credits: Panasonic Panasonic has announced two new full-frame hybrid cameras for the L-mount system: the Lumix S1 II and the S1 IIE. Both are designed for photo and video use and feature Phase Hybrid AF with real-time recognition tracking, improved eye and face detection, and a new “Urban Sports” mode that helps track fast, unpredictable movement like skateboarding or breakdancing. The cameras share many core features, including 8-stop in-body stabilization, dual card slots (SD and CFexpress Type B), and internal ProRes RAW recording at up to 5.8K 30p and C4K 60p. Panasonic has also added a new 2.4:1 Cinemascope aspect ratio for video, a high-res 5.76M-dot EVF, and a tilting 1.84M-dot LCD. The key difference between the two cameras lies in the sensor: the S1 II uses a new 24.1MP partially-stacked sensor that enables faster readout speeds, 4K 120p, 5.8K 60p, and up to 70 fps bursts. It also includes a new Dynamic Range Boost mode offering up to 15 stops in V-Log at lower frame rates. The S1 IIE uses the 24.2MP sensor found in the S5 II and tops out at 6K 30p and 30 fps bursts, with Panasonic promising 14+ stops of dynamic range in V-Log. Both cameras launch in late June. The Lumix S1 II is priced at $3,199, while the S1 IIE will retail for $2,499. You can see full details on B&H’s website here

credits: Honor HONOR has unveiled its upcoming HONOR 400 Series, which includes the HONOR 400 and HONOR 400 Pro smartphones. Positioned as AI photography powerhouses, both devices are designed to deliver advanced imaging with a so called ‘‘AI Camera’’, fast charging, and a bright, durable display. At the heart of the HONOR 400 is a 200MP Ultra-clear AI Camera System, which pairs a large 1/1.4-inch sensor with f/1.9 aperture and dual OIS + EIS stabilization to ensure sharp, detailed images even in low light. The main camera supports an AI Super Zoom feature offering up to 30x telephoto capabilities, making it the first smartphone to offer this level of zoom directly from the main sensor. AI-powered features continue with AI Erase, which removes crowds or unwanted elements from photos, and AI Image to Video—a creative tool co-developed with Google Cloud using its Veo AI model. This feature converts still images into short, dynamic videos in either landscape or portrait formats, with each five-second clip generating in about a minute. HONOR is offering this feature for free use up to 10 times a day from May 15 to August 31. You can see full details on HONOR’s website here

credits. DJI DJI has officially introduced the Mavic 4 Pro, its latest flagship drone. The standout feature is a new Hasselblad triple-camera system with focal lengths of 28mm, 70mm, and 168mm, covering everything from wide-angle landscapes to long-range close-ups. The main 28mm camera uses a 100-megapixel Micro Four Thirds sensor (a quad Bayer type) and supports 6K/60p HDR recording with up to 16 stops of dynamic range. The two telephoto cameras include a 48MP 1/1.3-inch sensor at 70mm and a 50MP 1/1.5-inch sensor at 168mm, both with f/2.8 lenses. All three cameras offer 4K/60p HDR and 10-bit video profiles like D-Log and HLG. The 28mm and 70mm lenses also support 4K/120p, while the longest telephoto goes up to 4K/100p. RAW photo stacking is available on all three lenses to enhance dynamic range. The drone uses DJI’s new “Infinity Gimbal” for full 360-degree rotation and improved stabilization, along with a 95Wh battery for flight times up to 51 minutes. Maximum speed is 90 km/h, and it has a 41km range, with O4+ transmission allowing HDR video streaming from up to 30km away. The Mavic 4 Pro is available now in Canada, the UK, and Europe, starting at $2,049 CAD / £1,879 / €2,099. A closer look at the drone will follow this Sunday ;) You can see DJI’s Introduction video on Youtube here

credits: panasonic Panasonic has announced the Lumix S 24-60mm f/2.8, a new compact standard zoom lens for L-mount that trades the usual 70mm reach for a smaller form factor. At 544 grams and just under 100mm long, it’s designed for mobility while still offering a fast constant aperture across the zoom range. Autofocus is powered by a new Dual Phase Linear Motor and encoder system, promising high-speed and precise focus. The lens also includes a customisable control ring—a first for the Lumix S line—that can be assigned to functions like aperture or exposure comp, along with a physical focus button for added control. Panasonic says the 24mm wide end suits dynamic landscapes, while 60mm provides enough compression for portraits. Video features include minimised focus breathing and smooth aperture changes using micro-step control. Hybrid Zoom extends the reach up to 187mm via in-camera crop without altering the wide end. The lens is built with 14 elements in 12 groups, including three aspherical, two ED, and one UED element. It uses a 9-blade diaphragm, offers an f/2.8–f/22 range, and takes 77mm filters. The Lumix S 24-60mm f/2.8 will be available in late June for $899.99. You can see full details of the lens here

