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  • Capturing the Stars and Everything Below with the Sigma BF Camera

    Capturing the Stars and Everything Below with the Sigma BF Camera


    The Sigma BF looks stunning at night. But how are the images?

    What does it take to get out of your comfort zone? Over the last 10 years or so, I’ve very rarely shot anything outside of astrophotography. I’ve always had an appreciation for other styles, but very little desire to explore shooting them myself. While I always try to improve my work, my comfort level with astro allows me to fully enjoy being out under the stars and focus on creating.

    Hearing about some of the details around the new Sigma BF definitely had me intrigued. While it’s hard to deny the design of the camera stands out, it was really the simplified approach that grabbed me. I visited the pop-up in NYC during March 2025 to get my first look at the camera, and then returned two weeks later so I could have the chance to shoot with one.

    With the Sigma America crew and my BF camera, ready to hit the streets.

    Getting used to the minimal button system on the back of the camera didn’t take much time at all. Using the dial to make quick adjustments and my personal love for the aperture ring on the 20mm F2 DG | Contemporary lens made taking some of my first street photography images feel a lot more fun than like more of a challenge.

    The Sigma BF as a walkaround camera

    Street photography in particular is a genre I’ve had a special appreciation for when viewing someone’s work. It looks easy, but like so many things, only when it’s done well. I was a bit unsure about what to photograph, or if what I was photographing was any good, but I was having fun. And, at least personally, I was really enjoying the images I was capturing, too.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/1000s, ISO 400
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/250s, ISO 400
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/500s, ISO 400

    I didn’t wait long before heading back out with the BF. This time, I made my way to Princeton, NJ, again with the all-metal 20mm F2 DG | Contemporary, hoping to take some black and white architectural images. The built-in monochrome color mode helped me do just that, although other color modes were just a flick of the wheel away. Just walking around with a wrist strap and this new minimalist camera, I found myself looking at everything to try and find the perfect frame. These new (for me) genres of photography felt fresh and exciting.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F9, 1/80s, ISO 100
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F9, 1/400s, ISO 100

    I worked my way all the way around buildings, up close and from a distance, watching the back of the camera to find that perfect angle or just waiting until something felt right. That’s such a special feeling when that happens while you’re out photographing. It means you’re completely present in the moment and paying full attention to finding that perfect composition.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F8, 1/125s, ISO 100
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F9, 1/30s, ISO 100

    I found myself occasionally using the screen to use the tap to focus feature and other times just getting into that zone of snapping away as everything moved through the frame. Admittedly, autofocus is not a feature I’m often concerned with for astrophotography, but it felt extremely fast and accurate on both of my outings.

    Exploring a genre outside of my comfort zone and not having to worry about things like autofocus performance or getting lost in menus, really allowed me to find that zone of being present and immerse myself in shooting.

    Trying the Sigma BF for astrophotography

    After a few days out in busy streets, I really felt like it was time to head out under the stars. With clear skies in the forecast for the entire night, I arrived a few hours before the Milky Way would be rising. I took a handful of test images as I wandered to find the compositions I would be shooting once the core of the Milky Way was sufficiently visible above the horizon.

    One of the first things I noticed was how easy dialing in that very precise infinity focus on the stars was with the LCD screen. Even more importantly, one of the things I didn’t notice were the buttons on the back of the camera. It wasn’t until well after I was shooting the Milky Way that I had even thought about them. After two outings during the day, I think easily navigating a new camera in complete darkness speaks to how thoughtfully it was designed.

    The Sigma BF only has a few physical controls and very simple menus that quickly become second nature.

    I ended up shooting far longer than I anticipated using a number of different techniques ranging from stacking to separate foreground exposures. While admiring an image of the back of the camera is one thing, the real test for those high ISO captures is viewing on a much larger screen…

    NOISE TEST IMAGE – SIGMA BF
    20mm, F2, 13s, ISO 3200 (NO NOISE REDUCTION)

    Working my way through the images and seeing how far I could push the files was probably the biggest surprise of my experience with the BF. It wasn’t that I didn’t have high expectations, it was a matter of those expectations being surpassed. Pushing astrophotography images while editing, bringing back detail in the shadows and trying to pull out detail in the sky, can often result in a very noisy final image. Shooting at these higher ISOs can also mean that your image lacks a bit of sharpness or just doesn’t have much depth to the color you captured, especially in the foreground. Not only was I able to push the files to bring out an incredible amount of detail through the image, they all felt very sharp and full of rich color.

    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F2, 156s, ISO 1600
    SIGMA BF CAMERA
    20mm F2 DG | CONTEMPORARY
    F2, 156s, ISO 1600

    The Sigma BF for wildlife?

    After my night under the stars, I had one more test for the Sigma BF. Wildlife. This was also a test for myself, as aside from a few fox photos about a decade ago, this was not something I had ever given a try. I found myself near Myrtle Beach, South Carolina with the BF and the Sigma 500mm F5.6 DG DN OS | Sports. I wandered Huntington State Beach Park with the hopes of photographing alligators. As I kept my eyes on the water, I saw a variety of different birds that I figured, “why not?” and did my best to take some photos along the way. Again, while this was a new genre of photography for me, I think the simplicity of the BF allowed me to just enjoy being in nature. The autofocus was quick to lock in, and while I didn’t attempt any in-flight shots, I was pretty happy with the results!

