credits: Adobe Adobe just made a big move by adding third-party generative AI models to Creative Cloud for the first time. This is aimed at streamlining the creative process for people who usually bounce between different apps during brainstorming or production. Now, instead of relying only on Adobe’s Firefly models, you’ve got options like Google’s Imagen 3, Runway Frames, and upscalers from fal, all built right into Adobe apps like Project Concept and Adobe Express. The interesting part is how smoothly it all works. You can flip between Firefly and these new third-party models within the same app, depending on what fits your project best. Firefly isn’t going anywhere, it’s still Adobe’s go-to for commercially safe content because it’s trained on licensed material. But having more tools under one roof definitely makes Creative Cloud more flexible, especially for photographers and designers who are already familiar with these outside tools. Enterprise users get extra control, too, they can choose whether to allow access to these third-party models or keep things in-house. And no matter what model you’re using, Adobe says your content won’t be used to train AI models, which has been a sticking point for many creatives. Plus, Content Credentials stay in place, tagging your work with details about how it was made, whether it’s from Firefly or another AI.

credits: DxO DxO just launched Nik Collection 8, the latest version of its renowned suite of plugins for Photoshop, Lightroom Classic, and DxO’s own PhotoLab. The biggest change is a new Photoshop panel that replaces the old Nik Palette. It’s fully customisable, so you can dock it wherever you like and get one-click access to any of the plugins, which really helps keep things tidy if you use Nik a lot. Masking got a serious glow-up too, you can now import masks directly from Photoshop, edit them inside any Nik plugin, and then send them back to Photoshop when you’re done. DxO also tweaked local adjustments, making it a lot smoother to transfer masks between plugins like Silver Efex and Color Efex. It’s mainly to keep your edits flowing without having to start over each time you switch tools. Silver Efex and Color Efex both got some handy updates as well. In Silver Efex, you can now view your original color photo while working in black and white, which makes using color filters a lot easier. Color Efex added Color Masks for more precise edits, and DxO improved Quick Export to make saving your files faster. Nik Collection 8 is currently out , a new license is $159.99, while those upgrading from Nik Collection 6 or 7 pay $89.99. You can see full details on DxO’s website here

What is zoom blur photography? Basically, zoom blur is creating a sense of motion and speed by literally zooming your lens in or out while the shutter is open. Instead of keeping your frame still and sharp, you’re stretching the image from the centre outwards, which gives you cool, radiating streaks. It is a great way to add energy to a static scene. What you need A camera with a zoom lens (like a 24-70mm or something similar). A tripod (optional but super helpful to keep the centre of the image sharp). Something to shoot that has strong shapes or bright colours, things that’ll pop once the blur kicks in. How to do it Set up your shot Frame your subject like you normally would. Using a tripod helps keep the center point of your shot nice and sharp while everything else gets that stretched, blurred look. Dial in your settings Go for a slower shutter speed, somewhere between 1/10 and 1 second is a good starting point. You’ll want to experiment based on how much light you’ve got and how fast you’re zooming. Set your aperture and ISO to balance out the exposure. Zoom while the shutter is open This is the fun part. As soon as you hit the shutter, twist the zoom ring on your lens in or out smoothly. You can zoom quickly for a more dramatic blur or slowly for a subtler effect. Try a few different speeds to see what works best. Tips for amazing results Start zoomed in or out : You can begin fully zoomed in and pull out, or vice versa. Both give slightly different vibes. Add a flash : If you’re shooting something like a person or an object and you want the centre to stay sharp but still get the blur, use a flash to freeze that part of the image. High-contrast scenes work best : Things with lots of color or light (like neon signs at night) really pop with this technique. Handheld is fun too : Don’t feel like you have to use a tripod, handheld zoom blur can get messy in a good way, adding an extra layer of chaos to the shot. It adds character also. Why try it? Zoom blur is perfect when you want to turn something pretty ordinary into something dramatic and full of movement. It’s awesome for creative portraits, nighttime city shots, light trails, or even nature photography when you want to give it a twist. Plus, once you get the hang of it, you can combine it with other tricks (like panning or multiple exposures) to create even crazier effects.

