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This week, OM System announced the OM-5 II, a small, lightweight Four Thirds camera aimed at people looking to take pictures of their adventures. It features a familiar 20MP sensor, but now includes USB C for charging and a "CP" button that gives you quick access to its various computational photography features.

Those multi-shot modes are one of OM System's biggest selling points, as its cameras can combine several exposures in-camera to achieve a variety of effects, such as focus stacking, a virtual ND filter or higher resolution. The gallery includes a few examples, with notes about which mode was used.

See the sample gallery

If you want to learn more about the OM-5 II, check out our first look video, which explains what it is, how it's different from the original OM-5 and discusses the general state of the Micro Four Thirds system.

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

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Sigma 17-40mm F1.8 DC Art @ 28mm | F1.8 | 1/5000 sec | ISO 125

Photo: Richard Butler

Sigma's 17-40mm F1.8 DC | Art is a super-fast standard zoom for APS-C mirrorless cameras. It's a slightly wider, slightly longer, appreciably lighter update on the company's breakthrough 18-35mm F1.8 DC HSM lens for DSLRs.

As with that lens, the 17-40mm can expand the operational envelope of APS-C cameras, giving a fast equivalent of something approaching a classic 24-70 lens (26-60mm equiv on most mounts, in this case). Or can be seen as a tube that comes with a series of relatively rapid primes stuffed inside.

Buy now:

Buy RF mount at AdoramaBuy E mount at B&H Photo

The nature of shooting a lens gallery – trying to keep ISOs down, lest noise reduction blur away the sharpness and detail capture performance we're trying to show – means we haven't been able to venture into the lower light where this lens can really shine. We've also not yet had time to shoot the kind of video project that it should lend itself to.

But we have had the chance to shoot it on both Fujifilm's 40MP X-T5 and a 26MP Sony, to see how both systems perform when focusing it, and we're glad to be able to report that it has none of the temperamental nature of its DSLR forerunner in that regard.

Sample gallery

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

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Images: Adobe

Adobe has quietly revealed a potentially powerful new app for iPhones named Project Indigo. The news comes from the company's research website, which provides a lot of details on the reasoning behind the app and how it works. There's a lot going on here, but Project Indigo promises increased control and more natural computational photography features to unlock better quality from your smartphone's cameras. It's also (currently) completely free and doesn't require a login.

Much of the premise of the new app is based on computational photography, which can refer to multiple processes. But, in the realm of smartphone photography, Adobe points out that it generally means slight underexposure to reduce highlight clipping and combining multiple exposures taken in rapid succession to reduce noise in shadows.

Adobe says its app has a different process for computational photography than most apps and phones. First, it underexposes more dramatically to better retain highlight detail. It also combines more frames – up to 32 – per photo to reduce noise. Adobe says the result is that it needs less spatial denoising, a process that can produce smooth textures and reduce overall detail. You've likely noticed that odd smoothness in photos you've taken in dark conditions. According to the company, images taken with Indigo should have better highlights, less noise and more natural detail.

Another feature of the Project Indigo app is that even the Raw files benefit from computational photography. Typically, phones that offer Raw file formats don't do any processing, but Adobe is taking a different approach and using the same technique for Raw files as it does for JPEGs.

The app will take longer to process than you're used to.

Screenshot: Mitchell Clark

There is a bit of a downside, though. Adobe adds that because of the different process, it "may require slightly more patience after pressing the shutter button," but that you'll have a better picture once the processing is complete.

While the Project Indigo app is relying on computational photography, Adobe says it will provide a more natural look. One common complaint from some smartphone users is that photos from phones look overly processed. There's a distinct "smartphone look" that we've come to be familiar with.

The left image is an HEIC image converted to JPEG, taken with the default iOS camera app, and the right image is a SOOC JPEG taken with Project Indigo.

Photos: Mitchell Clark

The smartphone look is a result of a few different processes, but Adobe says instead of opting for "zero-process," which some apps promise, it simply aims to provide a look similar to SLR images. It says the look is similar to the Adaptive Color profile. Images taken with the app are then fully compatible with Adobe Camera Raw and Lightroom. In fact, the app will allow you to easily launch the Lightroom mobile app for immediate editng, whether you are using JPEG or Raw files.

The app provides lots of pro controls, including more manual focus controls than most, including focus (with a picture-in-picture preview), shutter speed and ISO.

Screenshot: Mitchell Clark

Beyond computational photography, the Project Indigo app promises to be very feature-rich. There are two still photo modes: Photo and Night. Adobe also promises zero shutter lag, meaning the image is captured right when you press the shutter button. This works with both Raws and JPEGs. The app also offers a "multi-frame super-resolution mode," which Adobe says maintains image quality, even though you're cropping in on a center region of the sensor. There are also manual controls, giving you the ability to change shutter speed, ISO, exposure compensation, white balance and focus.

It also says that it is an "agile prototyping platform for technologies that may eventually be deployed in Adobe's flagship products." For example, there are buttons for Removing Reflections or applying AI denoising right in the camera app, saving you from opening Camera Raw or Lightroom.

Adobe makes it clear that this is an experimental camera app, so it could be very rough around the edges for now. We haven't had a chance to test it very thoroughly yet, so we don't know if it is all that Adobe promises.

For now, the app is only available for iPhone and is compatible with all Pro and Pro Max iPhones from series 12 on and all non-Pro iPhones from series 14. That said, Adobe warns that it will work best on newer iPhones since it requires "some pretty heavy computing." Adobe says it's working on an Android version as well.

Visitors at the Royal BC Museum in Victoria, Canada, view the winners of the Wildlife Photographer of the Year 2024 photo competition.

Photo: Dale Baskin

Where are you most likely to look at photos? For the majority of people, the answer is probably "on your phone." And that's OK. Our phones have allowed us to see more images than ever before, and we've arguably become a more visually oriented society.

The trade-off is that this digital flood has made the act of viewing photos a much more ephemeral experience. We swipe through countless pictures daily and hardly have time to process what's in one before moving on to the next.

This behavior frequently extends to any photo, whether looking at ads, our Instagram feed or the winning images in a major photo competition. We often feature the winners of such competitions here on DPReview because we love to share great photography. Yet, I'm constantly amazed to see how quickly some people zoom through the images before moving on.

I get it. We live in a fast-paced society, and that's how we roll. But what’s often lost in this digital rush is the profound and tangible experience of attending a real photo exhibit.

Posting impactful photos online is a great way to share them with the masses, but it's not the same as attending a live photo exhibit with the same images. (Above: DPReview's coverage of the Wildlife Photographer of the Year 2024 winners.)

I received a powerful reminder of this during a recent trip to the Royal BC Museum in Victoria, Canada, which was hosting a touring exhibit of The Wildlife Photographer of the Year 2024 competition sponsored by The Natural History Museum, London. Having written DPReview's article about this competition, I had already seen all 100 of the winning images in digital form.

Yet, when I entered the exhibit hall, I was immediately drawn in in a way I'd never felt while looking at the photos online. Seeing large, printed (and, in this case, backlit) photos is a fundamentally different experience. Even though I had seen these images dozens of times, the in-person experience was far more immersive, and it prompted me to reflect on what we're all missing. Beyond the obvious appeal of large prints, what do we gain as viewers when we experience photography in person?

"Even though I had seen these images dozens of times, the in-person experience was far more immersive.'

To start, an exhibit makes it easier to experience a story rather than just see a collection of photos. A well-choreographed theme or an arrangement of images creates a natural narrative flow, allowing you to step back and see a collection in its entirety or to wander back and forth between photos, finding connections that might be less obvious in the linear world of a digital slideshow.

An exhibit also gives you a rare gift in our noisy digital world: the space to focus. A contemplative atmosphere free of distractions allows you to immerse yourself in the experience.

Going to an exhibit is also a conscious decision to give yourself the gift of time. You're more likely to slow down and really think about the images. I might have spent a few minutes looking at this particular collection online; I spent two to three hours taking in the experience in person.

A photo exhibit can make it easy to step back and see an entire collection of photos to better understand how they relate or to revisit interesting photos and draw connections between them.

Photo: Dale Baskin

Finally, there's a powerful human element. At the Wildlife Photographer of the Year exhibit, I found myself in spontaneous conversation with total strangers about many of the images. Despite looking at the same photos, we all noticed different things. Engaging with my fellow humans may have been the most powerful aspect of the in-person experience – a reminder that photography can be a catalyst for human connection.

Although I've focused on my recent experience at a major museum, some of the most rewarding exhibits are found in accessible public spaces. I’ve exhibited my own photography at places like the Washington State Capitol and the Washington State Convention Center, and I'm always surprised by how many people make a point to go to places like this to see the art.

If it's been a while since you've been to a real photo exhibit, I encourage you to rediscover the experience. If you've never been to one, please make the time. Step away from that infinite scroll and experience what happens when you stand before a real photo. The difference is worth it.

Image: Leica

For the past 100 years, Leica has made plenty of iconic 35mm film cameras. Now, it's selling film to go in them, with the announcement of Leica MonoPan 50, a black-and-white 35mm film.

Leica says its first film is super panchromatic. It is sensitive to all visible light sources as well as infrared light. Photographers can use yellow, orange, red, blue, green or infrared filters to alter the appearance of images, providing quite a bit of flexibility. It offers a film resolution of 280 line pairs per millimeter, meaning it should be able to capture high levels of detail. It also features ultra-fine grain.

Image: Leica

For film fans, that may all sound very familiar. While MonoPan 50 is made in Germany and bears the Leica name and red dot, it's very unlikely that the company has spun up its own film factory. The film shares an awful lot in common with Adox HR-50, which is also super panchromatic, provides the same film resolution and offers the same ultra-fine grain structure. Adox HR-50 is also made in Germany.

Even if it is a rebranded film, Leica could modify the emulsion to make it somewhat unique. That's a common practice, after all. For example, CineStill goes through the process of removing the remjet layer on Kodak Vision 3 500T film. MonoPan 50 could, however, simply be repacked film, which is also very common. Leica shared sample images, showing that the film provides a high-contrast, clean image with ultra-fine grain, consistent with Adox HR-50.

Image: Leica

Leica says MonoPan 50 won't be available until the end of August 2025, so we'll have to wait to see if there is anything unique about the film. Either way, it will come in four "distinctive packaging options" so photographers can collect their favorite design.

Leica MonoPan 50 will cost $10 per roll. For comparison, Adox HR-50 currently sells for $8 per roll.

Leica-provided samples: Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

From left to right: Travel Tripod (aluminum), Pro Lite, Pro, Pro Tall

Photos: Mitchell Clark

Peak Design is revisiting tripods in a big way, building on the success of its Travel Tripod from 2019. This time around, it's launching three new tripods in what it calls the Pro line. There's the Pro Lite, which is the smallest and most packable but also the shortest, the standard Pro and the Pro Tall, which has a whopping 197cm (6.5') max height.

They're heavier than the Travel Tripod and not as packable. However, the company says they're more stable and offer more features for video shooters, all while still being more compact and lightweight than more traditional pro-level tripods.

A redesigned head The Pro Tripod's ball head (left) vs the Travel Tripod's ball head (right).

If you've used Peak Design's Travel Tripod, the new Pro Ball head will seem familiar... yet different. By default, it accepts the same square plates the company uses for most of its photo products, though it's compatible with standard Arca plates, too.

However, the mounting and locking mechanism has been entirely reworked. Rather than having to slide in the plate then manually lock it in, the Pro tripods have a lever that you push to one side, which cocks a spring mechanism. You then push the plate down onto the head, and the lock clicks into place automatically, securing your camera to the tripod. There's no opportunity to forget and leave it unlocked (something I've unfortunately done several times with my Travel Tripod, though I've been lucky enough that it's never resulted in a dropped camera).