    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F8, 1/320s, ISO 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/400s, ISO 400
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/250s, ISO 400

    For better or worse, the only gators I saw were just peeking out of the swampy waters. Which at first, felt like a bit of a bummer, but I didn’t end the day feeling like I had checked something off a list. If anything, it felt like I was starting a new list.

    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F8, 1/320s, ISO 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F13, 1/125s, ISO 800
    SIGMA BF CAMERA
    500mm F5.6 DG DN OS | Sports
    F8, 1/500s, ISO 800

    Maybe after a decade of shooting only astrophotography, a few days with the Sigma BF had inspired me to look at things a bit differently again. I’ve been out shooting more styles of photography in the span of a month than I ever have before. I think sometimes, whether it’s intentional or not, a bit of a reset can be a really helpful process to go through. Just taking a second to look at things differently and use that opportunity to step out of our routine.

    I’ve always felt, as a photographer, the best gear is whatever helps me focus on creating first. While the world after a photo is taken demands our constant attention with excessive beeps and notifications, it feels refreshing to have those moments where I’ve connected completely to creating art. I think the BF is a camera that does just that, by encouraging you to look at things different and without distractions.



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  • Fujifilm Launches X half – A Compact Digital Half-Frame Camera

    Fujifilm Launches X half – A Compact Digital Half-Frame Camera


    Fujifilm has announced the global launch of its most recent camera in the X series, the X half, in June 2025. It is for photographers who would like to rediscover the beauty of film photography in digital format and the design and features are based on the concept of classic half-frame cameras.

    Image via Fujifilm

    The Fujifilm X half or the X-HF1, will be the latest model in the X series and the camera weighs only 240g. The camera design and features evolve from the half frame film cameras that were capable of shooting at half the size of 35mm film. This is not their first half-frame camera – of the many film cameras Fujifilm introduced, Fujica Half was a half frame camera that was released in 1963.

    The camera comes with a frame advance lever so photographers can have a film camera experience in digital format. The aspect ratio used is 3:4 which is very different from what is used in most digital cameras.

    The camera comes with a vertical optical viewfinder and an LCD monitor that helps with vertical composition. There is also a “2in1” function that allows to have two vertical images in a single frame which will be great to create storytelling images.

    Image via Fujifilm

    The film simulation feature will allow the user to have photographic film effects when capturing their images. Besides the simulations there are various filters that can be used based on the subject or scene one is shooting.

    There is also a film camera mode in the X half model, that allows the photographer to shoot through the viewfinder and use the frame advance lever to advance to the next shot. There will be no option to view or preview the images until a specified number of shots are taken.

    Here are some of the most important product features:

    • 18MP vertical CMOS sensor
    • Capture still and videos in 3:4 aspect ratio
    • Back illuminated 1 inch sensor
    • 10.8mm f/2.8 prime lens
    • Create composite photos using the frame advance lever
    • Dedicated X half app to create collages and make edits, create 2in1 and contact sheets
    • 13 film simulation modes and 26 filters
    • Date stamp feature
    • Film camera mode to experience film photography, can be selected between 36, 54 or 72-shots and cancelled any time
    • Prints can be made directly from the camera using Instax Link series

    More information about this product can be found here. The camera is priced at $849.00 and is available to pre-order. Fujifilm mentions that it has named this product “X half” envisioning that it would be a great camera for both newcomers and enthusiasts in photography, but the cost and features seem that this camera could be for someone who takes up photography for fun.

    We have more news for you to read if you are interested at this link here.





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  • Isotta Launches Housing for RED V-Raptor X Cinema Camera

    Isotta Launches Housing for RED V-Raptor X Cinema Camera


    Red housing for a RED camera? Yup, in a surprising move, Isotta has unveiled its first housing for a pro cinema camera—the top-of-the-line V-Raptor X. Featuring the flagship DSMC3 modular body, the V-Raptor boasts an 8K VV 35.4-megapixel global shutter sensor offering 8K/120p and 4K/240p recording and 17+ stops of dynamic range. Previously sporting an adaptable Canon RF lens mount, the camera is now also available with Nikon’s Z mount for even more lens flexibility. (Remember this?)

    Hewn from aluminum, anodized and painted signature red, the Isotta housing for the RED V-Raptor X looks to be an impressive piece of kit. Sporting Isotta’s classic single-handed open/close knob and built around the company’s B120 port system, the housing features a back that is entirely detachable from the front, and a lockable tray, allowing for easy insertion of the camera. All buttons and removable parts have double O-ring seals, and there’s a moisture sensor with LED indicator fitted as standard. As well as three M16 ports, there are two M24 ports, allowing straightforward connection of a monitor such as the Atomos Ninja V+. There’s also a full complement of M6 holes for attaching brackets, tripods, handles, etc.

