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

TTArtisan is no stranger to making L-mount lenses, but those have always been manual focus options. That's no longer the case, though, as the budget third-party lens maker has released an autofocus lens for L-mount cameras. TTArtisan originally released the AF 75mm F2 prime lens in September 2024 for Sony E and Nikon Z-mount.

The L-mount version of the AF 75mm F2 weighs 329g (11.6oz), which is slightly less than the Z-mount model. Aside from the weight difference, the L-mount version shares the same specifications as the other mounts. It uses a stepper motor for autofocus, which TTArtisan says is fast, quiet and accurate. The lens supports eye, animal and vehicle AF detection as well, and it can focus as close as 0.75m (2.5').

Image: TTArtisan

The lens features ten elements in seven groups, including one extra-low dispersion (ED) element and four high index elements, promising to reduce chromatic aberration and improve overall image quality. It has nine diaphragm blades and an aperture range of F2 to F16.

TTArtisan's AF 75mm F2 offers a clicked aperture ring, with no option to de-click it for silent operation. It uses all-metal construction for better durability, and a USB-C port allows for firmware updates.

The TTArtisan AF 75mm F2 lens is available for purchase today for $178.

Buy now: $178 at TTArtisan

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

We've been using the Panasonic Lumix DC-S1RII in a range of circumstances, shooting galleries, covering trade shows and photographing weddings, in addition to our standard tests. We take a look at how it works, what it does well and where it worries us.

Autofocus operation

The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.

The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.

There's a twist, though: the S1RII can either be set to use its focus tracking system or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.

This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.

AF interface

The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.

When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them.
Photo: Mitchell Clark

If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.

Autofocus performance

Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.

In our standard tracking test we found the S1RII had a tricky time of following the subject – it lost track of the subject on half of the runs we performed. The camera would typically lose the subject as the rate of approach changed as the target turns a corner.

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Human detection did a better job but could still be prone to losing the subject mid-run (it did so in one of the four runs we conducted). This is consistent with our other usage of the camera: it can be very sticky once it's found a subject, but it doesn't always successfully find subjects, and it can lose track of them as you're shooting. The camera also appears to have struggled to judge subject distance consistently, resulting in some softness when the subject's approach speed varies.

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Perhaps the most concerning behavior, though, was one we've seen in other recent Panasonic cameras, where tracking AF will fail to find something to focus on at all and will simply present a red flashing box and make no further attempt to focus. This is offputting enough to undermine our faith in the reliability of the camera, probably out of proportion to how often it occurs. Just knowing that the camera will sometimes fail to focus and make you wait a few moments is an unpleasant thought to have lingering in the back of your mind and not something we're used to encountering on a modern camera.

This month, we're looking for pictures that feature a red, green and blue color palette. This photo was taken on a hike with friends in Glacier National Park while I was testing the Sigma 28-105 F2.8. Unintentionally, they happened to color-coordinate their backpacks to fit this theme
Photo: Mitchell Clark

The theme for our April's Editor's challenge is 'RGB,' or red, green and blue.

We're looking for photos featuring a red, green, and blue color palette. Think an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time.

You can submit photos to the competition starting Sunday, April 6th. The last day for entry will be Saturday, April 12th (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see all the rules

Photos: SmallRig, CineStill, Tamron

We're back with another accessory roundup. This week, we're taking a look at memory cards, memory cards, and more cards! Oh, and some other stuff, too, but we'll get to that right after we discuss the deals.

On sale this week

Photo: Brendan Nystedt

If you're looking for an entry-level full-frame camera, Canon's EOS R8 is one of the cheapest ever released. That's especially true now that it's on sale for $200 off, putting it at only $1300. It doesn't have all the whizz-bang features of more expensive models – IBIS is a particularly notable omission – but for the price, it's hard to complain.

Buy now:

$1499 at Amazon.com$1499 at Adorama$1499 at B&H Photo

If you've got $2000 to spend on a mirrorless camera, there are a lot of great options. But if you're feeling nostalgic, you're in luck – the Nikon D850 is currently on sale for $400 off. It may be a camera destined for the history books, but that doesn't mean there's no reason to use one today.

Buy now:

$1996 at Amazon.comBuy at B&H Photo A deck of cards Image: Pergear

It's a big week for CFexpress cards – we've seen several new options hit the market. The first two are from Pergear and Novachips, and are aimed at budget-conscious shooters. The former company is offering CFexpress Type A cards starting at just $129 for a 256GB model. Type A cards have always been more expensive than Type B or SD models, likely partly because they're far less common – Sony is the only major manufacturer whose cameras use the standard.

Novachips, meanwhile, is selling both Type A and Type B cards. You can get a 330GB Type A card for $238, and a 256GB Type B card for just $125.

Meanwhile, Delkin has updated its lineup of CFexpress Type B cards, making them even faster and adding more storage options. Unlike the other cards we've covered today, these ones aren't particularly cheap. But if you need the utmost performance, they may be the way to go.

A do-it-all reader Image: SmallRig

If you end up buying one of those CFexpress cards, you'll probably want a way to offload data from it to your computer. SmallRig has you covered. Its new 9-in-1 docking stations offer either a CFexpress Type A or Type B reader, along with myriad other I/O options.

Despite costing less than some dedicated CFexpress card readers, the docks also include SD and Micro SD readers, two 5Gbps USB-A ports, two USB-C ports, one of which can accept 100W of power to pass along to your computer, HDMI and gigabit Ethernet ports. It also includes a cable that lets you connect it to your computer and transfer data at up to 10Gbps, though its CFexpress read speeds are limited to a (still quite fast) 6Gbps. The one downside is that you'll have to decide whether you want a dock with a Type A reader or a Type B reader; there isn't one that does both.

Buy at B&H Buy at Amazon A bright idea Image: SmallRig

SmallRig is also becoming a major player in the budget lighting space, to the point where it's releasing add-on products for its COB lights. This week, the company introduced the SP-mini, a spotlight attachment for its lights with the RCmini mount, including the RC60B/C and RC100B/C.

It does pretty much what it says on the tin, allowing you to focus your light on a narrow area, highlighting your subject. It also comes with 10 gobos to help you shape the light, creating interesting patterns in shadow.

The SP-mini is available now for $149.

Buy at SmallRig The ProPack

If you're a medium-format shooter and a fan of CineStill's 400D film, we've got great news: you can now buy a "ProPack" with five rolls of the 120 film. You won't save much by doing so – it's only around $3 cheaper than buying five individual roles – but at least you'll know you've got enough on hand for whatever you want to photograph.

Buy at CineStill Save on a lens

The Tamron 28-75mm F2.8 DI III VXD G2 is currently available for $200 off.

Image: Tamron

Tamron hasn't announced any new lenses, but it is having a spring sales event from now until April 20th. That means you can pick up some of its best glass for up to $200 off. The sales are available on Tamron's site and through retailers like B&H and Amazon. You can see which lenses are on sale and how much off you can expect on the company's website.

Read last week's roundup

Sinna Nasseri's photographs are distinctively his, with a unique style that draws upon mistakes and happenstance. Despite being relatively new to photography, he has photographed countless famous and influential people. His work is frequently featured in publications like Vogue, The New York Times and others. In a recent video interview with YouTuber and photographer Willem Verbeeck, Nasseri talks about his photographic path and how important mistakes are to his work.

Nasseri, formerly a corporate lawyer in New York City, recognized that 2020 would be a pivotal year. After just two years of photography, he quit his job and embarked on a journey of living in his car and traveling across the country to capture images. That same year, Vogue hired him to photograph the Democratic National Convention. Reflecting on this experience, Nasseri admits he wasn't fully prepared at the time, lacking the skills and a clear personal vision or style.

Now, though, his images have a very distinctive style, and it's pretty easy to tell photographs are his before seeing his name. "I think like my guiding principle is really to kind of try to not make things that have been made before, which is really hard to do," says Nasseri. One of the keys to his process is to embrace uncertainty, chaos and errors. He notes that some of his best photos are those that resulted from mistakes. "It's fun to make photography that doesn't look like normal life. We see normal life all the time," Nasseri says.

The video provides interesting insight into Nasseri's unique work, process and journey and is well worth a watch. You can see more of Nasseri's photographs on his Instagram.

SkyPixel, the aerial photography and videography community, has announced the winners of its 10th annual contest. The contest this year drew thousands of participants, who submitted over 140,000 entries from around the world. While the contest has traditionally been exclusively open to aerial photos and videos, a handheld video category was added this year, opening submissions to more than just aerial shots.

The contest features both photo and video categories, with two Best Video Prize winners –one for aerial and one for handheld – and one Best Photo Prize winner. Additionally, the SkyPixel contest selects the top 10 video and photo winners. There is also a "Nominated Entries" category (a people's choice award) with five video and five photo winners.

You can learn more about the contest and see all of the winning images and videos on the SkyPixel Contest website.

2025 Annual Best Video Prize (Aerial): The War - My Transformation Journey by Bashir Abu Shakra

Directed by Bashir Abu Shakra, The War - My Transformation Journey uses stunning aerial shots to tell his story of battling loneliness, leading to self-discovery. The project was filmed over the course of five years across eight countries, including China, Venezuela, Italy and more. Shakra purposefully chose each landscape to fit with the song's lyrics, aiming to use the contrast between the song and visuals to show how nature helped him overcome his struggles.

Judge comments: "The opening shot is truly captivating, marked by its elongated duration, graceful camera movements, and the serene beauty of the time of day. The composition stands out as particularly noteworthy. It’s one of my favorites, and the overall quality is exceptional," said Claudio Miranda.

"The War is an admirable film. Landscape photography is never a simple record, and every shot taken by this cinematographer is refined, precise, and captivating. The angles, the light all show his persistence and perseverance. It is a film where technique and the creator's inner vision are highly aligned. I really liked the ending," said Chenyu Jin.

2025 Annual Best Video Prize (Handheld): Japan Travel Cinematic by Henry Yue Image: Henry Yue

The new handheld category of the SkyPixel contest celebrates videography created with handheld or stabilized cameras. The inaugural winner, Henry Yue, showcased popular and iconic destinations across Japan in Travel Cinematic. The video uses cinematic camera angles and transitions with creative compositions. You can view the video on the SkyPixel website.

Judge comments: "The sound design and use of movement in this film were second to none, absolutely capturing the essence of Japan in the most stunning way. This was one of my favorites, and I felt immersed from the moment I hit play. Keep up the incredible work—this was truly something else," said Sam Newton.

"Japan Travel is a work rich in visual elements, combining both motion and stillness without causing any sense of chaos. Henry expertly controlled the pace of the film, with clean tones and precise, appropriate exposure control that perfectly integrates all elements. It is a highly refined and cohesive piece," said Chenyu Jin.

2025 Annual Best Photo Prize: Gangerqia Photo: Gangerqia

Photographer: Gangerqia

Caption (machine translated): A red-crowned crane accidentally fell down when it landed, leaving a phoenix-like shadow on the snow-covered ice. The photographer used the dark spring as a guide point to capture this beautiful moment.

Judge comments: "This aerial photo works beautifully because it almost tricks you at first glance—like you're looking at a drawing rather than a real landscape. There's a frozen pond shaped like an eye that immediately grabs your attention, and the neat line of footprints from the bird adds a playful sense of movement. It’s simple, clean, and has a bit of mystery to it. The minimal colors and subtle textures make the whole thing feel calming but intriguing at the same time," said Luke Stackpoole.

Selection of Annual Top 10 Photo Winners

Photographer: AB Gusai

Image title: Mud bath bliss

Caption: In the heart of the Indian countryside, a buffalo finds its own unique way to beat the heat. This aerial view captures the animal fully immersed in a vibrant pond, reveling in a luxurious mud bath. The deep, rich mud clings to its skin, providing a natural sunscreen and a soothing relief from the scorching sun. The buffalo seems to sigh contentedly, its eyes half-closed as it luxuriates in the cool, wet embrace of the mud. This image is a reminder of the simple pleasures in life, the joy of a good mud bath, and the resilience of nature's creatures in adapting to their environment.