You can then use the lever to cinch your camera even tighter onto the tripod or to remove it it. Peak Design has also added a lock switch that will prevent you from pushing the lever to the release position.

The Pro Ball Head's automatic locking feature can be backed up by a lock switch.

One last bit about the lever: it's also where the bubble level lives. That may not seem like a big deal unless you're familiar with the Travel Tripod's level, which is essentially impossible to see when you have a camera mounted, drastically reducing its usefulness. That's not the case with the Pro tripods.

Another detail about this tripod: there's no shortage of "PD" branding.

The head also has a fluid panning mechanism, which you can lock and unlock with a sturdy-feeling knob, letting you swivel the camera side to side, without any vertical movement. This not only lets you get smoother pans when shooting video but also gives you a fair amount of adjustability, even when the center column isn't extended at all or when you have the ball head locked in the top-down shooting position*. Unlike the Travel Tripod, the ball head doesn't fully slot into with the legs in its lowest position, so you can still move it a bit without raising the center column.

* - Despite the improvements, tripods aren't really the best tool for this. However, I'm happy that this experience is at least a bit better than with the original Travel Tripod because sometimes, you have to do what you have to do if your job is reviewing gear.

New sticks From left to right, at their maximum heights: Travel Tripod (aluminium), Pro Lite, Pro, Pro Tall

The Pro Lite, Pro and Pro Tall all feature the same ball head but are set apart by their legs. However, they still share a common design that's seen several updates from the Travel Tripod: there are four sections instead of five, and the locks that keep them closed are a fair bit burlier, making them easier to open and close. The company says they've been "reengineered for smoother, faster, and stronger operation" and that they're also easier to take apart when you need to clean them.

The new, beefier levers are an example of how the Pro tripods don't carry over the portability-over-all ethos of the Travel Tripod.

The center hub has also been updated; the part is now machined rather than cast, and the legs can be locked into three positions instead of than two. The buttons to adjust the angle are flush with the rest of the leg unless you're in one of the locked positions; then, they pop up so you can press them and go to the next detent. Peak Design says this is to keep them from catching on anything.

As its name implies, the Lite is the smallest and lightest of the Pro tripods, with a maximum height of 162.5cm (64"). That makes it easier to pack, but also comes at the cost of a bit of carrying capacity; it can only handle a 1.7kg (35lb) load, while the Pro and the Pro Tall can take 18.1kg (40lb). Those tripods have max heights of 168.4cm (66.3") and 197.4cm (77.7"), respectively.

Original Travel Tripod (carbon fiber) Pro Lite Pro Pro Tall Min. height 14 cm (5.5”) 15.8cm (6.2") 15.9cm (6.3") 17.3cm (6.8") Max. height 152.4 cm (60") 162.5cm (64.0") 168.4cm (66.3") 197.4cm (77.7") Packed length 39.4 cm (15.5”) 48.8cm (19.2") 50.1cm (19.7") 58.1cm (22.9") Max. load 9.1 kg (20 lbs) 15.9kg (35lb) 18.1kg (40lb) 18.1kg (40lb) Weight 1.3 kg (2.8 lbs) 1.7kg (3.7lb) 1.9kg (4.2lb) 2.0kg (4.5lb)

The Pro tripods all have legs made of carbon fiber. Unlike with the Travel Tripod, there's currently no option to get a version made out of aluminum for less money, though in some ways, that makes sense: part of what sets the Pro line apart is its stability, and Peak Design says the carbon fiber Travel Tripod is 20% more stable than the aluminum version.

Like the Travel Tripod, the Pro tripods come with a hex key tool that can be used to mount the plate onto your camera and to completely disassemble the tripod if need be. However, it no longer lives on a clip attached to the tripod leg, where it can be knocked off and lost relatively easily; instead, it's stored in the center column alongside a folding phone mount that lets you put your phone onto the tripod.

Accessories

The Pro tripods are launching alongside three accessories: a leveling base that lets you use the legs with a different video head, gimbal, or other piece of grip that attaches via a standard 3/8"-16 thread, spiked feet* for when you're shooting on less stable ground and what Peak Design is calling the "Tilt Mod."

The Tilt Mod, with its detachable handle fully extended. You can also adjust the handle's angle as well.

The Tilt Mod is essentially another head that you can attach to the Pro tripod's existing head to add a lockable fluid tilting mechanism and an adjustable handle for better control. Combined with the ball head's built-in fluid panning, it gives you the ability to record smooth pitch and yaw movements that would be difficult or impossible to pull off with a standard ball head.

The Tilt Mod in its travel configuration.

The Tilt Mod is also quite compact when you're not using it. The handle screws onto the head and is collapsable, and it magnetically attaches to the side of the head, leaving you with a package that's not a ton bigger than a fast full-frame prime lens. It comes with a carrying case, which you'll probably want to keep on hand; the magnets do an okay job of keeping the handle on the head, but it would be relatively easy to accidentally knock it off.

While the leveling base, spiked feet, and Tilt Mod are sold separately, Peak Design has also upgraded the carrying sleeve that comes with the tripods to add more padding, weatherproof fabric and adjustability to the carrying strap.

* - there are two versions of the spiked feet: one for the Pro Lite, and one for the Pro/Pro Tall

Impressions

Peak Design loaned us a pre-production set of the Pro Tripods, which I was eager to try since I've been a heavy Travel Tripod user for years. After shooting a few videos using them, I'm pretty impressed; the Travel Tripod has never been all that great for video if you want to go beyond a static shot (and if that's all you're doing, it's pretty overkill).

The Pro Tripods change that, especially if you have the Tilt Mod; the fluid system is wonderfully smooth, and relatively adjustable, though it's not the most granular one I've ever felt on this class of tripod. I couldn't always get it to provide as much resistance as I wanted without completely locking it, but for most uses it should be totally fine.

Related: Read Gear Patrol's interview with Jimmy Chin, who worked with Peak Design on the Pro Tripod

However, it's worth noting that a Tripod and Tilt mod is a very expensive package. We'll cover how much in a moment, but you can get some really nice tripods for the same amount of money (though we're talking Manfrotto, not Sachtler). Would they fit in a backpack or a standard rolling suitcase? Probably not, and, like with the Travel Tripod, that's one of the ways Peak Design is setting itself apart from the crowd. The Pro tripods aren't as small as the Travel, sure, but I took a trip while testing them and was still happy to throw the Lite in a carry-on in the off-chance I ran into something worth filming or photographing.

Peak Design is really good at making things seem cool

They're also just sleek products; Peak Design is really good at making things seem cool, and the Pro tripods are no exception. All the controls feel solid and well-considered, and the spring-locking mechanism solves a real problem I've had with the Travel Tripod. (It can also be used to launch one of the tripod plates in the air if there's no camera attached to it to weigh it down, so that's a lot of fun.)

As for whether all that makes a product "Pro" or worth the asking price, that'll depend a lot on you. I personally don't think I'll be able to justify putting down that kind of money for it, especially given that I already own a Travel Tripod, but I suspect there'll be a lot of people who will. But speaking of price, let's get to that, shall we?

Pricing and Availability

The tripods will be available at retail sometime in November 2025. The Pro Lite will retail for $799, with the Pro and Pro Tall going for $899 and $999, respectively. The tilting head will cost $149, with the leveling base coming in at $129, and the spiked feet costing $49.

As usual, Peak Design is also launching a Kickstarter campaign for the tripods on June 17th. As it did with its roller bag, US-based backers have a choice: they can go for the standard option, which offers a 23% discount on the Lite and a 27% discount on the Pro and Pro Tall models, but those won't ship until much later; the company estimates around February 2026.

However, there's also an "Early Bird" option, which knocks it down to a 9% discount, but with the upside that you'll get your tripod much sooner; the company estimates fulfilling those orders by October. While backing a Kickstarter always comes with risks, Peak Design has a good track record of delivering; this will be its 15th campaign using the crowdfunding platform.

Buy on KickStarter

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Press Release:

Peak Design Collaborates with Jimmy Chin to Establish New Benchmark in Tripod Design

Engineered without compromise, the Pro Tripod offers unrivaled functionality and portability

San Francisco, CA (June 17, 2025) –Peak Design, a global leader in camera accessories and everyday carry, has once again disrupted the tripod market with its latest category-defining release: The Pro Tripod. Engineered from the ground up to elegantly support the workflow of pioneering adventure photographer and filmmaker Jimmy Chin, the Pro Tripod sets a new standard in professional-grade portability, strength and thoughtfully designed functionality for users across the creative spectrum.

Peak Design first revolutionized the tripod category in 2019 with the award-winning Travel Tripod–a reexamination of traditional leg and center column architecture that delivered unprecedented spatial efficiency. Pro Tripod’s foundation is rooted in this transformative design but built with intentional upgrades to deliver an entirely improved user experience across its three available sizes (Pro Lite / Pro / Pro Tall). Featuring a fully CNC machined hub, flanged center column, and increased leg diameter and length, Pro Tripod achieves twice the stability (40lb capacity vs. 20lb) and up to a 30% greater deployment height (197.4cm on the Pro Tall model) as its groundbreaking predecessor. Yet similar to the Travel Tripod, the Pro Tripod maintains a backpack friendly weight and size, making it the most portable pro tripod on the market.

Among the most notable refinements to Peak Design’s meticulously redesigned Pro Ball Head is the addition of fluid panning. Combined with Tilt Mod–a brilliantly designed, packable accessory that converts the Pro Ball Head into a fluid pan and tilt head (sold separately)–users can instantly capture pro-level video and eliminate the need to carry a dedicated video tripod or secondary video head. In addition to panning, Pro Ball head supports 15 degrees of adjustment when Pro Tripod’s center column is fully stowed and features a new ARCA compatible quick-lock for a satisfyingly secure, and effortless camera connection. No other ball head on the market comes close to delivering this level of functionality and intuitive control.

Behind Pro Tripod is an invaluable design partnership between Peak Design and renowned adventure-photographer and Emmy Award-winning filmmaker, Jimmy Chin. Chin’s desire to test countless Pro Tripod prototypes in the world’s harshest climates played an instrumental role in influencing each feature incorporated into the Pro Tripod.

“Peak Design has been an important part of the gear I use to support my shoots over the years,” noted Chin. “Collaborating on the Pro Tripod only enhanced my interest in their design ethos, and I’m incredibly excited to help bring to life a tool that will further the creative workflows of countless photographers and filmmakers.”.

Speaking to the partnership, Peak Design Founder & CEO, Peter Dering commented, “Jimmy made no bones about what he desired in an expedition-quality tripod.” He continued, “We knew if we could fulfill Jimmy’s wish list we’d land on a tripod that meets the needs of almost every photographer and videographer on the planet. The Pro Tripod marks a huge milestone for Peak Design and we couldn’t be more proud.”

At an MSRP of $799.95 for Pro Tripod Lite, $899.95 for Pro Tripod, and $999.95 for Pro Tripod Tall, Peak Design offers exceptional value within the premium tripod category. However, upon its June 17th launch on Kickstarter, customers have a limited-time opportunity to pre-purchase Pro Tripod up to a 27% discount off the final MSRP.

Winners of the California Academy of Sciences' BigPicture: Natural World Photography Competition

June 15 was Nature Photography Day, and in celebration of that, the winners of the annual California Academy of Sciences' BigPicture: Natural World Photography Competition were announced. The contest drew over 8,000 submissions from nearly 60 countries, capturing the stunning beauty of the natural world.

Now in its 12th year, the BigPicture photography competition aims to "inspire awe and conservation through powerful imagery." The contest has seven categories: Photo Story; Aquatic Life; Art of Nature; Winged Life; Terrestrial Wildlife; Human/Nature; and Landscapes, Waterscapes, and Flora. A winner was selected for each category, along with six finalists and an overall Grand Prize winner. There will also be a People's Choice Award winner, with voting beginning on July 1 and ending on July 31.

