&gt;—&lt;/td&gt;
  2047. &lt;td class="hi" width="33.333333333333336%"&gt;1-3EV&lt;/td&gt;
  2048. &lt;/tr&gt;
  2049. &lt;tr&gt;
  2050. &lt;th width="33.333333333333336%"&gt;Focus stacking&lt;/th&gt;
  2051. &lt;td width="33.333333333333336%"&gt;Yes, with select lenses&lt;/td&gt;
  2052. &lt;td width="33.333333333333336%"&gt;Yes, with select lenses&lt;/td&gt;
  2053. &lt;/tr&gt;
  2054. &lt;tr&gt;
  2055. &lt;th width="33.333333333333336%"&gt;HDR&lt;/th&gt;
  2056. &lt;td width="33.333333333333336%"&gt;Yes&lt;/td&gt;
  2057. &lt;td width="33.333333333333336%"&gt;Yes&lt;/td&gt;
  2058. &lt;/tr&gt;
  2059. &lt;tr&gt;
  2060. &lt;th width="33.333333333333336%"&gt;Multiple exposure&lt;/th&gt;
  2061. &lt;td width="33.333333333333336%"&gt;Yes&lt;/td&gt;
  2062. &lt;td width="33.333333333333336%"&gt;Yes&lt;/td&gt;
  2063. &lt;/tr&gt;
  2064. &lt;tr&gt;
  2065. &lt;th width="33.333333333333336%"&gt;Live Bulb&lt;/th&gt;
  2066. &lt;td width="33.333333333333336%"&gt;Yes&lt;/td&gt;
  2067. &lt;td width="33.333333333333336%"&gt;Yes&lt;/td&gt;
  2068. &lt;/tr&gt;
  2069. &lt;/tbody&gt;
  2070. &lt;/table&gt;
  2071. &lt;/div&gt;
  2072. &lt;p&gt;All the multi-shot modes are processed in-camera, making them much more convenient to use compared to similar modes from other brands that have to be stitched with desktop software. However, that can take a while for some modes; the most taxing are the handheld high-res shots, which lock up the camera for over 15 seconds; even the progress bar won't move from the EVF to the display or &lt;em&gt;vice versa&lt;/em&gt; if you move your eye to or away from the camera.&lt;/p&gt;
  2073. &lt;h3&gt;New color modes&lt;/h3&gt;
  2074. &lt;table border="0" cellpadding="0" cellspacing="0" class="images center" data-image-height="" data-image-width="576"&gt;
  2075. &lt;tbody&gt;
  2076. &lt;tr&gt;
  2077. &lt;td class="image" colspan="3" style="width: 576px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/OM-Cinema/OM-5_II_Standard_Color_Profile.jpeg" target="article-1924689625"&gt;&lt;img alt="Image showing flowers shot using the OM-5 II's standard color profile" border="0" data-thumbnail-height="0" data-thumbnail-width="576" id="omcinema" src="https://4.img-dpreview.com/files/p/E~TS576x0~articles/1924689625/OM-Cinema/OM-5_II_Standard_Color_Profile.jpeg" width="576" data-filename="OM-Cinema/OM-5_II_Standard_Color_Profile.jpeg"&gt;&lt;/a&gt;&lt;/td&gt;
  2078. &lt;/tr&gt;
  2079. &lt;tr&gt;
  2080. &lt;td class="caption imageSwapper active" style="width: 25%; text-align: center;" data-image-id="omcinema" data-image-src="https://3.img-dpreview.com/files/p/E~TS576x0~articles/1924689625/OM-Cinema/OM-5_II_Standard_Color_Profile.jpeg?v=5767" data-large-image-src="https://www.dpreview.com/files/p/articles/1924689625/OM-Cinema/OM-5_II_Standard_Color_Profile.jpeg"&gt;Standard Color Profile&lt;/td&gt;
  2081. &lt;td class="caption imageSwapper" style="width: 25%; text-align: center;" data-image-id="omcinema" data-image-src="https://1.img-dpreview.com/files/p/E~TS576x0~articles/1924689625/OM-Cinema/OM-5_II_Cine_1_profile.jpeg?v=5767" data-large-image-src="https://www.dpreview.com/files/p/articles/1924689625/OM-Cinema/OM-5_II_Cine_1_profile.jpeg"&gt;OM Cinema 1&lt;/td&gt;
  2082. &lt;td class="caption imageSwapper" style="width: 25%; text-align: center;" data-image-id="omcinema" data-image-src="https://2.img-dpreview.com/files/p/E~TS576x0~articles/1924689625/OM-Cinema/OM-5_II_Cine_2.jpeg?v=5767" data-large-image-src="https://www.dpreview.com/files/p/articles/1924689625/OM-Cinema/OM-5_II_Cine_2.jpeg"&gt;OM Cinema 2&lt;/td&gt;
  2083. &lt;/tr&gt;
  2084. &lt;/tbody&gt;
  2085. &lt;/table&gt;
  2086. &lt;p&gt;The OM-5 II includes the two video-only "OM Cinema" color modes from the OM-3, which are made to capture the same level of highlight information as the Log mode but without the extremely low-contrast, low-saturation logic that requires grading. The company says the OM Cinema 1 mode is designed to highlight yellows in the bright parts of your image and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.&lt;/p&gt;
  2087. &lt;p&gt;Like Log mode, these modes capture the additional highlight information by using a minimum ISO of 400, meaning they're designed to receive one stop less exposure than standard mode.&lt;/p&gt;
  2088. &lt;h3&gt;Light, camera, action&lt;/h3&gt;
  2089. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2090. &lt;tbody&gt;
  2091. &lt;tr&gt;
  2092. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_three_quarter.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II three quarter" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TC4x3S590x0~articles/1924689625/Product-photos/OM-5_II_three_quarter.jpeg" width="590" data-filename="Product-photos/OM-5_II_three_quarter.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/1924689625/Product-photos/OM-5_II_three_quarter.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2093. &lt;/tr&gt;
  2094. &lt;/tbody&gt;
  2095. &lt;/table&gt;
  2096. &lt;p&gt;Speaking of video, the OM-5 II now features a red LED in the top right corner on the front of the camera, which acts as a tally light to make it obvious when you're recording video.&lt;/p&gt;
  2097. &lt;h3&gt;A little help&lt;/h3&gt;
  2098. &lt;p&gt;The OM-5 II adds two new assistance features: a 'Night Vision' mode that boosts the live view's brightness, making it easier to focus and/or compose in dark environments and a 'Handheld Assist' mode that shows you how stable you're keeping the camera during long exposures. It gives you a target that shows how much you've moved the camera since you started taking the picture. It makes it easier to tell whether your photo will come out blurry since you'll know whether you've moved more than the stabilization system can compensate for.&lt;/p&gt;
  2099. &lt;hr&gt;
  2100. &lt;h2 id="HC" style="margin-top: 8%;"&gt;How it compares&lt;/h2&gt;
  2101. &lt;p&gt;The OM-5 II is mainly focused on people looking to capture their outdoor adventures, a niche that's often serviced by action video cameras. However, there's nothing about its design that precludes it from being a general-use stills camera. As such, we're comparing it to several comparably-priced APS-C cameras that are good for photos (no EVF-less, e-shutter only, single-dial cameras here) but that still include some decent video specs.&lt;/p&gt;
  2102. &lt;div class="contentTable"&gt;
  2103. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  2104. &lt;tbody&gt;
  2105. &lt;tr&gt;
  2106. &lt;th width="20%"&gt; &lt;/th&gt;
  2107. &lt;th width="20%"&gt;OM System OM-5 II&lt;/th&gt;
  2108. &lt;th width="20%"&gt;Canon EOS R10&lt;/th&gt;
  2109. &lt;th width="20%"&gt;Fujifilm X-S20&lt;/th&gt;
  2110. &lt;th width="20%"&gt;Nikon Z50II&lt;/th&gt;
  2111. &lt;/tr&gt;
  2112. &lt;tr&gt;
  2113. &lt;th width="20%"&gt;MSRP&lt;/th&gt;
  2114. &lt;td width="20%"&gt;$1199&lt;/td&gt;
  2115. &lt;td width="20%"&gt;$979&lt;/td&gt;
  2116. &lt;td width="20%"&gt;$1499&lt;/td&gt;
  2117. &lt;td width="20%"&gt;$909&lt;/td&gt;
  2118. &lt;/tr&gt;
  2119. &lt;tr&gt;
  2120. &lt;th width="20%"&gt;Pixel Count / Sensor Size (Crop Factor)&lt;/th&gt;
  2121. &lt;td width="20%"&gt;20MP&lt;br&gt;Four Thirds (2.0x)&lt;/td&gt;
  2122. &lt;td width="20%"&gt;24MP&lt;br&gt;APS-C (1.6x)&lt;/td&gt;
  2123. &lt;td width="20%"&gt;26MP&lt;br&gt;APS-C (1.5x)&lt;/td&gt;
  2124. &lt;td width="20%"&gt;21MP&lt;br&gt;APS-C (1.5x)&lt;/td&gt;
  2125. &lt;/tr&gt;
  2126. &lt;tr&gt;
  2127. &lt;th width="20%"&gt;Image Stabilization&lt;/th&gt;
  2128. &lt;td class="hi" width="20%"&gt;6.5EV&lt;br&gt;Up to 7.5EV w/ lens coordination&lt;/td&gt;
  2129. &lt;td class="low" width="20%"&gt;Lens only&lt;/td&gt;
  2130. &lt;td class="hi" width="20%"&gt;Up to 7.0EV&lt;/td&gt;
  2131. &lt;td class="low" width="20%"&gt;Lens only&lt;/td&gt;
  2132. &lt;/tr&gt;
  2133. &lt;tr&gt;
  2134. &lt;th width="20%"&gt;Max frame rate&lt;/th&gt;