credits: 7Artisans 7Artisans has officially announced its new AF 85mm f/1.8 lens for L-mount. It is aimed at portrait and street photographers looking for a fast short-telephoto prime with autofocus. Designed for full-frame cameras, the lens offers a 28–30° field of view, a fast f/1.8 aperture, and an 11-blade diaphragm for smooth background blur. It weighs 443 grams and is built with a metal barrel for durability. The lens features a 7-group, 10-element optical construction that includes two high-refractive and two extra-low dispersion elements, which the company says ensures solid performance even on high-resolution sensors up to 60 megapixels. Autofocus is driven by an STM motor and includes support for eye and face tracking, with firmware updates handled via a built-in USB-C port. Photographers can switch between auto and manual aperture control, and the lens offers a minimum focus distance of 0.8 meters. 7Artisans says it’s suitable for both still photography and video, with continuous aperture adjustment for smoother exposure changes when filming. The AF 85mm f/1.8 joins the company’s growing lineup of autofocus lenses and is available for L-mount systems at $299. You can see full details and sample images on 7Artisans website here

credits: leica Leica has released a new firmware update for the SL3 that brings internal ProRes 422 HQ recording in both Cinema 4K and Cinema 6K to the camera, using the full width of the sensor. Previously, the SL3 only supported ProRes in 1080p, making this a major upgrade for video users. Both new formats are saved internally to a CFexpress card and triple the output resolution for ProRes workflows. Additional improvements include more direct access to headphone volume control, joystick-enabled magnification, and updates to the Control Center that show currently assigned functions by default. The old “Film Style” and “Video Style” menus are now grouped under “Leica Looks,” and a 1/16,000-second shutter speed is now available in P and A modes. Eye, face, body, and animal detection can now be used together with the AF-ON button, and firmware updates no longer require a full battery—25% is now enough. Leica also fixed two minor bugs: joystick-assigned AF-ON is now saved to profiles, and modified profiles are now marked with an asterisk. You can download the free firmware update on Leica’s website here

credits: Harman Harman just dropped a brand-new black-and-white film, the Kentmere Pan 200. It's available in 35mm (both 24 and 36 exposures, DX-coded) and 120 roll film, plus bulk 35mm rolls for anyone who likes to load their own. Like the rest of the Kentmere line, it’s made in the UK using the same manufacturing processes as Ilford films—it’s just positioned as the more affordable, student-friendly option. This new ISO 200 film sits nicely between Kentmere Pan 100 and Pan 400, and is meant to be a solid all-around choice for everyday shooting. Harman says Pan 200 leans a bit more contrasty than typical Ilford films, with tight, well-controlled grain and nice sharpness. It’s got a clear, low-density base that helps push the contrast up while still preserving shadow detail, a combo that should make it really appealing for photographers shooting street, portrait, or documentary work. It’s also fully panchromatic and should play nice in a wide range of black-and-white developers. New film stocks don’t come around very often, especially ones aimed at being a dependable daily driver. Between all the boutique color options and re-spooled cinema stocks, it’s refreshing to see a brand putting out something straightforward, versatile, and affordable. Price-wise, it should land around $8 for 35mm and $7 for 120, though Harman doesn’t enforce pricing, retailers set that themselves. You can see full details on Ilford’s website here

credits: TTArtisan TTArtisan released a new tilt lens for APS-C mirrorless cameras: the Tilt 35mm f/1.4. It’s one of the cheapest ways to experiment with tilt photography at $169. Unlike tilt-shift lenses used for correcting perspective in architecture, this one is tilt-only, meaning it’s built for creative depth-of-field effects like those dreamy miniature-style images or super-selective focus. It tilts up to 8 degrees left or right and rotates 360 degrees in 15-degree clicks, so you can shift your focus plane in any direction—sideways, upward, or diagonal—no matter how your camera’s positioned. It’s all manual, with no autofocus or electronic aperture control, but that’s expected at this price. Optically, it’s built with seven elements in six groups, has a 10-blade aperture, and focuses as close as 0.35 meters. The fast f/1.4 aperture and 53mm-equivalent focal length (on most APS-C bodies) make it ideal for portraits or artistic street photography. It’s also available for Micro Four Thirds, where it acts more like a 70mm lens. The Tilt 35mm joins TTArtisan’s existing 50mm f/1.4 Tilt lens (which supports full-frame and costs $229), giving creators another low-cost tool for creative control over focus and blur. You can see full details and sample images on TTArtisan’s website here

