New details of the DJI Mavic 4 Pro just leaked, and this time it’s packed with wild upgrades. The big news is the new Hasselblad 4/3 CMOS wide-angle camera with 100MP resolution, capable of shooting up to 6K/60fps HDR or 4K/120fps. It’s joined by a 48MP 1/1.3" telephoto camera and a 50MP 1/1.5" HDR cam—basically, three pro-level lenses in one drone. There’s also omnidirectional obstacle detection, including forward-facing LiDAR, which should make low-altitude or complex flight paths way safer. It’s not just about the camera either. The Mavic 4 Pro now flies for up to 52 minutes, resists wind speeds up to 12 m/s, and can hit a max horizontal speed of 25 m/s in Sport mode. It supports DJI’s OcuSync 4+ for a 30 km video transmission range and comes bundled with the DJI RC 2 controller. Also there are built-in stepless electronic ND filters for smoother, faster shooting without physical filter swaps. All this adds up to a slightly heavier drone (1,063 g), but the performance boost is hard to argue with. With an FCC filing already out and leaks piling up, it should officially drop very soon!

credits: Canon Canon just revealed the RF 75-300mm f/4-5.6, and while it’s not breaking new ground optically, it fills an important gap in the RF lineup: an affordable, lightweight telephoto zoom for beginners. If the specs sound familiar, that’s because this lens is more or less a direct carryover of the EF 75-300mm f/4-5.6 III from 1999 — same optical formula (13 elements in 9 groups), same seven-blade aperture, and even the same old-school DC motor for autofocus. Its 75-300mm range becomes roughly 120-480mm on APS-C bodies like the Canon EOS R100, making it a good match for hobbyist wildlife, sports, or travel photographers using Canon’s more affordable mirrorless cameras. And while it’s compatible with full-frame bodies, it’s clearly pitched more at crop-sensor shooters. At 507g (17.9oz) and 146mm in length (about 5.8 inches), it’s relatively compact and portable. It takes 58mm filters, and the minimum focus distance is 1.5 meters, with a modest 0.25x magnification, decent for a telephoto in this price range. For now, it’s not officially announced in the U.S. yet, but Wex Photo in the UK lists it at £289. You can see full details and sample photos on Wex Photo’s website here

credits: DJI After years of shaping the skies, the DJI Phantom series is being laid to rest. As of June 1, 2025, DJI will end official support for the Phantom 4 Pro and Phantom 4 Advanced, marking the quiet end of an era that once defined the modern consumer drone market. The Phantom line was DJI’s crown jewel through much of the 2010s, a pioneer in turning complex aerial filming and photography into something accessible. The Phantom 4 Pro, especially, was widely praised for its mechanical shutter, 1-inch sensor, and robust flight performance, which made it a go-to tool for aerial photographers and filmmakers. Support for earlier models like the original Phantom 4 and the Phantom 4 Pro Obsidian Edition already ceased in 2023, and this latest announcement ties off the last loose ends of the Phantom legacy. For Phantom 4 owners, the drones will continue to fly of course, but with no official repairs or parts from DJI, they’ll be living on borrowed time. So if you're still flying one, enjoy it while it lasts. It’s a quiet goodbye, but a well-earned one. The Phantom helped launch a revolution in aerial photography and videography.

credits: 7 Artisans TTArtisan just dropped a pretty wild new lens: the 35mm T2.1 Cine Dual-Bokeh. It’s a full-frame cinema prime that lets you actually switch how your bokeh looks no matter if you are shooting photos or videos. Slide a little tab on the lens, and you can go from a super soft, dreamy blur to a punchy, bubble-like bokeh with more defined highlights. In soft mode, you can focus very close, down to just under a foot, and you get a long, super precise 313-degree focus throw. In bubble mode, you lose some of that close focus (you'll need about 1.8 feet of distance) and the focus throw shortens to 131 degrees, making it a little quicker but less fine-tuned. Optically, it’s built with 10 elements in 7 groups, has an 11-bladed aperture for smooth out-of-focus areas, and covers a T2.1 to T22 aperture range. It’s fully manual, built like a proper cinema lens with standard gear rings, an 82mm filter thread, and it weighs a manageable 670 to 735 grams depending on the mount. At $380, it's a lot more affordable than most cinema glass, and it’s ready to go for Canon RF, Fuji X, L-mount, Nikon Z, and Sony E systems. You can see full details on TTArtisan’s website here

