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This week, Sigma announced its 28-105mm F2.8 DG DN lens for L and Sony E mounts. Luckily, we were able to get some hands-on time with the lens during a holiday weekend in the US, which meant we were able to shoot with it while traveling. Given the versatile focal length, that will likely be a common use-case for this lens.

Click to view our Sigma 28-105mm F2.8 DG DN Art sample gallery

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

Image: DJI

DJI has announced a new drone called the Neo. It costs $199, weighs a mere 135g (4.76oz), can shoot 4K video, and can fly for up to 18 minutes. The company says it's designed as "a vlogging tool ideal for capturing everyday life, leisure activities, family moments, and pets."

In essence, it's a flying selfie camera, similar to the HoverAir X1 or Snap Pixy. It comes with removable propeller guards that allow it to be used safely indoors, though using them will slightly reduce its flight time.

The Neo can capture 12MP images using a Type 1/2 (6.4 x 4.8) sensor with a 14mm full-frame equivalent F2.8 lens. It can shoot in 4K/30 or 1080 at up to 60p. If you aren't using electronic image stabilization, the video will be 4:3; turn on the 'RockSteady' or 'HorizonBalancing' mode, and it'll drop down to 16:9. The drone also has a physical single-axis (up/down) gimbal to help keep footage steady, even if it's moderately windy.

The DJI Neo can do 'Palm Takeoff' and automatically follow you around.

Image: DJI

The drone's controls align with its beginner and casual photographer-friendly nature. A button on the top lets you select what mode you want the drone to use; by default, it will follow you, using 'AI algorithms' to keep you in frame, even if you're moving quickly on a skateboard or bicycle.

From there, you can hold it out in your hand and it will automatically take off and start recording after detecting you as a subject. How you get it to land will depend on what mode it's in, but it can fly back and land in your palm as well.

The drone also has a feature known as 'QuickShots,' where it will automatically perform a specific movement such as circling around you or zooming straight up into the sky while keeping you in the center of the frame. You can select a QuickShot mode using the button, or the drone's app.

You can essentially control the DJI Neo with one button, though the company says you should set up the app in case you need to take control of it while it's in flight.

Image: DJI

The app also lets you control the drone with your voice or with virtual joysticks on the screen. It's also how you preview the footage it's taking and export it to social media, and it even supports recording audio with your phone's microphone.

You can buy an optional controller for the Neo, but physical controls alone won't make it a suitable replacement for serious video drones like the DJI Mavic or even DJI Mini. Those drones have larger cameras, more sophisticated gimbals and ranges measured in kilometers, where the Neo can only be used up to 50m (164ft) away.

Of course, that's not what the Neo is designed for. As its product page says, it's made to 'capture cinematic footage with YOU in focus,' and to do that task with as little fuss as possible. And at that $199 price point, it seems likely it'll be a hit with consumers who want to spice up their social media feeds without really having to learn how to use a drone.

The Neo is for people who want drone shots without having to learn how to use a drone

With that said, there are potential dark skies in DJIs future that any Americans considering the Neo should be aware of. Congress is currently considering passing the 'Countering CCP Drones Act,' which could act as a de facto ban on the company's drones. If passed, "telecommunications and video surveillance equipment or services" made by DJI would be placed on a list of products that 'pose an unacceptable risk to U.S. national security,' according to the bill's summary. The company has published a document responding to 'inaccuracies lodged against DJI in the public domain,' but it remains unclear whether its products will be allowed in the United States in the future.

For those outside the US or who are willing to roll the dice, however, the Neo could turn out to be an extremely fun toy. If you get one, just be sure to be very aware of the rules around using a drone wherever you are. It may be small and light enough to take anywhere, but that doesn't mean it should be used everywhere.

Buy now: $199 at Amazon $199 at B&H Press Release DJI Makes Everyday Life Recording Fun and Easy with New Personal, Palm-Sized Videographer

New DJI Neo is light, compact, and makes capturing cinematic photos and videos effortless

DJI, the global leader in civilian drones and innovative camera technology, today announces the DJI Neo, a new personal lightweight and compact aerial videographer for taking cinematic footage of day-to-day adventures or having fun with friends. Weighing less than 5 ounces (135g), Neo can take off and land from the palm of the hand1. It can be flown indoors or outside for a flight time of up to 18 minutes1 and takes 4K ultra-stabilized videos via QuickShots. The propellers are fully enclosed to ensure the safety of users and their surroundings.

"At DJI we are always studying everyday camera use so that we can help people capture their videos and photos in the most convenient way possible. The DJI Neo strives to give people the latest tech in the smallest form factor so that they can capture their daily lives, saved as treasured memories, safely and with ease," said Ferdinand Wolf, Creative Director at DJI.

Into the Air at the Press of a Button

By simply pressing the mode button and selecting the desired shooting mode, Neo will automatically snap 12MP stills with its 1/2-inch image sensor or produce 4K UHD stabilized videos at 4K/30fps1 using DJI's powerful stabilization algorithms. Upon completion, Neo will return to the user's palm.

Tell Your Story with QuickShots

Neo's AI algorithms have been created to keep the subject within frame. Whether cycling, skateboarding or hiking, captivating shots can be created with ease. Additional creativity can be achieved by taking advantage of Neo’s QuickShots, which has six intelligent shooting modes1, offering a range of different recording angles.

Expanse: Videographer flies backward and ascends, with the camera locked on the subject, and records a video.
Circle: Videographer circles around the subject.
Rocket: Videographer ascends with the camera pointing downward.
Spotlight: Videographer rotates while keeping the object of interest within the frame
Helix: Videographer ascends and spirals around the subject.
Boomerang: Videographer flies around the subject in an oval path, ascending as it flies away from its starting point and descending as it flies back. Its starting point forms one end of the oval’s long axis, while the other end is at the subject's opposite side from the starting point.

Control It Your Way

Neo has been designed to fly with style and capture hassle-free photos and videos. It can be piloted using one-button QuickShots or voice control1 which is enabled with the “Hey Fly” command. With a Wi-Fi connection, Neo can also be controlled using the DJI Fly app’s virtual joysticks on the app’s interface with a control range of up to 50 meters1. Within the app, the perspective and distance can be set, giving extra freedom to shoot from afar or up close.

Stabilization as Standard

Neo is equipped with a single-axis mechanical gimbal and is capable of handling high-speeds or flights with lots of maneuvers. When combined with RockSteady or HorizonBalancing stabilization, overall image shake is significantly reduced and horizon tilt is corrected within ±45°1, for smooth and stable footage that maintains clarity in both highlight and shadow areas. Using an infrared and monocular vision positioning system, Neo can hover steadily in the air, maintaining stability even in Level 4 wind conditions. It also supports automatic Return to Home (RTH) for convenient, worry-free operation.

Transfer Content and Record Sound Wirelessly

Using the DJI Fly app, phones and videos captured with Neo can be transferred instantly via high-speed QuickTransfer. This wireless transfer makes post production and sharing smoother. The DJI Fly app offers a vast selection of templates, sound effects, and image effects, for quick and easy editing.

Audio can also easily be recorded wirelessly with the simple tap of a button on the DJI Fly app, either through the smartphone’s built-in microphone or DJI Mic 2 via Bluetooth for even higher audio quality. The app automatically eliminates propeller noise and merges the audio track with the footage, ensuring a clear sound even when shooting low-angle vlogs.

For convenient charging, connect Neo directly to a power source using a Type-C data cable. Additionally, the Two-Way Charging Hub can charge three batteries simultaneously1, increasing both charging speed and efficiency.

Price and Availability

The DJI Neo is available for pre-order from store.dji.com and authorized retail partners, in the following configurations:

DJI Neo: 199 USD

DJI Neo Combo: 289 USD

Neo Debuts at IFA, 6-10 September, 2024

Be among the first to experience the groundbreaking DJI Neo at this year’s IFA, Germany. Visitors can try it out at DJI's booth (Hall 17-110) from 6th-10th September.

DJI Care Refresh

DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for DJI Neo. The replacement service covers accidental damage, including flyaway, collisions and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.
DJI Care Refresh (1-Year Plan) includes up to two replacements in one year. DJI Care Refresh (2-Year Plan) includes up to four replacements in two years. Other services of DJI Care Refresh include official Warranty and free shipping. For a full list of details, please visit: https://www.dji.com/support/service/djicare-refresh.

1All data was measured using a production model of DJI Neo in a controlled environment.

1For more information, please refer to https://www.dji.com/neo.

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

Leica has announced the new Vario-Elmarit-SL 70-200mm F2.8 ASPH zoom lens, a fast telephoto zoom for L-mount cameras with applications for everything from weddings to sports and wildlife. Alongside the lens, Leica also announced a new tele-extender, the Extender L 2.0x.

The new lens completes Leica's 'Holy Trinity' of fast F2.8 zoom lenses for L-mount, joining the Super-Vario-Elmarit-SL 14-24mm F2.8 ASPH and the Vario-Elmarit-SL 24–70 2.8 ASPH. Put together, the three lenses provide a constant F2.8 maximum aperture from 14-200mm.

The image-stabilized Vario-Elmarit-SL 70-200mm comprises 20 elements in 15 groups, including three aspherical lenses, and features an internal focusing mechanism. It has a close focus distance of 0.65m (2.1ft.) at 70mm and 1m (3.3ft.) at 200mm.

Image: Leica

The lens barrel has all-metal magnesium and aluminum construction, and external lenses feature Leica's Hydrophobe Aqua-Dura coating. It features an 82mm filter thread. The lens includes a tripod clamp and detachable tripod shoe.

Leica says the lens is dust, splash and water protected.

Keen observers may notice that the Vario-Elmarit-SL 70-200mm F2.8 ASPH includes the same number of elements and groups, aspherical lenses, and the same close-focusing distance as the Sigma 70-200mm F2.8 DG DN OS.

Price and availability

The Vario-Elmarit-SL 70-200mm F2.8 ASPH has a list price of $3,295; the Extender L 2.0x lists for $995. Both products are available beginning today.

Leica unveils its final lens in its trio of lens series for the SL-System

New telephoto zoom lens with a focal length of 70–200mm and new 2.0x Extender expands the L-Mount portfolio.

Teaneck, September 5th, 2024. Leica lenses are renowned globally for their exceptional quality, with their legendary imaging performance based on more than 150 years of
expertise in the manufacturing of optical instruments. The same applies to the new Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH.

Being the third zoom lens with an aperture of 2.8, the new Leica Vario-Elmarit-SL 70– 200 f/2.8 ASPH. completes the trio of lens series for the SL-System together with the Leica Super-Vario-Elmarit-SL 14–24 f/2.8 ASPH. and the Leica Vario-Elmarit-SL 24–70 f/2.8 ASPH. This series allows for photographing and filming with a continuous aperture throughout the entire focal length range, from 14mm to 200mm. At the same time, Leica Camera AG introduces another extender for the SL lens portfolio. The Extender L 2.0x expands the creative potential of the SL system, reaching focal lengths up to 800mm.