credits: Nikon It’s officially the end of an era: Nikon Japan has now listed the D6 flagship DSLR as discontinued, closing the book on 26 years of pro-level DSLR development. According to Nikon Rumors, while the D6 is done at Nikon HQ, there are still some units available through retailers like B&H and Nikon USA’s store—but once those are gone, that’s it. After that, anyone wanting a new one will have to hit the used market. The D6 was announced back in late 2019 and hit shelves in early 2020, bringing what Nikon called its most powerful autofocus system to date. It held that title until the Z9 mirrorless flagship arrived in 2021, which pretty much overshadowed the D6 entirely. In hindsight, a lot of people felt the D6 already looked a bit behind the curve when it launched—coming out just as Nikon was starting to shift hard into mirrorless. That said, it’s kind of amazing the D6 lasted on shelves until now, especially given how fast the industry has moved on. Nikon’s DSLR legacy is nothing short of legendary, though. From the game-changing D1 in 1999 to the iconic D3 that brought full-frame to Nikon DSLRs, the series has left a huge mark on digital photography. And while the D6 might not be remembered as Nikon’s most exciting flagship, its DNA definitely helped shape the Z9 (and by extension the Z8), which has been a huge part of Nikon’s resurgence.

credits: Tamron Tamron just shared some big plans for the near future, and it looks like photographers have a lot to look forward to. In its latest financial report, Tamron says it's aiming to launch six or seven new lenses this year, with as many as 10 new models starting in 2025. That sounds super ambitious, but it’s worth noting that Tamron counts bringing existing lenses to new mounts as “new models,” so not all of these will be brand-new designs. Last year, for example, Tamron introduced three entirely new lenses and then re-released four existing ones for different mounts, like bringing some of its popular zooms to Nikon Z and Canon RF. This year, they’re doing the same with the 18-300mm APS-C zoom, which is coming to both Nikkor Z and Canon RF—technically two new models in their books, even though the design isn’t new. Still, it’s exciting to see Tamron keep expanding its lineup for Nikon and Canon mirrorless shooters, especially with Canon only allowing autofocus APS-C lenses from third parties for now. The real hope is that at least some of these upcoming lenses will be genuinely new designs. Tamron has hinted that it’s open to making more primes and whatever else photographers are asking for, so fingers crossed we’ll see a few fresh surprises along the way. You can see Tamron’s report here

credits: WhiteWall WhiteWall just rolled out a new feature called SuperResolution, and if you’ve ever wished your low-res photos could magically become print-worthy, this might be your thing. It’s a completely free AI-powered tool that focuses on upscaling your images. However, unlike basic upscaling, which usually just stretches pixels, SuperResolution uses AI to actually rebuild detail, keeping things like hair, eyes, and fine textures crisp. It’s especially useful if you’re working with older smartphone shots, heavy crops, or files you thought were way too small to print. What’s nice is that it’s totally seamless: you upload your photo like normal, and SuperResolution quietly does its thing behind the scenes, showing you new size options without making you mess around with any extra settings. WhiteWall also pairs this with other tools like their ultraHD sharpening and Image Optimization, which tweaks things like brightness, contrast, and saturation automatically. All in all, it feels like they’re making it easier than ever to get great-looking prints, even from less-than-perfect files. You can see try SuperResolution here

Canon’s been known to dream big with lenses, but their latest patent might be their wildest yet. According to Canon Rumors, a new filing shows plans for a 24mm lens with an insane f/0.7 aperture. That combo—super wide and ultra fast—is something you just don’t see. For context, lenses like the legendary Zeiss 50mm f/0.7 were already groundbreaking, and that was at a much longer focal length. A 24mm f/0.7 would blow open all kinds of creative low-light possibilities. Of course, pulling this off is no small feat. Ultra-wide lenses at apertures like this usually come with a pile of issues like coma, field curvature, and focus breathing. Plus, mirrorless cameras don’t leave a ton of room for bulky lens elements, which makes it even trickier. Canon’s patent hints at clever ways to get around these headaches, including internal focusing tricks to keep your shot from shifting as you focus. That said, just because it’s patented doesn’t mean it’s hitting store shelves anytime soon. Honestly, an f/0.7 at 24mm feels a bit like sci-fi, but even if we don’t see this lens, it’s exciting to know Canon’s out there testing the limits.