credits: 7 Artisans 7Artisans released their new 35mm f/1.4 AF Lens for Fujifilm X-mount, and it’s looking like a great pick for street shooters, portrait lovers, and just overall everyday photographers. On Fuji’s APS-C bodies, it gives you about a 52.5mm equivalent, super close to what the human eye naturally sees, so you can capture both the environment and your subject without swapping lenses all the time. Thanks to its f/1.4 aperture, you get about 1.65x more light than an f/1.8, meaning cleaner images with lower ISO and less noise, especially in low light. It’s light and travel-friendly at around 184g, with a sleek metal and polymer build that’s waterproof, has an anti-fouling coating, and even includes a Type-C port for firmware upgrades. Optically, it’s built with 8 elements in 5 groups, a 7-blade aperture for smooth bokeh, and can focus as close as 0.35 meters. It’s very compact too, just 68mm wide and 49mm long. You can see full details and sample images on 7Artisan’s website here

credits: Vilitrox Viltrox just dropped the Vintage Z1, a tiny retro-styled flash that looks old-school but packs serious modern power. It’s super lightweight at just four ounces and has a slick silver metal body with leather accents — definitely made for photographers who love vintage style but want today’s performance. The Z1 gives you seven brightness levels, a fast recycle time (as quick as 0.2 seconds), and ultra-short flash durations, making it awesome for tricky low-light shoots like city nights or moody hallways. It covers a wide 28mm angle and even comes with a white diffuser to soften your light for a more natural, cinematic look. It’s very versatile too. It mounts to almost any camera with a standard hot shoe, supports wireless off-camera shooting with two sync modes for clean multi-light setups, and has a built-in battery that cranks out up to 10,000 flashes on a single fast charge. It’s coming in at around $50. You can see full details on Viltrox’s website here

credits: adobe Adobe just launched the public beta of its free Content Authenticity app, and if you’re a photographer, you’ll want to pay attention. With AI-generated content everywhere, it’s getting harder to prove your work is real and actually yours. Adobe’s new tool helps fix that by letting you add Content Credentials to your images, kind of like a digital signature, along with important info about how the image was created. You can tag up to 50 JPG or PNG files at once (even if they weren’t made in Adobe apps), and it’ll soon support bigger files, plus video and audio too. Content Credentials are super ‘‘durable’’, they stick with your work even if someone screenshots it, edits it, or reposts it. They combine secure metadata, invisible watermarks, and unique fingerprinting to keep your name attached and show if AI was involved. Plus, Adobe partnered with LinkedIn to help photographers link their verified ID to their work. When you share an image on LinkedIn that has Content Credentials, people will be able to hover over a little badge and instantly see your verified info. You can view Content Credentials right now using a Chrome extension or the inspect tool in the app. And Adobe plans to roll out deeper Creative Cloud integration soon. You can see full details on Adobe’s website here