With its classic telephoto zoom focal length, the new Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH. is ideally suited for impressive portrait shots. Thanks to its high aperture ratio throughout the entire zoom range and its excellent image stabilization, the new Vario lens is equally capable for event, sports and nature photography.

Inside the lens, 20 elements arranged in 15 groups, including three lenses with aspherical surfaces, ensure razor-sharp, detailed images right into the corners of the frame across all focal lengths. Additionally, convenient handling is ensured by the internal focusing mechanism, maintaining its constant size at any focal length.

With the new Extender L 2.0x, which is available separately, the focal length of the telephoto Vario can be extended from 70–200mm to 140–400mm. It occupies minimal space on the go while offering endless creative opportunities.

The retail price for the new Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH. is $3,295.00 USD. The retail price for the Leica Extender L 2.0x is $995.00 USD. Both products are available globally at all Leica Stores, the Leica Online Store and authorized dealers.

Leica Vario-Elmarit-SL 70-200mm F2.8 ASPH specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length70–200 mmImage stabilizationYesLens mountL-MountApertureMaximum apertureF2.8Minimum apertureF22Aperture ringNoOpticsElements20Groups15Special elements / coatings3 asphericalFocusMinimum focus0.65 m (25.59″)Maximum magnification0.19×AutofocusYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1540 g (3.40 lb)Diameter89 mm (3.5″)Length207 mm (8.15″)MaterialsMagnesium and aluminum full-metal constructionZoom methodRotary (internal)Zoom lockNoFilter thread82 mmHood suppliedYesTripod collarYes

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

Sigma has announced the full-frame 28-105mm F2.8 DG DN Art lens for L-mount and Sony E-Mount cameras. The company says the lens is meant to cover "several popular focal lengths," such as 28mm, 50mm, and 85mm while providing a constant aperture.

The lens is constructed from 18 elements in 13 groups, with two fluorite-like 'F' low dispersion (FLD) elements, one super low dispersion (SLD) element and five aspherical lenses. The front element has a water and oil-repellant coating, and Sigma claims the lens is dust and splash-resistant.

Buy now:

$1499 at B&H Photo$1499 at Adorama

The company is pitching this as a lens for both photographers and videographers. To woo the latter, it says that the 'High-response Linear Actuator' autofocus motor will provide 'noise-free video capability' and emphasizes its 'minimal' focus breathing.

This lens includes a variety of switches and buttons.

Image: Sigma

The L-mount version of this lens weighs 995g (35.1oz), which makes it approximately 34% heavier than Sigma's comparable 24-70 F2.8 for L-mount, which weighs 745g (26.3oz). Whether that'll be worth it to you will likely depend on how often you find yourself wishing for just a little more reach (or how often you shoot at your lens' widest setting).

While shooting a sample gallery for the lens, which you can see below, we found the relatively unusual 28-105mm focal length to be highly versatile for everyday shooting, though we wouldn't be surprised if some shooters were left wanting a bit more on the wide end, given the popularity of the 24mm focal length.

We also appreciated the tactility of the lens. It has an aperture ring, a switch to change that ring between click and clickless mode, and a lockout to keep it in or out of the auto setting. There's also a zoom lock, autofocus/manual focus switch and a pair of AFL buttons.

Sigma claims the lens is "surprisingly compact," at a length of 157.9mm (6.2"), but you can expect it to extend by around 38mm (1.5") when you zoom with it. It's also worth noting that the lens has a 40cm (15.8") minimum focusing distance, which is relatively distant compared to many brands' 24-70 F2.8 lenses. The lens has an 82mm filter size.

The 28-105mm F2.8 DG DN Art will sell for $1,499 when it launches in 'late September.'

Buy now:

$1499 at B&H Photo$1499 at Adorama Sigma 28-105mm F2.8 DG DN sample gallery:

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

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Press Release: SIGMA announces 28-105mm F2.8 DG DN | Art lens, a new fast-aperture zoom with extended reach

Ronkonkoma, NY – September 5, 2024 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the SIGMA 28-105mm F2.8 DG DN | Art zoom lens for full-frame mirrorless camera systems. Spanning many popular focal lengths in a single fast-aperture zoom, this is an exciting addition to the product line.

The SIGMA 28-105mm F2.8 DG DN | Art is a surprisingly compact, full-frame, wide-angle to telephoto zoom lens with a fast constant aperture. Available for Sony E-mount and L-Mount, this lens covers several popular focal lengths from 28mm to 105mm, including the very popular 85mm focal length for portraiture, remaining at F2.8 through the entire range.

Featuring HLA (High-response Linear Actuator) autofocus, and optical performance that lives up to the standard of Art line lenses, the SIGMA 28-105mm F2.8 DG DN | Art joins SIGMA’s selection of fast-aperture zoom lenses in the Art line, offering photographers and videographers a variety of premium standard zoom options depending on their personal style. Like the 24-70mm F2.8 DG DN II | Art and the 28-45mm F2.8 DG DN | Art, the new 28-105mm F2.8 includes a lockable aperture ring with click/declick function, as well as two AFL buttons and a zoom lock switch. Additionally, the dust- and splash-resistant design and water-and oil-repellant coating on the front element makes it suitable for shooting both stills and video in inclement weather.

A minimum focusing distance of 15.8 inches (40cm) at all focal lengths, and maximum magnification ratio of 1:3.1 at the telephoto end add to the versatility of this new zoom lens. This lens also features a rounded twelve-blade diaphragm, which helps to keep the large-aperture unit as small as possible.

Measures have been taken to minimize changes in optical performance due to differences in zoom and focus positions, including the use of a difficult-to-process large-diameter FLD glass in the first group to suppress aberrations in each group. In addition, the use of 5 aspherical lens elements has enabled the lens to achieve both a wide zoom range of 28mm to 105mm and a large-aperture of F2.8, while reducing its overall size.

By thoroughly reducing the weight of each part, the lens is kept under 2 pounds while achieving both a wide zoom range and an F2.8 aperture. The lens barrel near the mount is made of magnesium rather than aluminum, ensuring rigidity while reducing the weight of these parts alone by two-thirds. The lens will retail for $1,499 and will be available in late September 2024.

Learn more at: https://www.sigmaphoto.com/28-105mm-f2-8-dg-dn-a

Exclusively for mirrorless cameras | Compatible with full-frame cameras

A | Art

SIGMA 28-105mm F2.8 DG DN | Art

Beyond Standard.

• Constant F2.8 aperture across a versatile 28-105mm zoom
• Superb portability thanks to a weight of less than 1kg
• Professional features, fast AF and excellent build quality

Supplied accessories: CASE, LENS HOOD LH878-07, FRONT CAP LCF-82 III, REAR CAP LCR II

Available mounts: L-Mount, Sony E-mount

Launch date: September 26, 2024

* Product appearance and specifications are subject to change.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* L-Mount is a registered trademark of Leica Camera AG.

#SIGMA #SIGMA28105mmF28Art #SIGMAArt #SIGMAArtZoom #SIGMADGDN

Harness the power of this versatile and portable F2.8 optic with an extended 28-105mm focal range – a standard zoom that goes well beyond standard.

The SIGMA 28-105mm F2.8 DG DN | Art is not just another standard zoom lens. With a powerful wide-angle to medium telephoto focal length and a bright F2.8 aperture throughout, this full-frame mirrorless zoom combines outstanding optical performance, superb build quality and a range of pro-grade features to make it one of the most versatile optics on the market for mirrorless systems.

The lens is built to tackle a huge range of subjects and situations, from expansive low-light landscapes to portraits with big, beautiful bokeh, and thanks to SIGMA's latest optical technology and the use of large diameter elements including FLD, SLD and five aspherical elements, it is able to do so with superb clarity and sharpness. This allows the lens to deliver exceptional versatility without compromising on optical quality. The lens also includes high-speed AF with HLA technology, a rugged dust- and splash-resistant structure, and various functions such as an aperture ring, all packed into a compact and lightweight body weighing less than 1kg, making it an exceptional all-round choice for both stills and video.

[Key Features]

1. Constant F2.8 aperture across a versatile 28-105mm zoom

Many conventional zoom lenses which have a reach up to 105mm do not offer a constant F2.8 aperture, usually dropping to F4 at the long end. But the SIGMA 28-105mm F2.8 DG DN | Art delivers the same impressive light-gathering and depth-of-field benefits across the whole focal range. The lens offers all of this along with extremely high optical performance thanks to the thorough suppression of optical aberrations within each lens group. And with its outstanding close-focusing capability when zoomed in, macro-style results are also possible.

A versatile F2.8 aperture perfect for portraits and low light

With its fast aperture across the whole focal range, the SIGMA 28-105mm F2.8 DG DN | Art is a true workhorse lens that can be used for almost any type of photography. Scenic photographers can shoot wide-angle landscapes, using the F2.8 aperture for low-light scenes and twilight urban views, while the middle focal lengths tackle dimly lit documentary and street subjects, allowing shutter speeds one stop faster than comparable lenses. At the long end, popular portrait focal lengths from 85mm and 105mm, combined with the F2.8 maximum aperture, produce a shallow depth-of-field that will isolate a subject impressively against large and beautiful bokeh.

Fill the frame with superb close-up performance

Achieving a minimum focus distance of just 40cm across its entire zoom range, the SIGMA 28-105mm F2.8 DG DN | Art can get you closer to your subject, filling the frame with detail and texture. At its 105mm setting, this creates a very useful maximum magnification ratio of 1:3.1 for powerful macro-style results.

Superior optical performance across the full zoom and focus range

The SIGMA 28-105mm F2.8 DG DN | Art operates without compromise, suppressing aberrations very effectively within each lens group, and throughout the entire zoom and focal range. This ensures the lens has a consistent performance even with such a long zoom range. This is thanks to the lens’s premium optical design, which includes two FLD, one SLD and five aspherical elements, the first grouping of which uses a large-diameter 66.4mm element that is extremely difficult to produce and only available thanks to SIGMA’s advanced manufacturing technology at its sole production base in Aizu, Japan.

Designed to minimize flare and ghosting

Using advanced simulation technology, flare and ghosting have been largely eliminated, ensuring that the lens renders rich, high-contrast results in all conditions. In addition, SIGMA's Nano Porous Coating and Super Multi-Layer Coating have been applied to further suppress flare and ghosting.

Minimal focus breathing

Vital for filmmakers who demand consistent framing, the lens has been designed to keep focus breathing to a minimum. This ensures that any changes to the angle-of-view due to focus shift are minimized across the entire zoom range, ensuring natural-looking focus pulls when recording video, and easier image alignment when focus stacking.

2. Superb portability thanks to a weight of less than 1kg

Standard zooms should be small and light enough for all-day hand-held shooting, so the SIGMA 28-105mm F2.8 DG DN | Art has been designed with portability in mind. It combines five aspherical elements effectively in place to shorten the overall length, and a magnesium-alloy construction around the mount, keeping the weight of the lens to less than 1kg. This ensures the lens has superb portability similar to shorter standard zoom lenses, while providing a wider zoom range.