The jury for this year's competition included renowned wildlife photographer Suzi Eszterhas, editor Sophie Stafford and award-winning nature and conservation photographers and filmmakers Fernando Faciole, Britta Jaschinski, Anthony Ochieng Onyango, Peter Mather and Aishwarya Sridhar.

You can see all of incredible the winning and finalist images at the BigPicture website. The annual BigPicture exhibit will open on Saturday, October 4, 2025, at the California Academy of Sciences in San Francisco, California. Additionally, the California Academy of Sciences and the American Museum of Natural History (AMNH) are working together to present a traveling exhibit on 2D panels that can be displayed in science centers, libraries, museums and other spaces.

Grand Prize Winner

Photographer: Donglin Zhou

Title: Leap of Faith

Award: Grand Prize Winner

Photo location: Tsingy de Bemaraha Strict Nature Reserve, Madagascar

Caption: Lemurs are remarkably lithe creatures. With long tails providing balance and powerful, slender limbs outfitted with opposable thumbs and toes, they move with ease through the craggy limestone spires of western Madagascar’s Tsingy de Bemaraha National Park. Still, leaping over a 30-meter (100-foot) ravine with a baby clinging to your back seems like a daring choice.

To capture this scene, photographer Zhou Donglin had to do some mountaineering of her own. Setting out before sunrise, Donglin spent an hour scrambling to the top of a rocky peak, praying that the elusive brown lemurs (Eulemur fulvus) would show. After a day of disappointingly distant sightings, Donglin finally found some luck as a small troop descended through a forest of stone, glowing gold in the late evening light.

In November, when this photo was taken, animals and plants in Tsingy de Bemaraha are nearing the end of a long dry season. After months of minimal rainfall, brown lemurs shift their diets from various fruits to the watery leaves of low-growing plants. This change comes at a vulnerable time for female lemurs, mere weeks after they’ve given birth. With their babies still nursing and unable to travel on their own, the mothers must strike out in search of sufficient water and nutrients—even if that quest requires a bold leap or two along the way.

Aquatic Life Winner

Photographer: Kat Zhou

Title: My Octopus Mother

Award: Aquatic Life Winner

Photo location: West Palm Beach, Florida, United States

Caption: Octopuses may be known for their ability to change color and shape, but their reproductive strategies are equally versatile. Some of the world’s 300 or so octopus species are monogamous, others polyamorous. Some mate beak to beak, sucker to sucker, while others prefer to keep their distance. Male blanket octopuses, for instance, load up a modified arm with sperm, then detach and pass it off to a female.

Once they’ve mated, the females of some species deposit hundreds of thousands of tiny eggs that hatch into larvae and drift on ocean currents for weeks or months before metamorphosing into juveniles. The Caribbean reef octopus (Octopus briareus) pictured here, however, broods just a few hundred large eggs. Once she lays her eggs, the female stops eating and guards her growing offspring day and night. Her babies will emerge as fully developed, miniature versions of their parents, ready to change color, squirt ink, hunt for food, and live as small but full-fledged octopuses in the shallow seas around the Caribbean and Gulf of Mexico. Their mother, in contrast, having exhausted herself to ensure her offspring’s survival, will die shortly after they hatch.

Photographer Kat Zhou was diving off the coast of Florida when friends alerted her to this female octopus and her eggs tucked into a pipe of some sort, perhaps a remnant of a shipwreck. Zhou returned four times, trying to capture the mother’s determination to protect her young when they’re most vulnerable. She hopes her work inspires empathy for marine life, including an animal whose behaviors differ wildly from our own but whose maternal instincts are entirely familiar.

Aquatic Life Finalist

Photographer: Georgina Steytler

Title: Puddle Jumper

Award: Aquatic Life Finalist

Photo location: Goode Beach, Australia

Caption: No fish are graceful on land. But amphibious mudskippers do their best. Using their flexible front fins, mudskippers wrench themselves across intertidal mudflats, over rocks, and even up the trunks of mangrove trees. To survive on land, mudskippers have skin and mouths lined with mucus that allows them to absorb oxygen from the air, along with a unique gill chamber that can be filled with seawater—like a reverse scuba tank. Together, these adaptations allow mudskippers to spend most of their lives on land.

It’ll take more than bouncing between land and water, however, for this male blue-spotted mudskipper (Boleophthalmus caeruleomaculatus) to impress potential mates. Erecting his sail-like, iridescent dorsal fin, the mudskipper wriggles his stout tail and launches himself into the air before falling back to Earth with an unceremonious plop. Females are typically wooed by the highest jumper, a sign that a would-be mate will be strong enough to defend the muddy burrow where she will eventually deposit her eggs.

To capture this moment, photographer Georgina Steytler spent hours in the mud over the course of several days. She took thousands of photos before getting this mudskipper perfectly midflight. But Steytler says the effort was well worth it to highlight "how remarkable these little fish are—a true cross between aquatic and terrestrial life."

Art of Nature Winner

Photographer: Sandra Bartocha

Title: Unwavering Energy

Award: Art of Nature Winner

Photo location: Rügen, Germany

Caption: When wind blows across the ocean’s surface, it forms a wave. A single wave can travel thousands of kilometers before breaking on land; for example, some waves generated off the coast of New Zealand roll all the way to the West Coast of North America, taking up to two weeks to reach their final destination. And while small waves can move as slowly as 8 kilometers (5 miles) per hour, tsunamis in the middle of the Pacific Ocean reach speeds of 965 kilometers (600 miles) per hour.

As they move across the planet, waves transport nutrients, plankton, and other building blocks of marine life. They also carry larger animals, including baby sea turtles, who use waves to orient themselves perpendicular to the shore as they push out to sea after hatching on beaches. People, too, use waves to navigate. Some Pacific Islanders are reviving a traditional practice called wave piloting, in which navigators chart a course in part by feeling the waves beneath their boat.

Waves also impact life on land, tossing sediment onto shore that eventually becomes beaches and dunes where shorebirds and other wildlife find refuge. In Germany, where photographer Sandra Bartocha made this long-exposure image at sunrise, waves deposit up to 4 meters (13 feet) of sand per year in some locations and erode more than 2 meters (nearly 8 feet) per year in others. Whether waves give or take, their impact on the world’s oceans is, shall we say, unwavering.

Art of Nature Finalist

Photographer: Ellen Woods

Title: Cosmic Chlorophyll

Award: Art of Nature Finalist

Photo location: Sea Isle City, New Jersey, United States

Caption: A small jetty rock nestled in the sand and shell fragments amid the ocean's surf is exposed with ultraviolet light to create a celestial scene. The rock's red fluorescence is caused by chlorophyllic Green algae (Green alga), and while this ethereal image is incredible to behold, it also allows us to spotlight the often overlooked marine algae, which actually plays a vital role in coastal ecosystems. As primary producers, they form the foundation of the food web, directly feeding herbivores and indirectly supporting higher trophic levels (e.g., secondary consumers). Algal mats also provide microhabitats for small invertebrates, offering shelter from predators and protection from desiccation during low tide.

Human/Nature Winner

Photographer: Ami Vitale

Title: Rhino Rebound

Award: Human/Nature Winner

Photo location: Ol Pejeta Conservancy, Kenya

Caption: In January 2024, officials from the Kenya Wildlife Service undertook a massive mission: translocating 21 black rhinoceroses (Diceros bicornis) to a region where they hadn’t lived for half a century. Black rhinos can weigh as much as a small sedan and are known to gore people, which makes moving them a daunting task. But when Kenya’s 16 existing rhino sanctuaries became too crowded, officials had little choice.

That black rhinos are suffering from overcrowding is one sign of an improbable success. Kenya’s black rhino population plummeted from 20,000 individuals in the 1970s to fewer than 300 by the 1980s, mirroring the species’ plight across central and eastern Africa as poachers killed the animals for their horns. Today, the International Union for Conservation of Nature (IUCN) lists black rhinos as critically endangered, but government intervention in Kenya has led to a modest rebound. Thanks to anti-poaching enforcement and large-scale sanctuaries, Kenya is almost halfway to reaching its goal of harboring 2,000 wild rhinos.

Yet moving such powerful animals can be dangerous for both rhinos and their human caretakers. Photographer Ami Vitale was documenting the translocation of this female from the OI Pejeta Conservancy in central Kenya to the Loisaba Conservancy in the north when the rhino reacted poorly to anesthesia and stopped breathing. Veterinarians and handlers initiated a special resuscitation for large animals and administered drugs to reverse the effects of the anesthetic, saving the animal’s life. Vitale says this image—captured the moment the rhino recovered—speaks to the danger that people are willing to face to bring back an imperiled species.

Human/Nature Finalist

Photographer: Ringo Chiu

Title: Escape From The Hell Of Fire

Award: Human/Nature Finalist

Photo location: Cherry Valley, California, United States

Caption: A Deer mouse (Peromyscus maniculatus) scampers to safety as flames flare behind it. This image was taken at the Apple Fire, a wildfire that ignited in northwest Palm Springs in August 2020, and paints a vivid picture of nature’s vulnerability in the face of disaster. The stark contrast between this creature’s desperate escape and the raging wildfire makes this tiny mouse a symbol of survival against overwhelming odds. The photographer hopes viewers take away the fragility of wildlife in wildfires, as well as the urgency of addressing environmental challenges, especially as extreme heat and fires become more frequent.

Landscapes, Waterscapes, & Flora Winner

Photographer: Marcin Giba

Title: Icy Stare

Award: Landscapes, Waterscapes, & Flora Winner

Photo location: Rybnik, Poland

Caption: Not long ago, it would have been nearly impossible for photographer Marcin Giba to take this image of a fissure on a foot-marked frozen lake in the southern Polish city of Rybnik—and it could become impossible again. Rybnik is one of Poland’s largest producers of coal, and with that abundance has come rampant consumption. Until recently, most homes and residential buildings burned coal for heat, cloaking the city in a thick layer of pollution and giving it the unenviable title of the "smog capital of Poland." In 2010 alone, Rybnik experienced 130 days where the pollution was both hazardous and visible to the naked eye. Needless to say, such smoggy conditions aren’t conducive to the kind of drone-based photography that Giba uses in his work.

Fed up with the government’s inaction, a group of residents created Polish Smog Alert, an advocacy organization pushing for legislation to suppress the smog. Since their formation a decade ago, the group has helped enact policies that have replaced nearly 10,000 coal boilers across the city. As a result, Rybnik experienced just 16 smog days in 2023.

Even so, more will have to be done in Rybnik and elsewhere to ensure Giba’s icy eye doesn’t wink out of existence for good. With climate change, Rybnik has experienced 11 years of above-average winter temperatures, leading to scarcer snowfall and fewer frozen lakes each year. "The kind of winter I remember from my childhood—cold and white—is becoming increasingly rare," Giba says. "I feel that I’m documenting a vanishing beauty."

Landscapes, Waterscapes, & Flora Finalist

Photographer: Ellen Woods

Title: Early Bloomer

Award: Landscapes, Waterscapes, & Flora Finalist

Photo location: Middleton, Connecticut, United States

Caption: Winters in the northeastern United States are long, cold, and often snowy, so the first signs of spring are a welcome sight. Skunk cabbage (Symplocarpus foetidus) is often one of the earliest plants to emerge, thanks to a unique characteristic: It creates its own microclimate, warming itself to about 23 degrees Celsius (73 degrees Fahrenheit) even when the surrounding air is below freezing.

