credits: 7Artisans 7Artisans just gave us a sneak peek at their newest lens — a compact full-frame 40mm f/2.5 with autofocus — at NAB Show 2025 in Las Vegas. Details are still super light, but from the teaser, we know it’s small: just 62mm long and 35mm wide, making it more pancake-like than most. It’s clearly going head-to-head with Viltrox’s 40mm f/2.5 AF, which has been praised for being lightweight, affordable, and great for everyday use or travel. That one comes in at under $160 and has a super minimalist design. 7Artisans’ version looks a bit different though — it includes a manual aperture ring, an AF/MF switch, and a focus ring, giving it more hands-on control despite the smaller form factor. There’s no official word yet on which mounts it’ll support, how much it’ll cost, or how the image quality holds up — but judging by the buzz in the Instagram comments, people are hoping it’ll hit all the major mirrorless systems. For now, we’ll have to wait for the full announcement, but it looks like another budget-friendly lens is on the way for street and travel shooters.

credits: CAI Panasonic just joined the Content Authenticity Initiative (CAI), adding its name to a growing list of over 4,500 members working to bring more transparency and trust to digital media. That puts them in good company alongside Fujifilm, Canon, Nikon, and Leica — all major players now part of this coalition. The CAI, led by Adobe, aims to tackle misinformation by promoting Content Credentials, a tech framework that lets creators securely attach metadata to images and videos to help proving that content is real and giving proper credit to creators. Panasonic’s move means we’ll likely see Content Credentials built into future Lumix cameras. That’s especially significant given their history of pushing innovation in mirrorless tech. The timing makes sense too. More and more companies (even Cloudflare) are jumping on board to help keep digital media legit. For photographers and anyone sharing visuals online, it’s a step toward more trust and transparency.

credits: Dough Dough, the company behind the Spectrum displays, just dropped news on their latest project: the Dough Canvas — a 32-inch 6K monitor built with creatives in mind, especially photographers. The display uses LG’s new 6K IPS Black panel, which means it’s super sharp, has true 10-bit color, and covers almost the entire Adobe RGB and DCI-P3 colour spaces — perfect if you care about colour accuracy. It’s also got a glossy, anti-reflective screen that helps make the visuals pop while keeping glare in check. The design is all metal — no cheap plastic here — and it looks right at home next to a Mac setup. What’s cool is that the final features aren’t set in stone yet. Dough is letting users help decide things like port layout, speaker options, webcam design, and power delivery setup. If you want a say, you can join the development process on Dough’s site. Pricing isn’t official yet, but Dough says it’ll be more affordable than Apple’s $1,599 Studio Display. No exact launch date either. You can see full details on Dough’s website here

Nikon might have more fast lenses on the way. A new patent, spotted by Japanese site Asobinet, shows designs for what look like two new wide-angle primes: a 24mm f/1.2 and a 28mm f/1.2. These would join Nikon’s current trio of f/1.2 lenses — the 50mm, 85mm, and 35mm — which have all been super well received by both reviewers and photographers. If these new lenses actually make it to production, they’d be a big win for low-light and astro shooters looking for sharp, bright glass. The 35mm f/1.2 was the last lens on Nikon’s official roadmap, so these patents might be a hint at what’s coming next. Of course, patents don’t always lead to real products — but it’s fun to dream, especially when Nikon’s been on a roll lately.

What Is Double Exposure? At its core, double exposure is when you combine two different photos into a single image. You might blend a portrait with a landscape, or overlay textures onto a silhouette. The idea is to create a composition that feels dreamy, symbolic, or just straight-up visually interesting. Originally, this was done with film cameras by exposing the same frame of film twice. Nowadays, you can do it in-camera (some digital cameras have a multiple exposure setting), or in post-processing using Photoshop or mobile apps. Why Use It? Because it opens the door to creative storytelling. You’re not just capturing what’s in front of the lens—you’re building an idea, a feeling, a concept. You can: Combine a person and a place Overlay memories, emotions, or symbols Turn a simple shot into something layered and poetic How to Shoot a Double Exposure (The Basics) 1. Start with a Strong Silhouette or Subject If you’re working with a person, side profiles work great. You want a shape that’s clear and has negative space to "fill" with the second image. 2. Choose a Second Image with Texture or Meaning Think trees, clouds, cityscapes, flowers, waves—something that complements or contrasts the first image. The second photo often “fills in” the shadows of the first. 3. Blend Them (In-Camera or in Post) In-camera: Some DSLRs and mirrorless cameras have a multiple exposure mode. It’ll let you shoot both images back to back and blend them automatically. In editing: You can do it in Photoshop by stacking two layers and using blending modes (usually “screen” or “lighten”) and layer masks to finesse the effect. Tips for Better Double Exposures Shoot high contrast subjects for the first image—it helps define the shape. Use overexposed backgrounds in the second image to avoid muddy blends. Think symbolically —what do the two images say together? Experiment —this technique is half technical, half intuitive. There’s no single “right” way to do it. Creative Ideas to Try A portrait overlaid with trees to symbolise growth or connection to nature A city skyline filling the shape of a face—urban identity A dancer’s silhouette mixed with smoke or water for motion and fluidity A quiet landscape with a faded photo of someone who used to be there—memory and place intertwine