Excellent optical performance in a streamlined body

By using five aspherical elements in its optical construction, SIGMA has succeeded in significantly shortening the lens's total length without any compromise to sharpness and image quality. This advanced configuration was only made possible by continuous technological innovation and cutting-edge manufacturing processes at SIGMA's sole production base in Aizu, Japan.

Smarter design means lower weight

Constant F2.8 zoom lenses can be heavy, but by optimizing the design and materials of each part of the SIGMA 28-105mm F2.8 DG DN | Art, SIGMA has achieved a remarkably light weight of less than 1kg. The use of magnesium-alloy rather than aluminum for the lens barrel around the mount has reduced the weight of these parts alone by two-thirds, while ensuring rigidity.

3. Professional features, fast AF and excellent build quality

In addition to high-speed AF delivered by its linear motor HLA (High-response Linear Actuator), the SIGMA 28-105mm F2.8 DG DN | Art packs in a range of features that help deliver the best possible results in every shooting situation. These include a dust- and splash-resistant structure and water- and oil-repellent coating, as well as a zoom lock switch, a de-clickable aperture ring, AFL buttons and the focus ring for easier handling including shooting with MF.

A linear motor HLA for rapid and accurate AF

The lens incorporates a linear motor HLA (High-response Linear Actuator) that delivers a maximum drive speed, ensuring responsive, precise and smooth AF. With its high level of quietness, the motor also provides noise-free video capability.

An aperture ring for improved ergonomics

For quick changes to exposure, or a more traditional way of shooting, the lens is equipped with a dedicated aperture ring, allowing the user to change aperture via the lens if preferred. An aperture ring click switch is a useful tool for film-makers, and a lock switch helps ensure the aperture ring is not knocked out of its setting accidentally.

Two AFL buttons* for added customization

Located on the side and on top of the barrel, two customizable AFL buttons can easily be reached in either horizontal or vertical shooting positions, ensuring more ergonomic handling.

* Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

Zoom lock switch to keep the zoom ring secure

The lens is equipped with a zoom lock switch that holds the zoom mechanism in place at its wide end, preventing it from extending unintentionally under its own weight when carried. The lock can be released by the switch, or by turning the zoom ring for a faster and more flexible workflow.

Weather-resistant structure for challenging conditions

The lens has a dust- and splash-resistant structure* that keeps it free of contaminants in harsh outdoor environments. The front element also features a water- and oil-repellent coating that helps keep it clean in adverse shooting conditions.

* The structure is designed to be dust- and splash-resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Petal-type hood

A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.

[ Additional Features ]

• Lens construction: 18 elements in 13 groups (2 FLD, 1 SLD, 5 aspherical elements)
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction
  * Only cameras that are compatible with the function are allowed to use this function. Also, the items that can be corrected may vary depending on the camera, or automatic correction may be performed.
  * On a camera that allows selecting ON/OFF for lens aberration correction, set the various aberration corrections to ON (AUTO) from the camera menu.
• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Nano Porous Coating
• Super Multi-Layer Coating
• Water- and Oil-Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (2 locations)
  * Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.
• Focus Mode switch
• Zoom Lock switch (Locks at wide end)
• Support for switching between linear and non-linear focus ring settings (for L-Mount only)
  * Only cameras that are compatible with the system are allowed to use the system.
• Dust- and Splash-Resistant Structure
  * The structure is designed to be dust- and splash-resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.
• Petal-type hood with lock LH878-07
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 12-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• "Made in Aizu, Japan" craftsmanship

Sigma 28-105mm F2.8 DG DN specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length28–105 mmLens mountL-Mount, Sony EApertureMaximum apertureF2.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades12Aperture notesAperture ring click switch Aperture ring lock switchOpticsElements18Groups13Special elements / coatings2 FLD, 1 SLD, 5 aspherical elementsFocusMinimum focus0.40 m (15.75″)AutofocusYesMotor typeLinear MotorDistance scaleNoDoF scaleNoPhysicalWeight995 g (2.19 lb)Diameter88 mm (3.46″)Length158 mm (6.22″)MaterialsMagnesiumSealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread82 mmHood suppliedYesHood product codeLH878-07Tripod collarNo

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Sigma 10-18mm F2.8 DC DN (L-mount version pictured)

Image: Sigma

Sigma has formally announced the arrival of its 10-18mm F2.8 DC DN wideangle APS-C lens for Canon's RF mount.

It becomes the second APS-C lens and the second third-party lens that Canon has licensed to be let loose within the RF walled garden. As with Sigma's 18-50mm F2.8 DC DN, it significantly expands the options available to keen photographers looking to get the most out of models such as the R10 and R7.

The 10-18mm offers a field of view roughly equivalent to a 16-29mm lens on full frame, making it a useful wide-to-ultrawide option for Canon shooters who want a brighter aperture than Canon's own compact, $329 RF-S 10-18mm F4.5-6.3 IS.

As with the versions available for other mounts, the 10-18mm comprises 13 elements in 10 groups. This includes three fluorite-like 'F' low dispersion elements, one super low dispersion element and four aspherical lenses. It uses seven rounded diaphragm blades. It accepts 67mm filters.

At 270g (9.5oz) the Canon version is 10g heavier than the L-mount version in our database and 20g heavier than the X-mount variant. It's 72.2mm (2.8") wide and 62mm (2.4") long at its shortest, and extends slightly as you zoom out to the 10mm setting.

Sigma has said its four DC DN F1.4 primes, the 16mm, 23mm 30mm and 56mm lens, are expected to arrive for the RF mount next.

The lens will be available from "late September" 2024 at a recommended price of $659.

Pricing and availability of SIGMA 10-18mm F2.8 DC DN | Contemporary for Canon RF Mount announced

Ronkonkoma, NY – September 5, 2024 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the pricing and availability of the SIGMA 10-18mm F2.8 DC DN | Contemporary for the Canon EOS R camera system.

Originally announced in October 2023, this lens was first released concurrently for L-Mount, Sony E-mount and Fujifilm X Mount, and is now available for Canon RF Mount. This compact, versatile zoom is a perfect partner for the SIGMA 18-50mm F2.8 DC DN | Contemporary which was released for Canon RF Mount in June 2024. The new lens will be available through authorized retail partners in late September 2024 for a retail price of $659.

This is the world's smallest and lightest F2.8 zoom lens designed for APS-C format mirrorless systems*. On the Canon system, the lens covers a 16-28.8mm (35mm equivalent) focal range, with a fast F2.8 constant aperture. Paired with the 18-50mm F2.8 DC DN | Contemporary, this duo of lenses covers a 16-80mm (35mm equivalent) range with the same bright F2.8 maximum aperture, with a combined weight of under 550g (19.5 oz.)

The SIGMA 10-18mm F2.8 DC DN | Contemporary uses an aspherical concave lens with a large polarization ratio and high refractive index in the first group, reducing the number of elements in the first group and shortening the overall length. Additionally, a new push-on petal type hood has been developed. Thanks to the new structure with a spring and lever which is not utilized by any other manufacturer, the hood has been made both thinner and smaller, which also contributes to the overall compactness of the lens.

The optical design of the lens delivers a short 11.6cm (4.6 in.) minimum focusing distance and a maximum magnification ratio of 1:4 at the wide end, allowing for close-up photography with pleasing background separation. The optical design also minimizes focus breathing, and the autofocus system delivers swift, quiet AF during both still and video use.

Thanks to its high optical quality and compact size, the SIGMA 10-18mm F2.8 DC DN | Contemporary lens is an excellent choice for travelers, adventure photographers, vloggers, and family photographers who want great image quality when paired with today's leading lightweight crop-sensor cameras on multiple platforms.

Learn more at: https://www.sigmaphoto.com/10-18mm-f2-8-dc-dn-c

Create expressive images on the go with the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras*. [ Long-awaited Canon RF Mount addition ]

SIGMA's APS-C size mirrorless dedicated zoom lens, the 10-18mm F2.8 DC DN | Contemporary, will now be available for the Canon RF Mount. This addition allows users to enjoy high-performance, and high-quality SIGMA zoom lenses in native mount on their Canon RF Mount system even more.

A control algorithm including AF drive and communication speed optimization has been developed specifically for Canon RF Mount interchangeable lenses. In addition to realizing high-speed AF, the lens also supports Servo AF and in-camera aberration correction*2. The mount is rubber-sealed to cater for use in a variety of environments.

Mount Conversion Service is available to convert other mounts of SIGMA 10-18mm F2.8 DC DN | Contemporary to Canon RF Mount.

[ Features ] Large-aperture, ultra-wide-angle zoom with expressive imaging capabilities

By utilizing unique optics which have been designed to correct lens aberrations, the SIGMA 10-18mm F2.8 DC DN | Contemporary produces images that are sharp across the entire image.

Extremely compact and lightweight

The SIGMA 10-18mm F2.8 DC DN | Contemporary is the world’s smallest and lightest ultra-wide-angle zoom lens for APS-C cameras*3, with a length of 62.0mm, a maximum diameter of φ72.2mm, and a weight of 270g*4. The lens can be carried around with ease or attached to an APS-C mirrorless camera and a gimbal to create an ultra-portable video setup.

Ideal for landscapes, travel, video and online content creation

With ultra-wide focal length, portable body and razor-sharp optics, the SIGMA 10-18mm F2.8 DC DN | Contemporary is the perfect portable option for landscape, travel, interior and street photography. It also boasts impressive video capability owing to its bright F2.8 aperture, which makes it well-suited to shooting in low-light environments and creating a shallow depth-of-field. The ultra-wide angle-of-view is ideal for hand-held vlogging that requires the capture of both the subject and the environment.

* As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October 2023 by SIGMA.
*2 Available on supported cameras only.
*3 As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October, 2023 by SIGMA.
*4 The values are for Canon RF Mount.

Sigma 10-18mm F2.8 DC DN specifications Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length10–18 mmImage stabilizationNoLens mountCanon RF, Fujifilm X, L-Mount, Sony EApertureMaximum apertureF2.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades7OpticsElements13Groups10Special elements / coatings3 FLD, 1 SLD, 4 AsphericalFocusMinimum focus0.12 m (4.57″)Maximum magnification0.25×AutofocusYesMotor typeStepper motorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight260 g (0.57 lb)Diameter72 mm (2.83″)Length62 mm (2.44″)Zoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread67 mmHood suppliedYesHood product codeLH706-02Tripod collarNo

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

Ricoh has announced a new flash unit that it will sell under the Pentax brand. Dubbed the AF180FG auto flash, it fits the hotshoes of Pentax DSLRs and Ricoh's GR-series of compact cameras. You can select between TTL auto modes with first-curtain or second-curtain sync, as well as full manual mode with either full- or 1/4-level discharge. It has a Guide Number of 18m at ISO 100.

The company is marketing the AF180FG as a 'rugged' flash, stating that it has 18 seals which make it 'dustproof' and 'weather-resistant.' As with the existing AF201FG, the head has 10 angle adjustments; it can be set to -10, 0, 30, 45, 60, 75, 90, 105, 120, and 135 degrees. It cannot be rotated to the side.