Fujifilm Officially Teases New Camera After countless rumours floating around the internet, Fujifilm officially dropped a cryptic new teaser last week, hinting at a small but intriguing new camera with the tagline "half the size, twice the story." It’s only a 19-second video, and they did a great job hiding most of the important details — even if you crank the brightness or mess with the levels, there’s really not much extra to see. Still, a few things stand out. For one, the camera looks pretty tiny. Comparing the size of the strap lugs to the rest of the body, it seems even smaller than the compact X100VI, which already isn't exactly huge. The viewfinder is positioned at the top left corner, just like the X100VI (and unlike something more DSLR-like, like the X-T5), suggesting it will probably have a similar classic rangefinder style. There's also a noticeable control at the top right, maybe a shutter dial or an exposure compensation dial, but Fujifilm kept it tucked in the shadows. One of the most interesting clues is the screen on the back. It’s vertically oriented and shows “Provia” — Fujifilm’s default Film Simulation. That’s normal for Fuji cameras, but if this screen is meant mainly to show the active Film Sim, it would be a fresh design move, giving even more prominence to one of Fujifilm’s signature features. After the X-M5’s dedicated Film Sim dial last year, it wouldn’t be surprising if Fuji leaned even harder into this idea. Fujifilm X100VI Now about that "half the size" and "twice the story" line — it’s hard to say exactly what they’re getting at yet. Some are guessing it might be a half-frame digital camera (which would be wild and would definitely nod to the film world where half-frames meant twice the shots). Others think it might just be marketing speak about how small the body is compared to the GFX100RF or even the X100VI. Either way, it’s clear this new camera will be very compact and is being pitched heavily on storytelling and creativity. Given Fujifilm’s recent history, we probably won’t have to wait long — they tend to move pretty quickly from tease to reveal. I’m betting on a full announcement within the next couple of weeks, maybe even sooner if another teaser drops. Image credits: Fujifilm Interview with Yu Shi This week’s Interview with Yu, a very talented Photographer based in NYC. You can find him on Instagram as: @yushi.95 Enjoy the amazing Interview ;) Can you tell us a bit about yourself? My name is Yu and I’m a photographer based in New York City. I currently specialize in street, cityscape, and landscape photography and love spending my days exploring the city. What makes photography exciting for me is getting to capture images that make the viewer want to visit new places or places they know from a different perspective.  How did you get into photography? I got into photography during my graduation year 2015. My high school had a photography club. I didn’t join the photography club. I joined a coding club. I got inspired by the students who joined the photography club. They took very nice photos. I decided to use my phone to take photos and post on instagram. After I graduated, I got my first Nikon D7100 camera. My photography journey started in summer of 2015. What role does composition play in your photos? Composition is everything. It's like the silent guide that tells people where to look and what to feel. I’m always thinking about leading lines, framing, symmetry, reflections—those little details that subconsciously pull you into the image. Without strong composition, even the most beautiful scene can fall flat. What do you think sets your work apart from others in the industry? I think what makes my work different is the way I approach perspective. I’m constantly looking for angles that aren’t obvious—the kind of viewpoints that make people stop and think, “Wait, how did he even see that?” What gear do you use? Right now, my main gear lineup is the Sony A7IV and the Sony 7CR. For quick shots or when I'm traveling light, I’ll also shoot with my iPhone 15 Pro Max—because honestly, the camera on that phone is insane. And when I’m going for action shots or want something waterproof and durable, I’ll bring the GoPro. How do you stay inspired and motivated to continue creating new and unique photographs? I explore new locations, both near and far, seeking out unique cityscapes, and architecture that inspire me to pick up my camera and capture the world around me. And I collaborate with other creatives, such as models, stylists, and fellow photographers, to exchange ideas, share inspiration, and push each other to new heights creatively. I continuously seek out opportunities to learn and grow as a photographer, whether through online courses or studying the work of other photographers. This ongoing pursuit of knowledge fuels my creativity and keeps me motivated to improve. What are some of the most important qualities for a great photographer to have, in your opinion? The ability to think outside the box and see the world from unique perspectives allows photographers to create compelling and original images that stand out. Be patient, great photographers are willing to invest the time and effort required to capture the perfect shot, whether it means waiting for the right moment, experimenting with different techniques, or overcoming challenges in the field. What is your editing software of choice and how much time do you spend editing? Lightroom for me. It’s just the most intuitive and powerful tool for what I do. Depending on the complexity of the shot, editing can take anywhere from 30 minutes to over an hour—especially if there’s a lot of fine-tuning involved. For videos and reels, I use CapCut. It’s fast, flexible, and surprisingly powerful for something that’s so easy to use. Most video edits take me about 30 minutes or so, depending on how crazy I get with transitions and cuts. How did you find your signature photography/editing style? Honestly, it was a lot of trial and error. In the beginning, I didn’t lock myself into any one genre, I explored everything. Street, landscape, portraits, even random abstract stuff. I wanted to figure out what felt the most me . Same thing with editing: I played around with tons of styles, color grades, techniques until something clicked. Over time, you start to notice the little patterns in what you’re drawn to, and that’s how your personal style starts to take shape. Reels or photos? And why? I love photos (so that is my official answer), but if you’re trying to grow your page right now, reels are where it’s at. The algorithm just favours video content more. I’d definitely tell anyone trying to build an audience to focus on reels, stay consistent, and stick to one visual style at first so people know what you’re about. What does photography mean to you? Photography, to me, is all about storytelling. It's the way I capture emotions, memories, and tiny little moments that would otherwise just slip away. When I shoot, I'm not just taking pictures. I'm trying to freeze time for a second. It’s also a way of connecting with people, even if we don’t speak the same language or come from the same place. A photo can cross all those barriers without even trying. What are your thoughts on AI in photography? Don’t rely on AI. It’s ok if you use an AI tool to remove little things on your photos. Just don’t use it to help you create photos. And add many things to the photo. I like to go out explore the world. That is photography to me. - In my opinion. Any tips for beginners? Understand the fundamental concepts of photography, such as aperture, shutter speed, ISO, and composition. Familiarize yourself with your camera's settings and functionalities. Don't be afraid to get creative with your angles and perspectives. Try shooting from high above or down