  2135. &lt;td width="20%"&gt;6fps mech&lt;span class="green"&gt;*&lt;/span&gt;&lt;br&gt;10fps elec with C-AF&lt;br&gt;30fps elec w/ focus and exposure lock&lt;/td&gt;
  2136. &lt;td width="20%"&gt;15fps mech&lt;br&gt;23fps elec&lt;/td&gt;
  2137. &lt;td width="20%"&gt;8fps mech&lt;br&gt;20fps elec&lt;br&gt;30fps w/1.25x crop&lt;/td&gt;
  2138. &lt;td width="20%"&gt;11fps mech&lt;br&gt;15fps elec&lt;br&gt;30fps JPEG-only&lt;/td&gt;
  2139. &lt;/tr&gt;
  2140. &lt;tr&gt;
  2141. &lt;th width="20%"&gt;Pre-burst recording?&lt;/th&gt;
  2142. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  2143. &lt;td width="20%"&gt;Yes (Raw Burst mode)&lt;/td&gt;
  2144. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  2145. &lt;td width="20%"&gt;Yes, JPEG-only&lt;/td&gt;
  2146. &lt;/tr&gt;
  2147. &lt;tr&gt;
  2148. &lt;th width="20%"&gt;Built-in flash?&lt;/th&gt;
  2149. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  2150. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  2151. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  2152. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  2153. &lt;/tr&gt;
  2154. &lt;tr&gt;
  2155. &lt;th width="20%"&gt;Weather sealing&lt;/th&gt;
  2156. &lt;td class="hi" width="20%"&gt;IP53 water/dust resistant certified&lt;/td&gt;
  2157. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  2158. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  2159. &lt;td width="20%"&gt;Yes&lt;/td&gt;
  2160. &lt;/tr&gt;
  2161. &lt;tr&gt;
  2162. &lt;th width="20%"&gt;AF subject detection types&lt;/th&gt;
  2163. &lt;td class="low" width="20%"&gt;Human / Eye&lt;/td&gt;
  2164. &lt;td width="20%"&gt;Human / Eye&lt;br&gt;Animals&lt;br&gt;Vehicles&lt;/td&gt;
  2165. &lt;td class="hi" width="20%"&gt;Human / Eye&lt;br&gt;Animal&lt;br&gt;Bird&lt;br&gt;Cars&lt;br&gt;Motorcycle / Bike&lt;br&gt;Airplane&lt;br&gt;Train&lt;/td&gt;
  2166. &lt;td class="hi" width="20%"&gt;Auto&lt;br&gt;Human / Eye&lt;br&gt;Animal&lt;br&gt;Bird&lt;br&gt;Cars&lt;br&gt;Motorcycle / Bike&lt;br&gt;Airplane&lt;br&gt;Train&lt;/td&gt;
  2167. &lt;/tr&gt;
  2168. &lt;tr&gt;
  2169. &lt;th width="20%"&gt;10-bit HDR Stills&lt;/th&gt;
  2170. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  2171. &lt;td width="20%"&gt;PQ HEIF&lt;/td&gt;
  2172. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  2173. &lt;td width="20%"&gt;HLG HEIF&lt;/td&gt;
  2174. &lt;/tr&gt;
  2175. &lt;tr&gt;
  2176. &lt;th width="20%"&gt;Viewfinder res. / mag.&lt;/th&gt;
  2177. &lt;td width="20%"&gt;2.36M dot&lt;br&gt;0.68x&lt;br&gt;&lt;br&gt;&lt;/td&gt;
  2178. &lt;td width="20%"&gt;2.36M dot&lt;br&gt;0.59x&lt;/td&gt;
  2179. &lt;td width="20%"&gt;2.36M dot&lt;br&gt;0.62x&lt;/td&gt;
  2180. &lt;td width="20%"&gt;
  2181. &lt;p&gt;2.36M dot&lt;br&gt;0.68x&lt;/p&gt;
  2182. &lt;/td&gt;
  2183. &lt;/tr&gt;
  2184. &lt;tr&gt;
  2185. &lt;th width="20%"&gt;
  2186. &lt;p&gt;Rear screen res. / type&lt;/p&gt;
  2187. &lt;/th&gt;
  2188. &lt;td width="20%"&gt;3" 1.04M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  2189. &lt;td width="20%"&gt;3" 1.04M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  2190. &lt;td class="hi" width="20%"&gt;3" 1.84M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  2191. &lt;td width="20%"&gt;3.2" 1.04M dot&lt;br&gt;Fully-articulating&lt;/td&gt;
  2192. &lt;/tr&gt;
  2193. &lt;tr&gt;
  2194. &lt;th width="20%"&gt;AF selection&lt;/th&gt;
  2195. &lt;td width="20%"&gt;Touchscreen / 4-way controller&lt;/td&gt;
  2196. &lt;td width="20%"&gt;Touchscreen / joystick&lt;/td&gt;
  2197. &lt;td width="20%"&gt;Touchscreen / joystick&lt;/td&gt;
  2198. &lt;td width="20%"&gt;Touchscreen / 4-way controller&lt;/td&gt;
  2199. &lt;/tr&gt;
  2200. &lt;tr&gt;
  2201. &lt;th width="20%"&gt;
  2202. &lt;p&gt;Video&lt;/p&gt;
  2203. &lt;/th&gt;
  2204. &lt;td width="20%"&gt;Full-width UHD/DCI 4K &amp;lt;30p&lt;/td&gt;
  2205. &lt;td width="20%"&gt;UHD 4K 60p w/ 1.56x crop&lt;br&gt;Full-width UHD 4K &amp;lt;30p&lt;/td&gt;
  2206. &lt;td class="hi" width="20%"&gt;
  2207. &lt;p&gt;Up to 6.2K/30p 3:2 (open gate)&lt;br&gt;UHD/DCI 4K 60p w/ 1.18x crop&lt;br&gt;Full-width UHD/DCI &amp;lt;30p&lt;/p&gt;
  2208. &lt;/td&gt;
  2209. &lt;td width="20%"&gt;UHD 4K 60p w/ 1.5x crop&lt;br&gt;Full-width UHD 4K &amp;lt;30p&lt;/td&gt;
  2210. &lt;/tr&gt;
  2211. &lt;tr&gt;
  2212. &lt;th width="20%"&gt;10-bit options&lt;/th&gt;
  2213. &lt;td class="low" width="20%"&gt;No&lt;/td&gt;
  2214. &lt;td width="20%"&gt;HDR PQ&lt;/td&gt;
  2215. &lt;td width="20%"&gt;F-Log/F-Log 2&lt;br&gt;HLG&lt;/td&gt;
  2216. &lt;td width="20%"&gt;
  2217. &lt;p&gt;N-Log&lt;br&gt;HLG&lt;/p&gt;
  2218. &lt;/td&gt;
  2219. &lt;/tr&gt;
  2220. &lt;tr&gt;
  2221. &lt;th width="20%"&gt;Mic / headphone sockets?&lt;/th&gt;
  2222. &lt;td class="low" width="20%"&gt;Yes / No&lt;/td&gt;
  2223. &lt;td class="low" width="20%"&gt;Yes / No&lt;/td&gt;
  2224. &lt;td width="20%"&gt;Yes / Yes&lt;/td&gt;
  2225. &lt;td width="20%"&gt;Yes / Yes&lt;/td&gt;
  2226. &lt;/tr&gt;
  2227. &lt;tr&gt;
  2228. &lt;th width="20%"&gt;CIPA Battery rating (LCD/EVF)&lt;/th&gt;
  2229. &lt;td width="20%"&gt;310 / –&lt;/td&gt;
  2230. &lt;td width="20%"&gt;430 / 260&lt;/td&gt;
  2231. &lt;td class="hi" width="20%"&gt;750 / 750&lt;/td&gt;
  2232. &lt;td class="low" width="20%"&gt;230 / 220&lt;/td&gt;
  2233. &lt;/tr&gt;
  2234. &lt;tr&gt;
  2235. &lt;th width="20%"&gt;Weight&lt;/th&gt;
  2236. &lt;td width="20%"&gt;418g (14.7oz)&lt;/td&gt;
  2237. &lt;td width="20%"&gt;429g (15.1oz)&lt;/td&gt;
  2238. &lt;td width="20%"&gt;491g (17.3oz)&lt;/td&gt;
  2239. &lt;td width="20%"&gt;550g (19oz)&lt;/td&gt;
  2240. &lt;/tr&gt;
  2241. &lt;tr&gt;
  2242. &lt;th width="20%"&gt;Dimensions&lt;/th&gt;
  2243. &lt;td width="20%"&gt;125 x 85 x 52mm &lt;br&gt;(4.9 x 3.3 x 2.0")&lt;/td&gt;
  2244. &lt;td width="20%"&gt;123 x 88 x 83mm&lt;br&gt;(4.8 x 3.5 x 3.3")&lt;/td&gt;
  2245. &lt;td width="20%"&gt;128 x 85 x 65mm&lt;br&gt;(5.0 x 3.3 x 2.6")&lt;/td&gt;
  2246. &lt;td width="20%"&gt;127 x 97 x 67mm&lt;br&gt;(5 x 3.9 x 2.7")&lt;/td&gt;
  2247. &lt;/tr&gt;
  2248. &lt;/tbody&gt;
  2249. &lt;/table&gt;
  2250. &lt;/div&gt;
  2251. &lt;p&gt;&lt;span class="green"&gt;* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.&lt;/span&gt;&lt;/p&gt;
  2252. &lt;p&gt;In some ways, OM System sets itself apart by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. You have to jump up to at least $1499 and the Fujifilm X-S20 to get them in a mirrorless APS-C camera, and OM System is one of only two camera companies to offer a specific IP rating rather than a vague claim of "weather resistance." The other being Leica.&lt;/p&gt;
  2253. &lt;p&gt;Like Fujifilm, there's a wide array of sensible lenses available you can pair with the OM-5 II, though Micro Four Thirds offers lighter and more compact options than even APS-C. It also offers an unusually high number of multi-shot modes with in-camera processing, that can boost its performance.&lt;/p&gt;
  2254. &lt;p&gt;However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit video or stills for playback on HDR displays, a 60p video mode, and a wider array of AI-derived subject detection modes for its autofocus system. At this point, there are cameras well under $1000 that have these features, so they feel like notable absences.&lt;/p&gt;
  2255. &lt;hr&gt;
  2256. &lt;h2 id="BH" style="margin-top: 8%;"&gt;Body and Handling&lt;/h2&gt;
  2257. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2258. &lt;tbody&gt;
  2259. &lt;tr&gt;
  2260. &lt;td class="image" style="width: 590px;"&gt;
  2261. &lt;p&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_in_hand_front.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II in hand front" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_in_hand_front.jpeg" width="590" data-filename="Product-photos/OM-5_II_in_hand_front.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_in_hand_front.jpeg 2x"&gt;&lt;/a&gt;&lt;/p&gt;
  2262. &lt;/td&gt;
  2263. &lt;/tr&gt;
