Getting my hands on the new DJI Osmo 360 II was an interesting experience, largely because the first generation was already so well-built. The original gave us solid specs that made it a serious contender right out of the gate. Because it set that bar so high, a quick glance at the Osmo 360 II’s spec sheet might initially feel like a letdown.
For a long time, I considered myself a manual focus purist—not because manual glass should strictly be used manually, but because there simply wasn't a way for me to autofocus it with my existing systems. It really isn't much of an issue; with constant practice, gauging distance and nailing critical focus can become second nature.
Since the inception of the L-Mount Alliance, there has been a gap in the market for affordable ultra-wide angle lenses. With the available options, you could either purchase an affordable lens that completely lacked autofocus or invest in an autofocus lens that was decidedly not cheap. The launch of the Viltrox AF 14mm f/4 for L-Mount drastically changes that landscape.
The long-awaited expansion of the Viltrox Air series lenses has finally arrived for L-Mount users. Marketed on the promise of "Lightweight & Masterful Image Quality," the Air series has already built a solid reputation in the photography community.
SIRUI has officially announced the launch of the Saturn V2 Full Frame Anamorphic Lens Series, representing a significant update to its popular Saturn anamorphic system.
DJI has officially introduced the Osmo 360 II at IFA 2026, marking a significant advancement in panoramic imaging technology.
Traditionally, shooting with an anamorphic lens has always come with its set of hurdles. While having the cinematic squeeze is nice, battling with the size and weight can be rather unpleasant. Not to mention the need for diopters just to reach a decent close-focus distance.
The Vision Prime 1 (VP-1) series full frame cine lenses were originally launched by Sirui back in February 2025, with the first batch of lenses covering all the mid-range focal lengths: the 24mm T1.4, 35mm T1.4, and 50mm T1.4.
In my previous review of the Rogeti T32MAX With C32GK + RG-1, I highlighted its strengths as a well-designed, precision tripod that solved conventional issues I had long accepted as unavoidable compromises.
Huawei's smartphone imaging innovation has come a long way since the introduction of XMage color science four years ago. The Pura series, previously known as the P series, has held its title as a photography flagship for even longer, consistently packing in all the greatest imaging technology. This year is no different with the introduction of the Pura 90s Pro Max.
For years, telephoto performance on smartphones has felt like a compromise, often forcing photographers to choose between reach and image quality. With the global launch of the Huawei Pura 90s Pro Max, Huawei is looking to shift that narrative and establish a new standard for mobile photography by bringing some of the latest imaging tech to the smartphone.
Thypoch has been slowly making a name for itself in the industry and is no stranger today to creating modern manual lenses that pay homage to classic lenses—starting with the Simera, Eureka, and now the Ksana. The 21mm f/3.5 Asph is Thypoch's first entry in the new "Ksana" series, designed to be an ultra-light and compact everyday lens with vintage rendering.
Following my recent speculation about M-mount lenses being the next big thing, the M-mount ecosystem has seen some truly exciting developments lately. Even in such a niche and crowded market, we are still getting frequent releases from companies like Thypoch.
Behind every lens decision is a balancing act between autofocus, portability, and excellent optical quality. It usually feels like you can only pick two. But with the introduction of Viltrox's second L-mount lens, the AF 28mm f/4.5 L, we might have just found a recipe that genuinely delivers on all three fronts by making the compromise elsewhere: a fixed, slower aperture.
Let's be honest, buying a memory card is probably the most boring part of picking up new gear. It's not a shiny new lens or a camera with a red badge. But if we're being real, it is arguably the most critical piece of the puzzle. Without a memory card, cameras without built-in memory will not be able to save any data, essentially becoming an overpriced paperweight.
There are probably as many portable flash options on the market now as there are roads that lead to Rome, and just as many reasons to use one. But if we are talking about one that has a classically inspired design, is portable, and delivers professional functionality with studio-grade lighting, we might just have a reason to get one.