Skunk cabbage accomplishes this through a process known as thermogenesis, or the ability to metabolically generate heat. This trait allows the plant to melt the snow around it and bloom far earlier than the competition. Across much of eastern North America, from Tennessee through Nova Scotia, skunk cabbage emerges before the vernal equinox in mid-March, pushing out of the snow and frozen mud like some primordial progenitor of the warmer weather to come.

As its name suggests, skunk cabbage flowers give off a musky odor that attracts carrion-eating flies and gnats. Bees and other insects also visit to take advantage of its warmth. Then they fly off, carrying pollen to another plant to fertilize its spadix, a fleshy spike covered in small, petal-less flowers. Come summer when other flowering flora are busy competing for pollinators’ attention, skunk cabbage has already parted with its pollen and replaced its early blooming flowers with a bouquet of showy leaves.

Despite these remarkable adaptations, skunk cabbage tends to be underappreciated—which is precisely what drew Ellen Woods to this specimen near her home in Connecticut. Woods hopes her photograph not only calls attention to the region’s overlooked flora but also highlights the cold tolerance of a native species in a region where snowfall is becoming increasingly unreliable.

Terrestrial Wildlife Winner

Photographer: Amit Eshel

Title: Part of the Pack

Award: Terrestrial Wildlife Winner

Photo location:

Caption: Reaching Ellesmere Island, in Canada’s far north, is an adventure of its own. It took six domestic flights for Israeli photographer Amit Eshel to get within striking distance, and then days of traveling by dogsled and snowmobile to make it to the northern part of the island. Eshel undertook the journey in hopes of spotting Ellesmere’s wolves, which have no known history of being hunted and are unafraid of the few human visitors they encounter. Yet only about 200 Arctic wolves (Canis lupus arctos) live on Ellesmere, which is roughly the size of Great Britain, and during Eshel’s first visit in April 2022, he and his Inuit guides searched for two weeks without finding them.

He tried again in 2024. This time, 12 days into the expedition, his group was moving across a frozen fjord in -35 degrees Celsius (-31 Fahrenheit) temperatures when they spotted a single wolf through binoculars. Eight more soon appeared, and the pack moved slowly toward Eshel. "I laid down holding my camera with a wide lens and they came over for a very close look," he says. "At times they were so close they almost touched me, and I could smell their breath."

Eshel says he hopes the resulting composition imparts a sense of what it felt like to briefly be part of the pack. He also hopes it illustrates the playfulness of these oft-feared predators—particularly in a place where human persecution hasn’t compromised their natural curiosity.

Terrestrial Wildlife Finalist

Photographer: Sitaram Raul

Title: Nightclub

Award: Terrestrial Wildlife Finalist

Photo location: Badlapur, India

Caption: A colorful shot of an Indian red scorpion (Hottentotta tamulus) resting on a log with sporing fungi. The fantastical colors are the various fungi spores—which emit their own unique color—lit by a camera flash, while the scorpion is illuminated by ultraviolet light, making for an artfully executed image.

Winged Life Winner

Photographer: Dvir Barkay

Title: Tiny Tent Makers

Award: Winged Life Winner

Photo location: Near La Selva Biological Station, Costa Rica

Caption: Bats are not ordinarily known for their cuteness. Then again, the Honduran white bat (Ectophylla alba) is no ordinary bat. One of the smallest fruit-eating bats in the world, it’s roughly the size of a golf ball and the weight of a quarter. Even with its wings outstretched, the diminutive species only reaches around 10 centimeters (4 inches). But it’s not only the bat’s stature that’s unique. It’s also one of the few species that makes tents in which to roost.

After finding a suitably large Heliconia leaf 2 meters (6 feet) or so off the ground, the bats work as a team, biting from the edges toward the midrib until the foliage falls in on itself, forming a simple tent that resembles an upside-down V. Groups of four to six bats will nestle together in these verdant shelters to rest until nightfall, when they venture out to find their preferred food: figs. Though they only stay in any given tent for a night or two, they leave their mark in the form of seed-packed feces that can sprout into new trees. Indeed, Honduran white bats don’t just build their own shelters—they also help shape the forests they inhabit.

Winged Life Finalist

Photographer: Minghui Yuan

Title: Moth Magic

Award: Winged Life Finalist

Photo location: Xishuangbanna, China

Caption: There’s no more vulnerable time for a moth than the weeks—sometimes years—it spends as a chrysalis. But it helps if you suspend yourself in a cage-like cocoon made of spines. As caterpillars, Cyana spp moths are covered in serrated, hair-like bristles called setae to deter would-be predators. When it comes time to metamorphose, Cyana caterpillars work with what they have, using their own setae to weave a protective fort. Where two setae meet, the intersection is wrapped tightly with sticky silk from glands near the caterpillar’s mouth.

The structure is flexible yet sturdy enough to retain its shape when prodded; one researcher describes the feeling as that of a fine mesh sieve. Once secured inside, the caterpillars use their silk to hoist themselves to the middle of the cage to begin their transformation.

No one knows exactly how Cyana caterpillars build their spiky cells. While the caterpillars are remarkably flexible and have powerful front legs and jaws, it’s still difficult to imagine how they could construct such an intricate shelter. Researchers have discovered, however, how they pull off their last trick: escaping from their seemingly sealed cages. Each end of the oblong cage is left unwoven, creating a one-way gate like the traffic spikes at the exits of parking garages. By orienting themselves along the center axis, the caterpillars ensure that when they emerge as a moth, all they have to do is push through the cage and fly away, leaving behind an intact chrysalis suspended in midair.

Photo Story: In My Backyard

Photographer: Takuya Ishiguro

Title: The World of Familiar Insects

Award: Photo Story: In My Backyard Winner

Photo location: Various Locations, Japan

Caption: It’s an undeniable fact that insects live close to humans at all times, but sometimes they are so small we may not even notice them. And even when we do notice them, they’re often met with disgust and derision. In this series taken in the photographer's native Japan, we’re given an unexpected look into the lives of bugs, wherein the photographer uses his own customized lens to capture unique, up-close images of diversely colorful and impressive species. In this image, we’re shown the unexpected beauty of a Common housefly (family Muscidae) as it shines like a jewel while covered in morning dew. Unfortunately, it won’t be able to fly off until the dew drops evaporate and it completely dries off, making it the perfect portrait specimen.

Logo: Adobe

Adobe is updating Lightroom and Photoshop to make some previously-announced features widely available, and is teasing an AI filtering system for Lightroom that could make it much easier to cull collections of hundreds or thousands of photos.

Starting with what's available today, Adobe is bringing the Remove Reflections feature it added to Adobe Camera Raw last year to Lightroom and Lightroom Classic. It essentially does what it says on the tin: attempts to remove distracting reflections in photos taken of or through windows, without using generative AI.

Image: Adobe

Now that the feature is generally available and in Lightroom, it's a bit more flexible: you can use it on non-Raw image formats too, like JPEGs. Like with the ACR version, there's a strength slider so you don't have to completely eliminate a reflection if you just want it to be a little less prominent.

The company has also updated Lightroom's Generative Remove tool. Like Photoshop's Remove Distractions tool, it can now automatically identify people who aren't the subject of the photo and use AI image generation to paint over them. While you could've achieved the same result with the previous version, you would've had to manually select the people you wanted removed from the photo first.

Adobe is also making Quick Actions, which launched as a preview last year, generally available for Lightroom Mobile and Web users. The feature uses automatically-generated masks to separate different parts of your image and suggests changes you can make to them, such as making the sky pop or retouching a subject's face.

Image: Adobe

Perhaps the most exciting announcement, though, is a preview of an upcoming feature. The company says it's working on AI-powered filtering that will let you quickly sift through your photos. As examples, Adobe showed filters that would narrow down photos where the subject was in focus, photos where specifically the subject's eyes were in focus and photos where the subject's eyes were open. The filters can be combined, and even have sliders to control how sharp the photo has to be, or how open the subject's eyes have to be to show up.

Image: Adobe

The company also says it's working on a filter to hide technically flawed images, such as ones taken with the lens cap on or that are otherwise underexposed. It also showed an AI "stacking" feature that groups together burst photos. Again, the feature is customizable: you can choose how similar photos must be for inclusion in the group, and can adjust how close together the capture time has to be before the images belong in a separate group.

The company says the feature is "coming soon" to the desktop versions of Lightroom and Lightroom Classic; the inclusion of the latter suggests that you may not have to have your photos stored in Adobe's cloud storage for it to work, though the company hasn't said either way.

Photoshop's also getting an update that promises to improve the Select Subject and Remove Background features by offloading the processing to the cloud. The company says this will help speed up the process when working with subjects that have complex or detailed edges, such as hair.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Product Photos by Mitchell Clark

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.

Key Specifications

• 20MP Four Thirds CMOS sensor
• 50MP handheld high-res multi-shot mode
• Up to 7.5EV stabilization with Sync IS lenses
• Up to 30fps continuous shooting, configurable pre-capture
• 2.36M-dot 0.68x OLED viewfinder
• IP53 dust and water resistance rating
• USB-C for charging / data transfer
• Updated menu system

The OM-5 II will retail for $1199 body-only, the same as its predecessor, and will be available at "the end of June." It will come in black, silver and a "sand beige" tan.

Buy now:

Buy at AdoramaBuy at B&H Photo Index:

• What's new?
• How it compares
• Body and handling
• Initial Impressions
• Sample gallery
• Specifications
• Press release

What's New USB-C

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.

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.

Updated grip

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.

New menus The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work a lot like Canon's.

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.

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.

CP button

OM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on the OM-3. 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.

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:

OM-5 II OM-1 (II) / OM-3 Multi-shot high-res 50MP handheld / 80MP tripod 50MP handheld / 80MP tripod Live ND 1-4EV 1-6EV / 1-7EV for OM-1 II Live graduated ND — 1-3EV Focus stacking Yes, with select lenses Yes, with select lenses HDR Yes Yes Multiple exposure Yes Yes Live Bulb Yes Yes

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 vice versa if you move your eye to or away from the camera.

New color modes Standard Color Profile OM Cinema 1 OM Cinema 2

The OM-5 II includes the two "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.

Light, camera, action

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.

A little help

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.

How it compares

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.

OM System OM-5 II Canon EOS R10 Fujifilm X-S20 Nikon Z50II MSRP $1199 $979 $1299 $909 Pixel Count / Sensor Size (Crop Factor) 20MP
Four Thirds (2.0x) 24MP
APS-C (1.6x) 26MP
APS-C (1.5x) 21MP
APS-C (1.5x) Image Stabilization 6.5EV
Up to 7.5EV w/ lens coordination Lens only Up to 7.0EV Lens only Max frame rate 6fps mech*
10fps elec with C-AF
30fps elec w/ focus and exposure lock 15fps mech
23fps elec 8fps mech
20fps elec
30fps w/1.25x crop 11fps mech
15fps elec
30fps JPEG-only Pre-burst recording? Yes Yes (Raw Burst mode) Yes Yes, JPEG-only Built-in flash? No Yes Yes Yes Weather sealing IP53 water/dust resistant certified No No Yes AF subject detection types Human / Eye Human / Eye
Animals
Vehicles Human / Eye
Animal
Bird
Cars
Motorcycle / Bike
Airplane
Train Auto
Human / Eye
Animal
Bird
Cars
Motorcycle / Bike
Airplane
Train 10-bit HDR Stills No PQ HEIF No HLG HEIF Viewfinder res. / mag. 2.36M dot
0.68x

2.36M dot
0.59x 2.36M dot
0.62x

2.36M dot
0.68x

Rear screen res. / type

3" 1.04M dot
Fully-articulating 3" 1.04M dot
Fully-articulating 3" 1.84M dot
Fully-articulating 3.2" 1.04M dot
Fully-articulating AF selection Touchscreen / 4-way controller Touchscreen / joystick Touchscreen / joystick Touchscreen / 4-way controller

Video

Full-width UHD/DCI 4K <30p UHD 4K 60p w/ 1.56x crop
Full-width UHD 4K <30p

Up to 6.2K/30p 3:2 (open gate)
UHD/DCI 4K 60p w/ 1.18x crop
Full-width UHD/DCI <30p

UHD 4K 60p w/ 1.5x crop
Full-width UHD 4K <30p 10-bit options OM-Log HDR PQ F-Log/F-Log 2
HLG

N-Raw
N-Log
HLG

Mic / headphone sockets? Yes / No Yes / No Yes / Yes Yes / Yes CIPA Battery rating (LCD/EVF) 310 / – 430 / 260 750 / 750 230 / 220 Weight 418g (14.7oz) 429g (15.1oz) 491g (17.3oz) 550g (19oz) Dimensions 125 x 85 x 52mm
(4.9 x 3.3 x 2.0") 123 x 88 x 83mm
(4.8 x 3.5 x 3.3") 128 x 85 x 65mm
(5.0 x 3.3 x 2.6") 127 x 97 x 67mm
(5 x 3.9 x 2.7")

* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.