credits: SongRaw A new player from China, SongRaw, just entered the lens market, and they’re making a bold first move: launching what they claim is the first Chinese-made 50mm f/1.2 full-frame autofocus lens for mirrorless cameras. The lens is designed for full-frame bodies and features 13 aperture blades for smooth bokeh, eye-tracking AF, a click/de-click aperture ring, and an AF/MF switch. The optical design includes 15 elements in 10 groups, with both aspherical and ED elements likely in the mix. Minimum focus is 0.52m, and it supports 72mm filters. SongRaw is prioritizing Sony FE-mount, with Z-mount and L-mount versions to follow. It’s set to cost around $1,000and should arrive by mid or late April. They’re showing it off at NAB, so anyone curious can check it out in person. You can see full details on SongRaw’s website here

credits: Fujifilm Fujifilm just dropped some bad news for analog shooters. Starting this month, film prices are going up across the board, and the company's disposable camera is getting a rebrand and a price hike. The Simple Ace 27-shot disposable camera is being renamed FujiColor 27 Shots, with new paper box packaging replacing the old bag type. It’s also getting a 44% price increase. Beyond that, color negative film is going up by 21–22%, and reversal film is jumping by 31–52%, depending on the roll. For example, a 36-shot roll of Provia now costs over $32, while Velvia 50 is more than $35 at Japanese retailers. Medium format prices are even steeper. Fujifilm says the changes are due to rising material and shipping costs, which they can no longer absorb through internal cost-cutting alone. For now all those price hikes are Japan only, however experts say it won’t be long before the rest of the globe will experience them too.