Ricoh says the flash has a built-in wide-angle panel that you can manually pull out to cover a 20mm angle of view for full-frame cameras (13mm APS-C models such as the Pentax K3 III or GR III). Without the panel, it'll cover a 24mm angle for full-frame/16mm for APS-C.

The flash runs off of two AAAs. Ricoh says you can expect approximately 100 shots with a 6-second recycle time if you're using alkaline batteries and around 130 shots with a 5-second recycle time with nickel-metal hydride batteries.

We've asked Ricoh what the difference is between this and the existing AF201FG, other than the lower Guide Number, and were told "That’s the only real difference – the new AF180FG flash shares the same compact size and functionality as the AF201FG flash."

The flash will go on sale in 'mid-September,' and will have an MSRP of $199.95.

Press Release Ricoh Imaging announces rugged PENTAX AF180FG compact auto flash, compatible with PENTAX DSLRs and RICOH GR Series cameras

New flash unit features dustproof, weather-resistant construction and simplified operation

PARSIPPANY, NJ, September 4, 2024 — Ricoh Imaging Americas Corporation today announced the PENTAX AF180FG auto flash. Compatible with both PENTAX DSLRs and RICOH GR Series digital cameras, this compact, portable flash has a maximum guide number of 18 at ISO 100/m. Designed with outdoor shooting in mind, it features 18 seals in crucial parts of the body, including the hotshoe, making it a highly dependable dustproof, weather-resistant accessory. When paired with a dustproof, weather-resistant DSLR camera body and lens, it assures solid performance, even in harsh outdoor conditions such as rain, mist and dust.

The AF180FG features bounce-flash functionality with a flash head that can be adjusted vertically to 10 different angles, up to 135°, to soften shadows and create more natural, true-to-life portraiture. Its simplified operating system lets the user start using the flash instantly by turning the discharge mode dial, which also functions as the ON/OFF switch. In addition to the OFF position, this dial provides a choice of four discharge modes: P-TTL auto flash with leading-curtain synchronization and P-TTL auto flash with trailing-curtain synchronization – in both settings, the flash’s preliminary emission is detected by the camera’s light sensor to accurately control the main discharge level for proper exposure; and manual flash with full discharge and manual flash with 1/4-level discharge.

The AF180FG also incorporates a built-in wide-angle panel that slides out to cover a 20mm angle of view (in 35mm format).

| Pricing and Availability |

The AF180FG will be available mid-September at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $199.95.

For further information, please visit www.us.ricoh-imaging.com

| Main Features |

1. Compact body, with dependable dustproof, weather-resistant design for outdoor shooting

This auto flash unit has a compact, well-balanced body ideal for use with PENTAX and RICOH digital cameras compatible with P-TTL, which includes PENTAX DSLRs and the RICOH GR series cameras. Thanks to 18 seals applied in crucial parts of the body including the hotshoe, it features a highly dependable dustproof, weather-resistant construction. When paired with a dustproof, weather-resistant DSLR camera body and lens, it assures solid performance, even in harsh outdoor conditions such as rain and dust.

2. Bounce flash function up to a 135-degree tilt angle

The flash head can be adjusted vertically to 10 different angles (-10, 0, 30, 45, 60, 75, 90, 105, 120 and 135 degrees) for bounce-flash operation. By bouncing the flash discharge off the ceiling or wall during indoor shooting, the user can soften the subject’s shadow to create more natural, true-to-life portraiture.

3. Simplified, dial-access operation

This flash unit features a simplified operating system that lets the user start flash photography instantly by turning the discharge mode dial, which also functions as the ON/OFF switch. In addition to the OFF position, this dial provides a choice of four discharge modes: P-TTL auto flash with leading-curtain synchronization and P-TTL auto flash with trailing-curtain synchronization, in both of which the flash’s preliminary emission is detected by the camera’s light sensor to accurately control the main discharge level for proper exposure; and manual flash with full discharge and manual flash with 1/4-level discharge.

Specifications GeneralPower output / Guide numberISO 100 18, ISO 200 25Coverage3–25 mmBounce tilt135.00°Bounce tilt - notesStops for -10, 0, 30, 45, 60, 75, 90, 105, 120 and 135 degreesMinimum number of flashes (with AA alkaline batteries)100Recycle time (with alkaline batteries)6 secPower sourceAAADimensions2.6 x 2.9 x 1.2″ (66 x 74 x 30 mm)Weight5.00 oz (142 g)

Image: GoPro

GoPro has announced its newest action camera, the Hero13 Black. In addition to new in-camera features, the Hero13 Black also supports a variety of accessory lenses, including an anamorphic lens, ND filters, and new mounting accessories.

The Hero13 Black retains the features found on earlier models, including GoPro's impressive HyperSmooth image stabilization technology for video and 5.3K/60p video capture. However, the new accessory lenses will likely grab most of the attention as they bring a new level of flexibility to GoPro cameras.

Buy now:

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GoPro's new HB-series of lenses for the Hero13 Black include ultra-wide, macro, and anamorphic lenses and an ND 4-pack.

Image: GoPro

GoPro has announced three new HB-series lenses (which we assume stands for 'Hero Black') and a 4-pack of ND filters. The lenses and filters are automatically detected when attached to the camera, which GoPro says will provide optimal settings based on the lens type and environment. The lenses are waterproof and scratch-resistant.

The Ultra Wide Lens Mod captures an ultra-wide 177° field of view in a 1:1 aspect ratio, providing more freedom to crop video for horizontal or vertical video use. This lens also supports 360° Horizon Lock at up to 4K/60p, ensuring that the horizon in your video stays level even if the camera rotates.

The Macro Lens Mod makes it possible to focus on objects 4x closer than the standard GoPro lens, and a variable focus ring allows you to manually focus to a close focus distance of 11cm (4.3").

The Ultra Wide Lens Mod captures a wide 177º field of view in a 1:1 aspect ratio for later cropping.

Image: GoPro

The Anamorphic Lens Mod captures a wide-angle perspective in a 21:9 aspect ratio, similar to CinemaScope. Go Pro says it can also add cinematic lens flare to footage. The Hero13 Black supports in-camera de-squeezing, allowing users to capture, review and edit anamorphic footage without additional steps in post-processing.

The ND-Filter 4-pack includes four ND filters (ND4, ND8, ND16, ND32) that are automatically detected by the camera. When attached, the camera switches to Auto Cinematic video mode and attempts to choose the best settings for the shooting environment.

In addition to accessory lenses, there are some notable upgrades to the camera itself. The Hero13 Black includes a 13x Burst Slo-Mo mode that supports 720/400p or 5.3K/120p capture. It also includes what GoPro describes as "professional-level" Hybrid Log Gamma (HLG) video, which uses the broadcast-standard 10-bit Rec.2100 color space to deliver a wider color gamut.

GPS + Performance stickers track speed, path, terrain, altitude and g-force and can help with geotagging in third-party media management apps.

Image: GoPro

The camera also includes customizable audio tuning, allowing users to select between balanced, "true-to-life" sound or a voice setting that improves vocal clarity. GPS + Performance Stickers track speed, path, terrain, altitude and g-force and can help with geotagging in third-party media management apps.

The Hero13 Black uses a new 1900mAh battery. According to GoPro, it combines a 10% increase in capacity with improved power efficiency to deliver longer runtimes, including 1.5 hours of continuous recording in 5K/30p or 4K/30p modes and over 2.5 hours at 1080/30p. The camera also includes faster Wi-Fi 6 technology for 40% faster data transfer with compatible devices.

In addition to internal changes, a new Snap and Go magnetic latch mounting system joins the existing built-in mounting fingers and 1/4"-20 tripod thread, providing a third way to mount the Hero13 Black.

Alongside the new camera, GoPro announced new accessories, including the Contacto Magnetic Door and Power Cable kit, a power extension that magnetically attaches to a specially designed door and provides an easy, weatherproof way to power the camera from an external source. New Magnetic Latch and Ball Joint mounts provide a quick way to move the camera between mounts and are compatible with all existing GoPro mounts.

The Contacto Magnetic Door and Power Cable kit provides a weatherproof way to power the camera from an external source.

Image: GoPro

Compact Hero camera

Finally, in addition to the Hero13 Black, GoPro announced a second camera, branded simply as the Hero, which is described as the "Smallest, lightest, simplest to use and lowest cost 4K camera ever with a screen." It weighs just 86g (3oz.), 46% lighter than the Hero13 Black and 35% less volume.

The Hero is GoPro's smallest 4K camera with a built-in screen.

Image: GoPro

The Hero uses a touchscreen and single button design and can capture up to 4K/30p or 2.7K/60p video and 12MP photos. It includes GoPro's HyperSmooth image stabilization technology for smooth video and is waterproof to 5m (16ft.) According to GoPro, it will run for up to 100 minutes on a single charge.

Price and availability

The Hero13 Black is available in different configurations, including camera-only ($399), the Hero13 Black Creator Edition, which includes a Volta Power Grip, Media Mod and Light Mod ($599), as well as activity-optimized bundles at GoPro's website. It's available for pre-order now and is expected to ship and be available in retail stores on September 10.

The Ultra Wide Lens Mod ($99), Macro Lens Mod ($129) and ND filter 4-pack ($69) are available for pre-order now. Like the Hero13 Black camera, they will be available on September 10. The Anamorphic Lens Mod ($129) will be available sometime in 2025.

The Contacto Magnetic Door and Power Cable kit ($79), Magnetic Latch ($25) and Ball Joint mount ($40) are also available for pre-order now.

The compact Hero camera ($199) is available for pre-order today and is expected to ship on September 22.

Buy now:

Buy at GoPro Buy at B&H Photo Buy at Adorama

Image: Google

Picture this: you just bought a Google Pixel 9 Pro and have been shooting pictures with it all day. Because you're a photographer, one of the first things you did was turn on Raw + JPEG, so you'd have as much editing latitude as possible. You sit down at your computer, navigate to the Google Photos site, select all the photos you just took, hit download, and...

... discover that you now have a folder full of JPEGs without a Raw in sight. It turns out that there's no easy way to bulk download JPEG + Raw pairs from Google Photos; instead, you have to go to each picture individually, click the triple dot menu button, then hit "Download all 2 photos." Repeat that process for 40 photos, and you'll have 40 zip files that you'll then have to uncompress to finally get your JPEG and DNG files.

�Using Google Photos to get Raw files shot on a Google phone is a massive pain

In other words, getting the Raw files you shot with your Google phone out of Google Photos is a massive pain – something we discovered as we were shooting galleries for the new Pixel 9 phones. The difficulty bulk downloading Raw files took us by surprise, because we remembered it being so much easier with previous iterations of the phone.

To be clear, it's not that we're just fools who can't find an obvious button; Google Photos' management of Raws is a common complaint on forums like Reddit and Google Community. Google's own AI told us that bulk downloading wasn't possible. (To make sure it wasn't missing something or hallucinating, we also looked at the support documentation the old-fashioned way and found it mum on the subject of Raw downloads.)

Google Gemini essentially told me to look elsewhere. Also, PicBackMan has 1.8 stars on TrustPilot.