credits: Yashica The Yashica City 100 is riding the wave of the point-and-shoot comeback, aiming straight at photographers who love a bit of retro charm. Priced at $230, it looks the part: simple, stylish, and ready to deliver. But is that really the case? Handling and Build Weighing just 220 grams, it’s light enough to carry basically everywhere. The grip is decent, and features like a focus/exposure lock button and a magnetic lens cap sound great, until the lens cap’s metal ring starts falling off after a few uses, a problem plenty of users have flagged. The plastic build feels rather cheap, and while the USB-C port is a plus, the 2.8-inch screen is a weak spot: no touchscreen, barely visible outdoors, and prone to damage if you twist it the wrong way. Shooting Experience The City 100 offers shutter priority, program mode, and exposure compensation, giving newbies a bit of creative freedom. But autofocus is a major frustration point. It’s sluggish, unreliable, and struggles to lock on, especially with moving subjects. The zoom range (25–76mm equivalent) is versatile but rather slow, and the whole system feels laggy. Also: there’s no proper flash, just a dim LED that does almost nothing for low-light shots, actually a huge miss considering how many people want that classic party-flash look. Image Quality A tiny 1/3-inch sensor and 13MP resolution mean no one expects brilliance, but even by low standards, the City 100 can be hit or miss. Some praise the fun, gritty digital vibe it delivers, but issues like weak dynamic range, unpredictable focusing, and muddy details are hard to ignore. The 72MP upscaling option is basically a gimmick, most people agree in saying it just makes your photos look worse. Color profiles like Natural and Monotone hold up okay, but the Vivid mode tends to oversaturate in a way that looks more tacky than artistic. Should You Buy It? In a single word: no. While it’s tempting if you love the retro aesthetic, the City 100 just doesn’t justify its price. It feels like a toy dressed up as a real camera, with build quality and performance that fall short of expectations. It might be fun for a weekend, but it’s not something you’d want to rely on—or keep for long. Alternatives? For the same money, used Canon, Sony, or Fujifilm compacts offer way more durability and far better image quality. The City 100 leans hard on its nostalgic look, but when it comes down to actual performance, there are stronger, smarter choices out there.

credits: Leica To celebrate its 100th anniversary, Leica is dropping a super-exclusive New York-themed edition of the M11 on May 3. Officially called the Leica M11 100 Years of Leica “New York USA” edition, it’s limited to just 100 units and available only in the U.S. The camera features some nice touches: a “NEW YORK USA” engraving alongside the usual Leica branding, a glossy black paint finish that will develop a unique patina over time, and silver-chromed control dials with detailed knurling. Even the body wrap is a bit fancier than usual, using textured black cowhide leather inspired by classic Leica designs. Other special details include a 100th-anniversary logo on the hot shoe cover, a black screw where the red Leica dot usually sits, and serial numbers marking its place in the 100-unit run. It ships with a certificate of authenticity and is priced at hefty $10,695, about $1,700 more than the standard M11. This “New York USA” edition is just one of six versions Leica is releasing worldwide (soon), with Milan, Dubai, Shanghai, Tokyo, and Wetzlar editions also in the mix. Leica’s 100th birthday marks a century since the launch of the original Leica I in 1925, the camera that helped kick off the 35mm photography revolution and shaped modern camera design and Leica is celebrating extensively. You can see full details on Leica’s website here

credits: Social Agent A new app called Social Agent is gearing up to make booking a photographer or videographer as easy and fast as ordering an Uber. According to TechCrunch, the app just opened its waitlist and promises to connect users with local creators who can show up within 30 minutes for last-minute shoots. Whether it’s a quick portrait session, content for TikTok, or brand photos for a product launch, Social Agent is aiming to fill that urgent, same-day need with packages starting at $65 for 30 minutes or $120 for an hour. The service is kicking off in Los Angeles in June and already has about 100 creators on board. The idea is simple: get 10 to 15 photos or 5 to 10 short videos shot fast, with raw files delivered within 30 minutes of your shoot. If you want them polished up, editing starts at $30 and is usually done in a few hours. There are extra features too, like booking in advance, sharing costs with friends, and even sending in your own photos for quick edits. Social Agent is definitely trying to shake things up, especially with its rapid-fire service and lower prices compared to competitors like Snappr. But as TechCrunch notes, it might be a disruptive force in the photography world, much like Uber was/is with traditional taxi services. You can see full details on Social Agent’s website here

