In November 2024, Samsung Electronics won a total of 29 ‘CES Innovation Awards 2025’ ahead of the world’s largest and most influential technology event, CES 2025. One Samsung technology honored with a CES 2025 Innovation Award is All Lenses on Prism (ALoP). This revolutionary structure that enables smaller telephoto camera modules while capturing bright and clear photos, will be showcased at the Las Vegas Convention Center from January 7-10, 2025.

As mobile phone users demand better image capture from their cameras, smartphone makers have added cameras for each zoom ratio (e.g. wide, ultra-wide, telephoto). Over time, the phone camera array has become quite crowded, with an ever-larger camera bump. That may be about to change thanks to All Lenses on Prism (ALoP), developed by Samsung’s Sensor Solutions Team.

The technology, which was officially announced in November 2024, may debut in the upcoming Samsung Galaxy S25 Ultra smartphone, the upcoming company’s flagship model, which, according to rumors, will have the same lens set as the S24 Ultra, except for the ultrawide camera, which will drop the actual 12MP and be based on a 50MP sensor with a 1/1.57″ optical size and 1.0 µm individual pixels the Samsung ISOCELL S5KJN3. There is also a chance that AloP will first appear on a rumored Galaxy S25 Slim, a new addition to the family, that will be used to show the potential of AloP to incorporate a set of large telephoto lenses in a smartphone without incurring the penalty of a huge camera bump.

Limitations of the folded telephoto camera

Telephoto cameras have been a new point of differentiation for smartphone manufacturers because they offer high-magnification capabilities, can compress backgrounds, reduce distortion due to the narrow field of view, and even create a suitable background blur effect, ideal for portraits… but as they reach ratios up to 5x, taller module height and an obtrusive camera bump are unavoidable.

The common solution is the use of folded telephoto camera structure, bending the path of light by 90 degrees like a periscope to allow for longer focal lengths horizontally without extending the thickness of smartphone vertically. The lenses stand vertically with respect to the plane of the smartphone body, so their diameter determines the height of the camera bump. This made higher magnification telephoto cameras in smartphones possible… but introduced limitations in terms of light gathering.

In fact, the folded telephoto camera structure limits the telephoto improvements that can be made in terms of image brightness.  A wider lens diameter is required for brighter images. Moving to a larger telephoto lens and brighter telephoto camera using large image sensor increases both the module height and length, to the point where the user would find the resulting bulky camera bump objectionable.

To address these issues, the industry has been looking for a solution that can achieve better results than traditional folded zoom structures. That’s AloP, a technology that employs a clever optical structure in which lenses sit horizontally upon the prism, remaining in the plane of the smartphone body. Using this approach, increasing the effective lens size (EPD) by increasing lens diameter brings a brighter image yet does not affect the camera module shoulder height. Moreover, it provides for a shorter module length by reducing the space needed for lenses in the folded camera module.

ALoP: features and benefits

Here are the key features and benefits AloP brings to smartphones:

Brightness. The novel optics design of ALoP accommodates an f/2.58 lens aperture at a focal length of 80mm. Differing from conventional folded camera optics, the lens in this case is placed ahead of the prism. In this way, ALoP can use a large aperture lens that promises low-noise portrait images in night shots.

Compact size. Thanks to the ALoP architecture, the module length can be shortened 22% with respect to conventional folded camera optics. More importantly, the ALoP takes up an especially low module height because it employs a 40˚-tilted prism reflection surface and 10˚-tilted sensor assembly. Taken together, these reduced dimensions make for a lower-profile camera bump and slimmer smartphone.

Aesthetics and ergonomics. Users generally find a thick smartphone camera bump objectionable. It not only makes the smartphone design unappealing but also harder to use when laid on a flat surface. Additionally, the shape of the lenses within the camera bump can be off-putting. In a smartphone using conventional folded camera optics, users see a rectangular prism that is cosmetically somewhat jarring to an otherwise sleek camera appearance. By contrast, in a smartphone adopting ALoP optics, users see only the expected circular lens shapes.

According to Younggyu Jeong, from Samsung’s Sensor Solutions Team, “smartphone cameras are rapidly evolving, but they haven’t yet surpassed DSLR capabilities due to size constraints. I believe new technologies will continue to emerge to close that gap, with technologies aimed at improving the image quality of telephoto cameras, which are disadvantaged in terms of form factor, at the forefront.”

“As a business” – he added -, “we anticipate the commercialization of various technologies to reduce F/#, increase zoom magnification, and reduce module size. We will continue to combine the differentiated hardware solutions of ISOCELL with AI-based software solutions to expand users’ mobile camera experiences.”