Photographer: Fadah

Image title: Sailing through the ice

Caption: None

Photographer: hanifi

Image title: bulgurcu

Caption: Wheat harvested in the Gaziantep province of Turkey is turned into bulgur after various processes. The resulting bulgur is laid out in the sun to dry. Bulgur needs to be stirred frequently to ensure it dries quickly. The different geometric shapes that emerge during this process are preserved.

Photographer: Joanna Steidle

Image title: Another World

Caption: This is a top-down drone capture of a fever of cownose rays mixing their way through a school of menhaden fish. Taken just off the coast of the Hamptons, Southampton, New York , USA . On this day the sky was clear, and the sea was calm, allowing the sunlight to enhance the depth and bursting sand clouds.

Photographer: qb.pixels

Image title: Alien made symbol

Caption: The crest of Buri in Sicily is likely a rocky ridge with Mediterranean vegetation, offering scenic views and possibly historical ruins from Sicily’s rich past.

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

Panasonic's S1RII is the company's latest professional-level full-frame camera, featuring a 44MP sensor, burst rates up to 40fps with continuous autofocus and promises of improvements to its autofocus system, especially when it comes to recognizing humans and eyes.

We're currently in the process of reviewing it, so when a friend-in-law asked me to be the photographer for her wedding, it felt like a great way to see how the camera would perform during a high-stakes, real-world shoot. It also promised to test the S1RII's specific strengths; I'm by no means an expert wedding photographer, so I'd need to lean on the autofocus system and shoot wide, secure knowing I had the resolution to crop in to fix imperfect compositions.

Let's start with what went well. The S1RII's design is, in my opinion, more comfortable than the original. It's substantially lighter and feels more like a tool designed for human hands than a piece of industrial equipment. I also have no complaints about the control layout; there are enough buttons for all the settings I need quick access to, and they're easy to operate without looking.

The S1RII has all the controls you'd expect to find on a professional-level camera, and is comfortable to hold.

Photo: Mitchell Clark

The image quality I got aligns with our studio test scene results: the pictures have a lot of detail, and, subjectively, I thought the straight-out-of-camera colors were quite nice. I'm also pleased with the dynamic range of the Raw files. It was an outdoor ceremony on a Las Vegas afternoon, so I spent most of the time exposing to preserve highlights with plans to raise the shadows in post. While I haven't made it through every photo yet, they mostly seem to be handling relatively extreme pushes and pulls with grace.

Exposure raised 1.75EV in post, cropped to taste.

Lumix S Pro 24-70 F2.8 | F4 | 1/800 sec | ISO 80 | Edited from Raw in Capture One
Photo: Mitchell Clark

The autofocus system is where my complaints start. Panasonic has made what I think is a strange decision with the S1RII: if you have subject detection mode on, tracking will only work if it detects a subject. So if, for example, I had human eye detection on, I couldn't put my focus point over the wedding cake, start tracking, and then recompose my shot.

This way of shooting may sound strange if you haven't tried it before, but I've found it's faster and more efficient than setting the focus point with the autofocus joystick. And, importantly, it's what I've become used to: Canon, Nikon, Sony and Fujifilm all let you track arbitrary points even when subject recognition mode is on. If you mainly want to use tracking autofocus with the S1RII, you'll likely have to constantly toggle subject detection on and off.

That limitation also wouldn't have mattered as much if the S1RII had been better at recognizing subjects, but I found its performance a bit unreliable. Most of the time, it worked as intended, but there were several times when it just didn't recognize that I was pointing it at a human. That meant I had to realize it wasn't working, move my thumb to the joystick, and get the focus point where it needed it to be, all before the moment was over. This very nearly led to me missing the couple's kiss during the ceremony, which would've been – to put it mildly – quite unfortunate.

There were plenty of times when the S1RII quickly and confidently locked on to my selected subject.

Lumix S Pro 24-70 F2.8 | F2.8 | 1/60 sec | ISO 320 | Out of camera JPEG
Photo: Mitchell Clark

To be clear, I wouldn't consider this to be deal-breakingly bad autofocus; I still got plenty of tack-sharp photos, and I have no doubts that a professional photographer could shoot a wedding with the S1RII and end up with mostly keepers. However, despite the promised improvements, Panasonic is clearly lagging behind the competition when it comes to its autofocus system.

Case in point: I used a Canon EOS R5 II for part of the wedding, and never had an issue with its subject detection. Throughout our tests, we've found that Canon's system has an almost supernatural ability to find and stick to faces even in challenging conditions where their eyes, nose and/or mouths are obscured. The same is true for Sony and Nikon's autofocus systems too.

The EOS R5 II zeroed in on the subject's eye, even in this relatively difficult situation.

RF 70-200mm F2.8 L IS USM Z | F2.8 | 1/160 sec | ISO 1600 | Out of camera JPEG
Photo: Mitchell Clark

One last complaint before we get back to compliments: the placement of the record button on the front of the camera makes it really easy to accidentally start taking a video. Thankfully, you can assign separate functions to it depending on whether you're in stills or video mode, letting you set it to do nothing while you're taking photos while retaining its original function for videos.

As for battery life, the S1RII did okay. I shot around 1,700 photos – many of them in bursts – and while I frequently turned the camera off to save battery, I did have it on for the entire 20-minute ceremony. I went through about one and a half batteries, putting in a fresh one between the ceremony and the reception. If I were to do it again, I'd probably opt to use a battery grip, especially if I wasn't sure how long the ceremony would last.

I'm pretty happy with the S1RII's photos, and so are the bride and groom. But...

I'm also happy to accept middling battery life if that's the price for the S1RII's large, bright and high-resolution EVF. And while I mostly used the viewfinder during the ceremony, I was happy to have a display mechanism with both tilting and full articulation when shooting detail shots of the venue and decorations, encouraging me to be flexible with my compositons.

Overall, I'm pretty happy with the photos I got out of the S1RII. And, more importantly, so are the bride and groom. Still, I wish the autofocus system had made it a bit easier to get those end results, and hadn't added pressure to what is already a very stressful job. It certainly wasn't the most difficult thing ever; I'm well aware that people shot weddings for years using cameras with single autofocus points or even – gasp – no autofocus at all.

Several years ago, I shot my sister's wedding with a Fujifilm X-T30. The experience of using the S1RII was worlds apart, as it's far more suited to the task. Even with my complaints, I'd still take it over that every day of the week. But the next time I'm asked to shoot a wedding, I won't respond with, "Sure, let me just grab my S1RII," or even "I'll get the EOS R5 II." I'll probably say, "Ehhhh, maybe get a professional photographer."

Photo: Dale Baskin

Panasonic has released a firmware update for the Lumix DC-S9, offering some smaller performance-related fixes. Firmware Ver.1.3 is mostly subtle, but it promises to address one of the S9's slightly frustrating features: its slow startup speed.

When we reviewed the S9, start-up times were occasionally upwards of four seconds. On paper, that doesn't seem like much, but it was notably slow at times. In many situations, that won't be much of a problem beyond a slight inconvenience. But when you are trying to capture something happening right that moment, four seconds could mean the difference between getting the shot or not. The official note for the firmware update says, "The startup speed when powering on has been improved." We haven't tested the new firmware to see how much of a difference this makes, but it's good to see that Panasonic is addressing the issue.

Beyond startup speed, Ver.1.3 also promises improved operational stability and offers some subtle Wi-Fi-related updates, all of which you can see below. You can download Ver.1.3 now from the Panasonic website.

Firmware Ver.1.3 notes:

Feature changes due to security enhancements

• When directly connecting the camera and smartphone via Wi-Fi, the connection has been changed to always require password authentication. (The [Wi-Fi Password] menu has been removed.)
• The [TKIP] encryption method is no longer supported when connecting to Wi-Fi via an access point.
• The [No Encryption] option in network authentication is no longer supported when connecting to Wi-Fi via an access point.
• The image transfer feature to PC via Wi-Fi has been removed. (Only European/Ukrainian models)

Other improvements

• The startup speed when powering on has been improved.
• The operational stability has been improved.

2025 World Press Photo Contest winners

The 68th annual World Press Photo Contest winners have been announced, highlighting outstanding examples of documentary photography and photojournalism worldwide. The contest is divided into six regions: Africa, Asia-Pacific and Oceania, Europe, North and Central America, South America, and West, Central, and South Asia. Each region features Single, Story and Long-Term Project categories, with the latter two including multiple images per winning photographer.

The contest grew this year, with three winners instead of only one selected across the Single and Story categories per region. There is still only one Long-Term Project winner per region. In total, 42 photographers were selected as winners. Of those winners, 30 were local to where they photographed their subjects.

This year's themes included politics, migration, conflict, gender and the climate crisis. Photographers captured some of the world's current conflicts, the impact of climate disasters, secret Pride celebrations, portraits of those impacted by war and much more. The awarded stories will be part of World Press Photo's annual traveling exhibition, which will be held in over 60 locations around the world, beginning with Amsterdam at De Nieuwe Kerk from April 18 to September 21.

World Press Photo prohibits the use of AI in images, including generative fill and fully generated images. The contest uses a multilayered approach to spot fake and manipulated images, partly including verification of the facts behind each story and examinations by digital analysts.

You can see more of the winning images and projects on the World Press Photo website.

Africa – Singles: Temiloluwa Johnson

Photographer: Temiloluwa Johnson

Image title: Mother Moves, House Approves

Date: June 21, 2024

Image details: Participants at “Heavenly Bodies,” an underground drag ballroom event during Lagos Pride, celebrate the “mother of the year” winner. Lagos, Nigeria.

Members of the LGBTQI+ community in Nigeria face legal prosecution, widespread social discrimination, and physical violence. Held in a secret location, “Heavenly Bodies: Notes on Fola Francis” was the third edition of the Pride celebration in Lagos ballroom, one of the largest drag ballroom experiences in Nigeria. The 2024 series was named after the late Fola Francis, a trans icon, activist, and first openly transgender person to walk the runway during Lagos Fashion Week. Despite all risks, the event was an electrifying experience, providing a vibrant space for celebration of love and free self-expression.

Jury comment: In a country where LGBTQ+ peoples have no legal protection and face up to fourteen years in prison, this image portrays a moment to breathe for the queer community. The striking composition seamlessly ties together a busy scene, conveying joy, love, and celebration. Due to the sensitive legal context, this story is often overlooked in the region, but by focusing on body language, gestures, and shapes, the photographer captures the essence of the moment while protecting the identities of those involved.

Africa – Stories: Luis Tato

Photographer: Luis Tato, Agence France-Presse

Series title: Kenya’s Youth Uprising

Date: June 25, 2024

Image details: Two protestors helping injured people are hit with tear gas outside the Kenyan Parliament during a national strike against the Finance Bill 2024. Nairobi, Kenya.

In 2024, the National Treasury of Kenya proposed additional taxes on everyday items to generate additional income and alleviate Kenya’s high debt burden. Protests against the bill erupted, led by young Kenyans who organized actions over social media. On 25 June, protestors stormed Parliament and clashed with police; many were killed or abducted and hundreds were injured. Though President William Ruto withdrew the bill, protests persist into 2025, fueled by anger over economic hardship, corruption, police brutality, and distrust of the political class. All across Kenya, young people have emerged as a driving force, demanding accountability and systemic reforms.

Jury comment: This project offers strong photojournalistic coverage of a key news event from the year, with each shot and the overall edit effectively capturing the unfolding events while also addressing larger issues of generational divides across Kenya, particularly the disillusionment between older and younger generations. The photographer's ability to capture the story from both sides, while being so close to the friction—moments of explosion when fatalities occurred—adds significant depth. The high-level photography aligns perfectly with what the jury was looking for.

Africa – Long-Term Project: Cinzia Canneri

Photographer: Cinzia Canneri, Association Camille Lepage

Project title: Women’s Bodies as Battlefields

Date: June 4, 2021

Image details: Despite experiencing trauma, the girls find strength and support in their
shared experiences, fostering resilience, self-confidence, and collective strength. Um Rakuba Refugee camp, Gedaref, Sudan.