In some ways, OM System sets itself apart at this price point by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. Fujifilm is the only other brand with the former in this range (you'd have to jump up to the $1499 EOS R7 from Canon or $1399 Sony a6700 to find another APS-C camera with it), 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 is Leica.

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.

However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit stills that use an HDR response curve, 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 a notable absence.

Body and Handling

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.

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.

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 tracking on at once.

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.

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.

EVF and Monitor

The OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (equiv.) 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.

Battery The OM-5's tripod mount is somewhat controversial – OM Systems tells us it's unchanged for the II.

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.

Initial Impressions

By Mitchell Clark

Let me start by saying that, despite the harsh headline, I still think there are people who should consider the OM-5 II. It fills a niche of cameras that are rugged, small and light but that still pack features you'd have to pay more to get in larger-sensor cameras. The OM-5 II still does all that while including some modern comforts.

However, it's hard to ignore that it's a version II seemingly separated from its predecessor by a single port, a few millimeters of rubber, a red LED and a software update. It also doesn't help that OM System had most of these pieces before the OM-5 even launched – the OM-1 debuted with the new menu system and USB-C months before that camera hit the market. To put it bluntly, it feels like OM System should've released this camera three years ago.

Even if we ignore that and take the OM-5 II on its own terms, parts of it still feel last-gen. Autofocus is the main one: it's been a while since I've used a new camera whose AF points didn't go all the way to the edge of the sensor (though admittedly, they cover as much as most people will probably need), and that didn't have AI-derived subject recognition. Even in my brief time with it, it's made me work much harder to focus on and track animals and birds than cheaper cameras from Canon, Nikon and even Fujifilm. That feels like a miss for an adventure camera made for the outdoors.

But again, that doesn't necessarily mean there's still no place for the OM-5 II. Those other cameras don't have stabilized sensors, IP water and dust resistance ratings or the arsenal of multi-shot modes that OM System brings to the table. They also use lenses that are heavier and bulkier than the OM-5 II's; the most sophisticated autofocusing in the world doesn't do you any good if you leave your camera at home because you can't be bothered to carry it.

It's nice to see a follow-up that isn't more expensive than its predecessor

It's also nice to see a follow-up that isn't more expensive than its predecessor these days. But I can't help but feel like the camera deserves more attention than it got from the company – a few autofocus improvements here, some more work on the controls there, and it might have been a standard-bearer for OM System and Micro Four Thirds as a whole, like some of its predecessors.

We'll need to spend more time shooting with and testing the OM-5 II before we can really say how well it competes in today's market. It could wind up being more than the sum of its parts. But at first glance, these are some pretty familiar parts.

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

Sigma has announced the 17-40mm F1.8 DC Art, a super-fast standard zoom for APS-C. It will be available in L, E, X and RF mounts.

The 17-40mm gives a 26-60mm equivalent field of view on most APS-C cameras (27-64mm on Canon R-series cameras). Its constant F1.8 aperture enables low-light photography and greater flexibility in terms of depth of field. It allows whole-image light capture closely comparable to an F2.8 lens on full-frame.

Buy now:

Buy RF mount at AdoramaBuy E mount at B&H Photo

The lens is a spiritual successor to the company's groundbreaking 2013 18-35mm F1.8 DC HSM Art lens for DSLRs, but extends a little wider and a little longer, further expanding its usability. That original lens was a significant addition to the then-current APS-C systems, but many DSLRs struggled to focus it consistently, especially when using off-center AF points. We've experienced no such challenges using the on-sensor focusing of mirrorless cameras with the new lens.

The 17-40mm features an internal zoom design, making it easier to offer a dust and moisture-resistant design, and uses linear motors to deliver fast focus. It's slightly shorter, slightly narrowed and, at 535g (oz) for the L-mount version, around 34% lighter than its DSLR predecessor.

The 17-40mm F1.8's (right) length doesn't change as you zoom, making it easier to balance on a gimbal. It ends up being shorter than the Fujifilm XF 16-55mm F2.8 II (left) at full extension.

Photo: Mitchell Clark

While the 18-35mm wasn't the easiest lens to autofocus for stills, it became a popular choice as a manual focus lens for video shooters, as it offered an aperture value that usually requires prime lenses, without the need to swap lenses. The new 17-40mm offers an even more versatile range and ends up being better balanced for mirrorless mounts, since you don't need an adapter. There's a small degree of focus breathing at the wide end of the zoom and it's even less apparent at the long end.

The 17-40mm becomes the company's first DC lens for mirrorless to feature a dedicated aperture ring: something we'd love to see extended the existing range of DC primes. The new lens has a switch to de-click the aperture ring and another that locks the lens in or out of the 'A' position that passes control of the aperture across to the camera body.

Version differences

The Canon RF version features a customizable control ring around the lens instead of an aperture ring, keeping its behavior in line with Canon's own lenses, presumably as part of the RF system specifications. This doesn't have f-stop markings, end stops, the lock or de-click switches, meaning it can function as something other than an aperture ring.

The X-mount version has an AF-L / AF switch, changing the function of the two lens buttons, whereas other mounts have an AF / MF switch.

Photo: Mitchell Clark

The Fujifilm X-mount version doesn't have an AF/MF switch, as this is controlled from the body. Instead, the switch changes the function of the lens buttons between AF On and AF Lock.

The other difference between versions for different mounts is that the L-mount version can be switched between linear and speed-sensitive focus ring response.

As with Sigma's 18-55mm F2.8 DC zoom, there's no version of the lens for Nikon's Z mount, which we can only assume comes down to Nikon restricting which lenses it will issue a license for, given Sigma has been given the green light to produce several of its other APS-C lenses for the system.

The 17-40mm lens will be availble from mid-July. In the US the 17-40mm F1.8 DC Art will sell for a recommended price of $919, excluding sales tax. In the UK the recommended price is £779 including VAT.

Buy now:

Buy RF mount at AdoramaBuy E mount at B&H Photo Sample gallery

We've had a chance to shoot with both the Fujifilm X-mount and Sony E-mount versions of the 17-40mm F1.8 and have put together a sample gallery from both systems.

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

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Press release:

Sigma Corporation Announces the Versatile, Professional-Grade 17-40mm F1.8 DC | Art Lens, Pushing the Boundaries for Both Photography and Video

Ronkonkoma, NY, June 17, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the 17-40mm F1.8 DC | Art, the first Art lens for APS-C format since 2016, and the very first made exclusively for crop sensor mirrorless cameras.

This remarkable new lens is the direct successor to the groundbreaking 18-35mm F1.8 DC HSM | Art for DSLR cameras, offering the user a wider angle of view as well as more versatility at the telephoto end. With an updated optical design, it delivers the image quality and brightness of a prime lens, along with the versatility of a zoom. This fast, flexible lens is also designed with video shooting in mind, featuring an inner zoom, high- speed and silent linear autofocus, and minimal focus breathing, as well as a dust and splash-resistant structure for use in virtually any environment.

Significantly lighter than its predecessor, the 17-40mm F1.8 DC | Art lens weighs only 535g (18.9 oz.) and is stacked with features that will appeal to photographers, filmmakers and content creators alike, no matter what camera system it is paired with.

The Sigma 17-40mm F1.8 DC | Art lens will be available in mid-July at authorized Sigma dealers for Sony E- mount, L-Mount, Fujifilm X Mount, and Canon RF Mount for a retail price of $919 USD.

ART 17–40mm F1.8 DC

• Standard zoom lens with a large aperture and rendering capability comparable to a prime lens
• Highly portable and versatile for any situation
• Functions to support video production

The Sigma 17-40mm F1.8 DC | Art builds upon the groundbreaking innovations of the Sigma 18-35mm F1.8 DC HSM | Art, which earned high acclaim as the world’s first F1.8 zoom lens in the photography and video industry. Thirteen years after its debut, this next-generation lens achieves not only superior optical performance but also a wider focal length of 17-40mm while reducing its weight by over 30%. This dramatically enhances the versatility of a large aperture standard zoom lens.

In addition to the fast and quiet autofocus driven by the HLA (High-response Linear Actuator), the lens incorporates an inner zoom mechanism and minimal focus breathing, ensuring outstanding performance for both still photography and video production. Sigma, the pioneer that stunned the world with the first-ever F1.8 zoom lens, has once again revolutionized the history of large aperture zoom lenses.

KEY FEATURES Standard zoom lens with a large aperture and descriptive power comparable to a prime lens Constant maximum aperture of F1.8

The Sigma 17-40mm F1.8 DC | Art has the convenience of a zoom with a constant aperture of F1.8 throughout the zoom range. Taking advantage of a large aperture comparable to a prime lens, the lens is suitable for low- light environments such as indoor and night scenes, as well as for expression using large bokeh.

Excellent optical performance

The optical design, realized through the latest design and processing technologies, including the use of high- precision aspherical lenses, achieves excellent optical performance.

By emphasizing the correction of axial chromatic aberration and sagittal coma flare, the lens achieves high resolution even at the wide-open F1.8 aperture, rendering textures and fine details with stunning clarity.

Flexible framing made possible

The range of the Sigma 17-40mm F1.8 DC | Art has been expanded from its predecessor the Sigma 18-35mm F1.8 DC HSM | Art, covering 25.5-60mm in 35mm format*. From wide-angle tabletop photography to portraits that fully utilize the telephoto angle of view, users can take full advantage of the expressive power of the large F1.8 aperture while freely framing their shots without the need to change lenses.

Designed to minimize flare and ghosting

Using advanced simulation technology and Sigma’s Super Multi-Layer Coating, flare and ghosting have been largely eliminated, ensuring that the lens renders rich, high-contrast results in all conditions.

Highly portable and versatile for any situation Practical and stable inner zoom

Employing an inner zoom mechanism, the overall length of the lens remains constant when the focal length or focus distance changes. This means the lens is easy to use and highly stable when shooting hand-held, on a tripod or gimbal, and even more resistant to dust and water contamination.

Enhanced mobility with a compact and lightweight design

The Sigma 17-40mm F1.8 DC | Art is over 30% lighter and has a filter diameter of 67mm, which is one size smaller than its predecessor the Sigma 18-35mm F1.8 DC HSM | Art. Despite being a large aperture zoom lens, it is surprisingly portable. The expressive power of F1.8 can be used with a compact APS-C system, making it ideal for travel and everyday photography, as well as video production, where mobility is key.

Dust- and splash-resistant structure*2 / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil- repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.

Equipped with two AFL buttons*3, two that can be assigned any function from the camera menu. By placing them on the side and top, users can easily operate the buttons in either landscape or portrait positioning.