The New Nikon Z5 II - A Close Look Nikon just pulled the curtain back on the Z5 II, its latest full-frame mirrorless camera and a big leap forward from the original Z5. It still sits in that entry-level full-frame spot — especially price-wise at $1,700 — but in terms of features and performance, it punches well above its weight. It’s a solid option for anyone wanting to move beyond crop-sensor gear without shelling out Z6 III money, especially if image quality is the top priority. Since the Z5 II doesn’t use a stacked sensor, it avoids the typical dynamic range loss you sometimes see in faster cameras. At the heart of it is a 24-megapixel backside-illuminated sensor paired with Nikon’s EXPEED 7 processor, which gives it some serious chops in low-light conditions. Nikon’s claiming best-in-class performance here, with minimal noise and snappy autofocus even in really dark scenes — we’re talking down to -10 EV, which is basically candlelight levels. The ISO range backs that up, going from 100 to 64,000 natively for photos and topping out at 204,800 in extended mode. For video, it hits ISO 51,200. There’s even a Starlight View Mode to help with focusing and composing in extremely dark conditions, plus a night vision-friendly Warm Color Display Mode. And if you’re shooting long exposures, it supports up to 15-minute shutter times — no external timer needed. The camera’s in-body image stabilization system adds even more low-light flexibility, offering up to 7.5 stops of shake reduction at the center of the frame. Edge stabilization isn’t far behind at 6 stops, and there’s also a new Focus-point VR feature that adjusts stabilization based on where your focus point is — helpful when your subject is off-center. For folks chasing more detail, the Z5 II also includes a Pixel Shift mode that stitches together 96-megapixel images using Nikon’s Studio NX software. And autofocus is a big upgrade from the first Z5. You get Nikon’s 3D tracking and, for the first time in a full-frame Nikon mirrorless camera, the new AF-A mode — it automatically switches between single and continuous focus depending on what it detects in the frame. No more toggling between human or animal tracking; the camera figures it out. Speed-wise, it’s no slouch. You’ll get up to 14 FPS for JPEGs and 11 FPS for RAW with the mechanical shutter, or 30 JPEG and 15 RAW using the electronic shutter. It also includes Nikon’s pre-release capture mode, which lets the camera buffer shots a second before you press the shutter all the way. Great for unpredictable action moments. Build quality hasn’t been overlooked either. The Z5 II has magnesium alloy panels on the front, top, and back, giving it solid durability and weather resistance. It even comes with dual SD card slots, a feature usually reserved for more expensive bodies. There’s also a dedicated Picture Control button up top that gives instant access to up to 31 built-in color profiles and downloadable Imaging Recipes. Think of it like built-in film looks you can preview live. The EVF has seen a big boost too — Nikon says it’s six times brighter than other models and can hit 3,000 nits at peak. The rear LCD is a 3.2-inch fully articulating touchscreen, great for awkward shooting angles or video work. Speaking of video, the Z5 II records uncropped 4K at 30 FPS. Want 60 FPS? That’ll come with a 1.5x crop. If you drop down to Full HD 1080p, you can go all the way up to 120 FPS. The camera can shoot in 12-bit N-RAW (and, notably, to SD cards — a first), 10-bit H.265, and standard 8-bit H.264. A couple sample images: The Nikon Z5 II is set to hit shelves in April 2025 for $1,699.95 body-only. If you want a kit lens with it, you can bundle it with the Nikkor Z 24-50mm f/4-6.3 for $1,999.95, or go all in with the Z 24-200mm f/4-6.3 VR for $2,499.95. Either way, it looks like Nikon’s entry-level full-frame game just got a serious upgrade. Image credits: Nikon Interview with Viewfinderthis This week’s Interview with JT, a very talented Photographer from New York City. You can find him on Instagram as: @viewfinderthis Enjoy the amazing Interview ;) Can you tell us a bit about yourself? Hey, I’m JT, a photographer with a deep love for shooting in the rain. There’s something about the reflections, the mood, the chaos—it all speaks to me. How did you get into photography? Photography came into my life during one of my darkest periods. I was a French-trained executive chef, and that was my world—until I suffered a severe back injury. I had to undergo four major open-back surgeries, and for four years, I couldn’t walk. While I was recovering, I read a story about another chef going through something similar. He picked up a camera to deal with depression and creative frustration. That story stuck with me. In 2019, I decided to do the same—I bought a used camera on eBay, and that moment changed everything. I had found a new outlet, a new way to create, and a way to slowly rebuild myself. What does street photography mean to you? Street photography is my way of letting go of everything else. When I’m out in the streets, I’m fully present, reacting to the moment, watching people move through space and time. It’s fast, unpredictable, and real. There’s a kind of peace in the chaos—it becomes meditative. Do you prefer shooting alone or with others? Alone. When I’m out to create, I need to be in the zone, completely focused on what’s happening around me. If I’m with other people, it becomes more of a social hangout, which I enjoy—but it’s a different vibe. When I’m alone, I’m fully immersed. How did you develop your style—both in shooting and editing? Style, to me, is something that evolves over time. You can’t force it. It comes from shooting constantly, and from spending time learning your editing tools inside and out. I use Lightroom Classic, and I’ve spent hours just playing around, seeing what happens when I tweak something just a little. Eventually, certain colors, tones, and moods start to feel like you . What role does lighting play in your photography? Lighting is everything—especially when I’m not shooting in the rain. I think of it as the invisible subject that helps reveal everything else. It adds emotion, clarity, or even mystery. Whether it’s a single beam of light on a busy street or the soft glow of city reflections in a puddle—light tells the story just as much as the people do. What sets your work apart from others in the field? Honestly, not many people shoot in the rain all the time, and that’s become a big part of what makes my work stand out. It’s unpredictable, messy, and uncomfortable—but that’s also where the beauty is. Rain transforms the street. It adds drama, mood, and movement. What inspires you creatively? I’m a huge film buff, and I draw a lot of inspiration from directors like Christopher Nolan, Matt Reeves, the Wachowskis, and Denis Villeneuve. The way they build atmosphere, tension, and emotion—it’s cinematic storytelling, and I try to bring a bit of that into every photo. But more than anything, what pushes me is this: I couldn’t walk for four years. So every single day I wake up and my legs work, I get out and create. That’s my fuel. What gear do you use? I keep it simple: Sony A7iii with an 85mm f/1.4 and 35mm f/1.4 Those two lenses give me all the range I need—compression, intimacy, and context. I don’t carry a lot of gear; I want to move light and stay present. What’s your editing process like? I use Lightroom Classic, and I don’t really time myself when editing. Some shots come together quickly, others take longer. I like to take my time with each image, listen to what it wants to be, and not rush the process. What’s your take on watermarking? Totally personal choice. I choose to add a watermark to my images. It’s easy—just a one-click export setting for me. It adds a little signature to my work and helps keep things connected back to me. What qualities do you think make a great photographer? First: have fun. Second: never stop learning. There’s always something new to try, some skill to sharpen, some mistake to learn from. If you stay curious and open, your work will always grow. Any tips for people just starting out? Just get out and shoot as much as you can. Don’t overthink it. Don’t obsess over gear. Focus on the joy of creating. That’s where everything begins. Where do you see your work going in the future? The rest, 3 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here Falcam’s Move LightGo Falcam has introduced a new piece of gear that might quietly become one of those behind-the-scenes game-changers for anyone working with lights on set. It’s called the Move LightGo, and the whole idea is pretty simple: it's a motorized lighting controller that lets you adjust the position of your light remotely, sort of like a gimbal but for lighting setups instead of cameras. The Move LightGo gives you full remote control over both pan and tilt — 450 degrees of movement horizontally and 170 degrees vertically. That second part is especially interesting because Falcam rethought how tilt works when light modifiers are involved. Traditional light stands and yokes often can’t get that kind of tilt range without modifiers getting in the way, so they’ve extended the tilt axis forward to deal with that. It’s a small design tweak that could make a big difference when you're trying to fine-tune a softbox or reflector mid-shoot. The system works with most Bowens mount lights — Falcam says about 95% — and can support lights up to six kilograms, which covers a lot of mid-size options. The unit itself weighs just under two kilograms, so it’s reasonably compact for what it does. Controlling it is pretty flexible. You’ve got options for Bluetooth control via an app, wired operation, or a wireless remote that works up to 30 meters away. Powering the unit is also pretty open-ended. Out of the box, it takes AC power over USB-C, but it also supports V-mount batteries or a power bank if you’re working in a location without outlets. Internally, it uses a supercapacitor that holds just enough charge after shutdown to let you reposition or reset it, and once it’s off, the self-locking mechanism kicks in to keep it from moving around. Build-wise, the LightGo includes both standard screw holes and ARRI locating points, so it’s expandable if you want to attach other accessories or build it into a more complex rig. There's also a port set aside for future DMX integration, which suggests Falcam’s thinking ahead to studio workflows as well. Pricing is $250. Image credits: Falcam 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: @timbenzzz Let’s Analyse this Image Composition What works well: That stream winding through the grass? - Perfect. Your eye just naturally follows it from the front of the frame straight toward the mountain, its leading your eye through the scene. The mountain is not exactly in the middle, which is nice. It’s just off-center enough to keep things feeling balanced but not too ‘‘unnatural’’. The dark slopes on either side basically frame the whole shot without being in-your-face about it. They wrap around the image and pull your focus in toward the middle. What could be better: The stream at the bottom is cropped a little tight—it almost feels like it wants to breathe more. If the frame started just a bit lower it could have given the river more ‘‘space’’. Lighting What works well: The light is super soft and atmospheric. The way the stream reflects the light is really satisfying. It glows just enough to stand out against all that green without being too flashy. That gentle backlight on the mountain is really gorgeous. It makes the snow and mist glow in a way that feels magical. What could be better: The right side of the valley fades into shadow a bit too much. It adds contrast, sure, but pulling out just a bit more detail there might make the whole image feel richer. The stream kind of blends into the grass as it winds away into the mid-ground. A little boost in contrast or clarity there could help it stay and lead you through the image even further. Framing & Perspective What works well: The perspective feels really natural—like you just stumbled on this view while hiking and had to stop to take it in. Nothing feels forced. The framing is spot on. You’ve got something happening in the foreground, middle, and background. It’s layered very well giving you that 3D-depth effect. What could be better: If the photographer had gotten a bit lower (so to a lower spot), that might’ve made the stream feel more immersive and given it even more presence in the frame. However thats just a ‘‘could be’’ suggestion. Storytelling What works well: There’s something really peaceful about this scene. No people, no buildings—just pure landscape. It feels like a breath of fresh air. The way the stream winds off into the distance gives it a bit of a “where does this lead?” feeling, which adds a quiet sense of story without needing any big action. The mountain is such a strong presence. It kind of looms in the background like it’s been watching over the valley forever. It adds a very powerful energy. What could be better: It’s a beautiful landscape without people which definitely is a positive, however throwing in a tiny ‘‘indirect’’ human element like a little tent - is an option you have - to give it more of a scale and story/adventure connection. The vibe is already dreamy, but if this had been taken during golden hour, the warmth could’ve added a whole other layer of emotion to it. Still, the cool tones work too—just depends on the mood you’re after. 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: Dominik You can find him on Instagram as: @lake64photos 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