Project details: In 2017, Cinzia Canneri began documenting the experiences of Eritrean women fleeing Eritrea’s repressive government. Since the outbreak of war in the Tigray region of Northern Ethiopia in 2020, her scope has expanded to include the stories of Tigrayan women fleeing from armed invasion. Both groups have been the targets of systematic sexual violence – rape, shooting, torture – that, due to social stigma, limited health facilities, and journalistic access, remains insufficiently reported by news media. By amplifying the stories and voices of the survivors, this project reimagines the idea of resilience as a complex collaborative challenge against pain, trauma, and loss.

Jury comment: This project amplifies the voices of the women affected by the war in the border region of Eritrea, Ethiopia, and Sudan, with remarkable depth and care. The jury was impressed by the photographer's commitment to the story and the trust she fostered with the Tigrinya women she photographed, shedding light on their underreported experiences. Despite working within a challenging media landscape marked by misinformation and difficulty in gaining access, the work offers a rare, intimate perspective, balancing the weight of the subject matter with moments of beauty and tenderness. Furthermore, the photographer’s self-reflective approach—evident in the strong captions, thoughtful sequencing, and acknowledgment of her positionality as an Italian woman in a region shaped by Italy’s colonial history—adds further depth to this powerful work, balancing the weight of the subject matter with moments of beauty and tenderness.

West, Central, and South Asia – Singles: Murat Şengül

Photographer: Murat Şengül, Anadolu Agency

Image title: Drone Attacks in Beirut

Image date: September 29, 2024

Image details: People glance anxiously upwards during an Israeli drone strike, as they take refuge away from buildings in Beirut’s Dahiyeh neighborhood. Jets and drones often fly at low altitudes, causing fear and distress. Lebanon.

Cross-border attacks between Israel and Lebanon-based Hezbollah – ongoing since the outbreak of the war in Gaza – escalated sharply in September 2024. Israel announced a new goal to eliminate the militant group, first launching airstrikes into southern Lebanon, and later a ground offensive. Beirut, initially a refuge for those fleeing airstrikes in southern Lebanon, itself came under fire as attacks spread northwards. From 27 September, Israel targeted buildings, including apartment blocks in Dahiyeh, saying that Hezbollah was headquartered in the densely populated suburb.

Jury comment: This photo captures a paradoxical moment of people seeking safety while sheltering outdoors, highlighting the impact of drones and technological warfare. It brings attention to the psychological trauma endured by those living under constant threat, where safety is elusive, and terror can strike from the sky at any moment. It powerfully conveys the ongoing reality of living in fear.

West, Central, and South Asia – Stories: Ali Jadallah

Photographer: Ali Jadallah, Anadolu Agency

Series title: Gaza Under Israeli Attack

Date: August 9, 2024

Image details: Relatives of people killed in an Israeli attack on the Nuseirat refugee camp
mourn as the bodies are brought to al-Aqsa Hospital. Deir al-Balah, Gaza.

Series details: Israel continued its war on Gaza throughout 2024, leaving much of it in ruins. The UN reports more than 60% of homes have been destroyed and 95% of hospitals are non-functional. Nearly two million people have been displaced amid acute shortages of food, clean water, and medicines, due to Israeli restrictions.

With international journalists effectively barred from Gaza, local photographers risked their lives to document the war. The photographer, who has also lost family members, says: “Every time I photograph a destroyed house, I remember mine. Every time the wounded and martyred are pulled from the rubble, I remember my father and siblings.”

Jury comment: The jury felt this work offers a critical representation of the industrial scale of violence experienced daily by Gazans. Despite the story's graphic imagery, the project serves as a powerful record of the immense human cost and destruction endured by civilians. Additionally, it underscores the vital role of Gazan photographers in bearing witness to these ongoing atrocities, ensuring that the world does not look away especially as international journalists are barred entry.

West, Central, and South Asia – Long-Term Project: Ebrahim Alipoor

Photographer: Ebrahim Alipoor

Project title: Bullets Have No Borders

Date: June 1, 2019

Image details: A kolbar follows an arduous mountain path. Kolbars’ packs can weigh around 50 kg, and crossings take an average of eight to 12 hours. Kurdistan, Iran.

Project details: Kolbars (border couriers) carry goods, such as household appliances, mobile phones, and clothes, on their backs through treacherous terrain from Iraq and Turkey into Iranian Kurdistan. The Iranian government bans import of many such goods to protect local production and save foreign currency in the face of Western sanctions. Decades-long marginalization of Kurds means widespread unemployment in the region, driving many to kolbari. In addition, many kolbars see the activity as legitimate, as they feel ties with fellow Kurds across nation-state borders they do not acknowledge. However, kolbars risk being shot by security forces and border patrols.

Jury comment: The jury felt that this project—shot in Western Iran—provides a rare and deeply nuanced perspective on the complex impacts of economic sanctions, offering a lens rarely seen in mainstream coverage. The photographer's long-term commitment and willingness to take significant personal risks to tell this story is evident in every frame. Each image stands on its own while also contributing to a broader, compelling narrative, inviting viewers to slow down, engage with each caption, and absorb the layered realities of life under sanctions.

Asia-Pacific and Oceania – Singles: Mas Agung Wilis Yudha Baskoro

Photographer: Mas Agung Wilis Yudha Baskoro for China Global South Project

Image title: The Impact of Nickel Mining on Halmahera Island

Date: August 12, 2024

Image details: Workers ride towards a nickel smelting and processing plant, amid heavy rains that continued for two days, causing flooding. Weda, Halmahera, Indonesia.

Nickel mining in Indonesia has ramped up in the past decade, and Weda Bay now accounts for 17% of global production of a metal essential for electric vehicle batteries and renewable energy storage. Research indicates that deforestation from mining leads to longer and more frequent flooding. Air pollution from nickel smelting and coal-based energy production has also surged, with one local health center recording a 25-fold increase in respiratory diseases between 2020 and 2023.

Jury comment: This image captures the impact of foreign industry and mining operations on the local community, pulling together complex issues like the exploitation of raw materials, pollution of the environment, and the influence of corporate power, into a single frame. The strong foreground emphasizes the intertwined social and environmental cycle and trap of industrialization, whereby local communities become dependent on industrial jobs that are simultaneously leading to the ruination of the environment. Direct eye contact from the workers in the frame further draws the viewer into the story, underscoring the human toll of these issues.

Asia-Pacific and Oceania – Stories: Noel Celis

Photographer: Noel Celis for Associated Press

Series title: Four Storms, 12 Days

Date: October 25, 2024

Image details: A boy wades through a flooded street with his pet dogs in a styrofoam
container, after Tropical Storm Trami. Naga City, Camarines Sur, northern Philippines.

Series details: Four consecutive cyclones, three of which developed into typhoons, hit the Philippines in a matter of days in late October and early November 2024. Tropical Storm Trami, followed by Typhoons Yinxing, Toraji, and Usagi left a trail of destruction, mostly in the northern Luzon region.

A Philippine Climate Change Assessment Cycle report points to a 210% increase in typhoons hitting the Philippines since 2012, and other studies indicate that the climate crisis is intensifying extreme rainfall and flooding worldwide.

Jury comment: This selection highlights the increasing frequency of natural disasters in Southeast Asia, illustrating how people are becoming increasingly accustomed to such events. The classic edit includes photographs that juxtapose intimate moments with the broader scale of these storms, capturing both their personal impact and the wider consequences at the local and national scale. The combination of day- and night-time shots emphasize the relentless nature of these extreme weather events, maintaining a consistent aesthetic throughout.

Asia-Pacific and Oceania – Long-Term Project: Tatsiana Chypsanava

Photographer: Tatsiana Chypsanava, Pulitzer Center, New Zealand Geographic

Project title: Te Urewera – The Living Ancestor of Tūhoe People

Date: November 21, 2016

Image details: John Rangikapua Teepa (63) gathers pikopiko, edible fern fronds, near his home. Pikopiko are considered a delicacy among Tūhoe elders. Ruatoki, New Zealand.

Project details: The Ngāi Tūhoe people of the Te Urewera region in New Zealand have maintained a staunch independence. Tūhoe have never lost their connection to their language and cultural identity, and in a groundbreaking 2014 agreement, the New Zealand government opened the way to Tūhoe managing their ancestral lands according to their cultural values.

Recent changes by New Zealand’s right-wing government are seen as reversals of such hard-fought progressive policies regarding indigenous peoples. Yet the Tataiwhetu Trust farm in Te Urewera offers a revitalizing model for a younger generation.

Jury comment: The jury felt this project stood out as a powerful, detailed look at the Ngāi Tūhoe people's fight for the return of their ancestral lands and indigenous rights. It captures the ongoing governance struggles between Te Urewera's ways of being and Western knowledge, along with tensions from far-right political movements. Through a variety of thoughtful frames, the work provides a compelling visual dialogue about relationships to land and cultural preservation, shedding light on an often underrepresented community.

South America – Singles: Anselmo Cunha

Photographer: Anselmo Cunha, Agence France-Presse

Image title: Aircraft on Flooded Tarmac

Date: May 20, 2024

Image details: A stranded Boeing 727-200 surrounded by floodwaters at Salgado Filho International Airport. Porto Alegre, Rio Grande do Sul, Brazil.

Between April and June 2024, record-breaking rainfall in the state of Rio Grande do Sul, Brazil, led to the worst flood in the area’s history. More than half a million people were displaced and more than 183 died in the floods. According to scientists, climate change – driven primarily by the burning of fossil fuels, including those used in passenger air travel – almost certainly intensified the floods. In the larger context of the global climate crisis, this image of a plane suspended between sky and water becomes a foreboding symbol.

Jury comment: The jury was struck by the eerie atmosphere of this image, which contributes to a powerful visual narrative of Brazil’s surreal climate extremes— shifting between record droughts and devastating floods. The frame of the abandoned aircraft captures the unsettling impact of flooding in Rio Grande do Sul, provoking reflection about disasters in modern society and the fragility of man-made systems.

South America – Stories: Musuk Nolte

Photographer: Musuk Nolte, Panos Pictures, Bertha Foundation

Series title: Droughts in the Amazon

Date: October 5, 2024

Image details: A young man brings food to his mother who lives in the village of Manacapuru. The village was once accessible by boat, but because of the drought, he must walk 2 kilometers along the dry riverbed of the Solimões River to reach her. Amazonas, Brazil.

Series details: The Amazon River is experiencing record low-water levels due to severe drought intensified by climate change. This ecological crisis threatens biodiversity, disrupts ecosystems, and impacts local communities reliant on rivers for survival. As droughts intensify, many settlers face the difficult choice of abandoning their land and livelihoods for urban areas, changing the social fabric of this region permanently. This project makes the effects of climate change, which can so often be abstract or difficult to represent, appear as a tangible and concrete reality shaping the futures of vulnerable communities closely connected with the natural world.

Jury comment: The jury felt this project was critical to highlight, as it documents unprecedented drought in the Amazon and its profound impact on communities connected to natural cycles. This work powerfully illustrates the consequences of climate change— landscapes transformed, livelihoods disrupted, and the urgent need for adaptation. The striking contrast of dry, desert-like scenes in the world's largest rainforest makes the absence of water hauntingly visible. The photographer captures the scale of environmental change while centering the human experience, offering a compelling visual narrative of a rapidly shifting reality.

South America – Long-Term Project: Federico Ríos

Photographer: Federico Ríos

Project title: Paths of Desperate Hope

Date: August 2, 2023

Image details: Thousands of migrants wade into the Rio Muerto (“Death River”) at the Darién Gap, where several have drowned in its treacherous waters. They assist one another to prevent drowning in the swift currents. Rio Muerto, Colombia.

Project details: This project documents the perilous journeys of migrants traversing the Darién Gap, a 100-kilometer long stretch of dense jungle connecting Colombia and Panama. Over a million people have braved this route since 2021. They hail from diverse nations – Afghans escaping Taliban rule, Venezuelans seeking refuge from economic collapse, Chinese fleeing authoritarianism, and many others – driven by the pursuit of a better life. Their stories are full of danger: treacherous rivers, unforgiving terrain, and the constant threat of violence and exploitation. Many never make it. Those who succeed find themselves only at the beginning of a different and difficult journey through Central America and Mexico to the United States.