    Available now from retailers such as Backscatter, the Isotta housing for the RED V-Raptor X is priced at $8,965.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    RED V-RAPTOR [X]

    Technical Data

    • Red color anodized aluminum body;

    • Ergonomic side handles, adjustable (via optional accessory);

    • Three M16 holes, one M24 hole and one M24 hole for using accessories such as vacuum systems, monitors;

    • Back housing completely detachable from the front housing;

    • Tray with lock for the easy insertion of the camera;

    • Single-hand closing knob for the back of the housing;

    • Aluminum buttons at the buttons with window for viewing the menu display;

    • Magnetic buttons and levers in aluminum for electronic control of the V-Raptor [X];

    • Double O-Ring seals on all buttons and removable parts;

    • Moisture sensor with LED indicator (replaceable battery);

    • Removable port B120 bayonet;

    • Safety lock on the porthole to prevent accidental opening;

    • Wide, rubber covered feet for solid footing on boat floors or sea floor;

    • Upper and rear M6 hole grid to apply various accessories (spotlight, spheres, handle, etc.);

    • Four M6 holes located on housing bottom side for different accessories such as brackets or tripods

    • Four pairs of M5 holes per side for attaching balls with plate;

    • Prepared for ISOTTA vacuum system (not included);

    • Working depth: 100 meters;

    Commands

    • ON/OFF lever of the RED V-Raptor [X];

    • Ergonomic mechanical lever for movie shooting button, easy to use even with gloves;

    • Movie shooting button (REC);

    • Lens release button;

    • Filter dial;

    • Zoom knob;

    • Focus knob;

    • Port safety lever;

    • Menu navigation buttons;

    • AutoFocus lever;

    • ISO+/ISO- lever;

    • Diaphragm +/Diaphragm- lever;

    • FPS+ button;

    • FPS- button;

    • White Balance + button;

    • White Balance – button;

    • Shutter + button;

    • Shutter – button;

    • Playback button;

    • Auto White Balance button;

    Optional

    • Ninja V+ monitor housing;

    • M28x1 bulkhead;

    • Connection cable;

    • XL adjustable balance tray;

    • Vacuum system;

    • Handles extension;

    Spare Parts

    • Set O-ring for RED V-Raptor [X] housing;

    • 1895 – Housing front lid B120;

    • 1905 – M16X1 cap;

    • 3352 – M24X1 cap;

    What Is Included

    • Housing;

    • Front lid;

    • Handles;

    • Humidity sensor;

    • Replacement O-ring kit;

    • Silicone lubricant 15gr / 0,5 oz;

    • Warranty: 2 years manufacturer’s (excluding batteries);

     

     

     

     

     

     





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  • Has Camera Technology Peaked – For Now?

    Has Camera Technology Peaked – For Now?


    My first camera had no battery. Its metering was done by a selenium cell that produced its own power when the light fell on it. Even by the standards of the time, it was as basic as it came.

    This was in the early 1980s, and state-of-the-art then would have been cameras with shutter and aperture priority and perhaps a center-weighted metering system powered by a small coin-sized battery. Often, the shutter mechanism would also be powered by this, so if it ran out, the camera would not work.

    All of this, in a roundabout way, leads me to say that I have seen a lot of technological advances in cameras and photography in general.

    I am also aware that those technological advances come in peaks and troughs. I think that at the moment we are entering one of those troughs. Let me explain why.

    Camera Revolutions I Have Seen

    The first big photographic revolution that I witnessed was the introduction of autofocus. It was both pretty amazing and pretty slow. This innovation by Minolta led to most of the other manufacturers scrambling around trying to create their own autofocus systems. There were some odd attempts to build autofocus into lenses to save people from buying new cameras, but over a period of a few years, focusing developed into pretty much what we see today.

    The Canon F1 was amongst the best 80s SLRs. By Keenan Sultanik on Unsplash

    Perhaps the next revolution was the integration of CPUs into cameras. This allowed for more advanced metering and exposure modes and made life significantly easier for photographers.

    The big one, of course, was the move from film to digital. This was, perhaps, the greatest single advance in the history of photography. It revolutionized and democratized photography.

    A Minolta Dynax 7 film camera seemingly hanging in mid air in a street
    Minolta were the first to introduce mainstream autofocus. By Cameron Rainey on Pexels

    Technological Advances In The Digital Era

    The advent of sensors and CPUs has allowed camera manufacturers to push the boundaries of camera capabilities. The first digital cameras were basic compacts, but soon moved to the more familiar SLR, renamed DSLR. We moved from CCD to CMOS sensors, we entered a megapixel race, we saw the introduction of stabilization, first in lenses, then in camera bodies.

    In 200,7 Steve Jobs stood on stage and showed us an iPhone. Little did we know then that it and its rivals would effectively kill the compact camera market and at the same time bring an entirely new generation to photography.

    Just as smartphone cameras were becoming mainstream, mirrorless cameras arrived, signaling the long, slow, drawn-out death of the DSLR.

    All of these were great leaps in camera technology. Yet none of them happened in the last decade.

    A Canon EOS 6D DSLR camera and lens
    The Canon D6 is a typical DSLR camera. By Oscar Ivan Esquivel Arteaga on Unsplash

    Stagnation Of Technology

    It seems that at the moment, we are on a treadmill of yearly camera updates, each with incremental improvements but no revolutionary new features.

    Two of my recent cameras demonstrate this. The Fuji X-H2 moved from a 26MP to a 40MP sensor and had better video codecs compared to the previous generation Fujis. Nice, but nothing special.

    My Sony a7RV used the same sensor and better processing power as its predecessor. Again, it made it a significantly better camera but without being leaps and bounds ahead of the previous generation.

    It feels like the camera manufacturers are trying to feed our FOMO by pushing out frequent new models offering “amazing” new features that actually offer the photographer very little in practical terms.