low, or experiment with different vantage points to capture unique and interesting compositions. Be patient, great photographers are willing to invest the time and effort required to capture the perfect shot, whether it means waiting for the right moment, experimenting with different techniques, or overcoming challenges in the field. How would you describe your photography style in a few words? The rest, 3 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here Luminar Neo’s Spring Update Skylum Software just rolled out its big Spring update for Luminar Neo, and it’s packed with some solid new AI-powered tools aimed at making editing a lot quicker and easier for everyone. The headline feature is Auto Adjust, a new tool for Pro and Upgrade Pass subscribers. Basically, it gives you an instant, smart starting point for your edits. It lives inside the Develop and Develop RAW tools and automatically tweaks things like light, shadows, exposure, and black-and-white points to get your photo looking balanced right off the bat. It's not meant to replace detailed edits, but it’ll save you a ton of time getting the basics right. Next up is something users have apparently been asking for forever: a Catalog Cache Cleaning tool. If you’ve got a huge photo library and have noticed Neo starting to slow down, this new tool will help clear out old cache files and speed things back up without having to dive into your system folders manually. They’ve also given the export menu a nice overhaul. You now get more detailed options for choosing format, file size, quality, resolution, and even file naming. Plus, they added DNG as a new export option, which is super handy if you’re prepping photos for print. The last big update is to Atmosphere AI. It’s been upgraded to create even more realistic fog effects with a refined depth model, meaning your moody landscapes and cinematic edits will look way more natural and immersive. Most of this update started rolling out on April 24, 2025, and it’s free for existing Luminar Neo users. Just a heads-up, though—Auto Adjust is only for Pro Subscribers and Upgrade Pass owners. If you want to grab Luminar Neo or check out subscription details, it’s all up on Skylum’s site, the Microsoft Store, or the macOS App Store. Image credits: Skylum 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: @jccabral_color Let’s Analyse this Image Composition What works well: The line of street lamps stretching into the distance is what makes this shot. It pulls your eye straight down the frame, and that puddle reflection doubles the effect. Its incredible. The people sitting on the bench gives the whole shot a centre of gravity. Without them, it would feel slightly empty—but with them, it feels grounded and a little bit poetic almost. The way the reflection bleeds into the foreground is great, it makes the whole photo feel visually deeper. The background bridge adds a nice little touch of structure without stealing the spotlight, it's like a bonus detail you notice after your eyes settle into the photo. What could be better: The person walking in the background adds movement and life yes, but they feel a little disconnected from the main story. Maybe waiting a second for them to step into a stronger position or waiting for them to completely be gone could've made this shot even better. (I personally would have waited for them to be gone, I think it sort of disrupts the balance and ‘‘clean lines’’ of the picture) A slight crop from the right side might tighten the composition up and keep all the focus on that lovely leading line. Lighting What works well: The glow of those street lamps against the misty night? Very Magical. It feels like stepping into a memory or into a different time. The reflections in the puddle are handled so well—not too bright, not too messy. They keep the dreamy vibe without feeling fake. The dim lighting on the people sitting down is perfect—it keeps them mysterious but still visible enough to anchor the scene. What could be better: The foreground reflection is just slightly darker than it needs to be. Lifting the shadows just a tiny bit might make that puddle even more lush and inviting. The street lamps have this awesome glow, but some of them feel just a little too clipped (overexposed). Dialing them back slightly would keep more texture in the light itself. Framing & Perspective What works well: Shooting from low enough to really catch that puddle reflection was such a good move. It makes everything feel bigger, richer, more atmospheric. The straight-on view down the row of lamps is classic—but with the water and mist, it feels anything but boring. It’s cinematic. I like it very much. Having the bench off-center keeps the photo feeling natural, like you just stumbled across the scene instead of staging it. What could be better: A slightly wider shot could’ve included just a bit more of the left side—might've helped balance the tree-heavy right side a little better. (however it is only a very slight imbalance) Storytelling What works well: This photo feels like a long awaited end of the work week. The city is slowing down, people are going home, people are meeting up with friends. Its moody its warm its cozy. The fog, the soft lights—everything’s working together to create this amazing atmosphere. What could be better: In my opinion it’s already packed with emotion. Right now it leans a little more into melancholy than mystery. Depending on what vibe you want, playing with more shadows or color grading could push it toward either feeling even harder. 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: Sascha Stellwag-Konertz You can find him on Instagram as: @manual_focus_pictures 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: Fujifilm The Fujifilm GFX100RF is a compact, fixed-lens medium format camera with a 102MP sensor and a 35mm f/4 lens (roughly 28mm full-frame equivalent). It blends the spirit of the X100 series with the image quality of the GFX line—giving you massive resolution in a surprisingly portable body. Build and Handling It looks and feels like an oversized X100, with classic Fujifilm dials, a solid aluminum build, and full weather sealing when paired with a filter. The controls are familiar: ISO and shutter speed dials, an aperture ring, and a rear aspect ratio switch for quick 65:24 or 1:1 crops. The EVF is bright and crisp, and the camera feels well-balanced in hand—even with the larger sensor. Lens and Performance The 35mm f/4 lens is sharp, clean, and distortion-free. No, it won’t give you super shallow depth of field, but medium format still creates a soft, natural separation. Autofocus is solid for stills, especially portraits, though not ideal for fast action. No IBIS means careful technique is needed in low light, but it’s manageable. Image Quality The 102MP sensor delivers incredible detail, wide dynamic range, and that signature Fujifilm color. It handles flare well and has very little chromatic aberration or distortion. Cropping is easy with this much resolution—you can shoot wide and still get tight portraits or 50mm-like crops without losing much quality. Who Is It For? If you’ve always wanted medium format but found it too bulky or expensive, this is the gateway. It’s perfect for street, travel, environmental portraiture, or documentary work—anywhere you want big sensor quality without the bulk of a full GFX setup. It’s not designed for high-speed action or low-light video, and the lack of interchangeable lenses may be a limitation for some. But for thoughtful, intentional photography, especially where detail and dynamic range matter—it delivers on its promise. Final Take The GFX100RF makes medium format feel less like a studio tool and more like a daily shooter. It’s not flashy, but it’s smartly designed, quietly powerful, and surprisingly practical.