Functions that support video production HLA-driven high-speed AF

The adoption of HLA (High-response Linear Actuator) enables quiet, high-speed, high-precision autofocus. The smooth, stable autofocus is perfect not only for still photography, but also for single-operator shooting with a gimbal or vlogging.

Minimal focus breathing

The focus breathing is suppressed, minimizing changes in the angle of view caused by focus shift and enabling smooth, natural-looking focus pulls when recording video.

Aperture ring with various functions

Equipped with an aperture ring*4 for intuitive control of the aperture. When shooting video, users can turn off the click switch for smooth, quiet aperture control. It also has an aperture ring lock switch*5 to prevent accidental changes to the aperture during shooting.

* Approximately 27.2-64mm for the Canon RF Mount version.
*2 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.
*3 Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used. The FUJIFILM X Mount version has an AF function button that can be used to select AF lock/AF operation via lens switch.
*4 The Canon RF Mount version has a control ring instead of an aperture ring. It does not have an aperture ring click switch or lock switch.
*5 If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.

Sigma 17-40mm F1.8 DC | Art specifications Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length17–40 mmImage stabilizationNoLens mountCanon RF-S, Fujifilm X, L-Mount, Sony EApertureMaximum apertureF1.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements17Groups11Special elements / coatings4 SLD elements, 4 asphericalFocusAutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight535 g (1.18 lb)Diameter73 mm (2.87″)Length116 mm (4.57″)SealingYesZoom methodRotary (internal)Power zoomNoZoom lockNoFilter thread67 mmHood suppliedYesHood product codeLH728-02

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

Viltrox has officially announced the AF 85mm F1.4 Pro FE lens for Sony E-mount, which it showed off at CP+ earlier this year. It marks the company's first full-frame autofocus lens in the Pro Series, the lineup that is just below the flagship Lab Series. The full-frame autofocus lens offers a classic portrait focal length and promises a lot for its budget-friendly price.

The Viltrox AF 85mm F1.4 Pro FE lens features an optical design with 15 elements and 11 groups, including 9 HR lenses, 3 ED lenses and 1 UA lens. Viltrox says it delivers "exceptional sharpness and excellent control of coma aberration" with minimized distortion. It also features Viltrox's nano-coating to minimize ghosting and flare. An 11-blade aperture diaphragm promises excellent bokeh.

Image: Viltrox

The lens uses Viltrox's HyperVCM autofocus motor, promising fast and quiet autofocus. Viltrox also says the autofocus is smooth and precise enough for video applications. It's compatible with real-time eye and face detection, and the lens body offers a dedicated AF/MF switch. It can focus as close as 0.79 meters (2.6').

In addition to the focus switch, there is also a customizable function button, an aperture ring and a switch to click or de-click the aperture ring. Viltrox included dust and splash resistance on its new 85mm offering, along with a water-repellent coating on the front element.

Viltrox's new lens features lots of lens controls for the price.

Image: Viltrox

The new lens is Viltrox's fourth 85mm for Sony E-mount cameras, though it is the first with an F1.4 maximum aperture. It's also the largest yet, and it is pretty hefty. At 800g (1.76lbs), it is a fair amount heavier than Sony's FE 85mm f/1.4 GM II (642g or 1.4lbs). It uses the same 77mm filter thread as the second iteration of Sony's classic portrait lens, though, and at 108.5mm (4.2") is nearly the same length.

Despite offering a fair number of premium features, the Viltrox lens is just $598, or nearly exactly a third of the price of the Sony FE 85mm f/1.4 GM II. It's also less than half the price of Sigma's 85mm F1.4 DG DN Art.

The Viltrox AF 85mm F1.4 Pro FE is available for purchase as of today for $598 / €669 / £569.

Buy now: Buy at B&H Buy at Amazon

Press release:

Viltrox’s AF 85mm F1.4 Pro FE: Affordable Pro-level Full Frame Portrait Lens

The portrait master: astonishing imaging and control, high-precision optics, all-weather reliability

Shenzhen, China, June 16th, 2025 - Viltrox is pleased to announce the AF 85mm F1.4 Pro FE, a new full-frame autofocus lens for Sony E-mount cameras. This is Viltrox’s first full frame lens in the company’s acclaimed Pro Series. It is precision-tailored to meet the exacting demands of advanced enthusiasts and working professionals who will only accept reliable, high-performance optics for portraiture and general photography.

An 85mm focal length has long been preferred by portrait photographers for its natural perspective and ability to isolate subjects while still providing a degree of versatility – from close-ups to full body shots. The Viltrox AF 85mm F1.4 Pro FE adds to this by combining a wide F1.4 aperture with advanced optical design that maintains sharpness and clarity across the frame – even at its widest aperture.

The result is close to perfection in its class: a lens that offers both creative flexibility, with stunning bokeh effects, and dependable performance in a wide range of environments.

The Definitive 85mm Portrait Lens

As the definitive focal length for portrait artistry, the AF 85mm F1.4 Pro masterfully adapts to every owner’s creative vision – whether capturing intimate half-frame portraits, dynamic full-body compositions, or fleeting emotional nuances. Elevating Viltrox’s Pro series with its first full-frame lens, it features an advanced optical design including 15 elements and 11 groups, delivering exceptional sharpness and excellent control of coma aberration.

The Viltrox AF 85mm F1.4 Pro FE leverages an ultra-large, precision aspherical lens. This achieves peak aberration control and onion ring control even at 1.4 aperture, delivering consistent sharpness from center to edge. The lens also includes three low-dispersion ED elements to minimize chromatic aberration, and nine high-refractive index elements that maintain clarity. Viltrox’s advanced nano-coating minimizes ghosting and flare, even in challenging lighting such as backlit scenes.

At F1.4 the lens produces the ideal shallow depth of field for portraiture: sharp and clear where focus is needed; soft, dreamy bokeh in out-focus areas; and smooth transitions between focal zones. This allows subjects to be cleanly separated from backgrounds without introducing distracting artifacts, while still delivering beautiful bokeh. The wide aperture also benefits low-light shooting, offering higher shutter speeds and lower ISO settings for clean, noise-free images in dimly lit conditions.

HyperVCM: Viltrox’s patented fast, quiet and smooth autofocus motor

Viltrox's patented HyperVCM autofocus motor delivers exceptionally fast, quiet, and smooth focusing. In the AF 85mm F1.4 Pro FE, the dual HyperVCM motor outperforms traditional STM motors, offering significantly faster focus speed, lower focus noise, and superior precision. This translates to a 150% boost in focusing speed, enabling near-to-far focus shifts in just 100ms. With micrometer-level positioning accuracy, the lens achieves reliable focus even under extremely shallow depth of field conditions. Combined with real-time eye and face detection (compatible with a wide range of cameras), it maintains accurate focus on moving subjects. Crucially, the motor's quiet operation and smooth, precise focus transitions ensure highly reliable video performance. When manual control is preferred, users can instantly switch via the dedicated AF/MF switch.

Easy to use, but flexible and tough

This lens is built for durability, without compromising handling. The full-metal body is robust at about 800 grams – but still provides balance and maneuverability to capture shots. Dust and splash resistance – via strategic seals and water-repellent coating on the front element – make it suitable for outdoor use in difficult conditions.

Professional handling features always improve workflow. In Viltrox’s AF 85mm F1.4 Pro FE, these features include the customizable focus function button; an aperture ring click switch, switchable between stepped and stepless, which is ideal for hybrid photo and video use; and compatibility with the easy-to-use Viltrox App for firmware updates and function customization via USB C. The lens supports EXIF data transmission with compatible cameras, and accepts standard 77mm filters.

For photographers seeking a fast, high-resolution portrait lens with dependable autofocus, rugged construction, and full-frame optical integrity, the AF 85mm F1.4 Pro FE offers a compelling balance of precision, versatility, and value. It’s available now.

More details and how to buy

For more information, please visit: https://geni.us/8514fe_pr
Amazon Store:
US: https://www.amazon.com/dp/B0F8QLT3L9
EU: https://www.amazon.de/dp/B0F8QLT3L9

MSRP: US$598 / EU: €669 / UK: £569

Viltrox AF 85mm F1.4 Pro FE Specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length85 mmLens mountSony E, Sony FEApertureAperture ringYesNumber of diaphragm blades11OpticsElements15Groups11Special elements / coatings9 HR, 3 ED, 1 UA, nano multi-coatFocusMinimum focus0.79 m (31.1″)AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight800 g (1.76 lb)Diameter85 mm (3.33″)Length109 mm (4.27″)MaterialsMetalSealingYesColourBlackFilter thread77 mmHood suppliedYesTripod collarNo

When you use DPReview links to buy products, the site may earn a commission. Fujifilm X-H2 | Fujifilm XF 23mm F2.8 R WR | F5.6 | 1/500sec | ISO 125
Photo: Mitchell Clark

This week, Fujifilm announced the XF 23mm F2.8 R WR, a pancake lens that provides the 35mm equiv. field of view loved by street photographers without a ton of bulk. It's being launched alongside the X-E5 as a kit lens (and our sample gallery for that camera also includes several photos taken with it), but it'll be for sale separately later this year.

We got to spend some time with a pre-production copy, and the samples should provide an idea of how it performs. The images shown in the gallery were processed using our standard Capture One workflow.

See the sample gallery

Buy now:

Buy at AdoramaBuy at B&H Photo

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

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Fujifilm X-E5 | Fujifilm XF 23mm F2.8 R WR | F2.8 | 1/3200 sec | ISO 250 | Astia
Photo: Richard Butler

This week, Fujifilm announced the X-E5, a rangefinder-style mirrorless camera aimed at enthusiasts. At this point, the tech at its heart is pretty well-known. The stabilized 40MP APS-C sensor has been kicking around in cameras like the X-H2, X-T5, and X-T50, so we're not expecting any surprises when it comes to image quality; this is a system that Fujifilm's spent a lot of time dialing in.

What is new is the introduction of the company's (in?)famous film simulation dial to an enthusiast-class camera. It's sporting a new retro look, sure, but its goal remains the same: to get you to play around with the different color modes that Fujifilm is well-known for. It even builds on the concept by allowing you to fill the custom slots with film "recipes," which are groups of settings that the community has put together to get certain looks out of their JPEGs.

We spent some time using the camera and, yes, the film simulation dial to get a feel for how it performs in a variety of situations. Feel free to browse through the photos to see how it did.

See the sample gallery

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

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

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

This week, Fujifilm announced a new rangefinder-style camera aimed at enthusiasts: the X-E5. It sparked a lot of discussion about what features a camera of this class should have, what the X-E line going back upmarket means for Fujifilm's lineup as a whole and especially about its pricing, which is substantially different in the US than in the rest of the world.

Some of DPReview's staff sat down to talk about the X-E5 and the community's reaction to it. You can catch our thoughts in the video below.

On July 16, 1945, the United States conducted the world's first test of a nuclear bomb. The Trinity test sent fallout well beyond the desert of New Mexico, though, and an unlikely source discovered it. A video from YouTuber Veritasium details that incident, explaining how famous film company Kodak accidentally discovered radiation on its X-ray film. It's not a new video, and it's a story that may be familiar to some, but it's too fascinating not to share again.

As the video explains, in 1945, Eastman Kodak Company noticed fogging on its X-ray film. The company began testing and discovered unusual radioactive contamination on the strawboard material used for packaging its photo-sensitive films. The board was produced at a mill in Vincennes, Indiana on August 6, 1945, not long after the nuclear test and, coincidentally, the same day Hiroshima was bombed.