    Someone taking a photo with an older smartphone
    Smartphones democratised photography. By Rafeal Leao on Unsplash

    Have We Reached Peak Technology?

    I suspect that whilst camera manufacturers have the ability to innovate, at the moment, there are some aspects that are holding them back. Chief amongst them is the way we view images.

    The vast majority of images these days are seen on the screen of a smartphone. Some will be seen on a decent-sized monitor, and very few will be printed.

    Pretty much any camera produced in the last 10 years is capable of way more quality than even computer monitors can display. This has effectively slowed down the megapixel race, as for the vast majority, huge megapixel counts are not needed.

    Innovation in areas like autofocus and video output still continues but there is nothing revolutionary. It’s step by step, incremental improvements. Even Sony’s AI autofocus, whilst excellent, is not exactly a game-changing feature.

    The fact is that modern cameras are “good enough” for the vast majority of photographers, and any new features tend to be overhyped in order to maintain sales of newer models.

    There is one area where I think we will soon be seeing a technological advance, however, and we can see it happening already.

    An advanced mirrorless camera shooting a sunset.
    Has photographic technology peaked for the moment? By Luis Quintero on Pexels

    Computational Photography, The Next Big Leap

    Computational photography is not a new thing. It has been an integral part of smartphone photography for many years now. It uses the power of a processor and programming to overcome the physical limitations of the smaller sensors and lenses found on phones.

    Using this technology, smartphones are able to produce better images in low light and create shots with a shallow depth of field despite tiny sensors and wide angles.

    This technology is ripe for modern mirrorless cameras. There is one area in particular, I think we will soon see advances – lenses. Fast, large-aperture lenses are both expensive to make and heavy to use. The advances in computational photography will allow manufacturers to produce smaller, slower lenses that are much lighter and use processors to improve low-light performance and give a shallow depth of field. Lenses already communicate a lot of information to the camera, and computational photography can use that data to create similar effects that we see in smartphones.

    Someone taking photos in a forest on an advanced smartphone

    Purists will, of course, balk at this idea, but I am pretty confident we will be seeing it fairly soon. The profit margins on these lighter, more sophisticated lenses will be higher than on bigger glass. I suspect that in 10 years time we could well see a point where multiple focal lengths will not be needed, instead, the power of a processor combined with AI will enable us to zoom in, even after the fact. Rather than a simple sensor crop, these will be full-resolution zooms that maintain the correct perspective and compression, all from a single focal length.

    For now, I suspect the cost of the processors is the main factor holding back mainstream camera manufacturers. That’s why, for me, at the moment, it feels like we are very much in a technological trough when it comes to cameras. When I moved from Fujifilm to Sony, it was more about quality control issues than camera technology. Both systems are great,t but neither offers anything revolutionary over the other.

    I suspect it will be a few years of incremental improvement in technology. That will end when one of the major manufacturers has a big bang moment and puts powerful computational photography into a mainstream camera. My money is on Sony, let’s meet up in a few years to see if I am right.

     





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  • This Photographer Just Choked Out a Camera Thief!

    This Photographer Just Choked Out a Camera Thief!


    When photographers travel abroad, one of the most crucial matters they need to be aware and take care of is safety for their gear and themselves. There are many incidents of thieves snatching cameras from photographers all around the world and a very few are usually able to get their equipment back.

    Photo by Filtergrade

    In Barcelona, Spain, a Chinese photographer, Jia Daming, was able to choke down the thief who snatched his camera and this news has gone viral for his heroic act. Footage of the incident can be found here on X. The photographer was not harmed and was able to get his equipment back.

    The photographer who travels the world to shoot for fashion, celebrity brands and wedding photography, was filming a newlywed couple in a famous landmark in Barcelona, Spain, when a group of three men tried to steal the camera. The photographer got hold of one of the thieves while the other two fled the scene.

    Witnesses in that area, besides capturing this incident, quickly called the local police to report the incident. The thief was choked by the photographer in an act of self-defence and to restrain him till the police arrived. The police handcuffed the thief and according to other reports, the police are investigating this matter.

    The footage from the scene have been shared on social media and has attracted millions of views. Onlookers and social media users applauded the photographer for his brave act. While it can be very dangerous to restrain a thief, it looks like the photographer used martial arts to neck choke hold the thief and this can sometimes even cause death because of the restricted air and blood flow to the brain.

    We have more news for you to read if you are interested at this link here.





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  • Sony and Canon Tease Upcoming Camera Announcements

    Sony and Canon Tease Upcoming Camera Announcements



    Camera conspiracy theorists unite: Both Sony and Canon are teasing camera releases on March 26th with mysterious clues.

    Starting off with Sony, the company released a teaser-trailer-style clip of a veiled new camera model. There’s not much to go on, but eagle-eyed viewers have spied a button labeled “5” as well as a 3.5mm jack.

    Combined with the “Go small, shoot big” catch phrase, speculation centers on the announcement of a new cinema-style camera—something similar to the Sony FX6. Other guesses in the video comment section include a long-awaited update to the Sony a6700.

     


    For its part, Canon is also contributing to the rumor wheel with an Instagram post glimpse at two new camera models. Shrouded in shadow and only labeled with “V,” it seems likely that the cameras will fall into Canon’s new Powershot V1 “vlogging” compact cameras.