If you happen to be using Windows, you can get around this by plugging your phone into your computer with a USB cable and then using Windows Explorer to access the files and copy them to your computer. With macOS, it's a lot harder. If you can get Apple's Image Capture app to recognize the Pixel (and that's a big 'if' based on our testing), you can use it to get the Raws onto your computer. However, you'll have to navigate through a massive list of photos you likely didn't even know were on your phone and that don't seem to be in any discernible order. Oh, and your deleted photos will show up there, too, alongside MP3s and other mysterious file types such as DB-WAL, DB-SHM, and EXOs.

Pictured: Apple's Image Capture struggling with the Pixel 9's file structure. Not pictured: a good photo management experience.

There are almost certainly workarounds to this problem. You could use a different service to sync your pictures, such as Dropbox or Lightroom, if you pay for those. You could set up an automation on your phone to move the Raws from Google Photos to Google Drive, where you can bulk download them or even automatically sync them with your computer. And, because the Pixel runs Android, there are probably dozens of GitHub projects meant to solve this exact issue.

However, I'd argue that it's ridiculous that you need a workaround in the first place. (And yes, I'm counting having to physically plug your phone into a computer as a ridiculous workaround because it's 2024, not 2004.) You should be able to download your Raws from Google Photos without having to go one-by-one, especially since the problem stems from using Google's own photography-centric phone.

Apple handles Raw files shot on its phones much better than Google does

What makes the whole situation more annoying is that, to my genuine shock, Apple handles Raw files shot on its phones much better than Google does. Getting at them on a Mac is obvious; if you're syncing your photos with iCloud, they'll automatically be added to the Photos app.

Unbelievably, getting your iCloud photos on Windows is almost as easy. The iCloud for Windows app will automatically sync your photos – including Raws – to your computer. If you're using someone else's computer and can't install an app, you can go to the iCloud Photos website and batch-download them from there. In other words, Apple's system works exactly how I expected Google's to.

Apple Photos can sync straight to Windows Photos, Raws and all.

That's not to say that Apple's system is perfect. If you use Apple Photos to back up Raws from other cameras, it's very difficult to get them from a Windows machine. But while someone has probably had to deal with that scenario at some point, it's a substantially more niche use case than just trying to offload Raws you took on your phone. (And that in itself is already a niche workflow.) And if you don't use iCloud Photos, you will be left reaching for a cable or using AirDrop. But the point still stands that Apple's photo system handles Raws with far more grace than Google's

Hopefully, that fact is a wake-up call to Google. In theory, this problem could be entirely solved by the addition of a 'Download Raws' button that's available when you have multiple images selected in Google Photos. Until then, anyone who wants to shoot Raw on their Pixel should know that they're setting themselves up to jump through some hoops if they ever want to get those Raws on a computer.

On a completely unrelated note, check out our Pixel 9 Pro or Pixel 9 Pro Fold sample galleries to see how Google's newest smartphone cameras stack up.

Peak Design is back with its latest crowdfunding campaign to launch its new Outdoor Line of packs and bags explicitly aimed at outdoor enthusiasts and adventure photographers. According to Peak Design's Founder and CEO, Peter Dering, "Peak Design has been synonymous with 'outdoor photography,' yet we still haven't created true outdoor bags... until now."

The Outdoor Line's headline products are the Outdoor Backpack, available in 45L and 25L sizes, and the Outdoor Sling, available in 7L and 2L sizes.

Peak Design's Outdoor Backpack comes in two sizes: 25L and 45L.

Images: Peak Design

According to Peak Design, the Outdoor Backpack is built around a unique harness system inspired by running vests, which distributes weight over a greater surface area and uses low-profile shoulder and waist straps for improved comfort and reduced bulk. The shoulder straps feature built-in storage for easy access to small items and dual camera-carry attachment points. The exterior includes Peak's Design's Cord Hook system for attaching accessories and Flex Pockets for gear like water bottles and tripods.

The Outdoor Backpack can be accessed through what Peak Design calls an "Ultra Cinch" hatch, which combines a rolltop-like design found on a dry bag with a quick-cinch drawstring for quick opening and closing. There's also a large rear access panel for easy access to the pack's interior. When not in use, the hip belt can be rotated and stored behind the back pad to keep it out of the way.

The Outdoor Pack also includes three built-in attachment points for its Capture camera clip, one on each shouder strap and one on the hip belt. The 45L version of the pack weighs 1.6kg (4 lbs) and the 25L version weighs 1.2kg (2.5 lbs)

Image: Peak Design

The Outdoor Sling can be worn as a cross-body sling-type bag or as a waist pack, thanks to a removable, padded strap. The larger 7L model includes external gear loops to attach a Peak Design X-Small Camera Cube. Both models can be mounted on the shoulder straps of one of the new Outdoor Packs to create a chest-mounted storage system.

The Outdoor Sling is available in two sizes: 7L and 2L.

Image: Peak Design

Peak Design says its new bags are designed for compatibility with its Camera Cubes and Ultralight Packing Cubes, allowing users to customize their packs based on their specific needs.

The Outdoor Sling can be worn as a shoulder sling or waist pack.

Image: Peak Design

The Outdoor Line is being launched through a Kickstarter campaign, which runs until October 15, and customers who make Kickstarter pledges will receive discounts between 20-25% off expected retail pricing. This includes the 25L Outdoor Pack for $199 (MSRP: $250), the 45L Outdoor Pack for $265 (MSRP: $330), the 7L Outdoor Sling for $72 (MSRP: $90), and the 2L Outdoor Sling for $48 (MSPR: $60).

Products are expected to ship to Kickstarter backers in January 2025 and become available through Peak Design's website and other retail channels in November 2024.

Pledging to a crowdfunding campaign is different from ordering a product online, and risk is always involved. However, Peak Design has established a solid record of using such campaigns to launch new products, with 12 such crowdfunding campaigns under its belt.

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

Buy it now:

Pledge on Kickstarter

Google's Pixel 9 Pro Fold is Google's latest foldable smartphone and the first from the company to bear the 'Pro' branding. However, it doesn't have the same camera system as the Pixel 9 or 9 Pro phones, which were launched alongside it.

Unlike the regular Pixel 9 Pro, the Pixel 9 Pro Fold has a screen on the front, but can be opened to reveal a 20cm (8in) display.

We shot a sample gallery with it to see how it performs, which you can view below. Alongside the regular photography, we also tried out some Fold-specific features, and one of Google's new AI features. Our thoughts on those are below the gallery.

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

One of Google's headlining AI features for the Pixel 9 series is called 'Add Me,' and it's meant to solve the problem where group photos are always missing the photographer. To use 'Add Me,' you select the mode in the camera app and then ask the group you're taking a photo of to leave a space for you. After you take a picture, you get someone from the group to take the next shot, this time with you there instead of them.

The person now holding the phone will be asked to align the shot with the shot you took and press the shutter again. The Pixel 9 Pro Fold will combine those two images, digitally adding you to the group.

AI altered image: the person on the left was added to the group. Created using the 'Add Me' feature on the Pixel Pro 9 Fold.

However, both people we asked to use the feature found it confusing. Some of our test shots didn't turn out because they were taken while we explained how to use the feature. The UI shouldn't be too difficult for someone who's technically-savvy to figure out, but it is complicated enough that you probably won't be able to hand this phone to a parent or grandparent and expect a good group photo.

The 'Add Me' feature is available on all the Pixel 9s, but the Fold has an additional, simpler way to do group photos. You can unfold the phone into an L shape, set it down on a surface that's roughly level with the group, then start a self-timer and join the group.

This picture was made possible by the Pixel Pro 9 Fold's 'tabletop mode.'

While this is also possible with regular phones, you'll have to find something to lean them on; that's not something you have to worry about with the Fold. You will, however, want to be careful where you use this feature. While in this mode, it's resting on the front screen, and it'd be a bummer to pick up your phone and realize the screen's been scratched.

Another benefit of the Fold is that you can see the cameras and the front screen at the same time when it's open, which unlocks a few different features. For one, you can take selfies with the rear cameras, which should give you much better results. You can also display the camera preview on both screens, so the person you're taking a picture of can see how they'll look and adjust accordingly – though it is worth noting that this mode currently doesn't work in portrait mode, which is arguably where it'd be most useful.

Google has also built a twist on that mode called 'Made You Look.' If you're photographing children, you can have the phone display some smiling, animated cartoon features on the front display to try and hold their attention.

View our Pixel 9 Pro Fold sample gallery

Buy now:

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Images: Canon, Manfrotto, SmallHD

Another week has passed, and that means another crop of accessories and photography-related products from manufacturers. This time around, we've got a lot of color and some cheaper storage options. Before we get to that, though, let's look at...

This week's deal

It's Labor Day in the US, so there are plenty of sales around. You can nab the Sony a6100, one of our top budget picks, for $599 body only – that's around $150 off.

Buy now:

Buy at Amazon.com$598 at B&H PhotoBuy at Adorama $691 with kit lens at Amazon

Also on sale is the Nikon Z8, a camera that won a gold reward when we reviewed it and still sits atop our best high-end cameras buying guide. You can grab the body for $200 off at several US retailers.

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at Adorama $4,696 with 24-120mm f/4 lens at Amazon Red batteries... Image: Manfrotto

Manfrotto has updated its lineup of third-party batteries, which come wrapped in a striking red shell versus the usual black casing. It's made Mark II versions of its Canon LP-E6Nh type and Nikon EN-EL15c type batteries, which offer 2400mAh capacities compared to the 2000mAh ratings for the previous versions. Canon's official version costs $79 and has a capacity of 2130mAh, while Nikon's $60 battery holds 2280mAh.

The company is also now offering batteries for other manufacturers as well, with versions of Fujifilm's NP-W235, Sony's NP-FZ100, and OM System's BLX-1 batteries, all of which cost $60 and have the same 2400mAh capacity as the Canon and Nikon versions. If you are considering picking one up, just be sure to check the compatibility lists; the one for the Nikon battery lists the Z6 and Z6 II but not the latest Z6 III and the Canon model similarly omits the EOS R5 II (which has had some issues with third-party batteries).

Buy now: For select Canon cameras For select Nikon cameras $60 at B&H $60 at B&H For select Fujifilm cameras For select Sony cameras $60 at B&H $60 at B&H For OM System OM-1 $60 at B&H ... and a color monitor

A more elegant (and expensive) way to color-code gear than gaff tape.

Image: SmallHD

SmallHD is adding a splash of color to its Ultra 7 camera monitor, which is meant for video professionals. You can now get the 2300-nit touchscreen display with buttons, a joystick and bumpers that are colored red, blue, green, yellow, olive green, orange, teal, purple, pink or gray, instead of the standard black. It is, however, a $200 add-on.

If you buy one of SmallHD's monitor bundles with the Bolt 6 wireless transmitter, you'll get an extra splash of color on its antenna band. SmallHD says you'll be able to buy those colorful antenna bands on their own "soon," but says the colors on the monitor itself are "custom-made to order in our factory and are not user changeable." That custom-made aspect also means there's a 6 to 8-week lead time for the colorful options.