Photo by: @timbenzzz Let’s Analyse this Image Composition What works well: That stream winding through the grass? - Perfect. Your eye just naturally follows it from the front of the frame straight toward the mountain, its leading your eye through the scene. The mountain is not exactly in the middle, which is nice. It’s just off-center enough to keep things feeling balanced but not too ‘‘unnatural’’. The dark slopes on either side basically frame the whole shot without being in-your-face about it. They wrap around the image and pull your focus in toward the middle. What could be better: The stream at the bottom is cropped a little tight—it almost feels like it wants to breathe more. If the frame started just a bit lower it could have given the river more ‘‘space’’. Lighting What works well: The light is super soft and atmospheric. The way the stream reflects the light is really satisfying. It glows just enough to stand out against all that green without being too flashy. That gentle backlight on the mountain is really gorgeous. It makes the snow and mist glow in a way that feels magical. What could be better: The right side of the valley fades into shadow a bit too much. It adds contrast, sure, but pulling out just a bit more detail there might make the whole image feel richer. The stream kind of blends into the grass as it winds away into the mid-ground. A little boost in contrast or clarity there could help it stay and lead you through the image even further. Framing & Perspective What works well: The perspective feels really natural—like you just stumbled on this view while hiking and had to stop to take it in. Nothing feels forced. The framing is spot on. You’ve got something happening in the foreground, middle, and background. It’s layered very well giving you that 3D-depth effect. What could be better: If the photographer had gotten a bit lower (so to a lower spot), that might’ve made the stream feel more immersive and given it even more presence in the frame. However thats just a ‘‘could be’’ suggestion. Storytelling What works well: There’s something really peaceful about this scene. No people, no buildings—just pure landscape. It feels like a breath of fresh air. The way the stream winds off into the distance gives it a bit of a “where does this lead?” feeling, which adds a quiet sense of story without needing any big action. The mountain is such a strong presence. It kind of looms in the background like it’s been watching over the valley forever. It adds a very powerful energy. What could be better: It’s a beautiful landscape without people which definitely is a positive, however throwing in a tiny ‘‘indirect’’ human element like a little tent - is an option you have - to give it more of a scale and story/adventure connection. The vibe is already dreamy, but if this had been taken during golden hour, the warmth could’ve added a whole other layer of emotion to it. Still, the cool tones work too—just depends on the mood you’re after.