    Canon recently debuted the Powershot V1 at the CP+ show in Japan to much buzz. It’s a pivot in the company’s compact lineup with trendy vloggers in mind—featuring a 16–50mm equivalent f/2.8–4.5 lens and 4K/60p shooting mode.

    Set the countdown to March 26th…





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  • Insta360 X5 360-degree Camera Announced

    Insta360 X5 360-degree Camera Announced



    Insta360 has announced its latest 360-degree camera—the Insta360 X5. While the year-old X4 introduced 8K/30p 360-degree video, the X5 promises to deliver 8K recording at much higher quality due to its larger Type 1/1.28 sensors and Triple AI Chip system. That’s a significant difference in sensor area: The 1/1.28-inch sensors are 144% larger than the 1/2-inch ones used in the X4. The X5’s f/2 lens has an equivalent focal length of 6mm, compared to the 6.7mm equivalent focal length of the X4’s f/1.9 lens. While Insta360 says the X5 is the “toughest 360-degree camera ever”—the X5’s lenses use new ultra-durable glass—the camera features a replaceable lens system, making it possible to swap out damaged lenses on the go.

    The fresh sensors and processor have resulted in new recording modes. While the camera captures 8K/30p 360-degree video like its predecessor, 5.7K/60p is now available (vs 30p on the X4), as is 4K/120p (vs 100p on the X4). The X5 tops out at 4K/60p when shooting single-lens video. You can also use the X5 to shoot 72-megapixel stills (9504×4752 pixels), recorded to RAW DNG files. Out of the box, the X5 is waterproof to 15 meters (~50 feet)—a 5-meter (~16-foot) improvement over the X4—but serious underwater shooters will want to put the X5 in the dedicated Invisible Dive Case, which extends the depth rating to 60 meters (~200 feet). Battery life has also been extended: The X5 is good for three hours as opposed to the two-and-a-bit of the X4.

    The Insta360 X5 is available now as the “Standard Bundle” for $550. There are various other bundles available, such as the $700 “Invisible Dive Bundle,” which includes an Invisible Dive Case, Invisible Selfie Stick, Floating Hand Grip and Selfie Stick Wrist Strap.

     


    PRESS RELEASE

    Insta360 Unveils X5: The Smartest, Toughest 360° Camera Ever Made

    Insta360, the world’s best-selling 360° camera brand, is thrilled to announce Insta360 X5, its latest flagship camera. Combining groundbreaking image quality, rugged durability, and AI-powered ease of use, X5 sets a new benchmark for what 360° cameras can achieve.

    X5’s larger 1/1.28″ sensors and lightning-fast Triple AI Chip system deliver a dramatic leap in image quality across all resolutions, including stunning 8K30fps 360° video. With PureVideo, a new AI-powered low-light mode, X5 achieves crisp, cinematic footage in challenging lighting.

    Built for adventure, this is the toughest 360° camera ever. Its lenses are crafted from a new ultra-durable glass, while a first-of-its-kind replaceable lens system sets a new standard for the industry, allowing you to swap out damaged lenses on the go. Further hardware upgrades like a built-in wind guard, extended 3-hour battery life, and waterproofing to 49ft, make X5 the ultimate companion for active creators.

    From shooting to sharing, X5 makes 360° creation effortless. The all-new InstaFrame Mode simultaneously captures an auto-framed, ready-to-share flat video and a full 360° video to fine-tune later. The Insta360 app has undergone a transformation with more intuitive editing tools, and X5 pairs with the Insta360+ cloud service, where you can instantly share 360º clips, edit on the cloud, and more.

    “X5 redefines 360° cameras by solving creators’ real challenges,” said JK Liu, Insta360’s Founder. “From replaceable lenses to AI-powered low-light shooting, we’ve built our dream camera—rugged enough for adventure, capable enough to produce high-quality footage, and intelligent enough to capture epic moments effortlessly.”

    Insta360 X5 is available to order from April 22, 2025, via the Insta360 Official Store, Amazon, and select retailers, priced at US$549.99.

    Insta360 is also hosting a pop-up event in NYC on April 22 from 9am–5pm, offering attendees the opportunity to experience X5 firsthand through interactive demos, meet special guests, and receive exclusive merch.

     

    Unmatched Image Quality, Day and Night

    X5’s 8K30fps 360° video looks better than ever, with supersampling from 11K to 8K resulting in minimal loss to image quality for true-to-life shots. But resolution is just part of what determines image quality.

    X5’s 1/1.28″ sensors are 144% larger compared to X4‘s, meaning they capture far more light. The Triple AI Chip system, made up of one 5nm AI Chip and two Pro Imaging Chips, works wonders to reduce noise for clean, uncompressed images in any conditions. With 140% more computing power, every moment—whether on thrilling rides, underwater adventures, or the trip of a lifetime—becomes clearer, brighter, and more vivid.

    Low light capture gets an additional boost with a dedicated mode: PureVideo. Advanced AI noise reduction and dynamic range optimization deliver clear, vibrant footage in low light, perfect for capturing your late-night city explorations, motorcycle rides, and more. Meanwhile, Active HDR has been upgraded to 5.7K60fps for smooth, sharper shots, especially in high-contrast scenes.


    360° Capture – Souped Up & Simplified

    As the fifth generation, X5 has refined every aspect of 360° capture with incredible results. The beauty of shooting with X5 is that you record everything, everywhere, always. No wondering “Did I frame that right?” or fears of missing an epic moment, just shoot first and choose your angles later, with the invisible selfie stick effect enabling otherwise impossible third-person shots. Ideal for solo creators, travelers, and well… everyone.

