The latest issue of Photography News is out now and packed with the hottest kit on test, coolest images to inspire you and awards season excitement! This issue we’re launching the tenth annual Photography News Awards which are unique because they’re voted for by readers. These awards spotlight the cameras, lenses, lighting, bags, filters, software, services and more that genuinely make a difference. So please check out the nominations and have your say to help honour the very best in the business.
ISSUE 123 9 SEP-17 NOV 2025
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Top-class Lumix Panasonic’s S1 II is the hybrid hero for stills and video excellence
The small OM-5 that’s ideal for the biggest outdoor adventures OM-G it’s good!
Compact icon Sony’s RX1R III packs a 61-megapixel sensor, but at what cost?
BF forever?
Will you fall in love with this style-first, minimalist mirrorless?
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The superfast 200mm f/2 prime is back thanks to lens innovator Sigma. Although Laowa is also said to be working on its own version, the Japanese brand is first to market with this made-for-mirrorless Sports optic. It will cost £2999 in Sony E-mount and Leica L-Mount. READ MORE ON PAGE 6 The legendary f/2 tele reborn
Medium format price drop shock
Our awards season starts now! Your vote matters in our tenth Photography News Awards, which celebrate the kit and services that make a real difference to your image-making lives. In categories ranging from cameras, lenses and lighting to workflow, retailers and rental, we’re calling on you to have your say to highlight the best of the best. So make sure your voice is heard by voting! READ MORE ON PAGE 30
Hasselblad declares war on its rivals by slashing the price of its next-gen X2D II
The 100-megapixel X2D II 100C introduces an end-to-end HDR workflow, continuous autofocus with LiDAR assistance and ten- stop IBIS in a redesigned body. At £6400, it’s almost £1000 less than the current X2D, significantly undercutting Fujifilm’s £6999 GFX100 II. All of these feature the 100-megapixel BSI CMOS sensor – as does the more affordable £4999 Fujifilm GFX100S II. Hasselblad – known as the most celebrated brand in medium
format, which often commands a high price tag – is now selling its flagship for less than a full-frame Canon EOS R1 and just £100 more than Sony’s A1 II. In addition to the new X2D II, Hasselblad has revealed a new E (Exclusive) series zoom lens. This is the £4100 XCD 2.8-4/35-100E, offering the equivalent field of view of a 28-76mm in 35mm full-frame, with a fast f/2.8-4 aperture. In another price shock that will make medium format more
accessible and affordable, two indie lens brands have released some quirky and unique lenses in both Hasselblad XCD and Fujifilm GFX mounts. Laowa has unveiled an 8-15mm f/2.8 FF Zoom Fisheye lens for around £520. It offers a super-wide view with a circular field of view. And Mitakon’s new 55mm f/2.8 1-5x Macro lens will get you incredibly close to your subjects for roughly £265.
Iconic camera brand Hasselblad has unveiled
its battle plan in the war against medium format rivals including Fujifilm by reducing the price of its brand-new flagship camera.
READ MORE ON PAGES 4 AND 5
ISSUE 123
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NEWS / 3
WILDERNESS EXPLORER Stellar Stelos takes flash indoors or out
FROM THE EDITOR
In a publication crammed full of hardware and software, it’s easy to focus on the techno-geekery and believe all that’s needed is the next great wonder cam or brighter- than-the-sun lens. That’s why Photography News always gives space to amazing images from readers. Whether shot on a phone, plate camera or the latest high-tech, digital beast, what matters is the image and its power to invoke a response from a viewer. For me, the sign of a great image is that I truly wish I’d taken it myself and would want to print it out to display at home. This is why it’s been an absolute privilege to see every entry that’s come in for our Photographer of the Year contest and chair the judging panel. Scores of entries have been simply incredible, and when you check out the winners this issue, I’m sure you’ll agree. What really stuck out for me wasn’t just that the winning images showed an incredible amount of skill and specialist knowledge, but that some entrants demonstrated proficiency in totally different categories. Some readers were shortlisted in several classes for completely different images on a wide variety of subjects. Less jack-of-all-trades and more master of the universe. They might not have won the categories, but to be in the running for more than one is a true mark of quality, proving that the all-round photographer can exist and flourish, even in a world of extreme specialisation. So
Swiss lighting pioneer Broncolor has launched the Stelos 800 L, a compact monolight that delivers 800 joules of flash energy in the brand’s most portable design. It works both in studio and on location thanks to a universal V-Mount battery system, as found on many LED video lights. The unit even charges in use via USB-C. The Stelos 800 L blends the famous Broncolor light quality with adjustable flash colour temperature that previously was only available in high-end pack systems. The integrated Swiss precision packs 800 joules into new Broncolor monolight
LED modelling light also offers variable output from 2700 to 6500K, while high-speed sync (HSS) enables it to keep pace with the latest cameras. Ease of use has been a key focus, and the flash is operated via a bright LCD screen, two buttons and a rotary/ push encoder, with customisable display modes for different workflows. A bayonet mount supports Broncolor’s range of light modifiers, while Wi-Fi connectivity ensures integration with the brand’s Broncontrol, BronAPI and RFS 2 or 3 transmitters. It features a 90° tilt bracket, plus multicoloured ID lights to simplify managing multiple units on-set. The only downside is the price, at around £3246, but it’s built to last for decades. broncolor.swiss
RENTAL READY Broncolor has always been a go- to for lighting kit rentals thanks to its reliability; the Stelos carries on that tradition
many multi-talented image makers show that photography is alive and in rude health. Enjoy the issue.