Gelatin Labs’ New Revolutionary Film Scanning Approach? New Jersey-based Gelatin Labs just announced GelForm , which they’re pitching as a new way to simplify film scanning while keeping that unique film character intact. The idea is that GelForm offers curated scanning “formulas” made for popular film stocks, so photographers can pick from preset styles like The Standard, The Hi-C, and Palm-Aire to get a certain look right out of the lab. Ben Krueger, Gelatin Labs’ co-founder, says the goal is to give photographers more clarity and consistency without losing the analog feel, calling GelForm a “creative yet reliable” solution. Their original flat TIFF scan option—now cheekily renamed The Flat Earth—is still available for those who prefer to do their own edits from scratch. It all sounds neat on the surface, but plenty of photographers are already calling out the fact that there’s nothing particularly groundbreaking here. Labs have been working with photographers to nail down color profiles and preferred looks basically forever. Even now, it’s totally standard to chat with your lab and establish the aesthetic you’re going for. In that sense, GelForm seems like more of a rebranding effort than a true innovation, more about slapping a label on what’s essentially a set of presets. To beef up their scanning game, Gelatin Labs also added two Fujifilm scanners—the Frontier SP-3000 and SP-500—alongside their existing Noritsu HS-1800. These scanners have their own sets of GelForms to choose from, and Gelatin Labs says this expands their range and brings in the tonal warmth Fujifilm scanners are known for. But again, while it’s great to have more equipment options, that’s just the usual part of running a lab. A lot of the online chatter is echoing the same sentiment: this isn’t exactly new. Labs have always interpreted film and provided scans that are ready to share, and for those who want total control, high-res TIFFs have always been there too. Some are pointing out that this feels more like a play for casual photographers who want quick results without the hassle of editing. The irony is that most casual shooters aren’t dropping $35–50 per roll on film, development, and scanning these days. Image credits: Gelatin Labs Interview with Steve Hamm This week’s Interview with Steve, a very talented nature/landscape photographer. You can find him on Instagram as: @stephenhammphotography Enjoy the amazing Interview ;) Can you introduce yourself to our readers? My name is Steve Hamm, and I’m a Colorado-based landscape photographer.  Photography has been a big part of my life for six years now. I teach workshops, sell prints, and am passionate about capturing the beauty of nature. Besides photography, I’m a husband, father, and grandfather to four amazing kids and one grandbaby. I work full-time as an executive chef at Denver International Airport. What initially drew you to nature and landscape photography? I've always had a deep love for being in nature, which stems from my childhood when my family and I often went hiking together. My father and I bonded over these outdoor adventures, which became a significant part of my life. As I got older and found myself working long hours—50-55 hours a week as an executive chef at a restaurant in Denver International Airport—I realized I needed an outlet to decompress and recharge. My job involves serving over 2,000 people a day, and while I love what I do, the stress can be overwhelming. I picked up a camera to reconnect with the peace I found in nature. Photography quickly became a passion. It allowed me to capture the beauty and tranquility I experienced on my hikes. What started as a way to relax and unwind soon became an obsession. I dedicated all my free time to learning the art of photography and challenging myself in different environments and situations. I began traveling as much as possible, driven by a desire to see and capture the world’s beauty through my lens. How do you approach planning for a shoot in the wild? Do you rely more on spontaneity or preparation? Honestly, I don’t plan much at all, though I probably should. I find that just packing up and heading out, especially after a stressful week, is what I need most. The spontaneity of it—just being in nature without an agenda—is what I love. I’m not always chasing the “perfect” conditions; I’m more focused on the experience of being out there. That said, I realize that with a bit more preparation, I could capture more dramatic images, but for me, the peace and calm of nature are the priorities. The photos are a bonus. Can you walk us through your creative process when you’re in the field? How do you decide on the perfect moment to capture? When I arrive at a location, I like