Jury comments: The jury felt this project was exceptionally well done, offering a sincere and touching portrayal of migration through the Darien Gap, one of the most important yet dangerous migration routes in the Americas. The photographer follows families on this journey, giving faces to migrants in search of better lives, humanizing their stories. The selection of images captures both the personal and environmental challenges and hardships— dangerous terrain and threats from wildlife as well as human threats from organized crime— all while showing the hope and desperation that drive these families forward. Each image reflects the diverse range of people on this route and the harsh reality of their journey, making this a powerful and vital story of global migration.

North and Central America – Singles: John Moore

Photographer: John Moore, Getty Images

Image title: Night Crossing

Date: March 7, 2024

Image details: Chinese migrants warm themselves during a cold rain after crossing the US–Mexico border. Campo, California.

Unauthorized immigration from China to the US has increased dramatically in recent years due to a host of factors, including China’s struggling economy and financial losses after strict zero-COVID policies. Moreover, people are being influenced by video tutorials on how to get across the border, shown on Chinese social media platforms. This image, both otherworldly and intimate, depicts the complex realities of migration at the border, which is often flattened and politicized in public discourse in the United States.

Jury comment: This image powerfully connects distant regions through a complex story of migration— portraying migrants from Asia navigating South and Central America on their journey to North America. The frame's otherworldly quality, paired with the tenderness between parent and child, invites reflection and evokes questions about the uncertainty that lies ahead. In a single picture, the photographer conveys both immense vulnerability and resilience.

North and Central America – Stories: Rebecca Kiger

Photographer: Rebecca Kiger, Center for Contemporary Documentation, TIME

Series title: A Town Derailed

Date: May 9, 2023

Image details: The site of the East Palestine train derailment, approximately three months after the disaster. East Palestine, Ohio, United States.

Series details: On 3 February 2023, a Norfolk Southern train derailed in East Palestine, Ohio, a small town of 4,700 residents. The train contained hazardous materials, including known carcinogens. It was one of the most toxic train spills in the history of the United States, which raised concerns about the environmental and public health impacts of the derailment. This project chronicles the aftermath of the disaster and its continuing impact on the local community after national media attention waned. Embedded with residents as they sought corporate accountability and navigated conflicting health information, the photographer captures the nuanced new reality of East Palestine in limbo, highlighting the complex relationships between residents and their environment, health, and governing institutions.

Jury comment: The jury felt that this story effectively tells a story of a town impacted by corporate negligence, putting in focus the persistence of its residents to seek justice. The selection of frames skillfully blends thoughtful, intimate visuals. The photographer's immersive reporting, captures both the human cost and systemic issues with striking sensitivity.

North and Central America – Long-Term Project: Carlos Barrera

Photographer: Carlos Barrera, El Faro, NPR

Project title: Life and Death in a Country Without Constitutional Rights

Date: September 22, 2022

Image details: A group of arrested people awaits entrance to Ilopango jail. Many will spend over a year behind bars without due process. Trials are conducted in groups rather than on a case-by-case basis. Ilopango, San Salvador, El Salvador.

Project details: In 2022, El Salvador’s President Nayib Bukele and its legislative assembly passed a law declaring a “state of emergency” that limited the rights of El Salvadorans to freedom of assembly, privacy of communication, and due process under the law. This temporary measure, designed to curb gang violence responsible for El Savador’s high murder rate, has been renewed 35 times as of March 2025, turning El Salvador into a nation where mass incarceration is the norm. Prisons in El Salvador have become severely overcrowded and reports of inhumane treatment, poor medical care, violence, and murder are common. This project focuses on the stories of individuals and affected families to show the private struggles behind public policy.

Jury comment: The jury felt that this project powerfully captures the personal toll of state violence, offering an intimate view into the lives of individuals who have been unfairly arrested and brutalized. The photographer’s creative approach to protecting identities while maintaining visual impact heightens the sense of descending darkness and terror. The story resonates beyond its borders, reflecting the global implications of migration politics as many Salvadorians face the prospect of being deported back to the violence they once fled. The photographer’s work, undertaken at enormous personal risk, brings viewers closer to the human cost of authoritarianism.

Europe – Singles: Nanna Heitmann

Photographer: Nanna Heitmann, Magnum Photos, for The New York Times

Image title: Underground Field Hospital

Date: January 22, 2024

Image details: A soldier injured near the city of Bakhmut, lies in a field hospital set up in an underground winery. His left leg and arm were later amputated. Donbas, Ukraine.

This soldier was conscripted to fight for the Russian-backed, separatist “republic” of Donetsk in eastern Ukraine on 22 February 2022, two days before the full-scale Russian invasion of the country. Later, Russia unilaterally annexed the territory, and the militia that conscripted him was merged into a unit of the Russian army. Russia has occupied vast swathes of eastern Ukraine, and the city of Bakhmut has seen some of the bloodiest battles of the war.

Jury comment: The jury considered the two singles from Europe about the Russian-Ukrainian war in tandem, recognizing them as a powerful pairing that captures different dimensions of the conflict. The first image, of a soldier conscripted to fight for the Russian-backed, separatist “republic” of Donetsk in eastern Ukraine, carries complex symbolic weight, raising thought-provoking questions about nationality and political divides. The second image, of a Ukrainian child, Anhelina, at rest, offers a contrasting perspective — quiet, suspended, and distanced from direct violence, yet still profoundly shaped by the war and its psychological scars. Together, these images expose both the physical and psychological toll of the war, with the pairing providing a deeper, more nuanced view of a conflict with far-reaching global ramifications.

Europe – Stories: Maria Abranches

Photographer: Maria Abranches

Series title: MARIA

Date: November 27, 2023

Image details: One of Ana Maria’s uniforms hangs ready for work. Originally called Utima (the Kimbundu word for "heart”), she was given her new name by the family that brought her to Portugal. Lisbon, Portugal.

Series details: Ana Maria Jeremias’ life as a carer and domestic worker in Portugal echoes the experience of countless women around Europe. Trafficked from Angola to Portugal aged nine, under false promises of education, Ana Maria has spent more than four decades working in other people’s homes, making a vital contribution to their daily lives. By focusing on Ana Maria’s story, the photographer aims to encourage reflection on privilege, as well as to honor her life (and that of so many women like her).

Jury comment: The jury found this project touching and profoundly layered. The photographer was able to connect with her subject respectfully, recording different moments of her daily life. Through these intimate frames, the photographer highlights telling details—symbolic reminders of the lingering consequences of Portugal's colonial past. The work sparks reflection about how this history continues to shape social structures today.

Europe – Long-Term Project: Aliona Kardash

Photographer: Aliona Kardash, DOCKS Collective, for Stern Magazine

Project title: It Smells of Smoke at Home

Date: August 5, 2023

Image details: Aliona (left) sits with her younger sister Sanya, a mother of two. Aliona has never talked to Sanya about the war and has no idea of what it must be like to raise a son in wartime Russia. Tomsk, Russia.

Project details: Russia’s de facto ban on critical media and suppression of anti-war protests has created an alternative reality with its own take on what Russia calls its “special military operation” in Ukraine instead of a full-scale invasion. In this story, Aliona Kardash, Russian-born, but now resident in Germany, reflects on the loss of home, and on love for people who believe in a different version of reality. Making a return visit to her hometown, Aliona tries to capture how war transforms us, and to sustain the belief that personal bonds are stronger than the forces that tear us apart.

Jury comment: The jury found this long-term project to be a deeply personal insight into the fractures within Russian society since the full-scale invasion of Ukraine, revealing complexities often overlooked when viewing Russia as a monolith. The photographer visually conveys her melancholy regarding her connection to her family as they are influenced by state propaganda, grappling with the universal dilemma of how to hold to loved ones subsumed by state control. As conflict increasingly draws journalists into their own stories, this project reflects the nuance of their narratives, capturing a personal experience with global resonance.

Belgian cyclist Jolien D'Hoore competes in the Women's Omnium Individual Pursuit event during the Rio 2016 Olympic Games on August 15, 2016.

Photo: Elsa / Getty Images

Elsa Garrison is a trailblazer in the world of sports photography. She was the first woman staff photographer at Getty Images and is renowned for her images capturing iconic moments in sports history. She's known in the industry simply by her first name, which says quite a lot. Her work includes coverage of collegiate and professional events worldwide, including (but certainly not limited to) the Olympics, World Series, Super Bowl, NBA Finals, US Open, FIFA World Cup and NCAA Final Four. She is in the depths of a busy time of year, but despite that, she took the time to answer some questions about her work and experiences as a sports photographer.

Elsa's first experience with photography was in ninth grade when she took an elective analog photography class. That quickly segued into working with the school yearbook and newspaper, photographing her friends who played sports to share the experience with them. Then, during her sophomore year, she was matched for a mentorship with local newspaper photographer Steve Kohls, who worked for the Brainerd Daily Dispatch in Brainerd, Minnesota. That experience was followed by a part-time job working for the paper, which involved photographing lots of high school sports.

New York Yankees pitcher Mariano Rivera walks onto the field at Yankee Stadium before facing the San Franciso Giants on September 22, 2013. The occasion marked Mariano Rivera Day, a special tribute to him by the Yankees.

Photo: Elsa / Getty Images

Her interest in photojournalism continued, and Elsa earned a Bachelor of Journalism at the University of Missouri. During her college years, she continued to work part-time, this time with the university's athletic department, the town paper and the Associated Press. In 1996, soon after graduating college, Elsa was hired by Allsport, a sports photo agency. Getty Images acquired Allsport in 1998, but she stayed on as a staff photographer and continues to work there to this day.

"I felt like I had to justify my existence or prove myself every single day."

Sports photography has, like so many other fields, traditionally been a very male-dominated field. "When I first started, a lot of the time, I would be the only woman on the field other than the cheer squad or members of the medical staff," explained Elsa. She said that was true even in cities with larger media markets. There weren't enough women traveling and covering sports like she was when she began her career, which came with its own challenges. "It was often isolating and I questioned my choices a lot," she said. "I felt like I had to justify my existence or prove myself every single day and that is emotionally exhausting."

Sabrina Ionescu, number 20 of the New York Liberty, celebrates with her husband, Hroniss Grasu, after the Liberty secured the WNBA championship against the Minnesota Lynx on October 20, 2024.

Photo: Elsa / Getty Images

Now, though, she sees more women working as team photographers or as photographers for the wires, papers and league social teams. She explained that she has seen tremendous growth especially in the last five years, as more women get opportunities to work in sports.

"My hope is that girls and women see themselves in sport."

Aiding in that growth is important to Elsa; to that end, she actively mentors women and underrepresented photographers. She greatly values mentorship because it can be a pathway to achieving goals and dreams. "There is a saying that if you can see it you can be it. To see women succeeding in sport photography gives others the courage to pursue it," she explained. "My hope is that girls and women see themselves in sport – as an athlete or someone like me who covers it as a photographer – and that they know not only do they belong here, but that their contributions are worthy and needed."

Elsa's work spans just about every sport you could imagine. She said she doesn't have a favorite to document but loves soccer, baseball, tennis and combat sports like boxing and MMA. That said, capturing playoffs and finals of any sport is what she truly loves. "The atmosphere is different than a regular season game as more is on the line. The matchups are usually tight and the environment is electric," she explained.

Brazilian Rebeca Andrade, the gold medalist of the Women's Floor Exercise, celebrates on the podium with silver medalist Simone Biles and bronze medalist Jordan Chiles, both from the United States, during the Medal Ceremony at the Parist 2024 Olympic Games on August 5, 2024.

Photo: Elsa / Getty Images

Of course, photographing those big events comes with challenges, too. "Every venue is different, and it is working out the logistics of where to shoot, what moments are important and how technically to capture those and deliver them in real time," Elsa explains. Photographing major sporting events means images often need to be sent in immediately, with captions, so they can be published right away. To help with this, she uses voice captions that are attached to the photographs, making it faster for the editor to get caption information.