Editor
EDITORIAL TEAM Editor Adam Duckworth adamduckworth@bright.uk.com Editorial director Nicola Foley nicolafoley@bright.uk.com Chief sub editor Matthew Winney Sub editors Zanna Buckland & Chris Young Junior sub editor Tabitha John Contributing writer John Owen ADVERTISING TEAM Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com DESIGN TEAM
Photography News is published 6 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at time of writing is quoted for products.
VLOGGER VALUE Nanlite adds colour with Miro LEDs
At the opposite end from Broncolor on the price and power scale come Nanlite’s new Miro 30c and 60c LEDs. These compact, round panel lights are designed for creators who need portability, costing just £119 for the smaller 30c and £160 for the larger 60c. Powered by Nanlite’s Nebula C4 Light Engine, both models deliver vivid colours plus accurate white light in the 2700 to 7500K range. They output up to 8382 lux at one metre, with ±150 green- magenta adjustment for mixing with other lights. The circular panels are light and compact – the 30c is just larger than a CD and the 60c is salad plate sized. The magnetic diffusers aid quick changes from soft to punchy light. Power is from USB-C PD input or NP-F batteries, and control via the Nanlink app 2.0. nanlite.com
Design director Andy Jennings
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ISSUE 123
4 / NEWS
MEDIUM FORMAT Deluxe Hasselblad is more affordable
Hasselblad’s latest medium format X2D II 100C gives you 100 megapixels of HDR magic for less
BLADDY GOOD NEWS The brand- new X2D II offers incredible spec and quality, as well as a large price drop
Hasselblad is taking aim at medium format rivals by cutting
the price of its new flagship camera, the 100-megapixel X2D II 100C. At around £1000 less than the current X2D, the Mark II version introduces a brand- new end-to-end HDR workflow, plus continuous autofocus and ten-stop IBIS in a redesigned body for £6400. That’s less than Fujifilm’s £6999 GFX 100 II flagship, which shares the same BSI CMOS 100-megapixel sensor. The biggest technical upgrade is that the X2D II 100C is the brand’s first to offer continuous AF and subject tracking. It also boasts expanded phase detection AF coverage – now offering 425 zones, up from 294 – as well as LiDAR-assisted focusing and an AF illuminator to provide an improved low-light performance. The Hasselblad Natural Colour Solution HDR (HNCS HDR) delivers 16-bit colour depth and 15.3 stops of dynamic range to control highlight clipping. HDR images are available as HDR HEIF or Ultra HDR JPEGs. These can be edited in the brand’s
The X2D II is the brand’s first to offer continuous autofocus and tracking
own Phocus Mobile 2 app, which supports HDR Raw processing and wireless control. Hasselblad says its HDR images don’t rely on HLG or PQ response curves used by other brands, but the wider P3 setting. It uses a linear response and roll-off in the highlights to give a more natural look. Unusually, HDR images are only captured in P, S or A modes, where the camera has some control over exposure. With a new base ISO of 50, HDR images are processed in camera and
The real cost of moving up
can be reviewed on the new 3.6-inch OLED touchscreen, which offers 1400- nit brightness – 75% higher than the X2D 100C. The screen tilts 90° upward and 43° downward. The new five-axis, ten-stop IBIS system delivers up to eight times the stability of the X2D 100C when capturing distant subjects. Hasselblad
says handheld exposures lasting several seconds can be shot without a tripod. Maximum frame rate is 3fps. The X2D II 100C is lighter than the original model by around 7.5%, weighing in at 840g with battery. It retains 1TB of internal SSD storage, adds a CFexpress Type B slot and adopts a textured graphite-grey matte coating, improved grip, plus a redesigned joystick. Also new is the £4100 XCD 35– 100mm f/2.8-4 E zoom lens, covering 28-76mm full-frame equivalent, with a fast aperture. This flagship Exclusive range lens consists of 16 elements in 13 groups, including three aspherical and five ED elements, and is powered by Hasselblad’s fastest stepping motor. It also features a leaf shutter with flash sync up to 1/4000sec. It’s 133mm long and weighs 894g, with three control rings inspired by the XCD V Series lenses, which can be set to adjust shutter speed, aperture, ISO, exposure or subject switching. Hasselblad has also released some new 86mm filters and a specially branded backpack that are more in line with the brand’s premium pricing. The UV filter is £239, ND8 £249 and CPL £399, with the Vandra bag costing £359. hasselblad.com
Upgrading isn’t just about the pricing reshuffle of the medium format deck, with the Hasselblad X2D II becoming the premium-name version that’s now cheaper than Fujifilm’s GFX100 II. That’s because the Japanese brand has other cameras that use the same sensor, such as the more affordable GFX100S II at £4999. Each brand puts an emphasis on its different offerings. The X2D II is a stills- only camera that majors in its colours and HDR for stills. Fujifilm’s GFX100 II counters with its faster burst shooting, deep video options up to 8K, class-leading AF tracking and eight-stop IBIS. The GFX100S II brings similar image quality at a lower price and smaller size. Lenses are where system costs really diverge. Hasselblad has a leaf shutter in its optics, which adds significant costs. Fujifilm’s GF ecosystem offers a much wider range of price points and includes tilt-shift options, a 500mm telephoto and fast f/1.7 prime lenses.