  2264. &lt;/tbody&gt;
  2265. &lt;/table&gt;
  2266. &lt;p&gt;Like its predecessor, the OM-5 II is very light, while still managing to remain well-balanced when paired with larger lenses like OM System's 40-150mm F4 Pro. The extra grip helps in this regard, filling out your palm and making the camera feel more substantial without adding much weight or bulk.&lt;/p&gt;
  2267. &lt;p&gt;The OM-5 II has a selection of buttons and levers, and as is tradition for the brand, most of them can be customized to do pretty much anything you'd like. While the buttons around the four-way controller are fixed, you're free to do what you wish with the buttons on the top plate, including the two semi-circular ones atop the power lever. The settings are separate for stills and video modes.&lt;/p&gt;
  2268. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="" data-image-width="590"&gt;
  2269. &lt;tbody&gt;
  2270. &lt;tr&gt;
  2271. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_top_plate.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II top plate" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_top_plate.jpeg" width="590" data-filename="Product-photos/OM-5_II_top_plate.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_top_plate.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2272. &lt;/tr&gt;
  2273. &lt;/tbody&gt;
  2274. &lt;/table&gt;
  2275. &lt;p&gt;It also has OM System's customary function lever, which is unfortunately much more limited; it can only be used to power the camera on or off (leaving the dedicated power lever to do nothing), turn the camera into video mode, or to switch between a small subset of dial functions or autofocus settings. It does not recognize the eye recognition mode, so you can't use it to switch between, say, tracking autofocus and continuous autofocus with eye recognition – unlike many other cameras, you can't have both human detection and the general tracking mode on at once.&lt;/p&gt;
  2276. &lt;p&gt;It also features a locking mode dial, with settings for all the major exposure modes, along with video, scene and art filter modes. Its two top-plate command dials have relatively aggressive knurling, making them easy to manipulate even while wearing gloves.&lt;/p&gt;
  2277. &lt;p&gt;Despite the revised menus, one of the OM-5 II's best features remains its "Super Control Panel," which is mapped to the OK button by default. It lets you easily access and control most of the camera's main shooting settings on a single touchscreen panel: drive mode, AF mode, face and eye detection, exposure and ISO control, etc. You can just tap on the screen and spin a command dial to change all the camera's key settings.&lt;/p&gt;
  2278. &lt;h3&gt;EVF and Monitor&lt;/h3&gt;
  2279. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2280. &lt;tbody&gt;
  2281. &lt;tr&gt;
  2282. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_rear.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II rear" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_rear.jpeg" width="590" data-filename="Product-photos/OM-5_II_rear.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_rear.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2283. &lt;/tr&gt;
  2284. &lt;/tbody&gt;
  2285. &lt;/table&gt;
  2286. &lt;p&gt;The OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (&lt;em&gt;equiv.&lt;/em&gt;) magnification model found on its predecessor. While it's relatively small, it usually gets the job done, and it's good to have in bright conditions where the fully articulating 3" LCD – also unchanged – will get washed out.&lt;/p&gt;
  2287. &lt;h3&gt;Battery&lt;/h3&gt;
  2288. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2289. &lt;tbody&gt;
  2290. &lt;tr&gt;
  2291. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_battery.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II battery" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://3.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_battery.jpeg" width="590" data-filename="Product-photos/OM-5_II_battery.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_battery.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2292. &lt;/tr&gt;
  2293. &lt;tr&gt;
  2294. &lt;td class="caption" style="width: 590px;"&gt;The OM-5's tripod mount is &lt;a href="https://www.dpreview.com/forums/thread/4753261" rel="noopener" target="_blank"&gt;somewhat controversial&lt;/a&gt;, and OM System tells us it's unchanged for the II.&lt;/td&gt;
  2295. &lt;/tr&gt;
  2296. &lt;/tbody&gt;
  2297. &lt;/table&gt;
  2298. &lt;p&gt;The OM-5 II uses the same 8.5Wh BLS-50 battery as its predecessor, which the company says will last for around 310 shots based on CIPA test standards. While you can generally expect to get more shots than the rated number in real-world use, it's a useful indicator for comparing across cameras. In this case, it's relatively low; if you're going into the wilderness for a weekend, you may want to pack a spare battery or plan on topping it up with your USB-C power bank.&lt;/p&gt;
  2299. &lt;hr&gt;
  2300. &lt;h2 id="IQ" style="margin-top: 8%;"&gt;Image Quality&lt;/h2&gt;
  2301. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2302. &lt;tbody&gt;
  2303. &lt;tr&gt;
  2304. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/om5ii_handheld_high_res_multishot.jpeg" target="article-1924689625"&gt;&lt;img alt="om5ii handheld high res multishot" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://4.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/om5ii_handheld_high_res_multishot.jpeg" width="590" data-filename="om5ii_handheld_high_res_multishot.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/om5ii_handheld_high_res_multishot.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2305. &lt;/tr&gt;
  2306. &lt;tr&gt;
  2307. &lt;td class="caption" style="width: 590px;"&gt;
  2308. &lt;p&gt;The handheld high-res multi-shot mode is easier to access than ever on this camera, and can be used to gain a bump in image quality. But it only works with very still subjects, and is slow to process.&lt;/p&gt;
  2309. &lt;p&gt;OM-5 II | OM System 25mm F1.8 II | F5.6 | 1/500 sec | ISO 200&lt;br&gt;&lt;em&gt;Photo: Mitchell Clark&lt;/em&gt;&lt;/p&gt;
  2310. &lt;/td&gt;
  2311. &lt;/tr&gt;
  2312. &lt;/tbody&gt;
  2313. &lt;/table&gt;
  2314. &lt;p&gt;Our &lt;a href="https://www.dpreview.com/articles/4553555371/introducing-the-test-scene" rel="noopener" target="_blank"&gt;test scene is designed to simulate&lt;/a&gt; a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.&lt;/p&gt;
  2315. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/reviews/image-comparison/fullscreen?widget=988"&gt;&lt;div class="title"&gt;Image Comparison&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/reviews/image-comparison/fullscreen?widget=988"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;
  2316. &lt;p&gt;To start by answering the obvious question: there are no discernible differences between the output of the OM-5 and the OM-5 II that couldn't be explained by run-to-run variation; the two cameras perform virtually identically in our tests.&lt;/p&gt;
  2317. &lt;p&gt;That's not necessarily a bad thing, as the original provided solid image quality. At base ISO, the OM-5 II's Raws have good levels of detail, roughly in line with what the Canon EOS R10 and Nikon Z50II capture, and slightly more than the Fujifilm X-S20 (though that may come down more to the difficulty some programs have with processing pictures taken using Fujifilm's X-Trans color filter). Given its smaller sensor, it's unsurprising that it has more noise across the tonal range than its APS-C competitors.&lt;/p&gt;
  2318. &lt;p&gt;This also translates to worse low-light performance, though the images from the OM-5 II are still usable at mid-range ISOs and its stabilized sensor will let you shoot at slower shutter speeds (depending on your subject) than with its unstabilized competitors, so you may not have to use the higher ISOs as often.&lt;/p&gt;