Can you tell us a bit about yourself? Hi, here is Vanessa Riina, I was born and live in Palermo, Sicily’s capital, in Italy. I’m 53 years old and I work in the field of telecommunications. At the moment photography is a strong passion; I hope one day to be able to devote myself only to it How did you get into photography? When I was a little child my father had created a darkroom inside a small bathroom which was accessed from the wardrobe’s door in my parents’ bedroom. This was my encounter with photography. A fairy tale. How do you approach storytelling through your photos? Because of my work I usually go out on weekends to walk and photograph. Walking I wait for something to catch my eyes, moments of stolen or found looks, smiles, freedom, comedy. The street  is rich, full, funny, serious, tragic. How do you define photography in your own terms? Photography is the inner need to capture a feeling through your eyes. What do you try to show with your art? I shot for myself, to satisfy my need but by sharing my shots with the world I hope to arouse empathy. Just like it happens to me when I look at other people’s photos What do you think makes your work unique?  If my pics arouse emotions in others, it means that my work has reached its own uniqueness What gear do you use? I started with analogic cameras and then used the first technological devices, the first digital cameras, then smartphones. Today my trusted companion is an iphone 15 pro max What are your favourite subjects to shoot? I love to photograph everything that gives me feeling but for a year and a half I have been dedicating myself to street photography assiduously What are your favourite photography genre and why? I am perpetually looking for street photos, moments of stolen or found looks, smiles, freedom, comedy. The street is rich, full, funny, serious, tragic. For me, the road is everything. Is there a type of photography or genre you haven’t explored yet but you would like to? I'm very impressed by the night photos in urban centres, the colours create really interesting effects. Night street photography has a different face because the lights come into play a lot.  What does photography mean to you?  I photograph out of need, to feel good, to find myself   How did you find your photography style? During Covid’s period I started to go out on walking. I realized how rich the street is W hy do you take photos? It’s an inner need. I can't give it up. when I can't photograph because I'm caught up in a thousand other things to comply with, I miss it What are your thoughts on AI in photography? I think that the use of AI denaturalizes the essence of making photography Any tips for beginners? Follow your dreams, always. Never give up. There is always time to live owns passions How much gear do you usually carry with you? Only my iphone 15 pro max and a power bank How important is lighting in photography? I think that there are not rules carved in stone. It depends on what message you want to transfer. A pic is your art. How important is composition? I don't like technicalities, I don't like perfections and I don't look for the perfect photo of the alignment of the planets, while recognizing their beauty; Also in this case it depends on what you have to say. What editing software do you use and how long it take you to edit a shot? Apple’s inside software or Lightroom for mobile or Snapseed Who are some artist that inspire you? Not one in a specific way. I look around the work of all famous photographer and I think that there are many other people's photos of great values. I let that all this pics give me inspiration, particular cuts, points of view and plays of light. It's so lovely to see so many good photographs. There is a great freedom of expression that fills and satisfies. It's nice to be able to share and learn from others. What is one thing that makes a photo stand out? I think that this depends on who is seeing that pic. I mean If I love b&n maybe I’ll not appreciate pics in colours. For me, ie, sometimes some pics in b&w make me anxious but other times I stare at them. I can assume that what makes a photo stand out is its capacity to catch your eyes just for more than 10 seconds. If you fix your eyes for 10 seconds on a pic it means it’s a quite good pic. The power of 10 seconds Thank you very much for reading, You can find Vanessa on her instagram as @riinavanessa