AWESOME UPGRADES
The large screen is brighter than the original X2D model, while the 35-100mm zoom is super sharp
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NEWS / 5
MEDIUM FORMAT Quirky glass for big sensors
Two budget indie lenses offer fresh creative looks for medium format and full-frame shooters
Two new third-party lenses are proving creativity doesn’t have to come with a hefty price tag for medium format, and both are also available for full-frame mirrorless. We look at the Laowa 8-15mm f/2.8 FF Zoom Fisheye and Mitakon 55mm f/2.8 1-5x Macro.
FIVE ALIVE Mitakon Macro brings the tiny world much closer The Mitakon 55mm f/2.8 1-5x
Its optical design – 13 elements in eight groups – promises sharp results with vibrant, accurate colours across the entire focus range. Crucially, the lens also offers a decent working distance of 150mm at 1x and 65mm at 5x, giving photographers more space for lighting and composition. The Mitakon features a robust metal body, detachable Arca-Swiss lens support, integrated LED ring light illumination and 58mm filter thread. It’s available in Sony E, Canon RF and EF, Nikon Z and F, Fujifilm GFX and X, Leica L and Hasselblad XCD fits. Weighing 690g, the manual focus lens is priced at roughly £265, making it a strong contender for serious macro shooters looking for performance at a budget price. zyoptics.net
Macro lens from ZY Optics is another budget option for both full-frame and medium format cameras. It offers an impressive magnification range, from life-size 1x up to 5x, so can capture small flowers, microscopic textures and more in exceptional detail.
A BUG’S LIFE If you want to get incredibly close to insects, the Mitakon 1-5x lens gets you there and fits medium format and full- frame mirrorless
LAOWA POWER Fisheye fun for serious cameras Laowa has announced that its
distinctive 8-15mm f/2.8 FF Zoom Fisheye is now available to medium format shooters in Fujifilm GFX and Hasselblad XCD mounts for the first time. It’s the widest-ever lens for these serious cameras, costing around £520. While the lens doesn’t fully cover the larger GFX and XCD sensors, it produces striking circular fisheye images at the wide end and diagonal fisheye at longer focal lengths. So you can embrace a dramatic look or crop to taste, with options ranging from classic 1:1 to panoramic XPan 65:24 ratios thanks to high-resolution sensors. A minimum focusing distance of 16cm allows dramatic close-ups, while a compact build of around 650g makes it travel-friendly. It’s also available in Sony E, Nikon Z and Canon EF mounts. venuslens.net
SMALL CHANGES The stunning 8-15mm fisheye zoom now fits medium format cameras, will give unique results and is incredibly affordable
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The widest f/1.4 prime for crop- sensor mirrorless cameras has been revealed by Sigma. The 12mm f/1.4 DC Contemporary lens is designed for stills and video, with a dramatic focal length that’s equivalent to 18mm in full-frame terms. Its fast aperture makes it ideal for landscapes, astrophotography, interiors and creative vlogging. The optical design has three double-sided aspherical and two SLD glass elements for high-resolution results, even wide open. Sagittal coma flare is well controlled, which helps with photographing starry skies. The lens remains highly portable at 225g and under 7cm long, so it pairs perfectly with compact APS-C bodies for travel and outdoor use. The lens offers fast, quiet AF via a stepping motor, with minimal focus breathing and smooth aperture control. It’s dust- and splash-resistant and has a water- and oil-repellent front coating. The 12mm joins the family of compact f/1.4 primes for APS-C cameras that includes 16, 23, 30 and 56mm options. It’s available in Fujifilm X, Sony E and Canon RF mount. sigmauk.com The wide world of APS-C
OPTICAL ICON Return of a legend Sigma steps up with a
The exterior is coated with a
both axial and magnification chromatic aberrations, which are easily noticeable in telephoto lenses. Even wide open, it’s built to deliver finely detailed rendering with high resolution and contrast from the centre to the edges of the frame. Sigma’s Nano Porous and Super Multi-Layer Coatings have been applied to suppress flare and ghosting. There are 11 aperture blades and a minimum focus of 170cm. The lens is equipped with two stabilisation modes: one for general shooting and another for panning shots. In this second mode, the image is stabilised even in vertical or diagonal camera movements, regardless of the horizontal and vertical orientation. The exterior of the lens body is coated with a thermal insulation paint to keep it cool outdoors on sunny days. The mount joints, manual focus
If there’s one type of lens that has achieved near-legendary status, it’s the superfast 200mm prime. The Canon options – which are available in f/2 and almost-mythical f/1.8 versions if you can find one – and Nikon’s f/2 were celebrated for their incredibly shallow depth-of-field and creamy bokeh that’s beloved by portrait shooters. The fast maximum aperture, ideal for indoor action, made them a must-buy for sports shooters, while image quality was incredible when stopped down. But their price points were always prohibitive – and since the switch to mirrorless, there just hasn’t been an equivalent option. Now, innovative Japanese lens maker Sigma has stepped in with a 200mm f/2 just for mirrorless, available initially in Sony E and Leica L-Mount, offering image stabilisation and costing a quite reasonable £2999. There really is nothing else like it on the market. The Sigma 200mm f/2 DG OS Sports has a linear HLA (High- response Linear Actuator) motor for accurate, high-speed AF, and there are 6.5 stops of image stabilisation. It has a dust- and splash-resistant build like the rest of Sigma’s Sports line. It consists of 19 lens elements in 14 groups, including two FLD and two SLD glass elements. This counters superfast 200mm prime for mirrorless cameras
thermal insulation paint to keep it cool and zoom rings, custom switches and exterior joints are all protected from dust and splashes, while the front surface of the lens has a water- and oil- repellent coating. The tripod ring incorporates a 90° click mechanism and the foot is compatible with Arca-Swiss clamps. The 200mm f/2 has AFL buttons in three different locations, plus focus mode, focus limiter, image stabilisation mode and custom mode switches. The L-Mount weighs 1820g, is 201mm long without the included hood and accepts standard 105mm threaded filters.