  2319. &lt;p&gt;Its JPEG processing generally does a good job of sharpening and reducing noise at base ISO, though Canon and Nikon have a slight edge when it comes to preserving fine details. At higher ISOs, the OM-5 II does a good job of reducing noise without smoothing away details, as do the rest of the cameras in this lineup.&lt;/p&gt;
  2320. &lt;p&gt;We found the colors in the OM-5 II's JPEGs to be quite pleasing. They're not overly punchy, but are saturated enough to make images pop.&lt;/p&gt;
  2321. &lt;p&gt;The multi-shot high resolution modes, which are thankfully processed in-camera rather than in a desktop app, can be used to gain a bit of extra detail under the right circumstances. They only work with very still subjects, such as landscapes (as long as there's not a lot of wind), which limits their usefulness.&lt;/p&gt;
  2322. &lt;h3&gt;Dynamic Range&lt;/h3&gt;
  2323. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2324. &lt;tbody&gt;
  2325. &lt;tr&gt;
  2326. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/PA216609.acr.jpeg" target="article-1924689625"&gt;&lt;img alt="PA216609.acr" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TC4x3S590x0~articles/1924689625/PA216609.acr.jpeg" width="590" data-filename="PA216609.acr.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/1924689625/PA216609.acr.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2327. &lt;/tr&gt;
  2328. &lt;tr&gt;
  2329. &lt;td class="caption" style="width: 590px;"&gt;
  2330. &lt;p&gt;Shot at base ISO and exposed to preserve highlights. Shadows lifted in Adobe Camera Raw and edited to taste.&lt;/p&gt;
  2331. &lt;p&gt;OM-5 II | OM System 20mm F1.4 Pro | F4 | 1/160 sec | ISO 200&lt;br&gt;&lt;em&gt;Photo: Mitchell Clark&lt;/em&gt;&lt;/p&gt;
  2332. &lt;/td&gt;
  2333. &lt;/tr&gt;
  2334. &lt;/tbody&gt;
  2335. &lt;/table&gt;
  2336. &lt;p&gt;The camera offers good dynamic range performance, giving you lots of flexibility to shoot to preserve highlights and to raise shadows in post. However, it doesn't have the advantage in read noise that it once did; when the OM-5 came out, we found it had substantially cleaner shadows than the (much more expensive) Panasonic GH6. Comparing it to the GH7, that's no longer the case, not that we suspect most people will be choosing between these two cameras, despite their shared sensor size.&lt;/p&gt;
  2337. &lt;p class="newsLink"&gt;&lt;a href="https://www.dpreview.com/reviews/image-comparison/fullscreen?attr144_0=omsystem_om5ii&amp;attr144_1=panasonic_dcg9ii&amp;attr144_2=omsystem_om5ii&amp;attr144_3=panasonic_dcg9ii&amp;attr146_0=100_1&amp;attr146_1=100_0&amp;attr146_2=100_5&amp;attr146_3=100_5&amp;normalization=full&amp;widget=990&amp;x=0.1481744&amp;y=0.5352847" rel="noopener" target="_blank"&gt;Exposure Latitude&lt;/a&gt; | &lt;a href="https://www.dpreview.com/reviews/image-comparison/fullscreen?attr134_0=omsystem_om5ii&amp;attr134_1=omsystem_om5ii&amp;attr134_2=omsystem_om5ii&amp;attr134_3=omsystem_om5ii&amp;attr136_0=8&amp;attr136_1=9&amp;attr136_2=10&amp;attr136_3=11&amp;normalization=full&amp;widget=989&amp;x=0&amp;y=0" rel="noopener" target="_blank"&gt;ISO Invariance&lt;/a&gt;&lt;/p&gt;
  2338. &lt;hr&gt;
  2339. &lt;h2 id="AF"&gt;Autofocus&lt;/h2&gt;
  2340. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2341. &lt;tbody&gt;
  2342. &lt;tr&gt;
  2343. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/dog_rolling_around_in_grass" target="article-1924689625"&gt;&lt;img alt="dog_rolling_around_in_grass" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/dog_rolling_around_in_grass" width="590" data-filename="dog_rolling_around_in_grass" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/dog_rolling_around_in_grass 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2344. &lt;/tr&gt;
  2345. &lt;tr&gt;
  2346. &lt;td class="caption" style="width: 590px;"&gt;The OM-5 II doesn't have eye detection or animal detection, but the tracking can do a decent job, even on somewhat wiggly subjects. &lt;br&gt;OM System 20mm F1.4 Pro | F2.8 | 1/8000 sec | ISO 800&lt;/td&gt;
  2347. &lt;/tr&gt;
  2348. &lt;/tbody&gt;
  2349. &lt;/table&gt;
  2350. &lt;p&gt;The OM-5 II has several autofocus modes: single, continuous and continuous with tracking, as well as a special star autofocus mode for shooting the night sky. In the standard modes, you have several selection point shapes to choose from, ranging from a small single point to the whole area. You can also set up four custom-size zones and exclude whichever target modes you want from the menu.&lt;/p&gt;
  2351. &lt;p&gt;To move the autofocus point or area, you can use the screen for tap-to-focus or the four-way controller. You can also enable the "AF targeting pad," which lets you use the right half of the screen as an autofocus controller while looking through the EVF. These options do a decent job of making up for the lack of an autofocus joystick, though we still occasionally found ourselves missing that direct physical control.&lt;/p&gt;
  2352. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="" data-image-width="480"&gt;
  2353. &lt;tbody&gt;
  2354. &lt;tr&gt;
  2355. &lt;td class="image" style="width: 480px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/OM-5II_focus_selection_point.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5II focus selection point" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="480" height="360" src="https://3.img-dpreview.com/files/p/E~TC4x3S480x0~articles/1924689625/OM-5II_focus_selection_point.jpeg" width="480" data-filename="OM-5II_focus_selection_point.jpeg" srcset="https://4.img-dpreview.com/files/p/E~TC4x3S960x0~articles/1924689625/OM-5II_focus_selection_point.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2356. &lt;/tr&gt;
  2357. &lt;tr&gt;
  2358. &lt;td class="caption" style="width: 480px;"&gt;The OM-5 II's autofocus points only cover around 60% of the sensor, which means you'll have to be a bit more cautious when composing, trying to track a subject, or setting up your camera to get a shot when something enters the frame.&lt;/td&gt;
  2359. &lt;/tr&gt;
  2360. &lt;/tbody&gt;
  2361. &lt;/table&gt;
  2362. &lt;p&gt;The OM-5 II has face/eye detection, which works in single, continuous, and manual focus modes, but it feels like a decidedly first-generation implementation. It typically only recognizes humans' eyes, not animals'. It can occasionally struggle to identify human faces if they're wearing glasses, tinted or clear. And unless you're using tap-to-focus, the camera won't respect your chosen focus point if it recognizes a face; it'll snap to it, and you'll likely have to turn detection off to get it to focus on something else.&lt;/p&gt;
  2363. &lt;p&gt;The face detection also doesn't work in conjunction with tracking mode; you can have &lt;em&gt;either&lt;/em&gt; it or tracking. And, frustratingly, you can't just switch to the C-AF + Tracking mode to turn off face detection; you have to turn off face detection to even be able to access the option, though the camera will automatically switch &lt;em&gt;back&lt;/em&gt; to tracking in some (but not all) circumstances.&lt;/p&gt;
  2364. &lt;h3&gt;Autofocus Performance&lt;/h3&gt;
  2365. &lt;p&gt;The OM-5 II's single and continuous autofocus performance is snappy and accurate, generally doing a good job of driving the lens to get the subject in focus without having to hunt. There were very occasional misteps that resulted in slightly soft images, but overall we were quite pleased with it.&lt;/p&gt;
  2366. &lt;p&gt;Its tracking performance is a slightly different story. While it could do a decent job of keeping the autofocus point on a selected subject, it does feel a ways behind what companies like Nikon, Canon and Sony are doing. The tracking point isn't always as tenacious as we'd like, and it was sometimes unable to lock onto lower-contrast subjects at all. It would also occasionally start to drift off the subject being tracked, and the tracking box the camera displays sometimes lagged behind what it was supposed to be tracking.&lt;/p&gt;