to take a moment to catch my breath and take in the surroundings. I’ll walk around and explore, looking for interesting elements to use as a foreground. If there are mountains, I’ll find the best angle to capture them, or if I’m near water, I’ll get low to frame the shot with the waterfall or river. I don’t usually set up my tripod right away. Instead, I take handheld test shots to see how the light interacts with the landscape. I observe how the light changes, especially around golden hour and into blue hour, which are my favorite times to shoot. I try to maximize my time by exploring different compositions in a single location rather than focusing on just one shot. What challenges do you often face when photographing in remote or difficult environments, and how do you overcome them? As a type 1 diabetic, managing my blood sugar is a significant challenge, especially when I’m hiking in remote areas without cell service, often at higher elevations. To mitigate this, I use an insulin pump and a glucose monitoring system that updates my pump every five minutes. It alerts me to potential issues before they become serious. I always carry snacks and a Gatorade mix to stabilize my sugar levels throughout the hike, along with glucagon in an emergency. Another challenge I’ve faced is forgetting to charge my camera batteries, which has happened a few times. To avoid this, I now carry multiple batteries in my bag, ensuring I’m always prepared for a long shoot. Can you share a memorable experience or adventure you’ve had while shooting in a particularly stunning or unique location? One of the most memorable experiences I’ve had was during a trip to Death Valley. It’s an incredible place, and one of my favorites to explore and photograph. I made the trip after hearing about the return of Lake Manly—a rare occurrence when the rains of 2023 caused Badwater Basin to flood, covering the salt flats with a few inches of water. The entire basin looked like a giant mirror, perfect for capturing reflections. As I stood in the water watching the sunset, the clouds began to form these incredible shapes, and as the sun dipped behind the mountains, the sky lit up in brilliant reds, oranges, and yellows. The water reflections created a scene resembling a phoenix rising—a truly once-in-a-lifetime moment. The colors transitioned to blues, magentas, and purples, and just when I thought the show was over, the sky exploded again in an afterburn, allowing me to shoot for another 40 minutes. I stood there in awe, completely immersed in the experience. Moments like these make all the challenges and long hours worth it. How do you handle unpredictable weather or lighting conditions that can drastically change the scene you intend to photograph? I embrace it. Unpredictable weather often leads to the most amazing shots. Patience is key—I’ll wait for the right moment, knowing that a small break in the clouds or a shift in the light can create something magical. Not every attempt works out, but when it does, the results are often stunning. I’ve learned to appreciate nature's unpredictability and use it to my advantage. What role does patience play in your work, and how do you stay motivated when conditions aren’t ideal for capturing the image you envision? Patience is crucial in landscape photography. Sometimes, the conditions aren’t ideal, and it can be challenging to stay motivated, especially when you’re cold or standing in the rain. I keep moving, exploring different compositions and capturing moody images even when the light isn’t great. Waiting for that perfect moment—when the clouds part, or the light shifts—can transform an image. It’s those small windows of opportunity that make all the waiting worthwhile. Any tips for beginners? The biggest tip I can give to beginners is to practice. The old saying, “Practice makes perfect,” couldn’t be more true in photography. With practice, you’ll develop your style, learn what you love to shoot, and improve your editing skills. I still practice constantly—revisiting locations, trying new techniques, and experimenting with different angles. Growth as a photographer comes from continuously challenging yourself and refining your craft. What do you think about AI in photography? I see AI as a useful tool, but not something to be feared. Like any new technology, it’s met with skepticism because people are unsure of it. For me, photography is about disconnecting from the world and finding peace in nature, something AI can’t replicate. I shoot to experience the outdoors, and AI doesn’t change that. What concerns me about AI is when it’s used to create images that don’t reflect reality, leading people to believe in something that doesn’t exist. My work has been accused of being AI-generated, but I assure you it’s all real. How do you choose the locations you shoot? I draw inspiration from other photographers, friends, and my own research. I use platforms like Instagram, Google