Hands on with the unique tele
We managed to get hold of the new Sigma 200mm f/2 lens just before this issue of Photography News went to print, so we used it on a motocross shoot – it gave very impressive results. It’s bitingly sharp and full of contrast, producing stunning results with an excellent AF that locked on. We tried it on a Sony A1 and A9 III; in both cases, Sony limits the maximum stills
frame rate on third-party cameras to 15fps, but that’s not really a problem. The lens balances well, is not too large, and the image stabilisation lets you really drop down the shutter speed range. We tried it for shooting both stills and video, where it was a stunner. Look out for a full test with lens charts and lots more use cases soon.
GREAT WHITE HOPE The new Sigma 200mm f/2 is a return to superfast telephoto primes for mirrorless
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NEWS / 7
Nikon has revealed its second- generation Nikkor Z 24-70mm f/2.8 S II, a major update to one of its most important professional zooms. The lens, designed for full-frame Nikon Z cameras, is the first pro-spec 24- 70mm f/2.8 to feature an internal zoom mechanism, meaning the barrel doesn’t extend or retract as you zoom. At just 675g, it’s the lightest lens in its class, but the price you pay has been upped to £2599. For that, you’ll get a reworked optical design with fewer, but more advanced, elements that promise sharper results, smoother bokeh and improved close-up performance. The autofocus is said to take a leap forward with Nikon’s new Silky Swift Voice Coil Motor, delivering AF speeds up to five times faster and 50% quieter than before, with more accurate subject tracking when zooming. Other refinements include its rounded 11-blade aperture, plus advanced Meso Amorphous and Arneo Coats to minimise flare and improve weather sealing for tougher conditions. Minimum focus distances have been shortened to 0.24m at 24mm and 0.33m at 70mm, with a maximum magnification of 0.32x. nikon.co.uk Take two on Nikon’s pro 24-70mm
Quick snaps
Mavis on Ninja
1
The Mavis Camera iPhone app adds support for the Atomos Ninja Phone, expanding device compatibility. It now connects pro cameras and lenses to iPhones and iPads running iOS 18, perfect for monitoring and integration.
atomos.com
Sharper Pen
2
The Xencelabs Pen Display 24+ is the first device of its type to feature built- in Calman Ready technology, enabling hardware-level calibration for colour accuracy. Data is stored directly on the device for true-to-life colour.
xencelabs.com
Leica SL3-S kits
3
Leica’s SL3-S bundles are an accessible gateway into the premium SL system, combining the latest 24-megapixel body with a choice of fast primes or zooms. Five bundles are on sale, with the cheapest being the Prime Kit 50.
leica.com
Tamron superzoom widens its appeal
It’s the Fogfather
4
A 16.6x zoom range, close focusing and image stabilisation have made Tamron’s 18-300mm f/3.5-6.3 Di III-A VC VXD popular for APS-C Sony E and Fujifilm X systems, and it’s now coming to Nikon and Canon mirrorless. Priced at £530, the 18-300mm f/3.5- 6.3 offers a minimum focusing distance
of 0.15m at the wide end, with a 1:2 macro reproduction ratio, making it unusually capable for close-ups. Tamron’s VXD linear motor delivers fast, accurate AF, while its VC stabilisation keeps images sharp in telephoto or low-light situations. Optical performance is maintained
across the zoom range, and the lens shares Tamron’s standard 67mm filter thread for easy system compatibility. The Canon RF version adds AF/MF and VC switches, meanwhile firmware updates for both mounts can be applied using Tamron Lens Utility. tamron.com
Create atmosphere with Kenro’s new Handheld Fog Machine. At 390g, the compact 30W machine is powered by a built-in 2550mAh battery with USB-C charging and produces a fine, safe mist at 20 cubic metres per minute.
kenro.co.uk
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VIDEO WARS Canon and Nikon go full hybrid
Two new video-focused mirrorless cameras target Sony’s evergreen FX3 with more pixels and lots of newer tech
The Sony FX3 might have started out life as a slow burner. It was
It spawned the FX30 APS-C version and now the FX2, which adds a tilting EVF to make it more usable for stills. But in the same week, both Canon and Nikon unveiled their first cameras that are taking aim at the 12-megapixel FX3 and its clan, and driving the tech past Sony. Both the new Canon EOS C50 and Nikon ZR are full-frame
mirrorless hybrids, equipped with the internal Raw video that Sony doesn’t offer in its FX3. In the case of the ZR, it’s built in partnership with cinema camera giant Red and offers three different flavours of Raw video, as well as 32-bit float audio – a first in any camera. Let’s take a look at these two hybrid machines.
overshadowed by the A7S III, which offered the same full-frame sensor in a more conventional mirrorless body. But more than four years on, it’s become a firm favourite of YouTubers everywhere with its fan-cooled body that has no EVF as it’s made for video.