  2367. &lt;p&gt;Because of its identity as an outdoor adventure camera, the tracking performance means you may have to work a bit harder if you're trying to photograph wildlife or athletic activities. For some, that won't be an issue, but it could lead to a slightly frustrating learning curve for beginner photographers who may otherwise find the OM-5 II's price and relatively robust feature set attractive.&lt;/p&gt;
  2368. &lt;hr&gt;
  2369. &lt;h2 id="VD" style="margin-top: 8%;"&gt;Video&lt;/h2&gt;
  2370. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2371. &lt;tbody&gt;
  2372. &lt;tr&gt;
  2373. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_Video.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II Video" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://3.img-dpreview.com/files/p/E~TC4x3S590x0~articles/1924689625/Product-photos/OM-5_II_Video.jpeg" width="590" data-filename="Product-photos/OM-5_II_Video.jpeg" srcset="https://3.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/1924689625/Product-photos/OM-5_II_Video.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2374. &lt;/tr&gt;
  2375. &lt;/tbody&gt;
  2376. &lt;/table&gt;
  2377. &lt;p&gt;The OM-5 II's 4K/30 video is reasonably sharp for everyday use, but falls well short of the image quality you can get from other cameras like the Nikon Z50II and Fujifilm X-S20. It includes a Log profile that lets you shoot footage designed to retain flexibility for color grading, but unlike its more expensive siblings, can only do so in 8-bit, which severely limits that flexibility. It also lacks a 4K/60 mode for higher-resolution slow-motion.&lt;/p&gt;
  2378. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/reviews/image-comparison/fullscreen?widget=991"&gt;&lt;div class="title"&gt;Image Comparison&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/reviews/image-comparison/fullscreen?widget=991"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;
  2379. &lt;p&gt;It also lacks some of the assistance tools that are increasingly becoming standard for serious video shooting, such as a waveform monitor or false color preview, HDR output, or in-camera support for LUTs (though there is at least preview assistance when you're shooting in Log). And while it has a microphone socket, you won't have any way to monitor the audio, given its lack of a corresponding headphone port and apparent&lt;span class="green"&gt;*&lt;/span&gt; lack of support for a USB-C to 3.5mm adapter.&lt;/p&gt;
  2380. &lt;p&gt;This isn't to say that the OM-5 II isn't capable of casually shooting video, but it'd be a frustratingly limited tool for more serious shoots. For capturing clips, though, the IBIS is relatively effective at smoothing out hand shake and other movement, and the autofocus generally does a good job, though it can occasionally drift, especially when capturing more complex scenes.&lt;/p&gt;
  2381. &lt;p&gt;This is made all the more disappointing as its rolling shutter performance is excellent, taking 10ms to read out the sensor when shooting in 4K/24.&lt;/p&gt;
  2382. &lt;p&gt;&lt;span class="green"&gt;* - We tested with one to no effect, but they're not always universal.&lt;/span&gt;&lt;/p&gt;
  2383. &lt;hr&gt;
  2384. &lt;h2 id="IU" style="margin-top: 8%;"&gt;In Use&lt;/h2&gt;
  2385. &lt;p&gt;When I reviewed the OM-3, I found myself very willing to try out the handheld high-res mode to get a bit more image quality, even in situations where I was a little unsure whether it'd produce good results. That wasn't true with the OM-5 II; I quickly learned that the time it takes to process the 50MP images was far longer than I'm willing to wait. The other computational modes – made easier to access by the "CP" button – are a bit quicker, but it's the area where this camera's processor most shows its age. I also found that they ate through the camera's already relatively meager battery quite rapidly. That made me far less willing to use them outside of very specific scenarios where I knew I'd get the full benefit.&lt;/p&gt;
  2386. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2387. &lt;tbody&gt;
  2388. &lt;tr&gt;
  2389. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/two_backpackers_consulting_a_map" target="article-1924689625"&gt;&lt;img alt="two_backpackers_consulting_a_map" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/two_backpackers_consulting_a_map" width="590" data-filename="two_backpackers_consulting_a_map" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/two_backpackers_consulting_a_map 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2390. &lt;/tr&gt;
  2391. &lt;tr&gt;
  2392. &lt;td class="caption" style="width: 590px;"&gt;
  2393. &lt;p&gt;There are very few other cameras that I'd be willing to put in my backpack when paired with a 100-400mm equiv. lens.&lt;br&gt;OM System 50-200mm F2.8 IS Pro | F2.8 | 1/100 sec | ISO 2500&lt;/p&gt;
  2394. &lt;/td&gt;
  2395. &lt;/tr&gt;
  2396. &lt;/tbody&gt;
  2397. &lt;/table&gt;
  2398. &lt;p&gt;That frustration was somewhat offset by just how easy it was to take this camera anywhere. It's nowhere in the realm of pocketable, even with a small prime attached, but it's small enough that I found myself throwing it in whatever bag I was taking, just in case I ran into interesting things to photograph. That included bringing it along on a backpacking trip and a kayaking outing (my confidence perhaps a bit too buoyed by the IP53 rating), where I was able to get photos that looked substantially nicer than what my phone could've produced.&lt;/p&gt;
  2399. &lt;p&gt;None of this will be a revelation to the Micro Four Thirds faithful, but it's a benefit worth reiterating. Although in theory someone should be able to build an APS-C rival with a comparable feature set, the OM-5 II still offers an unmatched combination of size, price and capabilities.&lt;/p&gt;
  2400. &lt;p&gt;It's also hard to overstate how far the new menu system goes to making the camera feel more modern than the original OM-5. While there will be those who prefer a vertical tab system versus a horizontal one, the color coding and improved tips that give you a hint as to why certain options aren't selectable go a long way to making the camera feel more approachable. Their inclusion here makes their exclusion on the original OM-5 all the more baffling, but at least they're here now.&lt;/p&gt;
  2401. &lt;table border="0" cellpadding="0" cellspacing="0" class="images singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2402. &lt;tbody&gt;
  2403. &lt;tr&gt;
  2404. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_nameplate.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II nameplate" border="0" data-aspect-ratio="4x3" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://1.img-dpreview.com/files/p/E~TC4x3S590x0~articles/1924689625/Product-photos/OM-5_II_nameplate.jpeg" width="590" data-filename="Product-photos/OM-5_II_nameplate.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TC4x3S1180x0~articles/1924689625/Product-photos/OM-5_II_nameplate.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2405. &lt;/tr&gt;
  2406. &lt;tr&gt;
  2407. &lt;td class="caption" style="width: 590px;"&gt;Minor complaint: if you set the function switch to act as the power switch (letting you turn the camera on and control it with the same hand), the default power switch on the left side of the camera becomes completely useless.&lt;/td&gt;
  2408. &lt;/tr&gt;
  2409. &lt;/tbody&gt;
  2410. &lt;/table&gt;