Elsa has photographed many monumental sporting events that are full of memorable moments for fans and athletes. However, she says she generally doesn't grasp the gravity of the moment until after the fact. She's more focused on documenting the scene and technical aspects of what camera and lens choice she needs, so she doesn't process the importance until after the event.

"I love the challenge of capturing the moments that people will be writing about and talking about that day and for years to come."

However, that doesn't mean she doesn't see the importance of her work – she said that having the ability to freeze moments in history is truly special. "I get butterflies in my stomach when I get the feeling something big is going to happen – the final seconds of a World Cup final or the last out of game seven in a world series," she said. "I am not a sports fan per se, but I love the challenge of capturing the moments that people will be writing about and talking about that day and for years to come."

Elsa's work speaks for itself, with countless powerful, iconic shots of major sporting moments. More importantly, though, she has also left a lasting impact on the world of sports photography, paving the way for even more women. You can see more of Elsa's work in most places where sports photos are shown, on her website and on Instagram.

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

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A while back, we asked our forums for questions about Canon's V1 vlogging compact. Now that we've gotten it into the studio and have been able to spend a little time with it, we can get you some answers. Let's get right to it.

Your questions

Are other frame rates available in the 1.4x crop mode, or is it just 60p?

Currently, you can only use the 4K crop mode with 50/60p.

What can you map the rear command dial to?

Not much, it seems. The only mode I found where it does anything is Manual, where it adjusts shutter speed. The only option for it in the "Customize control dial/ring" menu is "Std" or "Off."

Is there a setting for minimum shutter speed in aperture priority mode?

Yes - you can set the minimum shutter speed manually, but there are also 7 steps of "auto" mode. You can leave it at default, or have it be faster/slower. It's not strictly enforced, though – the camera will choose a shutter speed below your limit if it's at max ISO, rather than just underexposing the image. For what it's worth, this is also how it seems to work on the EOS R5 II as well.

Will it work with Canon's Camera Connect app for remote shooting?

I can't currently add it to Camera Connect, but the camera has a QR code prompting you to download it.

Does the lens have filter threads?

Not as far as I can tell.

Does the screen dim while recording 4K?

I just let it record for around six minutes, and the screen didn't dim. I'm in a relatively cool room, though, so it's possible it'll act differently on a hot day in direct sun.

Is there a 1:1 pixel mode when recording 4K 25/30 for added reach?

Not that I could find. There's a "digital zoom" mode available for 1080p, but it's not enabled when you're set to record in 4K.

Can the battery door be removed?

I don't see an obvious way to take it off.

Does the ND have any automatic modes?

Yes, but only in video mode, where you can set it to off, on and auto. In photo mode, it's just off or on.

What are the maximum recording times for 4K and 1080p?

Canon has a chart explaining this on its website, but here's the short(ish) answer: with the standard Auto power off temperature setting, you can get up to 55 minutes of 4K 30, and up to 45 minutes of 4K 60. If you set the auto power off temperature setting to high, though, Canon promises "No restrictions due to the overheating" in either mode.

There also isn't a record limit on 1080p footage, up to 60fps, no matter what your auto power off settings.

Does the included fuzzy microphone cover hide the power button?

It genuinely took me a minute to find the power button.

Okay, no one actually asked this. But the answer is yes, which I think is kind of funny, and that's why I'm including it here.

Remaining questions

We'll need a bit more time with the PowerShot V1 to answer some of your questions, especially ones around image quality. For example, questions like:

• How is the dynamic range performance?
• How does the digital video stabilization compare to that of other cameras?
• How does the photo IQ compare to other cameras?

We plan on putting the camera through its paces in the coming weeks, so stay tuned for answers to those questions and more.

One last note. Of all the unanswered questions, the one we got the most was: can you use an existing external EVF?

Canon made add-on viewfinders for cameras like the PowerShot G3 X and EOS M6. They were designed to plug into those cameras' hotshoes, which have a very different layout than the PowerShot V1's multi-function shoe. Given the physical difference in connectors, it's safe to say they won't be compatible – we have checked with Canon, just to be sure, and will update this story if we hear back.

As for the possibility of a future accessory, there doesn't seem to be any word on that from Canon. However, the company's tech specs page for the V1 lists the following uses for the multi-function shoe – note what is and isn't mentioned: "Compatible with most Canon EL-series speedlites & accessories, Canon DM-E1D Stereo Microphone, Canon Smartphone Link Adapter AD-P1, etc. No traditional flash sync contacts on Canon Multi-function Accessory Shoe non-dedicated flashes will require Caon [sic] AD-E1 Adapter."

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

The Canon EOS R50 V is a vlogging-focused variant of the company's 24MP APS-C mirrorless camera. The body has been reworked to make it easier to operate while facing the camera, but it shares most of its underlying hardware with the existing model, other than its lack of viewfinder and built-in flash.

Key specifications

• 24MP Dual Pixel AF CMOS sensor
• Full-width 4K video up to 30p
• 4K video up to 60p from central 1.5x crop
• Tally lamp
• Canon Log-3 profile, HDR PQ and HLG options
• Second tripod socket for vertical orientation shooting
• Product demo AF mode

The EOS R50 V is based around the same 24MP Dual Pixel AF CMOS sensor as the conventional EOS R50. Unlike the R50, it can also shoot 4K footage at up to 60p using a 1.56x cropped region of the sensor.

Buy now:

Buy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon

There's no viewfinder on the EOS R50 V, with it instead using a fully-articulated screen to allow front-on operation, as you'd expect for a vlogging camera. The smaller form factor also sees the elimination of the R50's built-in flash. The R50 V gains a prominent [Rec] button on the front of the body and a tally lamp to make clear when it's been pressed. The screen also shows a red border while you're recording.

The EOS R50 V can shoot 10-bit 422 video, with the option of Canon's C-Log3 profile. Alternatively you can shoot HDR PQ or Hybrid Log Gamma footage for more lifelike rendering when played back on high dynamic range displays.

The right-hand side of the EOS R50 V has a second tripod socket to allow it to be mounted vertically. The left side has a headphone socket and connector for a wired remote, both of which the regular R50 lacks.

Rendering: Canon

The camera gains a 'Product Demo' mode in which the camera's autofocus system will override its face detection system if you hold something up in front of the camera, so you can create videos demonstrating a product without having to hide your face from the camera.

Also setting it apart from the R50, the EOS R50 V has a headphone socket as well as a mic socket. It also has a 2.5mm Canon E3 socket for attaching a wired remote. A second tripod slot on the other side of the camera allows it to be mounted to a tripod or vlogging handle in vertical orientation.

The R50 V can stream video in a number of ways: using the UVC / UAC standards, that sees it act as a plug-and-plus USB camera, over its micro HDMI socket, if you have a switcher to connect it to, or wirelessly, which allows it to stream directly or be used with Canon's subscription Live Switcher Mobile app.

RF-S 14-30mm F4-6.3 IS STM PZ

When paired with the 14-30mm power zoom, launched alongside the R50 V, the camera lets you specify a different zoom speed for when you're recording video and when you're setting up your shot, letting you choose your initial framing quickly but then being able to zoom more gently while you're shooting.

That zoom, which provides a 22.5-48mm equivalent range, in full-frame terms, ends up as as a 35-75mm equivalent when cropped into the camera's 4K/60 region, meaning you still retain a small degree of wide-angle capability.

The EOS R50 V will be available in April for a recommended price of $649, body-only ($30 less than the regular R50), or for $849 with the new RFS 14-30mm F4-6.3 IS STM PZ power zoom lens.

Press release:

For All Creators: Canon’s New PowerShot V1 and EOS R50 V Expand EOS/PowerShot V Series

MELVILLE, N.Y., - March 26, 2025 — Canon U.S.A., Inc., a leader in digital imaging solutions, answers the needs of video creators with the new PowerShot V1 and EOS R50 V. Both cameras are part of Canon’s growing EOS/PowerShot V Series which seeks to help all creators, including cinema, livestreaming, vlogging, and VR, heighten their visual story telling.

Canon Reinvigorates Point-and-Shoot

If you’re a creator, you want the ability to pursue your own visual expression without compromising quality. Something lightweight and compact that can be used anytime or anywhere to lift your vision forward—a camera that works with you. Designed with a smart and modern concept, the PowerShot V1 is a reliable partner boasting key features including:

• A newly designed grip created for both normal and selfie shooting.
• Ultra wide-angle zoom lens—approximately 17-52mm for movie recording and 16-50mm/F2.8-4.5 for still imagery.
• New 1.4 type sensor with approximately 22.3 megapixels for stills.
• Dual Pixel CMOS AF II for PowerShot for improved AF speed and subject detection tracking performance when compared to the PowerShot G7 X Mark III.
• A cooling fan inside the body to help enable longer video recording.
• A still image/movie shooting switch for quick and easy transition—the first in a PowerShot camera.
• Continuous still shooting at up to approximately 30 frames per second, a mechanical shutter with a maximum speed of 1/2000 seconds, and an electronic shutter with a maximum shutter speed of 1/16,000 seconds.

The Canon PowerShot V1 is also designed with workflow top of mind. Creators can leverage high quality video calls and livestream on a PC with a single USB cable, and the camera works intelligently with smartphones—both wired and wirelessly—via the Canon Camera Connect app.

Cinema Quality in the Palm of Your Hand

A movie-focused, high-performance camera that can fit in the palm of your hand? Yes—it does exist, with the EOS R50 V. The legacy of Cinema EOS technologies is splashed throughout, making EOS R50 V one for all creators who have high artistic ambitions to take to the next level. Key features include:

• Video-focused design elements such as a livestream button, movie recording button in the front of the camera, and a tripod screw hole for vertical shooting.
• Dual Pixel CMOS AF II for quiet and smooth AF.
• Ability to shoot 4K crop at 60fps and YCC 422 10bit.
• Compatibility with the newly launched RF-S14-30mm F4-6.3 IS STM PZ, the first RF-S lens with built-in power zoom.
• Four different methods of livestreaming: UVC/UAC, HDMI, Camera Connect, and Live Switcher Mobile multi-camera.
• APS-C sensor and DIGIC X image processor for rich bokeh.
• Image creation consistent with Cinema EOS with five presets for editing, such as Canon Log 3.

Creators are not one-size-fits-all, and EOS R50 V was built through creator feedback to make content creation easier. With modern design elements, customization options, and a new lens bundled together, the EOS R50 V is destined to be in your gear bag.

Pricing and Availability

The Canon PowerShot V1 is scheduled to be available in April 2025 for an estimated retail price of $899.99.* The Canon EOS R50 V is scheduled to be available in April 2025 for an estimated retail price of $649.99* for the body only and $849.99* with the RF-S14-30mm F4-6.3 IS STM PZ. For additional information, please visit usa.canon.com.

* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Buy now:

Buy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon Canon EOS R50 V specifications PriceMSRP$649 body only ($849 with 14-30mm F4-6.3 PZ lens)Body typeBody typeRangefinder-style mirrorlessSensorMax resolution6000 x 4000Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels24 megapixelsSensor photo detectors26 megapixelsSensor sizeAPS-C (22.3 x 14.9 mm)Sensor typeCMOSProcessorDigic XColor spacesRGB, Adobe RGB, Rec.2020Color filter arrayBayerImageBoosted ISO (minimum)100Boosted ISO (maximum)51200Custom white balanceYes (4)Image stabilizationDigital onlyUncompressed formatRAWJPEG quality levelsNormal, FineFile format

• JPEG, HEIF, CR3, C-Raw

Optics & FocusAutofocus

• Contrast Detect (sensor)
• Phase Detect
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

Manual focusYesLens mountCanon RF-SScreen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots1,040,000Touch screenYesScreen typeTFTLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/4000 secMaximum shutter speed (electronic)1/8000 secExposure modes

• Auto, Program, Shutter priority, Aperture priority, Manual

Scene modes

• Self-portrait, Portrait, Smooth skin, Panoramic shot, Food, Handheld Night Scene

Built-in flashNoExternal flashYesFlash X sync speed1/250 secContinuous drive12.0 fpsSelf-timerYes (2s, 10s)Metering modes

• Multi
• Center-weighted
• Spot

Exposure compensation±3 (at 1/3 EV steps)AE Bracketing±3 (at 1/3 EV steps)Videography featuresFormatXF-AVC, H.264, H.265Modes

• 3840 x 2160 @ 60p, 10-bit, H.265, 1.56x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1.56x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 25p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 60p, 10-bit, H.264, 1.56x Crop
• 3840 x 2160 @ 50p, 10-bit, H.264, 1.56x Crop
• 3840 x 2160 @ 30p, 10-bit, H.264, 1x Crop
• 3840 x 2160 @ 25p, 10-bit, H.264, 1x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.264, 1x Crop
• 3840 x 2160 @ 60p, 8-bit, H.264, 1.56x Crop
• 3840 x 2160 @ 50p, 8-bit, H.264, 1.56x Crop
• 3840 x 2160 @ 30p, 8-bit, H.264, 1x Crop
• 3840 x 2160 @ 25p, 8-bit, H.264, 1x Crop
• 3840 x 2160 @ 23.98p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 120p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 100p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 60p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 50p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 30p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 25p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 23.98p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 120p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 100p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 60p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 50p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 30p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 25p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 23.98p, 10-bit, H.264, 1x Crop
• 1920 x 1080 @ 120p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 100p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 60p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 50p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 30p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 25p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 23.98p, 8-bit, H.264, 1x Crop

MicrophoneStereoSpeakerMonoStorageStorage typesUHS-II SDConnectivityUSB USB 3.2 Gen 2 (10 GBit/sec)USB chargingYesHDMIYes (Micro (Type D))Microphone portYesHeadphone portYesWirelessBuilt-InWireless notesWi-Fi 5Remote controlYes (Canon EOS Utility, Camera Connect)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery descriptionLP-E17Weight (inc. batteries)370 g (0.82 lb / 13.05 oz)Dimensions116 x 86 x 69 mm (4.57 x 3.39 x 2.72″)Other featuresOrientation sensorYesTimelapse recordingYes (12p, 6p, 3p)GPSNone

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

Canon has announced that its PowerShot V1 vlogging compact will be available across the world from late April. The US MSRP has been set at $899.99 without tax, while the UK price is £959.99 including VAT.

Key specifications:

• 22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
• 16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
• Full-width 4K up to 30p from 5.7K capture
• 4K/60p from a 1.4x crop (1:1 pixel capture)
• Up to 30 fps stills capture in e-shutter mode
• Cooling fan for extended video recording
• Wired or wireless video streaming
• Multi-function hotshoe for flash or audio accessories
• Fully-articulated rear touchscreen
• Headphone and mic sockets

Originally announced in February for several countries in Asia, the PowerShot V1 will now be more broadly available. We got our hands on one at the CP+ 2025 show in Yokohama, Japan, to get more details.

Buy now:

Buy at B&H PhotoBuy at Canon

The 22MP camera is built around a Type 1.4 (18.4 x 12.3mm) sensor that's roughly the same size as a Four Thirds chip, but in the wider 3:2 aspect ratio. We can't know whether this is a physically or optically cropped version of the 30MP sensor from the EOS R7, but the pixel size and video readout specs are consistent with that camera.

The V1 has a 16-50mm equivalent ultra-wide-to-normal zoom lens with an F2.8-4.5 maximum aperture. A built-in 3EV ND filter allows it to shoot video in bright light, while its leaf shutter allows it to sync with flash all the way up to its 1/2000 sec maximum shutter speed.

The 16mm equiv position at the wide end of the zoom means the camera can still offer a 23mm equivalent wide-angle field of view when you crop in 1.4x to capture 50 or 60p footage.

And, although it's primarily intended as a vlogging camera, the mechanical shutter and ability to shoot Raw means it should do a decent job as a wide-angle option for stills shooting.

Expected recording times at 23°C (73°F) Heat threshold: Standard Heat threshold: High Off Auto High Off Auto High 4K 60 25 min 35 min 45 min 40 min No limit No limit 4K 30 40 min 55 min No limit 55 min No limit No limit 4K 30
w/Skin smoothing — 50 min 55 min — No limit No limit FullHD 60 — No limit No limit — No limit No limit

Even with the tax difference taken into account this leaves the camera significantly more expensive in the UK, initially. Historically Canon's UK prices drop somewhat after the camera has been on the market for a while, but there's a significant penalty to be paid for early adoption in this instance.

Press release:

For All Creators: Canon’s New PowerShot V1 and EOS R50 V Expand EOS/PowerShot V Series

MELVILLE, N.Y., - March 26, 2025 — Canon U.S.A., Inc., a leader in digital imaging solutions, answers the needs of video creators with the new PowerShot V1 and EOS R50 V. Both cameras are part of Canon’s growing EOS/PowerShot V Series which seeks to help all creators, including cinema, livestreaming, vlogging, and VR, heighten their visual story telling.

Canon Reinvigorates Point-and-Shoot

If you’re a creator, you want the ability to pursue your own visual expression without compromising quality. Something lightweight and compact that can be used anytime or anywhere to lift your vision forward—a camera that works with you. Designed with a smart and modern concept, the PowerShot V1 is a reliable partner boasting key features including:

• A newly designed grip created for both normal and selfie shooting.
• Ultra wide-angle zoom lens—approximately 17-52mm for movie recording and 16-50mm/F2.8-4.5 for still imagery.
• New 1.4 type sensor with approximately 22.3 megapixels for stills.
• Dual Pixel CMOS AF II for PowerShot for improved AF speed and subject detection tracking performance when compared to the PowerShot G7 X Mark III.
• A cooling fan inside the body to help enable longer video recording.
• A still image/movie shooting switch for quick and easy transition—the first in a PowerShot camera.
• Continuous still shooting at up to approximately 30 frames per second, a mechanical shutter with a maximum speed of 1/2000 seconds, and an electronic shutter with a maximum shutter speed of 1/16,000 seconds.

The Canon PowerShot V1 is also designed with workflow top of mind. Creators can leverage high quality video calls and livestream on a PC with a single USB cable, and the camera works intelligently with smartphones—both wired and wirelessly—via the Canon Camera Connect app.

Cinema Quality in the Palm of Your Hand

A movie-focused, high-performance camera that can fit in the palm of your hand? Yes—it does exist, with the EOS R50 V. The legacy of Cinema EOS technologies is splashed throughout, making EOS R50 V one for all creators who have high artistic ambitions to take to the next level. Key features include:

• Video-focused design elements such as a livestream button, movie recording button in the front of the camera, and a tripod screw hole for vertical shooting.
• Dual Pixel CMOS AF II for quiet and smooth AF.
• Ability to shoot 4K crop at 60fps and YCC 422 10bit.
• Compatibility with the newly launched RF-S14-30mm F4-6.3 IS STM PZ, the first RF-S lens with built-in power zoom.
• Four different methods of livestreaming: UVC/UAC, HDMI, Camera Connect, and Live Switcher Mobile multi-camera.
• APS-C sensor and DIGIC X image processor for rich bokeh.
• Image creation consistent with Cinema EOS with five presets for editing, such as Canon Log 3.

Creators are not one-size-fits-all, and EOS R50 V was built through creator feedback to make content creation easier. With modern design elements, customization options, and a new lens bundled together, the EOS R50 V is destined to be in your gear bag.

Pricing and Availability

The Canon PowerShot V1 is scheduled to be available in April 2025 for an estimated retail price of $899.99.* The Canon EOS R50 V is scheduled to be available in April 2025 for an estimated retail price of $649.99* for the body only and $849.99* with the RF-S14-30mm F4-6.3 IS STM PZ. For additional information, please visit usa.canon.com.

* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Buy now:

Buy at B&H PhotoBuy at Canon Canon PowerShot V1 specifications PriceMSRP$899.99, £959.99Body typeBody typeCompactSensorMax resolution5750 x 3840Effective pixels22 megapixelsSensor photo detectors24 megapixelsImageBoosted ISO (maximum)51200White balance presets6Custom white balanceYesImage stabilizationOpticalImage stabilization notes5.0EV correction (center)CIPA image stabilization rating5 stop(s)Uncompressed formatRAWFile format

• JPEG, HEIF, CR3 Raw

Optics & FocusFocal length (equiv.)16–50 mmOptical zoom3.1×Maximum apertureF2.8–4.5Normal focus range5 cm (1.97″)Screen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots1,040,000Touch screenYesLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/2000 secMaximum shutter speed (electronic)1/16000 secExposure modes

• P, Tv, Av, M, Scene Intelligent Auto, SCN, Creative Filter

Built-in flashNoExternal flashYes (Mutil-function shoe)Flash X sync speed1/2000 secContinuous drive30.0 fpsSelf-timerYes (2 and 10 sec)Metering modes

• Multi
• Center-weighted
• Partial

Videography featuresFormatXF-AVC, H.264, H.265Modes

• 3840 x 2160 @ 60p, 10-bit, H.265, 1.4x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1.4x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 25p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 60p, 8-bit, H.264, 1.4x Crop
• 3840 x 2160 @ 50p, 8-bit, H.264, 1.4x Crop
• 3840 x 2160 @ 30p, 8-bit, H.264, 1x Crop
• 3840 x 2160 @ 25p, 8-bit, H.264, 1x Crop
• 3840 x 2160 @ 23.98p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 120p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 100p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 60p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 50p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 30p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 25p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 23.98p, 10-bit, H.265, 1x Crop
• 1920 x 1080 @ 120p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 100p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 60p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 50p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 30p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 25p, 8-bit, H.264, 1x Crop
• 1920 x 1080 @ 23.98p, 8-bit, H.264, 1x Crop

MicrophoneStereoSpeakerMonoStorageStorage typesSD (UHS II)ConnectivityUSB USB 2.0 (480 Mbit/sec)HDMIYes (Type D)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notes2.4GHz 802.11b/g/n + Bluetooth 4.2PhysicalBatteryBattery PackBattery descriptionLP-E17Weight (inc. batteries)426 g (0.94 lb / 15.03 oz)Dimensions118 x 68 x 53 mm (4.65 x 2.68 x 2.09″)Other featuresGPSNone

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

Canon has announced the RF 20mm F1.4 L VCM ultra-wide prime as part of its L-series "hybrid" prime lenses designed for both stills and video work.

The 20mm F1.4 shares many characteristics with the existing 24mm, 35mm and 50mm F1.4 L VCM lenses, not least its very similar dimensions and weight, allowing it to be used interchangeably in situations like gimbal-based shooting.

Buy now:

Buy at B&H PhotoBuy at Canon

Like the existing VCM primes, the 20mm F1.4 can be fitted with both a front 67mm screw-in filter or with a rear-mounted slot-in filter.

The design features 15 elements in 11 groups, including two UD and three Super UD elements and a Blue Spectrum Refractive element that refracts blue light to a greater degree than other wavelengths, helping to correct chromatic aberration in wide-angle lenses. It also features the use of both Air Sphere and Sub-wavelength coatings to reduce the likelihood of incident light or internal reflections from lowering image contrast.

Rendering: Canon

Like the other lenses in the Hybrid prime series, the 20mm has a control ring that can be used to adjust various settings, and a dedicated aperture / iris ring that works when used with the latest R-series cameras. By default the control ring has click stops but it can be made smooth-rotating by Canon service centers, for a fee.

The 20mm F1.4 can focus as close as 20cm (7.9"), giving a maximum magnification ratio of 0.19x. Canon says it's been designed to have minimal focus breathing, so that the field of view doesn't significantly change as you approach close focus distance.

The 99.3mm length and 77.4mm width of the lens are consistent with the 24, 35 and 50mm lenses that currently make up the rest of the series, and the weight of 519g (18.3 oz) is very similar to its siblings, meaning there's no need to re-calibrate a gimbal or adjust any rigging if the lenses are being swapped during a video project.

The Canon RF 20mm F1.4 L VCM will be available at a recommended sales price of $1699.