GET REDDY Nikon and Red debut 6K ZR
Nikon has revealed its first dedicated Z Cinema camera line-up with the ZR – a compact, full-frame digital cinema camera developed in partnership with cine pioneer Red, which it now owns. Weighing just 540g body only, the ZR is billed as the lightest all-in-one cine camera on the market, yet packs some serious professional firepower
for content creators. The body is fully weather sealed and will cost around £2199. It’s set to be followed by a range of higher-spec cameras in the future. Unlike rivals from Sony, and now Canon, instead of offering lots of 1/4in- 20 mounting holes for accessories, the ZR can be used without any extras. It has a large, 1000-nit, four-inch
articulating screen and records Raw internally, meaning there’s no need for an external monitor-recorder. This is the first camera ever to offer internal 32-bit float audio, so it doesn’t need external recorders or large XLR mics. At its core is a semi-stacked, 24-megapixel full-frame sensor, taken from the Z 6III, that’s capable of up to 6K/60p recording. It can shoot 4K in 120p, but this has a 1.5 crop. All other frame rates are uncropped, including HD in 240p for extreme slow motion. The sensor has been tweaked by Red to offer a wide 15+ stops of dynamic range at dual base ISOs of both 800 and 6400 – that’s more than the Z 6III. Red’s world-renowned colour science has made its way to Nikon via the exclusive 12-bit R3D NE codec. This allows filmmakers to take advantage of Red’s post-production flexibility and easily match ZR footage with video shot on Red. Additionally, the camera can record 12-bit Raw in Apple ProRes Raw and Nikon NRAW formats, as well as 10-bit ProRes or 8-bit H.264/H.265 files, to save space and time in post- production. It can also shoot stills to the same level as the Z 6III. The ZR is the first Nikon to have a dedicated multi-interface hotshoe,
which will accept the brand’s new ME-D10 digital shotgun mic, as well as third-party options from Tascam. For run-and-gun shooting, the ZR has advanced built-in mics that can record different sound patterns. Up to ten 3D LUTs can be loaded for instant previews of creative looks. Additional features include five-axis in-body stabilisation, focus breathing compensation and fast, intelligent AF with subject detection. There’s no cooling fan, but Nikon says there is excellent heat dissipation for long recording times. Memory is in a single CFexpress card and one micro SD. nikon.co.uk
ALL IN ONE The ZR’s huge rear screen and internal Raw mean you don’t need a monitor (above); plus, you can record 32-bit float audio internally with a new mic (left)
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NEWS / 9
C50 GO! Smallest Cinema EOS packs big 7K punch Canon’s EOS C50 is a new addition
to its Cinema EOS line that delivers big capabilities in a small body. Designed for filmmakers and hybrid creators, the full-frame RF mount camera combines professional video performance with high-res stills for one of the most adaptable tools in Canon’s line-up. Its newly developed 7K full- frame CMOS sensor is paired with Canon’s Digic DV 7 processor. This combination enables internal Raw video recording at up to 7K/60p, slow- motion capture at up to 4K/120p or 2K/180p with no cropping and still photos at 32 megapixels. It supports Canon’s Cinema Raw Light video, as well as a range of professional formats, including Canon Log 2 and 3, XF-AVC S and XF-HEVC S. The £3300 C50 is also the first Cinema EOS model to offer open gate recording using the full 3:2 sensor area. This format provides flexibility for reframing in post, enabling creators to extract both widescreen and vertical content from the same take. The EOS C50 interface switches between Cinema EOS video menus and a classic EOS R stills layout for intuitive operation in either mode. Canon’s Dual Pixel CMOS AF II brings fast, reliable subject detection and tracking for both stills and video, with eye selection and subject recognition covering people, pets and birds. A modular body includes mounting points for rigging and it’s compatible with a detachable handle unit, which adds two full-size three- pin XLR inputs, physical controls and camcorder-style ergonomics. A fan ensures no overheating. Connectivity is comprehensive, with CFexpress and SD card slots for simultaneous recording, HDMI and USB-C outputs, timecode, Wi-Fi and support for the Content Transfer Professional mobile app. It offers UVC/UAC live streaming, the Canon XC Protocol for remote control and direct Frame.io C2C integration. The new £1800 RF 85mm f/1.4L VCM will be perfect to deliver classic portrait versatility in a more compact build than L-series glass. Its focus breathing suppression and 11-bladed aperture will make it ideal for video. canon.co.uk
GREAT WHITE OM drops fast super-telephoto zoom for wildlife and action OM System has announced its
Built-in image stabilisation works with in-body five-axis sync IS to deliver up to seven stops of compensation. Close-up work is also supported, with a maximum image magnification of 0.5x (35mm equivalent), giving macro-like potential alongside distant reach. The lens features robust weather sealing to suit its outdoor focus. omsystem.com
£2999 M.Zuiko Digital ED 50-200mm f/2.8 IS Pro, a professional-grade super- telephoto zoom lens perfect for wildlife or sports shooters, as it delivers an equivalent field of view of 100-400mm with a constant f/2.8 aperture. This can extend to a remarkable 800mm equivalent when paired with the £399 2x Digital Teleconverter MC-20.