  2411. &lt;p&gt;The new menus don't solve OM System's issue of its features not necessarily integrating with one another. It remains frustrating that you can't use the mode toggle switch, which would otherwise be a very handy feature, to switch between, say, continuous autofocus with facial recognition, and Tracking autofocus. The face detection mode (and any other modes added after the switch first appeared on the OM-D E-M5 II) can't be controlled by the switch; it will simply stay on, overriding Tracking AF. Still, the camera is very customizable, letting you reassign most of its buttons and dial directions.&lt;/p&gt;
  2412. &lt;p&gt;Of course, USB-C is also a massive improvement, especially given that the OM-5 II has just okay battery life. Being able to charge your camera using the same equipment you have for your phone, computer, etc., is a luxury that you don't miss until it's gone, and it's a tradeoff this camera no longer asks you to make. Particularly for traveling, this is valuable.&lt;/p&gt;
  2413. &lt;p&gt;Speaking of tradeoffs, though, we'll also point out that the OM-5 II isn't compatible with OM System's FL-LM3 flash unit, which we consider to be the best pack-in flash unit. We've &lt;a href="https://www.dpreview.com/news/7399226431/om-system-om-5-ii-fl-lm3" rel="noopener" target="_blank"&gt;written an entire article on the matter&lt;/a&gt; (and have since attached the flash to our OM-5 II to confirm it didn't work), but felt it deserved a mention here, given that the FL-LM3 &lt;em&gt;did&lt;/em&gt; work with the original OM-5.&lt;/p&gt;
  2414. &lt;hr&gt;
  2415. &lt;h2 id="CN" style="margin-top: 8%;"&gt;Conclusion&lt;/h2&gt;
  2416. &lt;p style="margin-top: -3%;"&gt;&lt;em&gt;By Mitchell Clark&lt;/em&gt;&lt;/p&gt;
  2417. &lt;div class="contentTable"&gt;
  2418. &lt;table border="0" cellpadding="0" cellspacing="0" class="contentTable"&gt;
  2419. &lt;tbody&gt;
  2420. &lt;tr&gt;
  2421. &lt;th width="50%"&gt;Pros&lt;/th&gt;
  2422. &lt;th width="50%"&gt;Cons&lt;/th&gt;
  2423. &lt;/tr&gt;
  2424. &lt;tr&gt;
  2425. &lt;td width="50%"&gt;
  2426. &lt;ul&gt;
  2427. &lt;li&gt;Good image quality&lt;/li&gt;
  2428. &lt;li&gt;New menus are a welcome improvement&lt;/li&gt;
  2429. &lt;li&gt;IBIS and IP rating are excellent for the price&lt;/li&gt;
  2430. &lt;li&gt;USB-C charging brings camera to modern age&lt;/li&gt;
  2431. &lt;li&gt;Lots of features in a small package&lt;/li&gt;
  2432. &lt;li&gt;Excellent handling for such a small camera&lt;/li&gt;
  2433. &lt;/ul&gt;
  2434. &lt;/td&gt;
  2435. &lt;td width="50%"&gt;
  2436. &lt;ul&gt;
  2437. &lt;li&gt;Dated video features&lt;/li&gt;
  2438. &lt;li&gt;Computational features can take a while to process&lt;/li&gt;
  2439. &lt;li&gt;Autofocus system isn't on par with cheaper options from Canon / Nikon / Sony, and even Fujifilm&lt;/li&gt;
  2440. &lt;li&gt;Customization options can't always control newer features&lt;/li&gt;
  2441. &lt;li&gt;Few cut features sting in such an otherwise small update&lt;/li&gt;
  2442. &lt;/ul&gt;
  2443. &lt;/td&gt;
  2444. &lt;/tr&gt;
  2445. &lt;/tbody&gt;
  2446. &lt;/table&gt;
  2447. &lt;/div&gt;
  2448. &lt;table border="0" cellpadding="0" cellspacing="0" class="images noCaptions noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2449. &lt;tbody&gt;
  2450. &lt;tr&gt;
  2451. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/1924689625/Product-photos/OM-5_II_three_quarter_full.jpeg" target="article-1924689625"&gt;&lt;img alt="OM-5 II three quarter full" border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="394" src="https://1.img-dpreview.com/files/p/E~TS590x0~articles/1924689625/Product-photos/OM-5_II_three_quarter_full.jpeg" width="590" data-filename="Product-photos/OM-5_II_three_quarter_full.jpeg" srcset="https://1.img-dpreview.com/files/p/E~TS1180x0~articles/1924689625/Product-photos/OM-5_II_three_quarter_full.jpeg 2x"&gt;&lt;/a&gt;&lt;/td&gt;
  2452. &lt;/tr&gt;
  2453. &lt;/tbody&gt;
  2454. &lt;/table&gt;
  2455. &lt;p&gt;When viewed in a vacuum, it's hard to find much to complain about with the OM-5 II. It has a winning combination of good image quality, ergonomics and usability, combined with extra features you normally wouldn't get at this price point like an IP rating, computational photography modes and very solid IBIS. If this was your first camera, or if you were coming from a much older model, you'd probably be pretty happy with it.&lt;/p&gt;
  2456. &lt;p&gt;There are, however, places where it starts to show its age. And unfortunately, it's in the basics. Autofocus is perhaps the most glaring; in 2025, even much cheaper cameras (which, admittedly, lack those aforementioned features) will provide more reliable tracking and offer greater AF area coverage and additional subject recognition types. Most will also have better video specs, with more flexible 10-bit recording modes and a headphone jack.&lt;/p&gt;
  2457. &lt;p&gt;This camera's hardware also makes OM System's computational photography features – a major selling point on &lt;a href="https://www.dpreview.com/reviews/om-system-om-3-review" rel="noopener" target="_blank"&gt;some of its other cameras&lt;/a&gt; – less appealing, because of just how long it takes to process them. That also means it's less convenient to use the high-resolution modes to gain back some of the image quality you give up by going with a smaller sensor.&lt;/p&gt;
  2458. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/SPZJzeD0mHU?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  2459. &lt;div class="caption"&gt;For some thoughts on what the OM-5 II means for OM System and Micro Four Thirds, check out our initial review video.&lt;/div&gt;
  2460. &lt;p&gt;The OM-5 II's biggest problem, at least initially, may be the original OM-5 itself, which is now selling for significantly less money. It's not that the Mark II doesn't offer &lt;em&gt;any&lt;/em&gt; meaningful upgrades, because it does. But if you're willing to put up with microUSB and the old menus, you're getting essentially getting the same camera, but with slightly faster fixed-focus mechanical shutter burst rates and support for one of the best small flashes out there.&lt;/p&gt;
  2461. &lt;p&gt;We do think there's a market for the OM-5 II. Like the company's other cameras, it still fits well into its niche as a tool for those traveling outdoors who may encounter bad weather and who don't necessarily want to bring a tripod. But as the entry point to that system, there are enough asterisks that you'd have to really want the specific things the OM-5 II is offering to choose it.&lt;/p&gt;
  2462. &lt;p&gt;In theory, it's the kind of camera we'd love to recommend to people just starting out with the hobby, but its once ground-breaking spec is just a bit too far behind (in a way that cameras like the OM-3 and OM-1 / OM-1 II aren't) at this point for us to do that. As such, we don't feel as if we can grant it an award.&lt;/p&gt;
  2463. &lt;div class="buybuttons"&gt;&lt;hr&gt;&lt;/hr&gt;&lt;p class="header-text"&gt;Buy now:&lt;/p&gt;&lt;div class="buttons-wrapper"&gt;&lt;a href="https://www.amazon.ca/dp/B016LKFEWG?tag=gpsmed-1-20&amp;amp;linkCode=osi&amp;amp;th=1&amp;amp;psc=1" class="article-buybutton" target="_blank" rel="nofollow"&gt;&lt;span class="mdc-button text-button mdc-button--raised"&gt;&lt;div class="mdc-button__ripple"&gt;&lt;/div&gt;&lt;span class="mdc-button__label"&gt;$498  at Amazon.com&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/div&gt;&lt;hr&gt;&lt;/hr&gt;&lt;/div&gt;
  2464. &lt;h3&gt;Scoring&lt;/h3&gt;
  2465. &lt;p&gt;Scoring is relative only to the other cameras in the same category. &lt;a href="https://www.dpreview.com/articles/4416254604/camera-scores-ratings-explained" rel="noopener" target="_blank"&gt;Click here&lt;/a&gt; to learn about what these numbers mean.&lt;/p&gt;