Photo by @kam_visions Let’s Analyse this Image: Composition What works well: The main building is perfectly centred, it’s symmetrical and dramatic. The puddle reflection is what makes this shot. It turns this regular street into something special. The leading lines from the buildings and road all converge straight to the subject. There’s no confusion about what you’re supposed to look at. The vertical orientation works really well too, it stretches the frame just enough to let you soak in both the building and its reflection without crowding either one too much. What could be better: The red-and-white barricades at the base of the building are slightly distracting. They add some colour pop, sure, but strictly visually they break the otherwise clean lines. However in my opinion they also add some character. The reflection is quite ‘‘cut off’’ - meaning it doesn’t properly connect reality and reflection in a fluent line (the pinnacle of reflection shots). Repositioning yourself/putting the camera even lower to the puddle could have helped with that. Lighting What works well: The lighting here is soft and diffused. There are no harsh shadows, no blown-out highlights. It gives the architecture a very elegant, polished look. The slight glow in the sky adds a nice little cinematic backlight to the scene, making the buildings pop without looking too ‘‘unnatural’’. The lighting inside the reflection is also gorgeous. Balanced, clear and moody. It’s quite rare to see this level of clarity in a street puddle shot. What could be better: Some of the shadows on the right and left side of the frame feel a little heavy. Lifting them just a bit could reveal more texture in those buildings. However some would say that this is what helps the main building pop. So depends on your preference and philosophy. The lighting is safe—and that’s not bad—but experimenting with a slightly more blue-toned grade could’ve added even more personality and uniqueness to the scene. Framing & Perspective What works well: The low-angle perspective is everything here. It puts the viewer right on the street, straight at the scene. Including the street markings and traffic light gives context without clutter. It feels urban, but not chaotic. What could be better: The traffic light on the right is slightly cut off, which makes it feel a bit awkward. Either include it fully or crop it out more deliberately. A tiny rotation could make those vertical lines even cleaner. Right now they’re close to straight, but not quite, and with this level of symmetry, it really shows when you look at it. Storytelling What works well: This shot feels like a moment of stillness in the middle of a normally buzzing and loud city. You get a nice contrast between the old-school architecture and the glassy, modern skyscrapers. It is a nice detail once you notice it. What could be better: Right now it’s very aesthetic-focused. If you wanted to push the narrative a bit more, throwing in a human element like a person walking, or even just their feet stepping through the frame could open up a ton of storytelling possibilities. The scene is so crisp and quiet that it almost feels sterile. Some slight imperfection, like a stray leaf, a ripple in the puddle, might’ve added a little more soul. This is actually where the barricades/roadworks come in handy. Also: this is quite a popular photo location - so the temporary roadworks definitely add uniqueness.

credits: Sony Sony might be looking to spin off its semiconductor business, Sony Semiconductor Solutions (SSS), as an independent company, according to a Bloomberg report citing anonymous insiders. The move could value the unit at up to ¥7 trillion (about $49.2 billion), with Sony possibly retaining a minority stake. But Sony quickly responded, calling the report “speculation” and saying there are no specific plans in place—yet. SSS has played a major role in Sony’s success, especially through image sensors used in smartphones and mirrorless cameras. However, margins have shrunk from a peak of 25% to just over 10%, with the business now facing steep competition from China and rising costs. Internally, leadership at SSS recently shifted, with Shinji Sashida stepping in as President and CEO to lead the group through what Sony describes as a time of “unprecedented transformation.” While photographers know SSS for its camera sensors—including the cutting-edge global shutter in the Sony a9 III—the division also handles display tech, semiconductor lasers, and sensors for mobile phones. With the broader Sony Group focusing more on entertainment and gaming, spinning off semiconductors could help streamline operations and give the unit room to adapt—or compete—on its own.