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SPECIAL FX Yashica revival brings retro look Yashica is back doing what it does
straight out of camera. The whole range also shoots 4K video in 30p or FHD in 120p. All models connect to the Yashica app for instant sharing. The entry-level £254 FX-D 100 sports a 13-megapixel Sony sensor and a 3x optical zoom equivalent to 25-76mm f/1.6-2.8 in 35mm format. The £310 FX-D 300 is built for more detail, with a 50-megapixel sensor, the equivalent of a 24mm f/1.8 lens and digital crop for 35, 50 and 60mm. It has image stabilisation and strong low-light performance. The higher-end FX-D S300 adds an EVF and costs £500. yashica.com
best – building classic, seventies-style cameras. But this time its new FX-D 100, 300 and S300 combine the look and feel of analogue with the ease of digital. This compact trio aims to bring intuitive shooting and built-in film simulations to a generation raised on smartphones. Each model features Yashica’s signature design, complete with a film advance lever that cocks the shutter ready for the next exposure. It has six in-camera film looks, including Ruby 60s for retro colour and Mono 400 black & white, offering nostalgic tones
YASH IS BACK A new range of Yashica FX-D digital cameras ape SLR styling and come with a film advance lever
PRIMA NEWBIES Samyang primes target hybrid creators
Samyang has expanded its popular Prima Series with two new autofocus lenses for Sony FE-mount cameras with the 16mm f/2.8 P and 85mm f/1.8 P, costing £348 each. These lightweight optics are designed for hybrid shooters, offering solid optical performance in a compact and affordable package. These launches join the previously released 35mm f/1.4 to complete the versatile Prima trio of ultra-wide, standard and portrait focal lengths. The 16mm is a super-lightweight wide-angle prime at just 207g. It has a close minimum focus of 0.12m and semi-macro capabilities of 0.33x,
ideal for landscapes, street, travel and vlogging. On APS-C cameras, it delivers a 24mm equivalent field of view and 0.5x macro. The 85mm is targeted at portrait shooters, with smooth, shallow depth-of-field and beautiful bokeh. At 272g, it’s the lightest in its class, with premium optics including three ED elements and a nine-blade aperture. Both lenses feature a new compact industrial design that uses Samyang’s high-strength engineering plastic and an updated grip texture. The USB-C ports allow firmware updates without requiring a docking station. holdan.co.uk
@photonewspn | photographynews.co.uk
ADVERTISEMENT FEATURE / 11
Photo fun for all at FUJIKINA Image makers of all abilities and interests will converge on Fujifilm’s festival of photography in London
Whether you’re a total beginner or an experienced professional, Fujfilm’s hands-on FUJIKINA event is coming to a series of West End venues in the capital this September. From guided photowalks and masterclasses to seminars and panel discussions, as well as opportunities to have one-to-one sessions with leading photographers, every day is packed full of things to see and do. Held around venues near the historic Covent Garden over two weekends – 18-21 and 25-28 September – it’s a celebration of the art and craft of image-making and a chance to connect with fellow creatives, learn from industry experts and try out the latest Fujifilm equipment. With lots of street photography locations and iconic landmarks between the venues, it’s a great chance to capture some amazing images. Here’s just some of what you can expect: Seminars and panels at The Conduit Join industry-leading creatives for these hour-long talks covering a broad array of imaging topics. Each discussion features a 15-minute Q&A session too. Included with your general admission ticket, places are available on a first-come, first-served basis. One of the highlights is a truly unique seminar at 2pm on 21 September called Curiosity as a Compass: Neurodivergence and the Art of Seeing. Rebecca Douglas explores how AuDHD (autism and ADHD) shapes her creative vision. From sensory depth to special interests, she reveals how neurodivergence fuels authentic storytelling and profound photography. • General access to FUJIKINA • Access to seminars and panel discussions (subject to availability – first come, first served on the day) • Access to Meet the Expert 1:1 sessions (bookable on the day – first come, first served) • Magnum: A World in Color entry • Product loans – get hands on with the latest Fujifilm kit (deposit required) • QMS – free check and sensor clean for your Fujifilm equipment To get the best out of FUJIKINA, you can book onto additional masterclass and photowalk events, where you can delve into photographic theory in more intimate group settings. Masterclasses and photowalks must be booked in advance and cannot be upgraded or added on the day of the event. Secure your spot early to avoid missing out. An admission ticket gives you:
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Click here to secure tickets
COOL BRITANNIA There will be lots of incredible photo and learning opportunities as Fujfilm’s unique festival hits London again
Meet the Expert 1:1 Sessions at The Stables A roster of outstanding creatives are offering one-to-one sessions throughout FUJIKINA London 2025. Book on the day to secure a 20-minute slot in which
you can gain personalised insights and feedback on your photography portfolio.
The Stables 40 Earlham Street, WC2H 9LH Meet the Expert sessions, Touch and Try area, loans, third-party products, creative photography FUJIKINA will be run across three London locations: FUJIFILM House of Photography 8-9 Long Acre, WC2E 9LH Meeting point for masterclasses and photowalks, Magnum: A World in Color , QMS, FUJIKINA merch The Conduit 6 Langley Street, WC2H 9JA Seminars and panel discussions
Masterclasses at the FUJIFILM House of Photography Taking place in the studio at the FUJIFILM House of Photography, these masterclasses will allow attendees to learn more about the techniques used by the pros. Book in advance, along with your ticket, to join an industry expert and enjoy the opportunity to get hands-on with Fujifilm equipment as you put their lessons into practice. Photowalks, leaving from the FUJIFILM House of Photography Whether you’re a dedicated street photographer or would like to branch out into different genres, these will inspire you to see the world in a completely new way. Look out for the instax photowalks where you can get creative with an instax camera. You’ll be able to pick up tips from expert photographers and ask them creative and technical questions. Places must be booked in advance. Magnum: A World in Color at the FUJIFILM House of Photography Magnum Photos is one of the most famous and prestigious photographic agencies in the world. Its members have been responsible for creating some of the most iconic and recognisable images of world events over the past 78 years. Magnum has started digitising its colour archive, working in partnership with Fujifilm and France’s Médiathèque du Patrimoine et de la Photographie, and this has uncovered a vast treasure trove of
images that haven’t been seen in decades. The Magnum: A World in Color exhibition at FUJIKINA London will feature a selection of rediscovered photographs that were taken around the UK. These will be presented alongside new, original work by Magnum photographers Olivia Arthur and Mark Power, created specifically to contrast with the archival images. Arthur and Power will each host a talk on their collections too.