  2466. &lt;div class="scoringWidget regularScoringWidget" id="scoringWidget"&gt;&lt;div class="scoringWidgetHeader"&gt;&lt;div class="left"&gt;&lt;div class="right"&gt;&lt;div class="content"&gt;&lt;table cellspacing="0" cellpadding="0" border="0" class="regularScoringWidgetHeaderContent"&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td class="titleContainer"&gt;&lt;div class="title"&gt;&lt;div class="productName"&gt;OM System OM-5 II&lt;/div&gt;&lt;div class="segment"&gt;&lt;span class="label"&gt;Category:&lt;/span&gt; Mid Range Interchangeable Lens Camera / DSLR&lt;/div&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class="compareToggleButtonContainer"&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;table cellspacing="0" cellpadding="0" border="0" class="scoringPane"&gt;&lt;tbody&gt;&lt;tr class="variables"&gt;&lt;td class="left"&gt;&lt;div class="labels"&gt;&lt;div class="label variableBuildQuality"&gt;Build quality&lt;/div&gt;&lt;div class="label variableErgonomicsAndHandling"&gt;Ergonomics &amp;amp; handling&lt;/div&gt;&lt;div class="label variableFeatures"&gt;Features&lt;/div&gt;&lt;div class="label variableMeteringAndFocusAccuracy"&gt;Metering &amp;amp; focus accuracy&lt;/div&gt;&lt;div class="label variableQualityRaw"&gt;Image quality (raw)&lt;/div&gt;&lt;div class="label variableQualityJpeg"&gt;Image quality (jpeg)&lt;/div&gt;&lt;div class="label variableLowLightHighISO"&gt;Low light / high ISO performance&lt;/div&gt;&lt;div class="label variableViewfinderScreenRating"&gt;Viewfinder / screen rating&lt;/div&gt;&lt;div class="label variableOptics hidden"&gt;Optics&lt;/div&gt;&lt;div class="label variablePerformance"&gt;Performance&lt;/div&gt;&lt;div class="label variableMovie"&gt;Movie / video mode&lt;/div&gt;&lt;div class="label variableConnectivity"&gt;Connectivity&lt;/div&gt;&lt;div class="label variableValue"&gt;Value&lt;/div&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class="right"&gt;&lt;div class="scaleAndBars"&gt;&lt;div class="scale"&gt;&lt;span class="labelPoor"&gt;Poor&lt;/span&gt;&lt;span class="labelExcellent"&gt;Excellent&lt;/span&gt;&lt;/div&gt;&lt;div class="bars"&gt;&lt;div class="bar variableBuildQuality"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 240px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 240px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableErgonomicsAndHandling"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 228px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 228px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableFeatures"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 224px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 224px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableMeteringAndFocusAccuracy"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 190px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 190px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableQualityRaw"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 218px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 218px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableQualityJpeg"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 205px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 205px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableLowLightHighISO"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 179px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 179px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableViewfinderScreenRating"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 192px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 192px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableOptics hidden"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 0px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 0px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variablePerformance"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 217px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 217px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableMovie"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 180px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 180px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableConnectivity"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 204px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 204px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="bar variableValue"&gt;&lt;div class="segments"&gt;&lt;div class="segment score" style="width: 216px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="ticks"&gt;&lt;div class="tick" style="left: 216px"&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr class="summary"&gt;&lt;td colspan="2"&gt;&lt;div class="conclusion"&gt;Conclusion&lt;/div&gt;&lt;div class="summary"&gt;The OM-5 II still offers some of the most features at its price point, but doesn&amp;#39;t nail the basics as well as its competitors.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr class="goodForNotSoGoodFor"&gt;&lt;td colspan="2"&gt;&lt;table cellspacing="0" cellpadding="0" border="0"&gt;&lt;tr&gt;&lt;td&gt;&lt;table cellspacing="0" cellpadding="0" border="0"&gt;&lt;tr class="suitability goodFor"&gt;&lt;td&gt;&lt;span class="circleBackground"&gt;&lt;/span&gt;&lt;div class="label"&gt;Good for&lt;/div&gt;&lt;div class="text"&gt;Travelers who need a small kit
  2467. Outdoor enthusiasts
  2468. IBIS fans&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/td&gt;&lt;td&gt;&lt;table cellspacing="0" cellpadding="0" border="0"&gt;&lt;tr class="suitability notGoodFor"&gt;&lt;td&gt;&lt;span class="circleBackground"&gt;&lt;/span&gt;&lt;div class="label"&gt;Not so good for&lt;/div&gt;&lt;div class="text"&gt;Sports and action shooters
  2469. Videographers&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr class="summary"&gt;&lt;td colspan="2"&gt;&lt;table cellspacing="0" cellpadding="0" border="0" class="awardAndScore"&gt;&lt;tr class="noAward"&gt;&lt;td class="award"&gt;&lt;span class="award"&gt;&lt;/span&gt;&lt;/td&gt;&lt;td class="score"&gt;&lt;div class="overallScore"&gt;&lt;div class="box"&gt;&lt;div class="score"&gt;82%&lt;/div&gt;&lt;div class="label"&gt;Overall score&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;/div&gt;&lt;script type="text/javascript"&gt;RegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"omsystem_om5ii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."})&lt;/script&gt;
  2470. &lt;h3&gt;Compared to its Peers&lt;/h3&gt;
  2471. &lt;p&gt;The &lt;a href="https://www.dpreview.com/reviews/canon-eos-r10-in-depth-review" rel="noopener" target="_blank"&gt;&lt;strong&gt;Canon EOS R10&lt;/strong&gt;&lt;/a&gt; will provide more capable autofocus with better general tracking, face detection, and support for detecting other kinds of subjects. Some users will also greatly appreciate the ability to select an autofocus point with a joystick, rather than a touchscreen or four-way controller, and others will benefit from its much better video spec and higher burst rates. While Canon tightly controls what lenses are available for APS-C RF cameras, the selection that's available now is quite good for most types of shooting, even if it's not as extensive as the Micro Four Thirds system. Of course, it does ask you to give up weather resistance and sensor stabilization.&lt;/p&gt;
  2472. &lt;p&gt;The &lt;a href="https://www.dpreview.com/reviews/fujifilm-x-s20-review" rel="noopener" target="_blank"&gt;&lt;strong&gt;Fujifilm X-S20&lt;/strong&gt;&lt;/a&gt; also has better face-tracking and more subject detection modes, but the autofocus performance gap between it and the OM-5 II isn't quite as big as with the Canon. However, it's even more capable when it comes to video – the headphone jack is great for monitoring audio – and is the cheapest APS-C option to offer a stabilized sensor (though its US price has &lt;a href="https://www.dpreview.com/news/3442468909/tariff-watch-fujifilm-cameras-and-lenses-are-now-up-to-15-more-expensive" rel="noopener" target="_blank"&gt;crept up by a few hundred dollars&lt;/a&gt; since we listed it as a competitor).&lt;/p&gt;