credits: Fujifilm The Fujifilm X-M5 is a compact, good-looking camera that aims to offer strong hybrid performance at a reasonable price. At $799, it’s positioned as an entry-level option, but some missing features might make you think twice. Handling and Build It’s a well-designed camera with a sleek, lightweight body. The film simulation dial is a nice touch, and the controls are easy to use, giving you full manual control without feeling cluttered. However, the lack of an electronic viewfinder is noticeable, especially for those who prefer composing with one rather than using the screen. Shooting Experience This is where things get interesting. The X-M5 has a proven 26-megapixel sensor and Fujifilm’s latest autofocus algorithms, making it a capable stills camera. Autofocus in photo mode is competitive with cameras like the Canon EOS R10, though it’s less reliable in video mode, sometimes shifting focus unpredictably. The lack of in-body image stabilisation is also a downside, but most cameras in this price range don’t have it either. Video Performance For videographers, the X-M5 punches above its weight. It offers 10-bit log recording and 6.2K open-gate video—features that are hard to find at this price. Heat management is solid, allowing for over an hour of recording in 6.2K before the battery runs out. However, the autofocus inconsistency and lack of IBIS mean you’ll likely need a gimbal or stabilized lenses for smoother footage. Who’s It For? If you’re looking for an affordable hybrid camera with great video specs and don’t mind the missing EVF, the X-M5 is an excellent choice. But if you want a more balanced camera for both photography and video, competitors like the Canon EOS R10, Sony a6400, or Fujifilm’s own X-T30 II might be better options. The Surprise Factor Despite its shortcomings, the X-M5 has a charm that makes it fun to shoot with. It’s compact, stylish, and easy to carry around, making it great for street photography, travel, or casual video work. If you can work around its quirks, it offers a lot of value for the price.

credits: ProGrade Digital ProGrade Digital, best known for its memory cards, is making a bigger push into SSDs with two new storage options aimed at photographers, videographers, and content creators. The Pro Mini SSD (PG10.5) is a compact, high-speed external drive designed to fit seamlessly into ProGrade’s existing workflow system. It features USB 4.0 and promises up to 4,000 MB/s read speeds and 3,500 MB/s write speeds, with sustained speeds of 1,250 MB/s—key for handling large video files. The SSD comes in 1TB ($179.99), 2TB ($299.99), and 4TB ($549.99), with availability set for late April. The PG30 Ultra-Portable SSD looks like a standard thumb drive but is built for better durability and long-term use. With USB-A and USB-C compatibility, it supports 1,000 MB/s read/write speeds and sustained speeds of 300 MB/s. It’s also dust- and water-resistant and will be available in 500GB ($99.99), 1TB ($139.99), and 2TB ($249.99) by the end of April. You can see full details on ProGrade’s website here