buytickets.at/fujikinaldn
ISSUE 123
12 / ADVERTISEMENT FEATURE
Nanlite doubles down on innovation From ultra-thin panels to powerhouse monolights, Nanlite is raising the bar in pro-quality LEDs
No two shoots are ever the same when it comes to lighting. Sometimes you need a wide, flattering wash of light that fills the frame with soft tones. Other times, only the power of a spotlight beam that delivers precision control will do. That’s why it’s such a coup that Nanlite has been shortlisted not once, but twice, in the LED lighting category of the prestigious Photography News Awards with two very different, yet equally innovative products. The PavoSlim 120C panel light and FC-500B monolight are both competing for top honours, showcasing the breadth of Nanlite’s expertise and its dedication to building the right tool for every challenge. The slim and silent type For image makers working in tight spaces, the PavoSlim 120C shines. At 18.6mm thick, this ultra-slim LED panel offers portability without compromise. Built with a tough, all-metal body to dissipate heat, there’s no noisy fans interrupting your shoot. The power pack sits separately, complete with a sturdy stand clamp for rigging in awkward locations. Plus simple, tactile controls make adjustments fast and stress-free, while the free Nanlink app adds full wireless control. Light quality is where the PavoSlim excels. Boasting a CCT range from 2700-
7500K, plus green-magenta adjustment, you can dial in natural daylight or warm, moody tones with ease. Switch into HSI mode for full RGB colour, or select from 151 industry-standard gels for instant colour matching. And for creative flair, 15 built-in effects such as flash, candlelight or police lights bring scenes to life at the push of a button. Despite its slim frame, output is impressive, putting out 12,830 lux at 1m. Attach the included softbox and diffusion panels for a creamy and flattering light; or use the fabric grid for more directional control. With V-Mount battery support for when there’s no mains power, and a fitted case included, the PavoSlim 120C is a ready-to-roll workhorse that’s easy to carry anywhere. It’s the panel for creators who want big results in small spaces. Power meets precision At the other end of the spectrum is the Nanlite FC-500B – a stylish, powerhouse LED monolight designed to give maximum output and flexible control in a compact package. With a rated power of 520W, it delivers the punch needed for bigger shoots where absolute control is key, or to illuminate large modifiers. This point-source option boasts a wide 2700-6500K CCT range and a pair of key
modes. Maximum Output unleashes full brightness at a chosen colour temperature, while Constant Output offers consistent brightness across the range. Colour performance has been finely tuned, ensuring accurate, natural reproduction of every tone. Add 12 built- in lighting effects – all customisable via the Nanlink app – and the FC-500B becomes a versatile creative tool. The power supply features a quick- release clamp system for fast mounting, while onboard controls are simple and intuitive, with 0.1% dimming increments for precise adjustments. Built-in Bluetooth and 2.4G offer wireless control. Cooling is another strong point, with four fan modes. In Smart mode, noise levels are whisper- quiet at just 23-27dB, making it perfect for shoots where silence is golden. Add on a large modifier and you’ll get a soft, flattering light, or channel the beam through snoots, grids or projector attachments with gobos for a huge range of creative looks. Bowens mount-compatible, it unlocks a whole world of modifiers, from
TWIN PEAKS The FC-500B is a powerful COB monolight (above); while the PavoSlim 120C comes with accessories like a softbox (left) Nanlite’s own ecosystem to third-party brands. That makes it a true all-rounder, fully featured and ready to deliver in both stills and video. Two lights but one vision The PavoSlim 120C and FC-500B illustrate why Nanlite has become a trusted name in lighting. Both share Nanlite’s DNA of reliability, smart design, accurate colour, user-focused controls and great value. And both are competing for your vote in the Photography News Awards, so head to photographynews.co.uk and have your say. Whichever you choose, you’re investing in a premium option.