    But now, there’s a new mode that makes all that 360° goodness simpler to achieve than ever before. Meet InstaFrame. Hit record and X5 produces two files. The first is an instantly shareable flat video, no editing or reframing needed. Here you have the choice of a fixed view that follows a constant direction or a selfie view that keeps you in frame throughout. And the best part? At the same time, you’ll also record a second clip in full 360° so you’ll never miss life’s unexpected moments, from your toddler’s surprise first steps to a dolphin’s sudden appearance beside your kayak.

     

    The Toughest 360° Camera Ever

    When a lens cracks mid-adventure, most 360° cameras become paperweights—but with X5 you can swap lenses before the ski lift reaches the top of the next run. No worrying about scratches or paying out of pocket for repairs, easily replace damaged lenses on the go with the handy Replacement Lens Kit.

    Designed for the klutzes, the cliff-divers, and the ‘I-just-dropped-it-again’ creators among us, the lenses are also made from a new, high-strength, scratch-resistant glass that makes them far less likely to be damaged in the first place, making X5 a camera you can truly push to the limits.

    Elsewhere, X5 has improved in almost every way that an action camera enthusiast could wish for:

    • Built-in wind guard and improved audio algorithm – a multi-layer steel mesh Wind Guard silences wind noise, while the boosted algorithm offers sharp, immersive sound.

    • Longer lasting, faster-charging battery – A 2400mAh battery supports up to 185 minutes of recording in 5.7K, using the power-saving Endurance Mode. It can also fast charge from 0 to 80% in just 20 minutes, or the time it takes to finish a cup of coffee.

    • IP68 waterproofing to 49ft (15m) – go even deeper without a dive housing.

    • Magnetic mounting system – allows for quick accessory swaps so you’re always prepared for the next shot.

    • FlowState Stabilization + 360° Horizon Lock – still industry-leading for the smoothest shots possible.

    • Convenient ways to “hit record” – the new Twist to Shoot feature enables shooting just by twisting a selfie stick back and forth. Other options include Voice Control 2.0, Gesture Control, or pairing with a wireless remote.


    The Complete Post-Production Package

    The Insta360 app has long been the most sophisticated, user-friendly app for editing 360° content. To coincide with X5’s launch, it has undergone a revamp, with a sleeker user interface and new tools that make editing easier than ever.

    A one-tap Dewarp button removes fisheye distortion for natural-looking footage, a new option to one-tap export with zero editing or reframing, and more. This is in addition to existing features such as Quick Edit and AI Edit for semi-automatic and automatic editing, Shot Lab with 40+ AI templates, as well as a full, manual editing suite.

    Insta360 Studio, the desktop editing software for highest quality exports, is also available completely free, along with the mobile app.

    For the best possible Insta360 experience and a smoother workflow, X5 is compatible with Insta360+, a cloud service offering auto file backup, instant sharing of 360° footage, cloud editing and export, and more, making it easier than ever to share your adventures with the world.


    Availability

    Insta360 X5 is on sale from April 22, 2025, at the Insta360 Official Store, Amazon, and authorized retailers, starting from US$549.99.





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  • The Star Wars Lightsaber was based on a camera flash handle

    The Star Wars Lightsaber was based on a camera flash handle


    We love when nerdy things collide here at Pop Photo, and that is precisely what happened with the creation of perhaps the most iconic movie prop of all time. As the video below from DigitalRev In-Focus explains, George Lucas wanted the props in the Star Wars films to look used in order to suggest a sense of history. He didn’t want shiny new objects in his films. They also had a very limited budget when filming those initial movies. The low budget required they get scrappy—literally—in how they created props.

    As a result, set decorator Roger Christian would browse antique and junk stores for items to use as props. He was in a tiny camera store in London’s West End and asked if they had anything that he might find interesting. The owner took out a dusty box of antique camera goods, which included a 1940s Graflex camera with a three-cell flash gun. A lightbulb went off for Christian. The flash handle became the base for Luke’s lightsaber.

    It took only a few modifications to create the legendary weapon. The actual “blade” portion of the weapon involved painting a tube with blue projector material and adding a light, which made it glow. Luke’s was one of two lightsabers that Christian designed. The entire thing took only $15 to build, though it sold in 2012 for $250,000. That makes it one of the most expensive movie weapon props ever sold. It even beats out Ghostbusters props. And that number is likely even higher now since it was featured so prominently in Episode 7.

    Lightsaber handle design
    The flash handle from the Graflex camera fit the concept for the lightsaber perfectly. DigitalRev In-Focus

    Of course, there is a downside to cameras becoming pieces of sci-fi legend. Camera collectors have had difficulty getting their hands on Graflex flash handles since so many were bought by Star Wars prop collectors and cut up to become lightsabers. A genuine original Graflex can cost thousands of dollars at this point. And camera collectors say that valuable antiques are getting destroyed in the process. Whether you agree that history is being destroyed or are all about your genuine lightsaber props, we think this clash of photography and pop culture history is a fun one.