After further testing between September and December 1945, Kodak noticed the boards showed fairly strong beta-activity, which ruled out naturally radioactive materials. Eventually, Kodak determined that this radiation was consistent with the isotope Cerium-141. A paper published in Physical Review in 1949 reports Kodak's findings: "The most likely explanation seems to be that it was a wind-borne fission product derived from the atom-bomb detonation in New Mexico on July 16, 1945."

In January 1951, Kodak noticed continued problems. The company complained to the US government and threatened to sue, so the "Atomic Energy Commission agreed to give the company 'advance information on future tests,' including 'expected distribution of radioactive material in order to anticipate local contamination,'" explains the Institute for Energy and Environmental Research.

This isn't the only weird story about Kodak, either. For years, the company's film production wing was owned by the UK government's pension fund. Both are intriguing situations that are just part of Kodak's interesting history.

Image: Sony

We've made it to Friday, folks. That means it's time to share some firmware news. We already shared the most significant firmware news of the week: a massive update for Nikon Z8 cameras. It introduces multiple new features, but it isn't yet available for download. Nikon also released a more modest update for the Z5, though, which is available for download now. Plus, Sony is offering an update for the a6700, which brings some worthy quality-of-life updates. Let's get into it.

Sony a6700 Ver. 2.00 Image: Sony

Download page for firmware Ver. 2.00

Sony's latest firmware for the a6700 brings some helpful changes, many of which are related to file transfers. The a6700 will now let you continue shooting even when transferring files to a phone or tablet, which is especially useful when photographing events or working in fast-paced environments. Also helpful is the ability to resume transfers if they are interrupted, instead of needing to start the process over again. Plus, the update allows you to only transfer data that hasn't already been sent, preventing duplicates.

The update promises improved image quality when using LUTs, though Sony doesn't say exactly what that means. Here's all you can expect from firmware Ver. 2.00:

• Increases the maximum number of images that can be recorded in one folder to 9,999
• Improves image quality when applying user LUTs
• Displays the Wi-Fi signal strength when the Wi-Fi function is On
• Allows notifications to be displayed when the latest software is available for your camera
• You can now continue shooting while transferring captured photos and videos to a smartphone or tablet
  • Note: Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• Transfers to smartphones and tablets can now be resumed if they are interrupted
  • Note: Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• You can now transfer only the data that hasn't yet been sent to your smartphone or tablet, or add videos to be transferred during the transfer process
  • Note: Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• Allows you to upload camera images directly to the Creators' Cloud
  • Notes: Settings must be adjusted in the Creators' App in advance. For more information, please visit the Creators' App support website.
  • Ver. 2.9.0 or later of the Creators' App is necessary. This service may not be available in some countries or regions. For more information, please visit the Creators' Cloud support website.
• WPA and WEP functionalities are no longer supported. You will no longer be able to select
• WPA or WEP when connecting to Wi-Fi. Please use the more secure WPA2 or WPA3 security setting moving forward
• Improves the operational stability of the camera

Nikon Z5 Ver. 1.50 Image: Nikon

Download page for firmware Ver. 1.50

Nikon's update for the Z5 is much more subtle than its Z8 firmware announcement. Most notable is the added support for power zoom functionality, which the company added to the Z6 II and Z7 II last week. Here are all of the updates for the Nikon Z5:

• Added support for the power zoom feature on power zoom lenses.
• [русский (RU)] has been added to the languages available via the [Language] item in the [SETUP MENU] for Z 5 cameras sold in the Middle East.
• Fixed the following issues:
  • When an SB-500 flash unit was mounted, changing from spot metering to another metering mode did not change the i-TTL flash control from standard i-TTL fill-flash to i-TTL balanced fill-flash.
  • Viewing other pictures in playback zoom display would fail after zooming out a "tall" picture with a pinch gesture.

Photo: Abby Ferguson

There's a common saying in the photography world: The best camera is the one you have with you. After all, it doesn't matter how fancy of a camera you own if you don't have it when something worthy of photographs appears. These days, nearly everyone constantly has a camera with them in the form of a smartphone. If you'd like to maximize image quality from your pocket-sized camera, here are some settings you may want to adjust.

Stick to the main camera Your phone's main camera will give you the best image quality.

Most smartphones feature two or three different cameras on the back and one on the front, each equipped with sensors of varying sizes. The main camera uses the largest sensor, offering the highest resolution and best light-gathering abilities. So, when image quality is crucial, you're better off using the main camera instead of the other options.

Most cameras will open the main camera by default when you launch the camera app. If you aren't sure, make sure the 1x focal length is selected. If you do want a different field of view (how much you see of a scene), stick to the preset options, such as 0.5x or 2x. Pinching to zoom relies on digital cropping and enlargement, reducing quality.

Shoot in Raw or HEIC Shooting Raw will give you more flexibility when editing your images.

Some phones will allow you to use Raw file types. While most phones' Raws are still stitched together from multiple exposures, they typically preserve more image data and may apply less processing, giving you greater flexibility when editing. If you know you want to edit your phone photos before sharing them, using the Raw file type will give you more control and help you get more out of your files.

Use Manual/Pro Modes Even if your phone doesn't have a manual mode, it may provide quick controls for brightness, shadows and white balance. The Pixel 9a, for example, allows you to put those controls on the side of the app.

While phones usually do a pretty good job of handling exposure, they sometimes miss the mark or don't produce what you envision. Most will offer quick exposure compensation or brightness adjustments without getting into individual settings, but that may not be enough. Many phones offer some variety of manual or Pro mode. Those modes allow you to change settings like ISO, shutter speed and white balance, giving you more creative control over your images.

ISO is a particularly useful setting to adjust, as it can significantly impact image quality. Prioritizing a low ISO when you're working with enough light will help you get a cleaner image with minimal noise, thus improving overall image quality. Just be aware that you'll need higher ISOs in low-light situations.

Explore third-party camera apps Even the ProCam X Lite app (a free version of ProCam X) offers more control over settings than most default apps provide.

Lastly, some phones either don't offer manual controls at all, or they may be far too basic and limiting. Likewise, you may want to bypass the automatic image processing from your phone's native camera app. If that's the case, a third-party camera app may be helpful. There are lots of options out there, including ProCamX, OpenCamera, ProShot, ProCamera, Halide Mark II and more.

Choose the full aspect ratio

Choosing a 4:3 aspect ratio will help you capture the full image without automatic cropping. The Google Pixel 9a, like many phones, defaults to that.

Phone sensors generally use a 4:3 aspect ratio, but your phone's camera app likely provides other options, such as 16:9. Those ratios result from cropping, though. Sticking with 4:3 allows you to use the full sensor, giving you more flexibility to crop after the fact and helping you get as much as you can from that small sensor.

Trust the default resolution The Nothing Phone 3a offers a 50MP setting, but it defaults to 12MP.

Some smartphone companies flaunt their high-resolution cameras, but their phones don't use those resolutions unless you change the settings. The Samsung Galaxy S23 Ultra, for example, is capable of 200MP photos. But the camera app isn't usually set to that maximum resolution by default.

While switching to that higher resolution may be tempting when trying to maximize quality, it's not always the best idea. After all, the default resolution is set that way for a reason, and you may not get better image quality from those higher resolutions. That's because most maximum megapixel modes won't benefit from the pixel binning that helps reduce noise in the lower-resolution modes, so you may not actually end up with more detail.

Final thoughts

Even though phone cameras have become quite good, they still won't match the quality of most dedicated cameras, especially in low-light situations. However, by adjusting the settings above, you may be able to tease out more quality, helping you to get the most out of your on-hand camera. Just don't forget that general photography principles apply as well.

Image: Leica

Leica has announced the Vario-Elmarit-SL 28–70mm F2.8 ASPH lens. The new lens is the lightest and most compact standard zoom yet in the company's SL lineup for L-mount cameras.

The Leica 28–70mm F2.8 comprises 16 elements in 12 groups, including 3 aspherical elements. It can focus as close as 0.19m (7.48") at the wide end and 0.38m (15") at 70mm. The optical design is remarkably similar to the Sigma Contemporary 28-70mm F2.8 DG DN lens. However, given that the MFT charts are substantially different, the two lenses seem to perform differently.

Image: Leica

The new Leica lens is also heavier than the Sigma offering, highlighting at least a difference in external construction. That said, it's still quite compact and lightweight. It's lighter than the Vario-Elmarit-SL 24–70mm F2.8 ASPH, albeit with slightly less reach at the wide end. It's also much more compact than the Leica 24-70mm, though it shares dimensions with the Sigma 28-70mm lens.

Leica 28–70mm F2.8 Leica 24-70mm F2.8 Sigma 28-70mm F2.8 (L-mount) Weight 572g (1.2lbs) 856g (1.89lbs) 470g (1.0lbs) Length 102mm (4.02") 123mm (4.8") 101.5mm (4") Diameter 72mm (2.8") 88mm (3.5") 72mm (2.8")

The extra weight of the Leica 28-70mm compared to the Sigma lens is likely due to its metal housing. Leica says the metal construction shields the internal components "from external elements, such as dust and splash water." Sigma's Contemporary lens only offers weather sealing at the mount, not throughout the lens.

Leica's latest lens uses a 67mm filter thread, the same as its SL APO prime lenses. Leica promises quiet and fast autofocus and "cutting-edge coatings" for ideal color rendition and contrast while minimizing reflections.

The Leica Vario-Elmarit-SL 28–70 F2.8 ASPH is available for purchase as of today for $1890. It can also be purchased as a kit with the SL3-S for $6495.

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Press release:

The most compact and lightweight standard zoom lens for the Leica SL-System.

With over 150 years of expertise, Leica has built a legacy in developing precision optical instruments. Leica Camera AG introduces the new Leica Vario-Elmarit-SL 28–70 f/2.8 ASPH., setting a new standard as the most compact and lightweight zoom lens for the SL-System. It seamlessly blends versatility with exceptional imaging performance, enriching the L-Mount portfolio with a premium, fast standard zoom lens designed for everyday use.

The innovative optical design and incorporation of aspherical elements enable the new SL-Lens to deliver exceptional performance while maintaining a constant f/2.8 aperture across its entire focal-length range. Thanks to its constant aperture throughout the zoom range, this lens is an ideal choice for both photography and videography. Featuring Leica’s globally renowned craftsmanship, the new Vario-Elmarit-SL is a premium lens that meets the exacting standards of ambitious photographers, providing them with the support they need to bring their creative visions to life.

The focal length spanning from 28 to 70 mm allows the lens to transition from wide angle to slight telephoto, making it particularly well-suited for capturing landscapes, travel scenes and portraits. The fast autofocus system consistently delivers precise and reliable focus. Cutting-edge coatings on the lenses ensure optimal colour rendition and contrast. These optimise light transmission while effectively minimising reflections. The sophisticated optical construction, comprising 16 lenses arranged in 12 groups, delivers exceptional performance. Three of these lenses feature aspherical surfaces on both sides, enhancing image quality and precision.

The advanced internal technology is securely shielded from external elements, such as dust and splash water, thanks to its durable metal housing. Despite this metal housing, the lens remains lightweight at just 572 g. Its compact dimensions – 102 mm in length with a maximum diameter of 72 mm – ensure excellent portability and versatility for both photography and videography.

The Leica Vario-Elmarit-SL 28–70 f/2.8 ASPH. will be available worldwide in Leica Stores, in the Leica Online Store, and from authorised dealers from 12 June 2025. It can be purchased individually or as part of an attractive kit with the SL3-S. The recommended retail price for the lens is EUR 1,950.00 incl. VAT. The recommended retail price for the SL3-S Vario Kit 28–70 is EUR 6,500.00 incl. VAT.

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The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusaist-friendly outlook of the original X-E models and gains image stabiliation along the way.