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nanlite.com
@photonewspn | photographynews.co.uk
NEWS / 13
A new name is about to shake up the drone market. Antigravity, a brand incubated by Insta 360 and its partners, has announced its debut product – the world’s first drone with 8K 360° capture. Scheduled for release in January 2026 with a price yet to be revealed, the Antigravity A1 is designed to make immersive aerial photography and video more accessible. At its heart is a dual-lens camera system on the top and bottom of the fuselage to capture everything around it without blind spots. Advanced stitching renders the drone invisible in footage, creating distraction-free 360° video. The package includes Vision goggles and a Grip controller, replacing traditional sticks with intuitive hand gestures. Weighing just 249g, the A1 meets most regions’ regulations, so no licence is required for many users. The drone also offers advanced safety features, including return-to-home and payload detection to prevent overload. Every angle is captured, ready to be reframed in post, opening up new editing options – from Tiny Planet effects to horizon flips. Antigravity is currently running a co-creation project, inviting photographers and filmmakers to test pre-production units and share ideas before launch. Applications are open now on the brand’s website. antigravity.tech
AIR FORCE A1 Dual-lens drone with
8K 360° capture
GO WITH THE FLOW Insta 360 streamlines smartphone shooting
Insta 360 has unveiled the Flow 2, its latest smartphone gimbal designed to make pro-looking video. Weighing just 348g and priced from £99.99, the Flow 2 is small enough to fold into a pocket, yet packs advanced stabilisation and smart shooting features. The Flow 2 retains many features from the original Flow, such as three- axis stabilisation, a built-in selfie stick and tripod, ten-hour battery life, plus upgrades aimed at ease of use. NFC One-Tap Shooting lets supported
phones pair instantly, while Deep Track 4.0 AI tech can now recognise multiple people at once, tracks subjects even through obstructions and ensures smoother framing. The Flow 2 supports remote control via an Apple Watch or second phone, while the Pro Framing Grid offers automatic golden-ratio composition. A built-in light aids filming at night, while the optional Insta 360 Mic Air provides hands-free audio. insta360.com
DRONE WARS DJI hits back with its own 360° action cam As Insta 360’s new smartphone gimbal and Antigravity A1 drone move continuously for up to 100 minutes, features 105GB of built-in storage and
into the heartland of rival DJI, the brand has hit back with its own 360° camera. The new Osmo 360 delivers HDR images and 8K video in a compact camera with an industry-first one-inch square CMOS sensor optimised for panoramic capture. By utilising 25% more of its sensor area than traditional 4:3, the Osmo 360 offers sharper results while lowering power consumption. It’s the first to record native 8K/30p 360° video
supports 8K/50p for slow motion. The large 2.4μm pixels – double the industry norm – deliver up to 13.5 stops of dynamic range, superior low- light performance and reduced noise, especially with the f/1.9 lens and HDR. At £410 it boasts features like the invisible selfie stick, 4K/100p for 4x slow motion and 120-megapixel panoramic stills. Gesture and voice control simplify shooting, while DJI’s stabilisation and AI tracking produce fluid, polished video. It also doubles as an FPV action camera in single lens mode, offering 5K/60p flat footage and 4K/120p ultra-wide capture. DJI positions the Osmo 360 as a rival to the Insta 360 X5 that offers deeper pixel depth, longer recording and cleaner 10-bit colour capture. dji.com
LONDON CALLING Fujikina photo fest for all comes to London Fujifilm’s Fujikina London 2025
is held across three central London venues – the Stables, the Conduit and the Fujifilm House of Photography – and offers masterclasses, photowalks, exhibitions and hands-on experiences with acclaimed photographers like Josh Edgoose, Lateef Okunnu and Tigz Rice.
There are free gear check-and- cleans, plus touch-and-try zones with Fujifilm cameras including the X-E5, GFX100RF and X half, as well as demos from Elinchrom, Creativity Hub, 3 Legged Thing and Capture One. fujifilm-x.com
festival is coming to London, and will feature an inspiring programme made to unite beginners, enthusiasts and pros through a shared love of image making. Running across two weekends on 18-21 and 25-28 September, the event
ISSUE 123
14 / NEWS
RISING TALENT AOP top student award to Elder With work spanning people, places and things, this year’s AOP gongs showcased the next generation of photographers
MIC DROP Super mini mic kit makes a big step up
with quad recording
An even more compact wireless audio kit now has support for up to four transmitters and eight receivers simultaneously. The new £259 DJI Mic 3 kit has Quadraphonic mode, where four independent audio tracks can be recorded when paired with compatible Sony cameras or editing software. There’s also a special £25 adapter to use the kit wirelessly with Sony cameras. However, the Mic 3 doesn’t have a 3.5mm lav mic input any more. Each transmitter weighs just 16g and can be worn with a rotating clip or magnetic mount. They even have windscreens in five colours for a more discreet look. The all-in-one charging case is included, but this time transmitters can be docked without removing clips or windscreens. Audio quality also gets a boost, with Adaptive Gain Control offering automatic mode for suppressing spikes and dynamic mode for balancing quieter environments. There are also three new voice tone presets – regular, rich and bright – plus two-level noise cancellation to tame background hum. dji.com
Surreal and playful approaches to subject matter underscored
the 40th annual Association of Photographers (AOP) Student Awards. The 51 student finalists represented 28 photography courses across the UK, with entries divided between three categories – People, Places and Things – as well as an overall best in show, as voted by top professionals. Top honours went to Ritchie Elder, a BA (Hons) professional photography student at Edinburgh College, for a portrait titled Alaa (pictured right) from his series Faith . His project explored the diversity of religious experience in Edinburgh through documentary and environmental portraiture. Elder receives £2500 of Fujifilm kit and a one-year subscription to Capture One Studio worth £499. Other winners included Flavia Lotempio (People, Silver), John-Martin Bramham (Places, Gold) and Ewelina Rhys (Things, Gold). the-aop.org
EDITING UPGRADE Photolab 9 gets smarter Photolab 9 is DxO’s most advanced
FAST MEDIA Express
upgrade for Type A cards Sony has expanded its media line-up with two new CFexpress Type A memory cards. Available in 1920GB and 960GB sizes for £1119 and £649 respectively, they manage ultra-fast transfers with a read speed of 1800MB/s – more than twice the speed of Sony’s previous generation. Compatible with the latest CFexpress 4.0 standard, the extra-tough cards are supported by Sony’s new £149 MRW-G3 card reader, which makes it possible to get the highest speeds if your computer has the right ports. sony.com
Raw editor yet, introducing AI-powered tools, refined local adjustments and a host of workflow upgrades. A standout new feature is AI Masks, which creates pixel-precise selections in seconds. Paired with DxO’s U Point Technology, these tools allow complex refinements to exposure, colour and detail. Lens Sharpness Optimisation and Deep Prime denoising can be applied selectively, while other highlights are batch renaming using metadata, faster image organisation with stacking and favourites and support for Apple HEIC/ HEIF and ProRaw files. It’s available for MacOS and Windows from £220. dxo.com
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