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  • What’s in my camera bag in 2023? Nikon Z7 II or Z8 for landscape photography? — Mikko Lagerstedt

    What’s in my camera bag in 2023? Nikon Z7 II or Z8 for landscape photography? — Mikko Lagerstedt



    I don’t often write about gear, but it’s the most common question I get, so today, let’s talk about gear and what I currently use in landscape photography. Throughout my journey, I’ve experimented with various Nikon cameras, from D90 to Z7 II and now to the new Z8. I have used lenses from Nikon, Sigma, Tokina, Tamron, and Laowa, ultimately finding the current setup that allows me to express my creative vision.

    I used the new Nikon Z 8 for a week in March, and it was fantastic. From a quick overview, I think it delivers an excellent upgrade for the autofocus and video options compared to the Nikon Z 7II. I’ll receive my copy of the Nikon Z8 later, so I can give you more thoughts about the camera. These are my honest opinions about the gear I use. Even though I’m a Nikon Creator, this post is not sponsored by Nikon.

    Nikon Z7 II

    I have used the Nikon Z7 II as my primary camera for the past year. Before that, I used Nikon Z7 and D810. You can view my review of the Nikon Z7. Now with the Nikon Z7 II, I barely use anything else. The SD card slot is a great addition to the previous version. I’m not currently shooting video much, but that part has also been upgraded from Z7. The battery life is slightly better than in the Z7. When I want to capture time-lapse as well as stills I bring with me the Z7 to have the option to shoot two different perspectives at the same time.

    Sensor

    Although not the highest-megapixel sensor in the market, the Nikon Z7 II‘s 45.7-megapixel sensor produces high-quality images with incredible detail. It is essential in landscape photography, where every nuance, from the texture of rocks to intricate patterns, adds depth and richness to the final image.

    Dynamic Range

    The dynamic range of a camera refers to its ability to capture detail in both the brightest and darkest parts of a scene. It is essential when photographing landscapes with high contrast between bright skies and shadowy foregrounds. The Nikon Z7 II excels, allowing me to capture images that retain detail even in challenging lighting conditions.

    Low-Light Performance

    One of my favorite aspects of landscape photography is capturing the beauty of the night sky. The Nikon Z7 II‘s excellent low-light performance allows me to photograph the stars and the Milky Way with minimal noise and incredible detail. The camera’s high ISO capabilities and noise reduction ensure that my astrophotography images are clean and sharp.

    Nikon Z7 II pros and cons

    + Exceptional image quality
    + Low-light capability
    + Dynamic Range
    + Low weight, only 705 g
    + Dual card slot
    – No in-camera RAW video capabilities
    – Relatively slow autofocus
    – Could have a better battery life

    Nikon Z7 II





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  • New gear: The Sony a9 III is the first full-frame camera with a global shutter

    New gear: The Sony a9 III is the first full-frame camera with a global shutter


    We thought the Sony a1 was an impressive camera, but the image-making company has just topped it with its latest release. The main highlight of the newly released a9 III is its global shutter, the world’s first for a full-frame mirrorless camera. The unique shutter design, along with a powerful Bionz XR processor, allows for a host of impressive specs, including 120 fps, 1/80,000 max shutter speed, and flash sync at any shutter speed. Additionally, the company also announced the FE 300mm F2.8 G Master OSS lens, which offers superb reach and performance in a relatively compact body.

    Sony a9 III camera at a glance

    • 24.6-megapixel sensor with Bionz XR processor
    • Global sensor exposes and reads every pixel at the same time
    • 120 fps blackout-free burst shooting
    • Improved ergonomics
    • 1/80,000 maximum shutter speed
    • Flash sync at any shutter speed
    • 759 AF points with more sizes of focus area spots
    • 8-stops of optical in-body image stabilization
    • 6K oversampling for 4K 60p movies
    • 4K 120p video without cropping
    • Weighs 1.4 pounds
    • Available in spring 2024 for $5,999

    What is a global shutter?

    The star of the show for the a9 III is, by far, its global shutter. Global shutter technology isn’t new, with a handful of cinema cameras utilizing it over the past few years. But the Sony a9 III is the first full-frame mirrorless camera to jump on board. So, why does that even matter? What is a global shutter?

    Currently, most cameras rely on a rolling shutter. With the rolling shutter design, the camera’s sensor receives and reads information line by line from top to bottom. This means that there is a delay between the first line of data and the last. That delay can cause problems when capturing fast-moving subjects in photos or videos, resulting in warping and distortion. You likely have seen this in helicopter rotor blades. In photos, those blades can appear curved or bent when in reality, they are straight.

    The global shutter design solves this problem by exposing and reading every single pixel on the sensor at the exact same time. That means that the Sony a9 III will benefit from zero distortion in stills and video, which is a significant advantage for those shooting action. It also allows for a range of other benefits, including the ability to work with flash at any shutter speed, including the camera’s max shutter speed of 1/80,000 (no, that’s not an extra zero). This unlimited flash sync even works with third-party flashes. Additionally, there will be no banding from artificial lights or displays. To aid in this, Sony has also employed an Anti-Flicker mode that automatically syncs the shutter with the brightest point in the light’s cycle to keep the exposure consistent in photos and videos.

    The Sony a9 III with a vertical grip sits against a white background.
    Along with the camera, Sony has released a new vertical grip that offers the same ergonomics as the new camera. Sony

    Sony a9 III details

    There are plenty of other things to swoon about in the a9 III beyond the global shutter, though many are dependent on that feature. Sony built the new camera around a 24.6-megapixel full-frame stacked CMOS sensor and Bionz XR processor, which results in eight times the processing power as the a9 II. the five-axis optical in-body image stabilization system allows for eight stops of compensation with the camera alone. You’ll get even more stabilization if using a stabilized lens as well.