As with every fast-paced, tech-driven industry, the cycle time for each incremental update in photography equipment seems to get shorter and shorter. Though it has become better for the past few years, each product launch is still not given sufficient time to mature before the next iteration is shoved down our throats.
Since the debut of the first Osmo Pocket series, launched seven years ago, it has quickly grown its user base with its one-of-a-kind design, tapping into a niche market segment by offering quality stabilized video at a pocketable size.
It has been a long time since I felt genuinely excited about a tripod and gear head, mainly because this segment of the industry has felt largely stagnant.
From the naming convention, the Mate series flagship smartphone has always been Huawei's way of showing off what they can really do, and it has been three years since Huawei launched the Mate series globally. This time around with the Huawei Mate 80 Pro, everything revolves around a rather bold slogan: "See It True."
The word "investment" often gets thrown around among photographers whenever new gear is discussed, as if this buzzword gave them some bragging rights that they are somehow financially savvy. It's a comforting word that makes spending large sums of money sound responsible and even borderline strategic.
Compromises, as I would describe them, are simply the consequences of decision-making. And it is something we don't talk about enough, especially in the photography industry.
Hohem, a global leader in intelligent imaging and stabilization technology, has long focused on empowering creators through precision engineering and smart design. They are also among the first to pioneer AI tracking in gimbal technology.
For as far as I can recall, I have always been somewhat skeptical about using flashes for my personal work, specifically the casual, street-documentary style shooting that I tend to do whenever I simply feel like bringing a camera out.
In recent years, NAS devices have quietly regained relevance, particularly among photographers and small creative teams. This resurgence is driven not only by concerns over cloud storage costs and data ownership but also by improved affordability and the accessibility of modern NAS technology.
The narrative of smartphones launched every year has honestly been quite dull, mainly focusing on still photography — better cameras, more resolution, sharper images, and better low-light image quality. Being dull is not necessarily a bad thing; if anything, it means that we might have successfully reached the point of sufficiency for smartphone photography imaging systems.
The L-Mount Alliance was first unveiled at Photokina 2018. It was positioned as a long-term ecosystem play—one that harmonized multiple brands and prioritized system longevity over short-term competition.
As a professional photographer, I am one of those people who carry at least one camera with me all the time. Because of this, I always bring a two-bag combo—a sling bag and a backpack—when shooting on location or traveling around.
The demand for storage in mobile devices has staggeringly increased in recent years due to high demand in mobile content creation workflows, especially with smartphones supporting professional video formats such as ProRes. With more and more people creating with their phones, Hohem aims to fill the gap in supporting these market needs with the SSD-01.
Smartphone technology has come a long way and has reached a point of technological maturity where it has now completely integrated into our lifestyle, becoming one of our necessary companions for everyday tasks. Foldable phones, on the other hand, have been actively evolving over the past few years and have started to catch up with traditional bar-designed phones.
In my previous article, where I discussed how square sensor format might reshape how we compose and shoot and how it could possibly help push digital cameras into their next evolution cycle in the future, the idea is great, but there are still currently no camera manufacturers in the mirrorless camera realm that are willing to take the risk and experiment with this idea.
As a photographer, I have always believed that printed photographs hold a special place in our lives, inviting us to pause and relive a moment. But in today’s digital world, where taking images has become effortless, we often find ourselves capturing thousands of photos just for the sake of it, rarely printing any of them.
For years, foldables have been known to offer nothing more than mediocre-level cameras. With the launch of the new Huawei Mate X7, they have just raised the bar for foldable phones with a device that packs a bunch of serious camera hardware.
Every year, holiday gift guides for creators, especially photographers, tend to circle around the same checklist: the latest camera body, new lenses, or even faster cards. But with how expensive and increasingly complex camera gear has become, it is now harder than ever for someone with little technical knowledge to pick the “right” piece.
As photographers, we have all felt that creeping anxiety when leaving a car full of equipment that’s often worth more than the car itself. Whether it’s a quick stop on the way to a location shoot or leaving our gear in the car parked overnight, the thought of something happening to it is always at the back of our minds.