Press release:

Canon Unveils New Lenses for High-Level Social Creators Seeking Visual Excellence and Greater Expression Across Stills and Cinematic Video

MELVILLE, NY, March 26, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced two new lenses designed for social media creators: the RF-S14-30mm F4-6.3 IS STM PZ, Canon’s first RF Lens with Power Zoom optimized for cinematic video, and the RF20mm F1.4 L VCM, a f/1.4 hybrid prime lens that enables high levels of expression across photo and video shooting.

The RF-S14-30mm F4-6.3 IS STM PZ lens is designed with a variety of shooting scenarios and needs in mind, from cinematic video to livestreaming and selfie POV. The RF-S14-30mm F4-6.3 IS STM PZ lens is packed with convenient functions for both still and video formats, including a wide angle of view, smooth cinema-style Auto Focus, optical Image Stabilization that suppresses blur in challenging situations, and more. Its uniform design and simple operability make it a worthy standard lens for the new Canon EOS R50 V camera, also announced today. When paired, the camera and lens make a beautiful, minimalist package, although the lens can also be seamlessly matched with Canon’s larger EOS R series of cameras.

The outstanding feature of the RF-S14-30mm F4-6.3 IS STM PZ lens is its power zoom design. Its fixed-length zoom with customizable control rings allows each individual creator to achieve their desired style and expressive intentions, while its ease of use allows them to prioritize their creative flow above all else. The use of a ring-style control for power zoom operations instead of a button or lever makes it possible to zoom from any direction regardless of shooting style. This gives more flexibility in angle of view adjustments, allowing users to enjoy great creative possibilities with smooth zooming while securely holding the camera, or zooming to change the angle of view from the front when taking selfies. And in vertical orientation, it provides outstanding operability that does not interfere with camera controls.

The RF20mm F1.4 L VCM is a 20mm ultra wide-angle lens and is the fourth addition to Canon’s RF Hybrid Prime series specifically designed for creators who switch between photo and video shooting. This lens pushes the boundaries of creative expression, offering extensive width, and depth, and beautiful dramatic effects for those who seek a high level of output across still and video shooting. Perfect for creators, video journalists, corporate video professionals, and independent filmmakers, the new RF20mm F1.4 L VCM lens is an impressive addition to Canon’s products that cater to the new era of hybrid shooting needs.

The lens features quiet, fast, and precise AF for both still and video shooting due to Canon’s actuator and focusing systems. It features dramatically reduced focus breathing compared to non-VCM lens, an iris ring for convenient movie shooting, and more. The unbeatable expressive power of an f/1.4 large aperture combined with shallow depth of field lends outstanding optical performance and enables rich, dynamic bokeh. The RF20mm F1.4 L VCM can also be used for shooting rich and clear videos and stills in dark places without increasing the sensitivity. Additionally, the UD and Super UD lenses and the Blue Refractive (BR) optics dramatically reduce the color bleeding that tends to occur with large aperture lenses.

The design of Canon’s RF Hybrid Prime series, now with the addition of the RF20mm F1.4 L VCM lens, was conceptualized to take full advantage of the RF Mount with its minimalist features and compact nature, to create an elegant, sleek camera package that any creator would be proud to take out of their camera bag.

Pricing and Availability

The RF-S14-30mm F4-6.3 IS STM PZ Lens is currently scheduled to be available in July 2025 for an estimated retail price of $329.99.* The RF20mm F1.4 L VCM is currently scheduled to be available in April 2025 for an estimated retail price of $1,699.00.* For additional information, please visit usa.canon.com.

* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Buy now:

Buy at B&H PhotoBuy at Canon Canon RF20mm F1.4 L VCM specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length20 mmLens mountCanon RF, Canon RF-SApertureMaximum apertureF1.4Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements15Groups11Special elements / coatings2 UD, 3 Super UD elements, 1 BR elementFocusAutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight519 g (1.14 lb)Diameter77 mm (3.03″)Length99 mm (3.9″)SealingYesFilter thread67 mmFilter notesAlso features a rear-mount filter slotHood suppliedYesHood product codeEW-73HTripod collarNoOptional accessoriesComes with LP1219 lens case

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

Alongside its EOS R50 V vlogging camera, Canon has launched the RF-S 14-30mm F4-6.3 IS STM PZ power zoom.

The compact, lightweight power zoom offers a 22.5-48mm equivalent range in full-frame terms. The plastic-mount lens weighs just 181g (6.4oz) and is 62mm (2.4") long.

Buy now:

Buy at B&H Photo

The lens has a control ring at the front of the barrel, which can be configured to control a range of functions. Behind this is the zoom control ring which is a sprung toggle-style control that you can nudge in either direction to operate the zoom. Canon says that using a ring like this means it can be easily reached and operated in whatever orientation you're using the camera.

Focus is powered by a pair of Canon's Nano USM motors, which we've found to be fast and quiet in the lenses that have used them before.

The lens has 10 elements in nine groups, with two aspheric lenses and one UD element. It can focus on subjects as close as 0.15m (5.91"), and can accept 58mm filters.

The in-lens IS system can co-ordinate with the digital stabilization offered in video mode for most R-series cameras or with the in-body stabilization of the models that offer it. It's rated to give 5.0 stops of correction at the center, working on its own, or up to 8.0 stops when used with a camera offering in-body stabilization.

As an RF-S lens, it's designed for APS-C sensors. It can be mounted and used on full-frame bodies, but means you end up effectively using it as an APS-C camera.

The RF-S 14-30mm F4-6.3 IS STM will retail for a recommended price of $329, but it's worth noting that it adds only $200 to the cost of the EOS R50 V, if bought as a kit.

Press release:

Canon Unveils New Lenses for High-Level Social Creators Seeking Visual Excellence and Greater Expression Across Stills and Cinematic Video

MELVILLE, NY, March 26, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced two new lenses designed for social media creators: the RF-S14-30mm F4-6.3 IS STM PZ, Canon’s first RF Lens with Power Zoom optimized for cinematic video, and the RF20mm F1.4 L VCM, a f/1.4 hybrid prime lens that enables high levels of expression across photo and video shooting.

The RF-S14-30mm F4-6.3 IS STM PZ lens is designed with a variety of shooting scenarios and needs in mind, from cinematic video to livestreaming and selfie POV. The RF-S14-30mm F4-6.3 IS STM PZ lens is packed with convenient functions for both still and video formats, including a wide angle of view, smooth cinema-style Auto Focus, optical Image Stabilization that suppresses blur in challenging situations, and more. Its uniform design and simple operability make it a worthy standard lens for the new Canon EOS R50 V camera, also announced today. When paired, the camera and lens make a beautiful, minimalist package, although the lens can also be seamlessly matched with Canon’s larger EOS R series of cameras.

The outstanding feature of the RF-S14-30mm F4-6.3 IS STM PZ lens is its power zoom design. Its fixed-length zoom with customizable control rings allows each individual creator to achieve their desired style and expressive intentions, while its ease of use allows them to prioritize their creative flow above all else. The use of a ring-style control for power zoom operations instead of a button or lever makes it possible to zoom from any direction regardless of shooting style. This gives more flexibility in angle of view adjustments, allowing users to enjoy great creative possibilities with smooth zooming while securely holding the camera, or zooming to change the angle of view from the front when taking selfies. And in vertical orientation, it provides outstanding operability that does not interfere with camera controls.

The RF20mm F1.4 L VCM is a 20mm ultra wide-angle lens and is the fourth addition to Canon’s RF Hybrid Prime series specifically designed for creators who switch between photo and video shooting. This lens pushes the boundaries of creative expression, offering extensive width, and depth, and beautiful dramatic effects for those who seek a high level of output across still and video shooting. Perfect for creators, video journalists, corporate video professionals, and independent filmmakers, the new RF20mm F1.4 L VCM lens is an impressive addition to Canon’s products that cater to the new era of hybrid shooting needs.

The lens features quiet, fast, and precise AF for both still and video shooting due to Canon’s actuator and focusing systems. It features dramatically reduced focus breathing compared to non-VCM lens, an iris ring for convenient movie shooting, and more. The unbeatable expressive power of an f/1.4 large aperture combined with shallow depth of field lends outstanding optical performance and enables rich, dynamic bokeh. The RF20mm F1.4 L VCM can also be used for shooting rich and clear videos and stills in dark places without increasing the sensitivity. Additionally, the UD and Super UD lenses and the Blue Refractive (BR) optics dramatically reduce the color bleeding that tends to occur with large aperture lenses.

The design of Canon’s RF Hybrid Prime series, now with the addition of the RF20mm F1.4 L VCM lens, was conceptualized to take full advantage of the RF Mount with its minimalist features and compact nature, to create an elegant, sleek camera package that any creator would be proud to take out of their camera bag.

Pricing and Availability

The RF-S14-30mm F4-6.3 IS STM PZ Lens is currently scheduled to be available in July 2025 for an estimated retail price of $329.99.* The RF20mm F1.4 L VCM is currently scheduled to be available in April 2025 for an estimated retail price of $1,699.00.* For additional information, please visit usa.canon.com.

* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon RF-S14-30mm F4-6.3 IS STM PZ specifications Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length14–30 mmImage stabilizationYesCIPA Image stabilization rating5 stop(s)Lens mountCanon RF-SApertureMaximum apertureF4–6.3Minimum apertureF22–36Aperture ringNoNumber of diaphragm blades7OpticsElements10Groups9Special elements / coatings2 PMo Aspheric elements, 1 UDFocusMinimum focus0.15 m (5.91″)Maximum magnification0.38×AutofocusYesMotor typeNano ultrasonicFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight181 g (0.40 lb)Diameter70 mm (2.76″)Length62 mm (2.44″)MaterialsCompositeZoom methodRotary (internal)Power zoomYesFilter thread58 mmHood suppliedNoHood product codeEW-63CTripod collarNoOptional accessoriesOptional L1014 lens case

Image: Godox

Studio lighting can be a pain sometimes. Adjusting how diffuse your lights are or cutting down some of their output can require moving around large pieces of fabric and may mean dealing with velcro.

Godox's new KnowLED Adjustable Diffusion panels, however, offer a different way: variable electronic control. Simply put the panel in front of your light (or the sun), and use a controller to make it more or less opaque, diffusing the light or cutting down how much of it is reaching your subject. The panel can go from 0% diffuse to 100% diffuse in its "Level" mode and can cut from 0.1EV to 2EV of light in its Light Reduction mode.

The company's website doesn't explain exactly how this works, but we've seen similar products before. In 2022, a company called Rotolight announced an electronically controlled variable diffuser softbox. It uses liquid crystals whose natural state is to be randomly dispersed, giving the material an opaque look similar to traditional diffusion gels. When an electrical charge is applied, however, the crystals will align with each other, making the material more transparent. This principle is similar to how electronic variable ND filters work.

However Godox achieves it, the end result is a panel that lets you change the character of the light hitting your subject quickly, easily and silently. Three sizes are available—45 x 60cm, 63.6 x 92.5cm and 105.3 x 100.6cm—and the kit comes with a folding frame that holds the panel, and lets you attach it to a stand.

Image: Godox

The kits require power to work unless you want them to be stuck on full diffusion. Power delivery is handled by the controller, which lets you choose the level of diffusion or light reduction. There are two controller options; both support Bluetooth control and USB-C power input, but one lets you use V-mount batteries and CRMX control, while the other draws power from Sony-style NP-F batteries.

This isn't the first time we've seen this sort of panel. Besides Rotolight, a few companies have been working on, and even selling, similar tech for years. Godox also showed off a prototype of this panel last year at broadcasting convention IBC. However, it's exciting to see another option become available, especially one from a brand that usually focuses on budget-friendly products.

In an Instagram post, the company lists the panels' "Asian Reference Price" in US dollars – they run anywhere from $449 for the small panel with the NF-P battery controller to $879 for the largest panel with the V-mount controller – but the panels aren't actually available in the States. According to the company's site, they're available "only in Asia, Europe, Africa, Oceania, and South America."