    On top of fancy guts, the a9 III features a redesigned body with better ergonomics. Sony says the grip is improved to make the camera easier to hold in the palm of the hand, even when using a telephoto lens. It says that it also moved the shutter button up slightly to be in a more natural, comfortable position. It features a four-axis multi-angle LCD touchscreen (the same as the a7R V) and 9.44 million-dot Quad XGA OLED electronic viewfinder. And as we’d expect from a pro-level Sony camera, it is dust and moisture-resistant.

    To pair with the pro-level features of the a9 III, Sony is also releasing a new vertical grip—the VG-C5— that offers the same ergonomic design as the new camera. That includes the same shutter button placement and a new custom button (C5) in the same position so that it feels the exact same when switching between horizontal and vertical shooting. The new battery also pulls parallel power instead of drawing from one source and then switching to the other. Sony says that this allows for 15 percent more battery life.

    The Sony a9 III is placed against a white background with its rear display tilted.
    Sony

    Burst shooting

    One of the main selling points of the a9 III is its absurd burst shooting capabilities. This alone will earn it a top spot as one of the best Sony cameras. It is able to shoot 120 fps blackout-free with real-time recognition AF and auto exposure. The fast burst shooting even works with 14-bit raw. Shooting fast bursts is only one piece of the puzzle when documenting action, though. You also have to get the timing right in the first place. To help ensure you get the shot, Sony has added a Pre-Capture function. This new setting allows the camera to continuously record (also up to 120 fps) for up to one second before the shutter is released.

    Even when shooting action, you don’t always want your fastest fps setting. Sony has found a clever way to get around that with the Speed Boost function and a newly added a new custom button (C5) on the front of the camera. The new button allows you to instantly switch to a faster, preset speed at any time and then go back to a more reasonable fps just as quickly.

    Image selection of 120 fps with Pre-Capture can be massively overwhelming. Sony even considered this when developing the a9 III. It has added a new playback image filter that allows you to select a large number of images at once, along with a function menu that can be used during image playback. The camera also plays back bursts as a video, so you can mark the shots you want without individually pressing through images.

    Autofocus

    As with other recent Sony releases, the a9 III features a dedicated AI processing unit to support its advanced phase detection autofocus system. It offers Real-time Recognition AF and Real-time Tracking and can detect a wide range of subjects, including humans, cats, dogs, planes, and more. The system can even detect an eye even when the subject is wearing goggles or helmets, is small in the frame, or moving fast. Sony also expanded the sizes of its focus areas to include XS and XL for more control over your focus points.

    Sony a9 III video specs & features

    Sony emphasized still photography during its announcement with a tagline of “the power of one frame.” But the company certainly didn’t leave video out of the mix in its new camera. The global shutter definitely benefits video shooters since rolling shutter has been a pain point. The a9 III is capable of 4K 60p video oversampled from 6K. It can also shoot 4K 120p without cropping, which is a first for an Alpha series camera. It offers the S-Cinetone profile, S-Log3, 10-bit 4:2:2 capture, and 16-bit raw video over HDMI.

    Sony a9 III pricing & availability

    Of course, with such an advanced, pro-level camera, we should expect a pro-level price. And indeed, the Sony a9 III is priced at $5,999. It is available for pre-order now and will begin shipping in the spring of 2024.

    A person crouches in the grass while holding a camera with the Sony FE 300mm f/2.8 GM OSS lens.
    The 300mm f/2.8 GM OSS lens is an advanced, compact telephoto prime lens for pros. Sony

    FE 300mm F2.8 G Master OSS lens details

    In case the groundbreaking camera wasn’t enough, Sony has also announced a new lens. Like the camera, the FE 300mm F2.8 G Master OSS lens is also a pro-level piece of equipment geared towards serious sports and wildlife photographers, as is evident in its matching $5,999 price.

    As a G Master lens, the new 300mm offering will provide superb resolution and edge-to-edge sharpness. The optical design includes three Super ED (Extra-low Dispersion) glass elements and one ED glass element to reduce chromatic aberration and improve contrast across the frame. The 11-blade circular aperture results in beautiful smooth bokeh. And two XD linear motors drive focus that is fast, precise, and silent. It’s also able to keep up with the fast burst shooting of the a9 III.

    Beyond image quality, the best feature of the 300mm f/2.8 GM is its size. The lens weighs just 3.2 pounds, which makes it the lightest lens of its class. For context, it is 40 percent lighter than the 400mm f/2.8 GM and roughly the same weight as the original 70-200mm GM. Sony was also very intentional about how the lens balances, designing it with optimum balance for smooth panning and easier handheld shooting.

    The new 300mm telephoto prime lens is compatible with Sony’s 1.4x and 2.0x teleconverters. It offers a function ring to instantly engage the APS-C crop, providing a 420mm view. It is dust and moisture-resistant with magnesium alloy inside and out for a durable, rugged build.

    Sony FE 300mm F2.8 G Master OSS pricing & availability

    Like the new camera, the FE 300mm F2.8 G Master OSS lens is available for pre-order now for $5,999. It will begin shipping in the spring of 2024.





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