Buy now: $3,199 at SmallHD CFexpress Type A for less

If you're looking for a less expensive CFexpress Type A card, you're about to have more options. ProGrade and Angelbird have announced lower capacity entries in their memory card lineups. The former has released a 120GB card that retails for $159.99, and the latter has released 160GB and 330GB cards for $180 and $250, respectively.

If those prices seem unusually high, you may be thinking of the faster and physically larger CFexpress Type B cards, which you can usually pick up for quite a bit less. CFexpress Type A, meanwhile, is quite a bit rarer; at the time of writing, B&H carries around 50 Type A models versus almost 170 Type B ones.

It is worth noting that these cards have a speed trade-off as well as a capacity one; they're built using the CFexpress 2.0 standard rather than the newer 4.0 one that uses a twice-as-fast connection. Of course, 4.0 cards are even more expensive; ProGrade's 4.0 offerings start with a 480GB 'Iridium' card that retails for $390.

Still, if you have a camera like the Sony A9 III, FX30, or A7R V and you'd rather fill the slots with CFexpress cards than SD ones, you now have a less expensive option to do so.

Buy now:

Angelbird 160GB

Angelbird 330GB $180 at B&H $250 at B&H A new large format printer Image: Canon

Canon has announced the imagePROGRAF Pro-1100, a large format inkjet printer aimed at professional photographers. It's an update to the previous Pro-1000 model and uses a new ink system, which Canon says will improve image quality as well as scratch and light resistance. It can print bordered or borderless images up to 43cm x 56cm (17in x 22in) and retails at $1,300 – the same price its predecessor launched at in 2015.

The Return of the King

There's no way to justify this video's inclusion on an accessory list, even though one could argue that the greatest accessory is your knowledge. However, Every Frame a Painting's return feels like such a monumental internet event that it'd be a shame if you didn't hear about it.

Over a decade ago, Taylor Ramos and Tony Zhou started creating some of the best video essays on filmmaking ever to grace the internet, and anyone who's into any kind of visual arts could likely learn a thing or two by watching them. (The one about tracking shots is a good place to start, though there are no wrong answers.) The bittersweet news is that it won't take very long because seven years ago, they stopped uploading entirely. Now, they're back with a new video on two-shots as part of a 'limited series' of essays.

It's so good to see two masters of their craft at work again.

On a sizzling hot summer day, a kayaker relaxes on Lake Washington near Seattle.

Nikkor 120-300mm F2.8 & Nikon Z7 | ISO 450 | 1/2500 sec | F4
Photo: Dale Baskin

Our newest Editors' Choice Photo Challenge, The Dog Days of Summer, is open for submissions through Saturday. Enter your favorite summer photo for a chance to be featured in an upcoming article on DPReview.

If you're in the southern hemisphere, you can participate too. Photos can be taken at any time, so dig up some unique summer pictures and join the fun.

sBring on the heat!

How it works

DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work on the DPReview homepage.

If you miss participating in this one, please look out for our next editors' challenge.

How to submit your photos

Submissions will open on September 1, and you have until Saturday, September 7, to submit. User voting will begin after that and will help inform DPReview Editors' Picks, but will not select them. They are one factor in our evaluation of submissions.

Click here to read the full challenge rules and enter your photos.

Read the challenge rules and enter your photo

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The EOS R5 II faces a major challenge: having to improve on a camera that already did a lot of things very, very well. This was difficult enough for rivals such as Nikon's Z8, but the EOS R5 II faces a higher hurdle: not just to be good enough to sway would-be buyers away from the original R5, but to convince some established R5 owners that it's sufficiently better to justify the financial hit of upgrading.

A big part of that will come down to how well the EOS R5 II can shoot action. The R5 II can shoot faster than its predecessor, with less rolling shutter, gains a more powerful autofocus system and Eye Control AF to make subject selection quicker. These should come together to make the R5 II an even better action camera than the Mark 1, making it one of the biggest areas of improvement over the original.

I didn't want to shoot the camera at one of the sports its Action Priority feature has been specifically trained for, because even if it does prove to be a slam dunk at soccer football or home run for basketball, that's only going to be useful to the subset of users that shoot those specific sports. This has value, of course (especially if it can put even a fraction of a pro's experience and understanding of the game into the hands of the so-called Soccer Moms and Dads), but doesn't tell us much about how well the camera will handle more general action shooting.

Crit(erium) racing is pretty good for autofocus testing because you have a lot of similar-looking subjects moving very quickly, overlapping and moving around one another and, because it's raced on a circuit, they come back to let you have another attempt, every few minutes.

In practice the EOS R5 II impressed me a lot, but also made me very aware that it's a camera that still demands a lot of work to get to the stage where you feel you're getting the most out of it.

Layer upon layer

The experience taught me to think of the EOS R5 II's autofocus system as having multiple layers. Underpinning it all is the basic 'Servo-AF' setup, that defines how and when the camera refocuses to a different distance. Gone are the six presets of three parameters, replaced by a two variable system that you only need use if the main 'Auto' system with its three position Locked-On-to-Responsive scale is letting you down.

The Servo AF system has been further simplified, relative to the EOS R3 or EOS-1D X cameras.

The second layer of complexity is the subject recognition system, designed to identify specific subject types so that it can track them more accurately, prioritise them over other subjects and, in some instances, focus on a particular part of the subject (the subject's eye or a motoracing helmet).

Finally, there's the Eye Control system, that can be used for selecting a subject to focus on.

Eye Control

The R5 II's Eye Control system is supposed to be more advanced than the system on the EOS R3. As before, it works best with the subject recognition modes, where its job becomes to select from the recognized subjects, rather than to pick from the array of thousands of selectable AF points.

As a glasses wearer, it was good to be able to configure one calibration set for my specs and another for my contact lenses. Unexpectedly I had more success with the system when wearing glasses.

I've tried using the EOS R5 II both with glasses and with contact lenses, configuring a separate profile for each, and adding calibration after calibration to each profile, in the hope of improving its performance. The good news is that, when it works for me, it's extremely effective: letting you forget about having to select a subject because the camera will initiate focus on whatever you're looking at, with a half-press of the shutter button.

However, even with multiple calibrations, I would still find that the camera would sometimes place the Eye Control target just to the left of where I was looking. This could usually be resolved by conducting an additional calibration, but this proved to be stressful when you can already hear the sound of the riders approaching.

Interestingly, I found Eye Control worked better for me with glasses than with contact lenses, which leads me to wonder whether I position my eye more centrally, relative to the viewfinder when wearing my glasses and have more freedom to move, and hence take up a different position, when wearing contacts.

I found I had to peel through the layers of the EOS R5 II's AF system to try to maintain focus on a specific subject when others were passing in front.

The EOS R5 II's AF system is undoubtedly very impressive. Given how closely related it is to the one in the EOS R1, which was in use at the recent Olympics, I don't think I'm going to earn myself a medal for recognizing this.

Rather than just take photos of bike racing, which the R5 II can do without any effort at all, my aim was to take photos of specific riders, as they emerged and disappeared within the peloton. It was this experience that led me to think of the AF system as being layered, because I found myself having to remove one layer at a time, to try to get the results I wanted.

I found that the Eye Control AF wasn't quite precise enough to pick the subject I wanted in the midst of a throng of moving riders: it was great when everyone was lined up on the start line, but when approaching and cornering as speed, I'd often find I couldn't always pick out the rider I wanted. It did well, but I came away convinced that I was getting a better hit-rate without it.

Dependable AF and 30fps shooting made it trivial to catch a chosen rider as they passed through the slightest patch of fading sunshine.

It was a similar story with subject detection. It did a great job of locking onto a rider in isolation and staying with them, but in a bunch, the camera would tend to prioritize any rider that crossed in front of the target I'd set it to track.

Ultimately, even with subject selection recognition turned off, I wasn't able to get the camera to remain focused on my chosen subject, even if I dialed the AF behavior to 'Locked-On', rather than 'Responsive.'

That said, while I couldn't always get precisely the shot I wanted, the camera is ludicrously good at delivering in-focus images. For all its sophistication, the EOS R5 II can't always simply deliver precisely the image you want. But now, instead of worrying about what proportion of your shots will be in focus, all the work of setting up the camera, anticipating the action and telling the camera what to do in the right way, at the right moment becomes a question of ensuring that exactly the correct part of the correct subject is in focus.

It's a definite step forward from the original EOS R5, and even perhaps from the current Nikons and Sonys (I'd want to shoot them side-by-side at the same sport before saying that with certainty), but it's not quite at the stage where it'll unfailingly do precisely what you want it to. But that day does seem tantalizingly close.

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Pixel 9 Pro XL main camera | ISO 1460 | 1/10 sec | F1.7 | Night Mode

Photo: Dale Baskin

When we published our Google Pixel 9 Pro sample gallery last week, it consisted mainly of daylight images. We've now added additional photos shot in low light using the camera's Night Mode setting.

If you haven't yet viewed our Pixel 9 Pro sample gallery, you can view it in its entirety here. Or, you can jump straight to the Night Mode images.

View Night Mode images in our Pixel 9 Pro sample gallery

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

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

Yesterday, Sony announced the FE 85mm F1.4 GM II, the newest lens in its G Master (GM) premium lens lineup. Sony's original 85mm F1.4 GM was one of its first-generation GM lenses introduced in 2016 and is the last lens from the original trio of GM optics to get a Mark II refresh. If you want to see sample photos shot with the lens, make sure to check out our FE 85mm F1.4 GM II sample gallery.

In this view, we can see some of the lens's primary features, including a physical aperture ring with an 'A' setting, which shifts aperture control to the camera, one of two customizable focus hold buttons, and the AF/MF switch.

Buy now:

$1798 at B&H Photo$1798 at Adorama Other switches

The new 85mm F1.4 lens is 13% smaller by volume than the original model. It measures 107mm (4.2") by 85mm (3.3") wide and is about 20% lighter at 642g (22.6oz). That's enough to be noticeable for applications like wedding photography, which may necessitate carrying it around your neck or over your shoulder for hours at a time.

On this side of the lens, we see the Click Lock switch, which allows users to switch between a clickable aperture ring with 1/3-stop detents or clickless operation, allowing for smooth transitions when doing video work.

Buy now:

$1798 at B&H Photo$1798 at Adorama Iris lock and Focus hold

A top view of the lens reveals the Iris Lock switch, which prevents the aperture ring from accidentally moving between manual aperture selection and the 'A' setting. The second focus hold button, is also visible in this view.

The two focus hold buttons are designed to give easy access, whether you're shooting in the portrait or landscape orientation. The function assigned to both buttons can be customized, but they always perform the same function as one another.

Buy now:

$1798 at B&H Photo$1798 at Adorama Optical design

Looking down the barrel of the lens, we can see the physical diameter of the lens' F1.4 aperture wide open. The lens has a standard 77mm filter thread.

Optically, the lens comprises 14 elements in 11 groups, including two ED (extra-low dispersion) lens elements to improve chromatic aberration and contrast and two XA (extreme aspherical) elements to enhance high resolution and bokeh performance. It includes an 11-blade circular aperture.