Earth, and AllTrails to discover new spots. I’m willing to drive long distances—sometimes over six hours—to reach a location because I thrive on the excitement of exploring new areas. Familiar locations can become monotonous, so traveling keeps me motivated and inspired. What gear do you use? I’m a Sony shooter and have been for a long time. I use two camera bodies, the A7Riii and A7Riv, along with a range of zoom lenses: a 12-24mm f/2.8 GM, a 16-35mm f/4, a 50mm, and a 70-350mm. I typically shoot wide and do a lot of compositing. Additionally, I have a DJI Mini 3 Pro drone and an iOptron Sky Tracker Pro. What is your all-time favourite photo location? Death Valley is hands down my favorite place to shoot. The desolation and beauty of the landscape are captivating. The rich colors during golden and blue hour, the textures, and the unique shapes make it a photographer’s paradise. The wildflowers that bloom in such an arid environment are stunning, and the night skies are some of the darkest and most breathtaking I’ve ever seen. What role does composition play in your images? The rest, 6 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here The Flash For Outdoor Photography? Neewer just dropped the Q6 600Ws studio flash, and on paper, it looks solid. The design is sleek and simple, and the main thing here is power, it has got enough juice to handle bright outdoor setups without much trouble. It works with most of the big camera brands—Canon, Nikon, Sony, Fujifilm—and gives you TTL support across the board. The power range is nice and flexible, going from 1/512 all the way to full power in small steps, and the color temp is around 5,700K with minimal shift, so it should stay pretty consistent. There’s also a 30-watt LED modeling lamp that covers a good range of color temps (2700-6500K), and it’s decently accurate if you’re concerned about color matching. You can control it using their app, a remote trigger (though that’s sold separately), or just the manual buttons and dials on the flash itself. The color screen makes it easy enough to see your settings. Battery life sounds decent, around 400 full-power pops per charge and you can plug it into the wall if you’re working in the studio. Performance-wise, it’s fairly quick. Recycling time can be as fast as 0.01 seconds, topping out at 0.9 seconds at full power, which is totally fine for most use cases. Flash duration gets down to 1/10,989s, and it supports high-speed sync up to 1/8,000s, so freezing fast-moving stuff shouldn’t be an issue. There are a few extra features like Multi Mode for stroboscopic effects and a masking function if you’re into composite shots. It’s got a Bowens mount too, so all your usual softboxes and modifiers will fit without any weird adapters. Build-wise, it weighs around 6.6 pounds (about 3 kg) and has a fan to keep things cool. The size is compact enough to be portable but not exactly featherweight. It’s shipping mid-May at $499.99, and it comes with the usual kit—battery, handle, reflector, cables, and a carry case. The trigger, annoyingly, isn’t included, so that’s extra if you want wireless control. Overall, nothing revolutionary, but it looks like a dependable option if you need a mid-range flash with decent power and versatility. Image credits: Neewer Photo Analysis Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;) Photo by: @nickelpack Let’s Analyse this Image Composition What works well: The motion blur is handled very well, the background streaks into this neon blur, but the cyclist in his yellow jacket/raincoat stays sharp enough to be the clear subject of the shot. That contrast in sharpness is great. The diagonal energy from the blurred lines and the perfectly straight zebra crossing creates this great tension, it makes the scene feel fast, but at the same time also really graphic and clean. Centring the cyclist works here (more on this down below) because the scene is quite dynamic. There is a lot of visual ‘‘mass’’ around them that the middle becomes a little visual anchor. The bright yellow outfit against all that blue and neon is perfect colour theory in action, it pops nicely without looking forced. What could be better: Honestly, it’s nitpicky, but having just a bit more space ahead of the cyclist could give that sense of “moving forward” a bit more breathing room. (with panning shots in general you almost always what to follow this rule. Leave a bit of space before your subject so that it has ‘‘space’’ to move forward) The top of the image feels a little heavy with dark tones. Cropping slightly tighter from the top might focus the eye more on the action. Lighting What works well: The glow of the city lights is dreamy, all those blues, pinks, and oranges blend into this electric cyberpunk Tokyo vibe (which I love). The cyclist is well-lit, despite all the chaos around. The yellow raincoat isn’t blown out, it holds texture and detail even under those bright signs. The way the light hits