credits: adobe Adobe just dropped some pretty cool updates for Photoshop and Lightroom, all focused on making editing faster and way less of a headache. In Photoshop, there’s a new Select Details tool that can automatically pick out tricky stuff like hair and clothing in just a couple clicks, so no more endless masking. Colour editing got a glow-up too: you can now adjust main colours directly on the image, and the Hue/Saturation panel has bigger, easier sliders. They also reworked the Actions panel so it suggests smart edits based on your image. It’s like having a little AI assistant helping you edit faster, and it will only get smarter over time. Over in Lightroom, the new Landscape Masking can detect and isolate things like sky, water, or trees automatically, so you can make local edits without doing all the grunt work. And Quick Actions are now smarter, giving you one-tap edit suggestions based on your photo. Bottom line is: less manual work, more creative flow. You can see full details on Adobe’s website here

credits: Thypoch Thypoch has officially responded to the controversy surrounding its Simera lenses by launching updated “Type ii” versions of the 28mm and 35mm f/1.4. If you missed the drama, it all started with the original Simera lenses’ auto-locking mechanism that kicked in when the lens hit infinity focus — a feature meant for stability, but one that many photographers found downright annoying. Instead of being able to smoothly adjust focus at any distance, users would hit that hard stop and get stuck unless they actively disengaged it. The new Type ii versions ditch that auto-lock system entirely and replace it with a crescent-shaped focus tab, which looks a lot like something you’d find on a classic Leica. That change might sound small, but it’s a pretty major usability improvement. The tab makes one-finger focusing smooth and natural. Both the Type i (Infinity-Lock) and Type ii (Focus Tab) versions will be sold side-by-side. If you already own a Type i and were hoping to convert it, bad news: Thypoch says it’s not possible without taking apart and recalibrating critical components, which they don’t recommend. So if you want the new feel and better ergonomics, you’ll need to pick up a Type ii fresh. The Simera 28mm f/1.4 Type ii goes for $770, and the 35mm version is $750 — same glass, less frustration. You can see full details on Thypoch’s website here