  2473. &lt;p&gt;The &lt;a href="https://www.dpreview.com/reviews/nikon-z50ii-review" rel="noopener" target="_blank"&gt;&lt;strong&gt;Nikon Z50II&lt;/strong&gt;&lt;/a&gt;'s comparison will reach much the same as the Canon's; it has much better autofocus and video than the OM-5 II, but is slightly held back by lens selection and an unstabilized sensor. Like the OM-5 II, it lacks an AF selection joystick, though the reliability of its '3D Tracking' system means you may find yourself missing it less. It's also the only APS-C camera in this price range to make a claim of weather resistance, though it's the typical vague promise, rather than the IP rating OM System tests for.&lt;/p&gt;
  2474. &lt;hr&gt;
  2475. &lt;h2 id="SG" style="margin-top: 8%;"&gt;Sample Gallery&lt;/h2&gt;
  2476. &lt;p&gt;Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (&lt;a href="https://www.dpreview.com/misc/termsandconditions" rel="noopener" target="_blank"&gt;see our copyright page&lt;/a&gt;). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.&lt;/p&gt;
  2477. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/0761839447/om-system-om-5-ii-sample-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/0761839447/om-system-om-5-ii-sample-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;
  2478. &lt;h2 style="margin-top: 8%;"&gt;Pre-Production Sample Gallery&lt;/h2&gt;
  2479. &lt;div class="reviewWidgetPlaceholder" data-widget-url="https://www.dpreview.com/sample-galleries/7014780791/om-system-om-5-ii-pre-production-sample-gallery"&gt;&lt;div class="title"&gt;Sample gallery&lt;/div&gt;&lt;div class="note"&gt;This widget is not optimized for RSS feed readers. Click &lt;a target="blank" href="https://www.dpreview.com/sample-galleries/7014780791/om-system-om-5-ii-pre-production-sample-gallery"&gt;here&lt;/a&gt; to open it in a new browser window / tab.&lt;/div&gt;&lt;/div&gt;</description><pubDate>Wed, 29 Oct 2025 14:24:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/reviews/om-system-om-5-mark-ii-in-depth-review" /><media:thumbnail url="https://4.img-dpreview.com/files/p/E~C213x0S3413x2560T1200x900~articles/1924689625/Product-photos/OM-5_II_front_with_lens.jpeg" width="1200" height="900" /></item><item><guid isPermaLink="true">https://www.dpreview.com/news/6757730480/a-thief-trashed-calgary-s-the-camera-store-making-off-with-71-500-in-cameras-and-lenses</guid><link>https://www.dpreview.com/news/6757730480/a-thief-trashed-calgary-s-the-camera-store-making-off-with-71-500-in-cameras-and-lenses</link><title>A thief trashed Calgary's The Camera Store, making off with $71,500 in cameras and lenses</title><description>&lt;table border="0" cellpadding="0" cellspacing="0" class="images noCrop singleNoBorder center" data-image-height="null" data-image-width="590"&gt;
  2480. &lt;tbody&gt;
  2481. &lt;tr&gt;
  2482. &lt;td class="image" style="width: 590px;"&gt;&lt;a href="https://www.dpreview.com/files/p/articles/6757730480/a_shattered_glass_display_case_with_missing_camera_gear_sits_in_a_store.jpeg" target="article-afd6ed36d7114f1bbf0358e5d14910b5"&gt;&lt;img border="0" data-thumbnail-height="0" data-thumbnail-width="590" height="443" src="https://2.img-dpreview.com/files/p/E~TS590x0~articles/6757730480/a_shattered_glass_display_case_with_missing_camera_gear_sits_in_a_store.jpeg" width="590" data-filename="a_shattered_glass_display_case_with_missing_camera_gear_sits_in_a_store.jpeg" srcset="https://2.img-dpreview.com/files/p/E~TS1180x0~articles/6757730480/a_shattered_glass_display_case_with_missing_camera_gear_sits_in_a_store.jpeg 2x" alt="a shattered glass display case with missing camera gear sits in a store"&gt;&lt;/a&gt;&lt;/td&gt;
  2483. &lt;/tr&gt;
  2484. &lt;tr&gt;
  2485. &lt;td class="caption" style="width: 590px;"&gt;&lt;em&gt;Photo: The Camera Store&lt;/em&gt;&lt;/td&gt;
  2486. &lt;/tr&gt;
  2487. &lt;/tbody&gt;
  2488. &lt;/table&gt;
  2489. &lt;p&gt;Break-ins at small businesses are always disheartening, but they hit especially close to home when the business is a photography-related one. After all, local camera stores are vital resources and places of community for so many of us. Unfortunately, that's just what happened to The Camera Store in Calgary, Alberta, Canada, on October 23.&lt;/p&gt;
  2490. &lt;p&gt;The Camera Store, also well-known for its YouTube channel, recently shared &lt;a href="https://thecamerastore.com/blogs/blog/the-camera-store-break-in-theft-early-thursday-morning" target="article-null"&gt;news of the break-in on its blog&lt;/a&gt;. It explained that at approximately 2:50 a.m. MDT, an individual forcefully entered the store. That person targeted two of the store's high-end Nikon and Sony showcases, shattering the glass on the display case and stealing the gear inside. Surveillance video The Camera Store shared shows the thief filling a hockey roller bag with professional cameras and lenses and then fleeing the scene. The thief was in and out in under two minutes.&lt;/p&gt;
  2491. &lt;p&gt;The store said it lost nearly $100,000 CAD (roughly $71,500 USD) worth of inventory and shared a list of all the stolen gear along with serial numbers in its blog post. That amount doesn't include the extensive damage to its display cases and building, which will result in costly repairs, the store said in its post. "We are devastated by this act that not only impacts our staff and customers but also our ability to serve the local photography community," said Evelyn Drake in the blog post. &lt;/p&gt;
  2492. &lt;div class="video"&gt;&lt;iframe allowfullscreen="" frameborder="0" height="326" id="videoFrame" src="https://www.youtube.com/embed/aJX4mmZ_hxs?rel=0&amp;amp;autohide=1&amp;amp;wmode=transparent&amp;amp;enablejsapi=1" width="580"&gt;&lt;/iframe&gt;&lt;/div&gt;
  2493. &lt;p&gt;This isn't the first break-in for this particular store, either. In &lt;a href="https://www.dpreview.com/news/9105844843/canada-s-the-camera-store-robbed-of-35-000-in-high-end-camera-gear" target="article-null"&gt;2018, a break-in&lt;/a&gt; resulted in $35,000 CAD of stolen equipment; &lt;a href="https://petapixel.com/2023/05/03/the-camera-store-in-canada-hit-by-burglars-over-30000-of-gear-stolen/" target="article-null"&gt;another in 2023&lt;/a&gt; involved a loss of more than $30,000 in inventory.&lt;/p&gt;
  2494. &lt;p&gt;The Camera Store is offering a reward of $5000 in-store credit toward a shopping spree for information that leads to a conviction. Anyone with information or who witnessed suspicious activity around the location should contact the Calgary Police Service at 403-266-1234, or if you wish to remain anonymous, call Crime Stoppers at 1-800-222-8477 using case number CA25462267. &lt;/p&gt;
  2495. &lt;p&gt;Here at DPReview, we greatly value local camera stores. Earlier this month, we even asked our community about their &lt;a href="https://www.dpreview.com/articles/3468853182/diamonds-in-the-rough-the-camera-stores-dpreview-readers-enjoy-visiting-the-most" target="article-null"&gt;favorite local camera stores&lt;/a&gt; for our &lt;a href="https://www.dpreview.com/articles/0222601446/question-of-the-week-what-is-your-favorite-camera-store" target="article-null"&gt;Question of the Week&lt;/a&gt; series to highlight some of the gems around the world. It’s truly disheartening to hear of a break-in at a store that plays such an important role in the photography community.&lt;/p&gt;
  2496. &lt;p&gt;Unfortunately, this is just one example of the difficulties these types of stores are struggling with to stay in business. It's a good reminder to all of us to support our local camera stores when possible. Otherwise, we may lose access to these important places. &lt;/p&gt;</description><pubDate>Tue, 28 Oct 2025 17:38:00 Z</pubDate><a10:link rel="alternate" href="https://www.dpreview.com/news/6757730480/a-thief-trashed-calgary-s-the-camera-store-making-off-with-71-500-in-cameras-and-lenses" /><media:thumbnail url="https://1.img-dpreview.com/files/p/E~C0x0S1200x900~articles/6757730480/a_shattered_glass_display_case_with_missing_camera_gear_sits_in_a_store.jpeg" width="1200" height="900" /></item></channel></rss>

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