According to Sony, the lens exhibits very little focus breathing. It's also compatible with the breathing compensation feature on more recent Sony camera bodies, which eliminates focus breathing altogether. However, to achieve this, a slight crop of the lens' field of view is required.

Buy now:

$1798 at B&H Photo$1798 at Adorama Focus and build

Autofocus is driven by one of Sony's high-thrust XD linear motors, which Sony claims will deliver 3x faster AF performance for single AF acquisitions and supports up to 7x faster subject tracking. The Mark II is compatible with the a9 III's 120fps continuous shooting. In manual focus mode, the focus ring can be set for a linear response, allowing for precise focus in applications like video work or macro photography.

The 85mm F1.4 GM II has a close focusing distance of 0.85m (33.5") in autofocus mode, and a fraction closer in manual. The front element includes a fluorine coating to help the lens resist oils, such as those found on fingerprints, along with dust and other contaminants. According to Sony, the lens is dust and moisture-resistant.

Buy now:

$1798 at B&H Photo$1798 at Adorama Lens hood

As one would expect for a lens of this caliber, it comes with a lens hood that can be reversed for storage in your camera bag.

The FE 85mm F1.4 GM II will be available in September 2024. Its suggested retail price is $1799 in the US and $2499 in Canada.

Buy now:

$1798 at B&H Photo$1798 at Adorama

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

Tamron has announced that it's bringing its full frame 50-400mm F4.5-6.3 Di III VC VXD lens to the Nikon Z mount. The lens has previously been available on the Sony E-mount, and when we reviewed it in 2022, the images it produced were surprisingly sharp given its focal range.

The 50-400 uses a linear motor for autofocus and includes Tamron's Vibration Compensation image stabilization. You can also plug it into a computer via an adapter and use it with the company's lens utility, which lets you update its firmware and customize how the lens works.

The lens is made up of 24 elements in 18 groups, and Tamron says its construction is "moisture-resistant." It has a minimum focus distance of 25cm (9.8") at 50mm, which allows for 1:2 reproduction. At 400mm, the minimum focus distance is 1.5m (59.1").

There aren't any other full-frame lenses for Z mount that go from the standard 50mm focal length to such a tight telephoto. There is Nikon's own 28-400mm F4-8 lens, but its extra wide angle coverage puts it in a different category of lens. For many users the extra 22mm will make it a more versatile all-arounder at the expense of a slower apperature on the long end, but the Tamron makes it easier to find the 50mm focal length for those who are devoted to it.

Despite weighing in at a relatively hefty 1,180 g (41.6 oz), the lens doesn't come with a tripod collar. Tamron does sell one separately, but at a price of $91, it may be worth seeing how you fare without it first.

The lens will be available starting September 19th and will retail at $1,299.

$1,299 at B&H

Press Release:

Groundbreaking ultra-telephoto zoom starts at 50mm

50-400mm F/4.5-6.3 Di III VC VXD (Model A067) for “Nikon Z mount system”

August 28, 2024, 9pm ET / 6PM PT, Commack, NY – TAMRON announces the launch of the 50-400mm F/4.5-6.3 Di III VC VXD (Model A067), a next level ultra-telephoto zoom lens for Nikon Z mount system full-frame mirrorless cameras on September 19, 2024, at $1299 USD / $1749 CAD.

Presenting compactness that pairs well with Nikon Z mount full-frame mirrorless cameras, the TAMRON 50-400mm F4.5-6.3 VC is an ultra-telephoto zoom lens that covers from the 50mm standard focal length up to 400mm ultra telephoto. This is TAMRON’s challenge to the standard 100-400mm. Featuring an 8x zoom ratio that begins at an unprecedented 50mm (commonly called the “standard” focal length for full-frame cameras), this ultra-telephoto zoom lens is both smaller and lighter than conventional 100-400mm zoom lenses yet offers a wider angle of view on the wide end for excellent versatility. The 50-400mm F4.5-6.3 VC is amazingly compact with a length of just 7.3” (185.8mm) and a light weight of 41.6 oz (1,180g). In addition to its small size, it provides unparalleled high performance at all focal lengths. Despite the very high zoom ratio, superb image quality is delivered across the entire standard to ultra telephoto range through the effective arrangement of special lens elements. Equipped with TAMRON’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that offers excellent quietness and responsiveness, plus TAMRON's proprietary image stabilization mechanism VC (Vibration Compensation), the lens delivers incomparable versatility for all shooting scenarios.

Telephoto lenses are usually considered tools for photographing distant subjects only, but the 50-400mm F4.5-6.3 VC breaks that rule. It provides up to one-half life-size (1:2) magnification during close focus, so users can enjoy the exciting world of half-macro photography with excellent close-up shooting performance and an MOD (Minimum Object Distance) of 8.8” (0.25m) at 50mm.

The lens also offers ergonomic features that support comfortable operation, such as an enhanced lens design with improved texture and tactile feel, and a Connector Port for the dedicated TAMRON Lens UtilityTM originally and uniquely developed by TAMRON. In addition, for this 50-400mm F4.5-6.3 VC, TAMRON Lens Utility offers a "Focus Limiter” function. An optional Arca-Swiss compatible accessory tripod mount is available for convenience when using a tripod. All in all, the 50-400mm F4.5-6.3 VC is a highly portable, versatile zoom lens that ensures users never miss a shooting opportunity, from the 50mm standard focal length up to the 400mm ultra-telephoto—and even closeups. This is truly a breakthrough product that creates an entirely new category of ultra-telephoto mirrorless zoom lenses, another first for TAMRON.

Product Features 1. Expansive 8x zoom ratio starts at 50mm "standard" and extends to 400mm ultra-telephoto

The TAMRON 50-400mm F4.5-6.3 VC is a game-changing ultra-telephoto zoom lens with an unprecedented 8x zoom ratio that covers focal lengths from 50mm to 400mm. The 50-400mm F4.5-6.3 VC has an unprecedented wide-end focal length of 50mm, so users can create images that not only capture a subject close up, but also utilize the background. Leveraging the versatility of this revolutionary new lens configuration, users can enjoy shooting a broad range of subjects from landscapes and wild birds to animals, portraits, sports, and small group photos, all with one single compact lens.

2. Absolutely superb image quality across the entire zoom range

The optical construction features 24 elements in 18 groups. The generous and effective use of special lens elements, including two XLD (eXtra Low Dispersion), three LD (Low Dispersion), one GM (Glass Molded Aspherical) and one Hybrid Aspherical lens elements, thoroughly controls aberrations including axial chromatic aberrations. The TAMRON 50-400mm F4.5-6.3 VC also features TAMRON's legendary BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating that minimizes ghosting and flares and expresses the minute details of subjects even under backlit conditions. No matter what circumstances you find yourself in, the 50-400mm F4.5-6.3 VC delivers clear and crisp images shot after shot.

3. VXD produces high-speed, high-precision AF and excellent focus tracking

The TAMRON 50-400mm F4.5-6.3 VC utilizes VXD linear motor focus mechanism. It combines high-level AF speed and precision, enabling fast and accurate focusing from MOD to infinity. The excellent focus tracking performance of moving objects makes it possible to capture sharp images even when shooting wild birds and action sports. Plus, the lens is extremely quiet, so it’s perfectly suited for both still and video shooting in conditions that demand silent operation.

4. Compact ultra-telephoto zoom lens you'll take everywhere

Boasting a length of just 7.3” (185.8mm) and a light weight of 41.6 oz (1,180g), the 50-400mm F4.5-6.3 VC is extraordinarily compact and easy to carry. Despite covering focal lengths from 50mm to 400mm, this lens is both smaller and lighter than conventional 100-400mm lenses. It's ideal for those photo explorations when you don't know what you'll encounter. This compact ultra-telephoto zoom lens unlocks your potential to capture brilliant images of the world around you with ease and precision.

5. Equipped with TAMRON’s proprietary VC image stabilization

For sharp, shake-free images even at 400mm, the 50-400mm F4.5-6.3 VC is equipped with TAMRON's proprietary VC. This potent image stabilization technology effectively reduces image blurring due to camera shake. Additionally, using AI algorithms, the lens chooses the appropriate compensation characteristics for videography at focal lengths of 100mm or less.

6. Half-macro photography with 1:2 magnification ratio from 50mm to 70mm focal length

Opening an exciting new world of photo possibilities, the TAMRON 50-400mm F4.5-6.3 VC is capable of extremely high performance when shooting close-ups, particularly for an ultra-telephoto zoom lens. You can enjoy shooting with an MOD of 9.8” (0.25m) at 50mm, and half macro photography with a maximum magnification ratio of 1:2 at focal lengths from 50mm to 70mm. Moreover, at the 400mm telephoto end, the MOD is 59.1” (1.5m), providing a maximum magnification ratio of 1:4 for dynamic shots. This lens allows you to get as close to your subject as you want and increase your photographic expression.

7. Proprietary software tool TAMRON Lens Utility for lens function customization and firmware updates 8. Additional Features

• BBAR-G2 Coating
• Moisture-Resistant Construction
• Fluorine Coating
• Switchboxes (AF/MF, Custom)
• Focus Set Button
• Zoom Lock switch
• 75° of zoom ring rotation arc
• Optional tripod mount (Model A035TM) with Arca Swiss-compatible quick shoe

Tamron 50-400mm F/4.5-6.3 Di III VC VXD specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length50–400 mmImage stabilizationYesLens mountNikon Z, Sony E, Sony FEApertureMaximum apertureF4.5–6.3Minimum apertureF22–32Aperture ringNoNumber of diaphragm blades9Aperture notesrounded aperture bladesOpticsElements24Groups18FocusMinimum focus0.25 m (9.84″)Maximum magnification0.5×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1155 g (2.55 lb)Diameter89 mm (3.5″)Length183 mm (7.2″)SealingYesColourBlackZoom methodRotary (internal)Power zoomNoZoom lockYesFilter thread67 mmHood suppliedYesTripod collarNoOptional accessoriesTripod collar

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The Sony FE 85mm F1.4 GM is the company's newest 'G Master' lens, replacing its original 85mm F1.4 GM announced in 2016 – one of Sony's three original G Master lenses.

Fast 85mm prime lenses are popular for portraiture because they provide a good balance between perspective, subject isolation and image quality. This gallery features portraits and other photos highlighting the lens' out-of-focus characteristics.

Click to view our Sony FE 85mm F1.4 GM II sample gallery

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

Buy now:

$1798 at B&H Photo

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

Sony has announced the FE 85mm F1.4 GM II lens, its second-generation GM-series portrait lens. It replaces the original 85mm F1.4 GM in Sony's lens lineup.

Notably, the original 85mm F1.4 GM lens was one of Sony's three original GM, or 'G Master', lenses introduced in 2016, alongside the 24-70mm F2.8 GM and 70-200mm F2.8 GM OSS. We had the opportunity to interview a Distinguished Engineer in Sony's Lens Design Department when it launched the G Master series, and it's a valuable read for anyone interested in the process and philosophy behind Sony's GM lenses.

The original 24-70mm F2.8 GM and 70-200mm F2.8 GM OSS lenses were updated in 2022 and 2023, respectively, so with the new 85mm F1.4 GM II, Sony has finally retired all of its original GM-series optics.