Key specifications

• 40MP BSI CMOS APS-C sensor
• Image stabilization rated to 7.0EV
• Twin clickable command dials
• Film simulation dial with 'recipe' option
• 2.36M dot EVF
• 1.04M dot rear up/down tilt LCD
• Video up to 6.2K//30 (with 1.23x crop)
• Continuous shooting up to 8fps, 13fps with e-shutter
• Mic socket, headphones via USB

The Fujfilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. The body-only price represents a $300 premium over the launch price of the similarly-specced X-T50. This difference doesn't exist outside North America. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at.

Index:

• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Press release
• Fujifilm X-E5 specifications

Buy now:

Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo What's new Film simulation dial

Slightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...

Film simulation recipes You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe.

The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.

Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.

Image stabilization

Another thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.

'Self-timer' switch

The X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.

Classic viewfinder mode The X-E5's classic viewfinder mode

One of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display.

In this mode the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. It's almost impossible to interpret with any accuracy, at anything other than the centered position, but it's visually in keeping with the rest of the camera's looks. Charming or ridiculous: you decide.

Other functions

In most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.

How it compares:

The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.

If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.

The high price (in North America, at least) puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9 but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. Outside North America you can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.

Fujifilm X-E5 Sony a6700 Nikon Z5 II Fujifilm X-T5

MSRP US
/ RRP UK

$1699
£1299 $1399
£1429 $1699
£1599 $1699
£1699 Sensor res,
type, size

40MP BSI CMOS
APS-C

26MP BSI CMOS
APS-C 24MP BSI CMOS
Full-frame 40MP BSI CMOS
APS-C Stabilization 7.0EV 5.0EV 7.5EV 7.0EV Viewfinder 2.36M dot OLED
0.62x mag 2.36M dot OLED
0.70x mag 3.69M dot
OLED
0.8x mag 3.69M dot OLED
0.8x mag Rear screen 3.0" 1.04M dot
tilt up/down 3.0" 1.04M dot
fully-articulating 3.2" 2.10M dot
fully-articulated 3.0" 1.84M dot
two-axis tilt Cont. shooting 8fps Mech
13fps Elec. 11fps Mech
11fps Elec. 9.4fps EFCS
10fps Elec* 15fps Mech
13fps Elec. Video options 6.2K/30 w/ 1.23x crop
4K/60 w/ 1.14x crop
4K/30 full width 4K/120 w/1.58x crop
4K/60 oversampled 4K/60 w/1.5x crop
4K/30 oversampled 6.2K/30 w/ 1.23x crop
4K/60 w/ 1.14x crop
4K/30 full width Mic/'phones Yes / Via USB Yes / Yes Yes / Yes Yes / Yes 4ch audio Via optional adapter Via optional adapter No Via optional adapter Media slots 1x UHS-II SD 1x UHS-II SD 2x UHS-II SD 2x UHS-II SD Battery life LCD / EVF 310 / – 570 / 550 350 / 330 580 x 590 Weight 445g (15.7oz) 493g (17.4oz) 700g (24.7oz) 557g (19.6 oz) Dimensions 125 x 73 x 38mm 122 x 69 x 64mm 134 x 101 x 72mm 130 x 91 x 64mm

*30fps in 12-bit readout, JPEG-only mode

The X-E5's high price in North America pits it against some impossible competition, including the X-T5, which with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup. It'll be interesting to see whether its price has to rise in the coming weeks.

There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.

It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned-out by the noise of trade concerns.

Body and handling

The X-E5 is a very solid feeling camera. At 445g, almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.

Control points

The X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.

In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).

Grip

The X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.

As with previous X-Es, this is a camera you're mostly likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.

Viewfinder

There's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.

It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.

The rear screen is the same tilt up/down 1.04M dot (720 x 480px) touchscreen as on the X-M5.

Battery

The X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. This powers the X-E5. Fujifilm has not provided a battery life figure for the camera but we would expect it to be very similar to the 305 shot/charge rating of the X-T50, with which it shares the majority of its components.

CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.

Initial impressions By Richard Butler

We found it interesting to compare the X-E5 to the hypothetical one we wrote about, last October. We correctly guessed that it would have a stabilized 40MP sensor but didn't think it would have a film simulation dial. We were also right when said we thought there was room below the X-T5 to fit an enthusiast model, and that the X-E5 could fill that gap by regaining its second command dial.

And while we said we didn't expect it to be the case, we're delighted that the X-E5 has taken a step back towards being the photographer-friendly camera the series started out as. In the process of doing so it's gained more or a premium feel to its design and build than previous models.

The X-E5, right, regains a number of control points missing from the X-E4, left. These include a second clickable dial on the back of the camera, along with the 'self-timer' style switch on the front, that can accommodate up to five functions, a focus mode switch on the side and the film simulation dial on the top plate.

Personally I would have preferred two non-clickable dials, as it gives a more solid feeling to the control points and avoids any risk of you accidentally clicking while you're trying to turn the dial. I tend to find two command dials are sufficient to control all the key parameters on a camera that also has a dedicated exposure comp dial. I accept that it gives greater freedom of choice and that the ability to press something directly under your thumb to punch in for check focus in manual focus mode is convenient, but I think it would be more in keeping with the sense of well-built solidity that other parts of the design imply.

I also found, as on the X100VI, the long-press of the self-timer switch takes far too long to register: you have to hold the switch for over two seconds to access the second function assigned to that directional press. This is far longer than necessary to prevent accidental access, and means you don't really have particularly quick access to whatever function you've assigned.

Paired with the new 23mm F2.8R WR, the X-E5 is perhaps the closest you can get to an interchangeable lens X100VI. It's likely an updated X-Pro would be larger and more expensive.

Not that I've found myself trying to configure every possible control on the X-E5. It's a camera stuffed to the brim with features (Film recipes, DR modes, face and eye detection separate from its other subject recognition modes...) and yet there are very few of them I need such quick access to that I require two multi-function dials, nine customizable buttons and switches, and four directional swipes on the screen. But they're there if you need them.

But, to a large extent, this is the same thing I felt about the recent X100 models, which in itself is telling. The X-E5, especially with the 23mm F2.8 being launched alongside it, is perhaps the closest we've yet got to an interchangeable lens X100.

We're impressed to see Fujifilm pay attention to its users by providing a simple way to build the 'recipes' that have become a popular way to get the most out of the film simulation system.

But it's impossible to assess the launch of a new Fujifilm model without having to address price and availability. Fujifilm tells us "units are being manufactured in accordance with demand forecasts," and that cameras for the US market will be made in Japan. Notably the 23mm F2.8R WR lens isn't being offered to other customers until "late 2025," prioritising production for X-E5 kits, so there's some reason for optimism.

The price is undeniably high, though: the X-E series had become progressively less expensive as they were made simpler, so this more ambitious model was always going to be a step above its predecessor. The subsequent pricing of the X-T50 and X-M5 also hints at the contribution of inflation in four and a half years since the X-E4's launch. Collectively, these might have explained a launch price that matched the X-T50, as is the case outside North America. Unfortunately, that's not the version of the world we live in.

Buy now:

Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo Sample gallery

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

Fujifilm has announced the XF 23mm F2.8 R WR lens, a wide-angle, 35mm equiv. pancake lens for its APS-C cameras. It's a similar focal length to the lens used by the much-coveted X100-series and has similar dimensons, though its maximum aperture is a stop slower.

The lens is very light and compact; its 23mm (0.9") long and weighs in at 90g (3.2oz). Despite that, it has a fair number of features: it has a clicking aperture ring that can be locked into the auto position, its manual focus ring has a "high frequency position" detector to make it easier to focus despite its short throw, and it's water and dust resistant. The silver version of the lens even has a matched grey gasket on the back, rather than a black one.

The X-E5 paired with this lens makes a pretty compelling X100VI alternative.
Photo: Mitchell Clark

Optically, the lens is made up of 8 elements in six groups with two aspherical lenses. It has an 11-blade aperture.

The lens will come in black or silver, and will retail for $499. Fujifilm says it won't be available on its own until December, though it'll start making its way into customers hands as a kit lens for the X-E5 later this summer.

See the sample gallery

Buy now:

Buy at AdoramaBuy at B&H Photo

Press Release:

Fujifilm Introduces the Versatile, Ultra-Compact, Lightweight FUJINON XF23mmF2.8 R WR Lens

VALHALLA, N.Y. - June 12, 2025 – FUJIFILM North America Corporation, Electronic Imaging
Division, announces the launch of its FUJINON XF23mmF2.8 R WR (XF23mmF2.8 R WR) lens.
Designed with portability in mind, XF23mmF2.8 R WR was developed to be thin and unobtrusive while delivering powerful resolution and autofocus (AF) performance.

“The first word that comes to mind when thinking of XF23mmF2.8 R WR is ‘versatility’,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “The lens is adaptable to handle standard, wide-angle, close-up image making with ease, while at the same time offering an ultra-compact form factor and user-friendly functionality. From street photography and travel/landscape, where the big picture tells the story, all the way to tabletop photography, where close up, intricate details are critical, XF23mmF2.8 R WR is the ideal everyday carry, designed to work with you on the move.”

Main Features:

Ultra-compact and lightweight design with high resolution performance

XF23mmF2.8 R WR is designed to deliver high resolution performance compatible with the FUJIFILM X Series’ approximately 40.2 megapixel X-Trans™ CMOS 5 HR1 sensor.

• By adopting 8-elements in 6 groups, including two aspherical lenses, XF23mmF2.8 R WR minimizes aberrations from the center to the periphery.
• The lens has been made optically compact through Fujifilm’s latest lens development which reduces size by increasing the number of metal components to make parts thinner while maintaining durability.
• XF23mmF2.8 R WR features a focal length of 23mm (equivalent to 35mm in 35mm format), an overall length of only 23mm2 and a weight of approximately 90g (3 ounces). The lens’s 11- blade aperture diaphragm also delivers smooth, circular bokeh for excellent subject separation, most notably at wider apertures.

Close-up photography and high-precision, high-speed autofocus (AF)

• XF23mmF2.8 R WR excels at close-ups, down to the minimum object distance of 20 cm (7.9 inches) from the sensor.
• The lens uses a full-group focusing system, which suppresses aberration variation depending on the focus position, enabling high image quality photography even at close range.
• A powerful direct-current (DC) motor is integrated into the lens to achieve high-speed AF.

Stylish yet durable user-friendly design

• Knurling at the base of the lens allows for a secure grip when changing lenses.
• The manual focus (MF) ring is equipped with high frequency position detection for high precision manual focus with minimum rotation angle.
• A fixed spacer between the manual focus and aperture rings makes for easier adjustment of either setting when composing through the viewfinder.
• With 9 sealing points, the lens is dust and moisture resistant to temperatures as low as -10 degrees Celsius (14 degrees Fahrenheit) and can be used safely in light rain, cold, or dusty environments.

The FUJINON XF23mmF2.8 R WR lens will be available late 2025 at a Manufacturer’s Suggested Retail Price of $499.95 USD and $559.99 CAD. For more information, visit https://www.fujifilm-x.com/en-us/products/lenses/xf23mmf28-r-wr/.

1 X-Trans is a registered trademark or trademark of Fujifilm Corporation.

2 Equivalent in size to XF27mmF2.8 R WR.

Fujifilm XF 23mm F2.8 R WR Specifications Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length23 mmLens mountFujifilm XApertureMaximum apertureF2.8Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements8Groups6Special elements / coatings2 asphFocusMinimum focus0.20 m (7.87″)Maximum magnification0.15×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodUnitDistance scaleNoDoF scaleNoPhysicalWeight90 g (0.20 lb)Diameter62 mm (2.44″)Length23 mm (0.91″)MaterialsAluminiumSealingYesColourBlack, SilverFilter thread39 mmHood suppliedYesTripod collarNo