Photo: Dale Baskin

The release of the Pentax 17 was exciting for film enthusiasts, as it was the first new Pentax film camera in nearly twenty years. Continued excitement may have hit a bit of a roadblock, though. Takeo "TKO" Suzuki, the lead designer behind the Pentax 17, announced on his Instagram today (March 25) that he is leaving Ricoh Imaging. Following that, Kosmo Foto shared a statement from Ricoh Imaging Europe that raises questions about the future of the Pentax Film Project.

In his post, TKO explains that he has been involved in the design process for many digital cameras and, in the past few years, analog cameras. He goes on to say that it "has been an irreplaceable asset and happiness," but that he needs a break and will be taking some time off. "I would like to make time to read books, draw pictures, of course take photos, meet many people and gain a lot of knowledge."

"While TKO played a significant role in the Pentax Film Project, his departure does not affect the possibility of future film models."

TKO was an integral part of the Pentax 17 design, so his leaving the company will certainly have an impact. Ricoh Imaging Europe's statement to Kosmo Foto starts by explaining that "TKO contributed significantly to Pentax design and development throughout his career, most recently playing a key role in the launch of the Pentax 17." It goes on to say that "while TKO played a significant role in the Pentax Film Project, his departure does not affect the possibility of future film models."

While that is certainly good news, Ricoh Imaging Europe added that it is evaluating the Pentax 17's reception and how that should impact the long-term plan for film photography at the company. It explained that it needs time to gather feedback before doing anything else. While this is far from shutting the door on new Pentax film cameras, or even suggesting a total pause, it does temper anticipation, at least in the near term.

Photo: Dale Baskin

When the Pentax 17 came out, there was a general expectation that film cameras from other manufacturers could be on the horizon because of the excitement of the Pentax offering. Indeed, in an interview with DPReview, TKO revealed he was hopeful that would be the case. "Yes, we don't know the situations of our competitors, but we expect that some will enter the film market," TKO said. "We even hope that what we are doing will stimulate the market overall." Tomoki Tanaka, General Manager, Pentax Division, added, "We want to be a pioneer, but we don't want to be alone."

As of yet, we haven't seen any major new film cameras come into play from Ricoh's competitors. That doesn't mean they aren't in the works, but they are kept well under wraps if they are. TKO's post provides some additional hope, though, by adding, "I hope to continue to create opportunities to spread the knowledge I have gained there and the ideas I have. I hope that photography culture will continue to grow and I would like to continue to cooperate."

We have contacted Ricoh USA for comment, but haven't heard back at the time of writing.

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The new Sigma BF is a truly distinct camera, differing in just about every way from other mirrorless cameras currently on the market. In our latest video, Managing Editor Richard Butler goes hands-on with the BF, revealing his early thoughts and first impressions of this unique device.

The BF's looks are, naturally, what first catches your attention. It features a striking, minimalistic design that pairs down controls to all but the absolute essentials. Richard walks through how unique the menu system and controls are, explaining how the single control dial and small display above it are the primary methods of interacting with the camera. He also explains that while the BF is missing lots of things – no IBIS, no electronic viewfinder and no mechanical shutter – it still gets a lot of things right.

It's still relatively early in our testing of the BF, but Richard will be taking it on an upcoming vacation to put it through its paces. Be sure to stay tuned to hear more about how this camera lives up to its bold expectations.

Image: Insta360

Action cameras are typically best used when mounted to things, as their compact rectangular design is less than ideal to hold for long periods of time. Insta360 now offers a solution with the new Insta360 Ace Pro 2 Xplorer Bundle. The bundle includes multiple accessories, which Insta360 says is the "ultimate tool for street photography and urban travel.".

Insta360 teamed up with accessory maker Tilta for this kit, adding to Tilta's expansive lineup of cages, cases and handles. The most exciting piece of the kit is the grip, which puts users' hands to the side of the camera, ensuring no fingers are obstructing the lens. It should also make the action camera quite a bit more comfortable to hold, providing a closer feel to traditional cameras. It comes with a wrist strap, providing greater security against drops.

Beyond the grip, the kit also features a metal Utility Frame, which offers 1/4", quick release and cold shoe mounts around the device. Those mounting points will make it easier to work with accessories like lights or a microphone. Plus, it adds a bit of extra protection for the camera should it get dropped. Additionally, the bundle includes a red Decorative Cold Shoe Cap and what Insta360 describes as an "old-school" Cold Shoe Shutter Button.

Image: Insta360

The full bundle includes all the aforementioned items plus the Ace Pro 2, co-engineered with Leica. It features a Leica Summarit lens and Leica color profiles. The camera is capable of up to 8K footage and 50MP photos. The FlowState Stabilization is impressive, resulting in steady footage even during jarring activities.

The Insta360 Ace Pro 2 Xplorer Bundle is available for purchase for $460 and includes the camera, grip, frame, Cold Shoe Shutter Button, Decorative Cold Shoe Cap and wrist strap. It also includes all the accessories in the standard bundle. You can purchase the dual battery bundle to get an extra battery for $480. Alternatively, if you already own the Ace Pro 2, you can purchase just the Xplorer Grip Kit for $85.

Buy now: Buy the Xplorer Grip Kit Buy the Ace Pro 2 Xplorer Bundle

Press release:

Insta360 Unveils the Ultimate Insta360 Ace Pro 2 Bundle: Made for Adventure, Styled to Perfection

Insta360 is excited to announce the brand-new Insta360 Ace Pro 2 Xplorer Bundle, designed to transform the 8K AI-powered action camera into the ultimate tool for street photography and urban travel. Featuring a sleek dark gray Xplorer Grip Kit provided by Tilta, the bundle offers a modern look with a vintage feel for a superior shooting experience.

Unrivaled Image Quality, Rock-Solid Performance

Co-engineered with optic experts Leica, Insta360 Ace Pro 2 boasts a state-of-the-art Leica SUMMARIT lens with a 157º field of view, an industry-first dual AI chip, and a next-generation 1/1.3" 8K sensor for impressive image quality around the clock. Experience smoother videos with higher frame rates at 8K30fps and 4K60fps Active HDR, as well as excellent low light performance with dedicated shooting mode, PureVideo.

Exclusive Leica color profiles infuse footage with signature color aesthetics in-camera, eliminating the need for further color grading in post. Whether it's daily life or creative visions, creators can add a touch of Leica with the exclusive watermark in the Insta360 app. Combined with stunning 50MP photos, every image is a masterpiece. For stunning landscapes and breathtaking views, MegaView unlocks a wider FOV that tells the whole story with straighter, cleaner edges and less distortion.

A bigger, clearer 2.5" flip touchscreen makes everything from ground-level shots to self-portraits easier to preview and perfect, even in bright sunlight. Signature FlowState Stabilization means seriously steady footage in walk-and-talk vlogs or action-packed moments, and a removable Wind Guard and refreshed audio algorithms deliver crystal-clear audio without the need for an external microphone.

Extra Protection for Any Adventure

The new Xplorer Grip Kit offers all-round protection and a premium finish with a strong metal Utility Frame. With three versatile mounting points (1/4", quick release, and cold shoe mounts), creators have full flexibility to customize their setup with external accessories such as microphones and lights.

The secure Wrist Strap adds an extra layer of protection by preventing accidental drops. Creators can focus on getting the shot instead of playing it safe, and have their camera by their side ready to go in an instant—not at the bottom of a bag.

All-Day Action

The ergonomic Grip is designed for comfort during long shoots and reduces handheld shakes that could otherwise blur the perfect shot. Combined with leading FlowState Stabilization, smooth shots are guaranteed every time.

Custom Accessories

Compact and stylish, the Decorative Cold Shoe Cap adds the perfect finishing touch, with a red color to perfectly complement the gray frame. For a classic film camera feel, the Cold Shoe Shutter Button offers an old-school way to start recording or take a photo—with a click.

Available March 25

The Insta360 Ace Pro 2 Xplorer Bundle (Dark Gray) will be available to purchase from March 25, 2025, at Insta360.com. Retailing for US$459.99, the bundle includes the camera, Grip, Utility Frame, Cold Shoe Shutter Button, Decorative Cold Shoe Cap, and Wrist Strap, as well as all the accessories in the standard bundle: Wind Guard, Battery, Standard Mount, Mic Cap, and USB-C Cable. For extra power, the dual battery bundle includes the same accessories and an additional battery for US$479.99.

Creators who already own an Insta360 Ace Pro 2 can purchase the Xplorer Grip Kit separately for US$84.99, which includes the Grip, Utility Frame, Cold Shoe Shutter Button, Decorative Cold Shoe Cap, and Wrist Strap.

Image: GoPro

While the word "Black" in GoPro camera names signifies it is the top-of-the-line model, it has, for some time, also referenced the color of the action cams. While there were silver and white GoPros at one point, the last six generations have all exclusively featured an all-black design. Now, the white color is back for a time, since the action camera giant has announced a limited edition white version of the GoPro Hero13 Black.

While some may simply prefer white for aesthetic reasons, it also has some practical use. If your GoPro falls somewhere, white is generally more noticeable than black, making it easier to locate. Of course, the opposite is true for snow sports, but against grass, rock and other surfaces, white will stand out.

The GoPro Hero13 Black in Polar White is exactly the same as the black version but with a white exterior. The durable action camera offers 5.3K60 video, HyperSmooth 6.0 stabilization and a Type 1/1.9 (6.3 x 5.5mm) CMOS sensor. It uses GoPro's long-lasting Enduro battery, providing 1.5 hours of continuous recording in 5K 30p or 4K 30p.

Photo: GoPro

Like the black color, the Hero13 Black in Polar White is compatible with the new interchangeable HB-Series Lenses. These lens mods use auto detection, so you don't have to change settings when attaching a new lens. Options include an Ultra Wide Lens Mod, Macro Lens Mod and a set of four ND filters. Additionally, the Anamorphic Lens Mod, which results in cinematic-looking 21:9 ultra-wide footage, is also available for purchase as of today. It's been a bit of a wait for that lens, as it was initially announced in September last year.

The limited edition Polar White model is available for purchase today on GoPro's website for $400, the same price as the original version of the GoPro Hero13 Black. If you already own the Hero13 Black but like the idea of having a white camera, you can purchase a white silicon sleeve with a lanyard to reskin your camera. That sleeve is also available in blue and black.

Buy now: Buy at GoPro Pre-order at B&H

Press release:

Introducing the Limited Edition Polar White Color of the Award-Winning GoPro HERO13 Black

Best-In-Class 5.3K Video, HyperSmooth 6.0 Video Stabilization and Interchangeable HB-
Series Lenses Compatibility in a Crisp New Color

SAN MATEO, Calif., March 24, 2025 /PRNewswire/ -- Today, GoPro (NASDAQ: GPRO) announced its flagship HERO13 Black camera is available in a limited edition Polar White colorway. Available today for $399.99.

Now customers can elevate their adventures and capture every moment in style. The striking new color brings a fresh look to GoPro's flagship camera, which features best-in-class 5.3K60 video, HyperSmooth 6.0 video stabilization, legendary GoPro durability, magnetic mounting and the powerful Enduro battery.

The camera is compatible with the all-new, interchangeable HB-Series Lenses with Auto Detection. These lenses make it easy to expand the range of creative shots you can capture with HERO13 Black:

• The industry's widest-angle, most stable, immersive POV shots with the $99.99 MSRP Ultra Wide Lens Mod
• Close-focus shots with the $129.99 MSRP Macro Lens Mod
• Easy-to-achieve motion blur using the $69.99 MSRP ND Filter 4-Pack
• Hollywood-looking cinematic 21:9 ultra wide-angle shots using the $129.99 MSRP Anamorphic Lens Mod

Combining HERO13 Black in Polar White with a GoPro Premium ($24.99 first year for new subscribers and $49.99/year thereafter) or Premium+ ($99.99/year) Subscription adds the ability to auto-upload your footage to the cloud, receive automatic highlight videos via the GoPro Quik App, save up to 30% on accessory purchases at GoPro.com, no-questions-asked damaged camera replacements and more.

HERO13 Black in Polar White is available now at retailers globally and at GoPro.com.