According to Sony, the new lens is optimized for both photo and video applications. It measures 107mm (4.2") by 85mm (3.3") wide, slightly smaller than the original's 108x90mm size and 13% smaller by volume. At 642g (22.6oz), it's about 20% lighter than its predecessor. According to Sony, it uses a hybrid metal and "engineering plastic" design for high durability while maintaining a low weight.

Optically, the lens includes two ED (extra-low dispersion) and two XA (extreme aspherical) elements and has an 11-blade circular aperture. It includes Sony's Nano AR II coating to suppress ghosting and flare. The front element has a fluorine coating to resist dust, oil and other contaminants.

Image: Sony

Other features include an aperture ring with a Click on/off switch, allowing users to switch between standard 1/3-stop detents or click-less operation for smooth aperture adjustments, and an aperture lock to prevent the ring from accidentally moving between manual aperture selection and the lens' 'A' setting. Two focus hold buttons can maintain focus when pressed and are customizable. Focus can be set to a linear response for precise operation in manual focus mode.

Autofocus is driven by a high-thrust XD linear motor instead of the slower ring-type ultrasonic motor found on its predecessor. Sony claims it will deliver 3x faster AF performance and up to 7x faster subject tracking performance. It also supports continuous shooting at up to 120fps for use with the a9 III.

According to Sony, the lens has minimal focus breathing, a desirable feature when shooting video, and is compatible with the breathing compensation mechanism found on more recent Alpha mirrorless cameras. It includes a 77mm filter thread. Sony says the lens is dust and moisture-resistant.

The FE 85mm F1.4 GM II will be available beginning in September and has a suggested retail price of $1799.

Buy now:

$1798 at B&H Photo Sony Electronics Announces the Highly Anticipated FE 85mm F1.4 G Master™ II Lightweight Telephoto Portrait Lens

A Next-Generation Full-Frame E-Mount Lens Offering Significant Resolution, Size, and Autofocus Upgrades

SAN DIEGO, Aug. 28, 2024. Sony Electronics introduces the FE 85mm F1.4 GM II (SEL85F14GM2), a premium lens that delivers high resolution, smooth bokeh, and fast AF (autofocus) in a lightweight and compact body. As a second-generation model, it builds on the optical design of its predecessor and incorporates Sony’s latest G Master™ technologies to enhance overall performance. This is the 76th E-Mount lens and is designed to take full advantage of the features in Sony’s latest Alpha™ series full-frame cameras. As a large-aperture, telephoto prime, this lens is an ideal option for portraiture, wedding, travel, and cinematic video.

“The first-generation 85 mm F1.4 lens was one of three lenses in the initial G Master series launch back in 2016. Since then, our engineers have refined eight years of lens technology to decrease size and increase performance for our new flagship 85 mm,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We are excited to introduce this highly anticipated lens for many photographers and cinematographers in our community.”

High Optical Performance and Beautiful Bokeh

The refined optical design and advanced elements of the FE 85mm F1.4 GM II bring together smooth bokeh and enhanced high resolution, making it ideal for portrait photography. The lens offers advanced optics with two XA (extreme aspherical) and two ED (extra-low dispersion) elements designed to effectively suppress aberrations. This combination offers corner-to-corner resolution and rendering, resulting in outstanding image quality.

The FE 85mm F1.4 GM II also includes Sony’s original Nano AR Coating II technology, which effectively subdues flare and ghosting for clear, crisp images. Alongside, the 11-blade circular aperture of this lens produces the beautiful, soft bokeh that G Master lenses are known for.

Fast, Precise Autofocus and Subject Tracking

The AF capabilities of the next generation FE 85mm F1.4 GM II have drastically improved to maximize performance for its use cases like portrait photography and cinematic video. For stills, the AF is up to three times faster[i] compared to the previous model[ii], allowing users to accurately track moving subjects with high speed. In addition, subject tracking performance has improved by as much as seven times[ii]. With these improvements, this is a lens that can enable features on Sony’s latest camera bodies, including continuous shooting of up to 120fps[iii] on the Alpha 9 III.

Lightweight Design Without Compromises

Compared to the original 85mm F1.4 G Master, the weight of this next generation is about 20% lighter [iv] and 13% smaller in volume (approx. 642 grams, 22.7 oz), which is achieved through the latest mechanical technology and optical design. The FE 85mm F1.4 GM II has a filter diameter of φ77 mm (about 3.03 in), diameter of 84.7mm (about 3 3/8.33 in) and length of 107.3mm (about 4 1/4.22 in).

Ideal for Cinematic Content Creation

The large F1.4 aperture and compact size of the FE 85mm F1.4 GM II makes it a fitting lens selection for cinematic movie creation. Internally, the lens has an XD (extreme dynamic) linear motor with internal focusing, quiet AF and linear response MF (manual focus). Focus breathing is minimal, and in-body focus breathing compensation[v] is supported.

Due to the flexibility offered through Sony’s one-mount E-Mount system, this lens can be used across Sony’s latest mirrorless Alpha cameras, as well as cameras in the Sony Cinema Line, including the Sony BURANO.

Designed to Maximize Operability and Durability

Externally, the FE 85mm F1.4 GM II has two customizable focus hold buttons and an AF/MF switch to offer flexible operability. There is also an independent aperture ring and Linear Response MF focus control button to provide intuitive control and streamline the creative shooting process.

The front lens element features a fluorine coating, which makes it easy to remove fingerprints, dust, oil, and other contaminants from the lens surface. The dust and moisture resistant design[vi] provides additional reliability for outdoor use in challenging conditions.

Pricing and Availability

The FE 85mm F1.4 GM II will be available in September 2024 for approximately $1,799.99 USD and $2,499.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

[i] When used on the Alpha 1. Sony tests.

[ii] Compared to the FE 85MM F1.4 GM. Sony tests

[iii] Maximum continuous shooting speed may be lower in some conditions. Continuous shooting speed may vary depending on the lens used in the AF-C focus mode. Refer to Sony's lens compatibility support page for details.

[iv] Compared to the FE 85MM F1.4 GM. Sony tests.

[v] Please refer to support page; https://support.d-imaging.sony.co.jp/www/cscs/function/compatibility.php?area=jp&lang=en&cs_ref=slct_lang&fnc=1001

[vi] Not guaranteed to be 100% dust and moisture proof.

Sony FE 85mm F1.4 GM II specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length85 mmImage stabilizationNoLens mountSony E, Sony FEApertureMaximum apertureF1.4Minimum apertureF16Aperture ringYesNumber of diaphragm blades11OpticsElements11Groups14Special elements / coatings2 ED elements, 2 XA elementsFocusMinimum focus0.80 m (31.5″)Maximum magnification0.12×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight642 g (1.42 lb)Diameter85 mm (3.35″)Length107 mm (4.21″)

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The Sony RX100 looked much like any other compact camera of the day, but relating that 10.4-37.1 range to the promised 28-100mm equivalent focal length range revealed a 2.7x crop factor and revealed its superpower.

Photo: Richard Butler

As part of our twenty-fifth anniversary, we're looking back at some of the most significant cameras launched during that period. Today marks twelve years since we reviewed Sony's Cyber-Shot DSC-RX100.

Despite its appearance, the RX100 was one of the most disruptive enthusiast compacts we've ever seen. The Cyber-Shot branding and seemingly featureless black bar-of-soap design rather disguised how radical it was. And, from a keen photographer's perspective, arguably held it back. But, despite our misgivings, it redefined what a compact camera was capable of.

The RX100's small size meant it accompanied me when I'd have left an ILC at home...

Photo: Richard Butler

The RX100 arrived in the midst of something of an enthusiast compact revival. Perhaps helped by the development of processors fast enough to do real-time lens corrections, manufacturers had re-embraced the idea of bright zoom lenses and larger-than-typical Type 1/1.7 (7.6 x 5.7mm) sensors.

The RX100 took a different approach. It didn't have an extensive array of direct controls, and those it did gave little in the way of tactile feedback, meaning it was much happier if you let it make most of the decisions and restricted your input to the pointing and the shooting.

...which means I have photos and memories from situations where I otherwise might not.

Photo: Richard Butler

What it brought was a significantly bigger sensor. We'd first seen a Type 1 (13.2 x 8.8mm) sensor in Nikon's shortlived 1 Series mirrorless cameras, introduced the year before, but the RX100 was the first to squeeze it into a genuinely small body and a fixed-lens format.

Rather than the ambitious but somewhat noisy Aptina example of the early Nikon 1s, the RX100 used a sensor from sister company Sony Semiconductor. This 20MP chip was around 2.7x larger than the Type 1/1.7 sensors that most of its rivals were using, giving the camera a significant image quality benefit over its peers, particularly in good light conditions.

The RX100 could shoot and stitch panoramas pretty effectively, though I seem to remember that this required disengaging Raw shooting. Which, predictably, means I haven't got Raws of many things that happened after I'd captured one.

Photo: Richard Butler

It was far from flawless: even if you didn't try to wrestle too much control from the camera or engage too frequently with the convoluted menu system, the original RX100's JPEG color wasn't always as attractive as its rivals' and the F4.9 maximum aperture at the long end of its 28-100mm equiv zoom undermined its sensor size advantage in low light.

A more useful 24-70mm equiv F1.8-2.8 lens arrived with a later model, along with phase detection autofocus, pop-up viewfinders, BSI, then Stacked CMOS sensors over seven or so iterations, but it's the orignal model that made the biggest splash. Never before had you been able to get so much image quality out of a camera so small.

Sony Cyber-Shot DSC-RX100 sample gallery (now with Raws) Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Last week, the iPhone Photography Awards showed us some of the best images captured on Apple's phones this year. Now, YouTuber Faruk Korkmaz, aka iPhonedo, has provided an example of how good the iPhone's video can look. The video, shot on the iPhone 15 Pro Max, is truly impressive and was made without a lot of the gear that usually adds a lot to a phone's production value.

Of course, immaculate-looking 'shot on iPhone' videos are nothing new. Apple has been shooting its keynote presentations with its phones since last year, and the music video for Olivia Rodrigo's "get him back!" was made using the iPhone 15 Pro. Even going back to the mid-2010s, Casey Neistat was shooting commercials using a Samsung Galaxy, and Sean Baker was making entire movies on iPhones.

However, if you peek behind the scenes of most phone-driven productions, it can be difficult to see the device in question... because it's buried behind a cage, add-on lens, matte box, and other pieces of expensive professional video equipment. They're also often in the hands (or motion control rigs) of top-tier talent.

In other words, the phones are operating in conditions that would make all but the most dismal cameras shine. But Korkmaz says he kept the gear to a minimum for this video; the description states it was created using the stock camera app, with no filter, lens, or gimbal.

The video does make use of some features that aren't available on non-Pro iPhones; it was shot in ProRes onto an external drive. However, it's clear the main ingredient is a copious amount of effort and talent. While it's undoubtedly impressive that this was shot on a (not quite pocket-sized) phone, it's still more of a testament to what you can do with over a decade of filmmaking experience than an example of technical prowess.