the wet road adds that glossy, cinematic finish. It’s subtle but gives depth and dimension. If this shot hadn’t been taken during/after rainfall it would not have worked so well. What could be better: Some of the bright neon signs verge on being a little too blown out, especially the warm ones near the center-left. A touch more control there could balance it even better. The light on the cyclist’s face is a bit flat. It’s not a dealbreaker, but a bit more spotlight there could add a bit more life. Framing & Perspective What works well: The horizontal streaks of blur and the aligned crosswalk create this tunnel-like effect that draws you straight into the motion. Shooting from this angle makes the cyclist feel more heroic, like they are really powering through the city. There is a nice depth to this frame. What could be better: Maybe playing with a slightly wider angle could have exaggerated the sense of speed and space even more. However the cyclist is already rather ‘‘small’’ compared to the buildings and the space of the foreground. So adding even more ‘‘space’’ could kind of burry the cyclist. It’s all about balance. Again, a bit more lead room in front of the cyclist could amplify that feeling of motion. Storytelling What works well: This has this Tokyo Drift energy but with a delivery biker instead of a car. There’s a vibe of late-night hustle, fast-paced city life, and isolation all wrapped up in this picture. The yellow raincoat and the fact that the cyclist is alone on such a busy road really hint at resilience. He is out there grinding while the city blurs past (or is already sleeping). What could be better: A bit of visible rain or weather detail could’ve pushed the “raincoat” part of the story even harder, making it feel more rough and visceral. Again adding a bit more light to the person’s face could help the viewer connect with them more. And also again: leaving a bit more space in front of the cyclist could push the narrative ‘‘he is going somewhere’’ more Photography Tip of the Week The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers. Subscribe to the Premium Version here Photographer of the Week Photographer of the week goes to: Carlos Barrios You can find him on Instagram as: @carlosbarriostheoneandonly A few of his images: The Rest of this Issue is for Premium Subscribers The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price. Explore Premium

credits: VSCO VSCO has officially launched Canvas, a new AI-powered mood board tool built specifically for photographers and visual creators. Unlike general-purpose platforms like Canva, which most people know of, Canvas is tailored to creative workflows, pulling from VSCO’s own photo library and using generative AI to quickly visualise ideas. You can upload your own photos, generate imagery from prompts, and share your boards with teammates, clients, or collaborators. While Canvas has been in quiet beta and a soft launch for weeks, VSCO now says it’s ready for prime time. So far, the vast majority of boards have included AI-generated images, highlighting just how hungry users are for fast, flexible ideation tools. Upcoming updates promise better AI prompts, presentation modes, mobile access, and tighter integration with the rest of the VSCO ecosystem, all delivered in the platform’s signature minimalist style. Beyond design, Canvas reflects VSCO’s firm stance on ethical AI. That means no member photos are used to train outside models, and users maintain control over their work. It’s part of the company’s “Human-Centered. AI-Assisted” philosophy—where AI is a creative partner, not a replacement. Canvas is available on desktop for Pro Members, starting at $5/month with an annual plan. You can see full details on VSCO’s website here

credits: Lomography Lomography just launched a stylish new version of its LomoApparat 35mm camera—the Alexanderplatz Edition—named after Berlin’s iconic square and wrapped in rebellious black leather and metal accents. Like the original, it’s a super-wide 21mm point-and-shoot film camera with fixed settings and a built-in flash. It delivers Lomography’s signature look: bold vignetting, punchy contrast, and rich saturation straight out of the box. What makes the Alexanderplatz Edition stand out—besides its flashy design—is its creative toolkit. It includes accessories like a Kaleidoscope lens, Splitzer attachment, and a close-up lens for more experimental shots. You also get a flash filter slider with swappable color gels (red, yellow, blue, green), plus a fixed ND filter for better flash exposure when shooting up close. The MX switch adds double exposure capability, and Bulb mode is there for long exposures. Lomography is keeping the analog fun alive with a camera that’s easy to use but full of surprises. The whole kit so: wrist strap, lens pouch, filters, and all sells for £99 in the UK, though it hasn’t hit the U.S. store just yet. You can see full details on Lomography’s website here