Canon announced that the new Cropping Guide feature will be available via a firmware update for the Canon EOS R50, EOS R10 and EOS R7 camera models. The gridlines visible on the screen allow users to more easily frame their subjects through the use of four tailored on-screen guides. Some may think this is a feature not needed, or too amateurish, but they are wrong. While it may help photographers who are just starting to better compose their images, the use of a gridline helps to solve one of the most common challenges for professional content creators – maintaining consistency and quality when capturing multiple images.

It’s true! In fact, long before the introduction of these options through firmware in modern digital cameras, photographers would draw lines, with a marker pen – or any other way – on the focusing screen of their medium-format cameras, to define where the subject would be placed in the frame. Although for some models focusing screens are available in variants with different etched markings for various purposes,  sometimes photographers would draw their own lines for specific purposes.

Canon F1 has nine focusing screens

While the solution was mostly used for medium and large format cameras – we used “home-made” gridlines in our Bronica cameras for portrait sessions in the studio, school shootings and for museum cataloguing purposes – , it was also available for some 35mm cameras that had changeable focusing screens, with models from Nikon, Pentax, Canon and others.

Some 35mm camera models even allowed users to change focusing screens for different needs and lenses, an example being Canon’s F1, which had nine different focusing screens for different uses. One of those screens, the D type, has horizontal and vertical reference lines, being recommended for architectural photography and copy work in which accurate image placement is essential.

The new Cropping Guide feature from Canon provides on-screen guidelines that help shooters position subjects with precision, helping to ensure consistent and professional results while saving time on editing. It allows for Canon users to position the frame at the time of capture so that post-production and editing can be kept at a minimum. Lastly, the Cropping Guides can be applied to horizontal or vertical framing scenarios, allowing for a wide range of shooting situations.

Sony has customized grid lines

This is not new, and Canon is simply following Sony, who introduced this feature in November 2023 and debuted it at NAB 2024 last April, for Alpha 1, Alpha 7S III, Alpha 7 IV, Alpha 9 III, and other mirrorless camera bodies. According to Sony, “custom grid lines alleviate the burden of volume photographers working at schools, photo studios, theme parks, cruise ships or malls who often need to take similar shots repeatedly, sometimes thousands in one day. The ability to clearly see pre-set customized grid lines, especially when working quickly or in challenging lighting conditions, provides unprecedented peace of mind knowing that each shot will be framed perfectly.”

The Sony update is available for anyone interested but you need to buy a license that costs $149 USD/$202 CAD, per permanent camera license, through Sony’s Upgrade and License Management Suite at https://ulms.sony.net. Sony’s license also lets creators import up to four customized original grid lines. These can be displayed on the camera’s electronic viewfinder (EVF) and rear LCD monitor, or on an external monitor using an HDMI output, to ensure consistent results during long shooting sessions.

Additionally, sports photographers can apply one set of grid lines for full team photos and another for individual player shots, enabling uniformity. They can also create grid lines customized for specific sports to follow the action and player movements more precisely. ​

A feature for professional photographers

Canon’s solution isn’t as flexible – at least for now – as it only allows users to more easily frame their subjects using the four tailored on-screen guides available. The new feature is available now from Canon USA for the price of $120 USD. The company says that “for customers who have previously purchased one of the camera models compatible with the feature, they can send their device to a Canon Service Center and it will be returned with the Cropping Guide feature installed. For those new customers interested in the above mentioned models, the option to purchase them pre-loaded with the feature (for an additional cost) will be available via Canon Direct and other dealers starting December 9th.”

Canon will showcase its new offering to visitors to the School Photographers Association of California (SPAC) trade show from January 21-25 in Las Vegas, NV at the South Point Hotel and Casino at Booth #715. This new feature is specifically designed for school photography, sports events, or any scenario in which subjects need to maintain a consistent position. As Canon says, “the Cropping Guide feature is designed to streamline your workflow, making it ideal for professional photographers who require consistency and precision in every shot. Experience the ease and efficiency of on-the-spot alignment, and take your photography to the next level.”

Whether you want to capture expansive landscapes or towering architecture, the new Laowa 12-24mm f/5.6 Zoom Shift lens from Venus Optics should be in your toolkit.  Venus Optics says this is an extraordinary APS-C lens that combines an ultra-wide zoom with an impressive shift capability. The lens allows you to seamlessly zoom from 12mm to 24mm while also being able to shift up to 7mm!

This zoom-shift combination gives you all the flexibility in perspective control for capturing everything, from landscapes to architecture in a small lens that designed to go anywhere, as the compact 575g size  puts no burden on your kit. It’s truly a game-changer for photographers who want both versatility and creative control in their ultra-wide shots.

The Laowa 12-24mm f/5.6 Zoom Shift lens offers a versatile zoom range of 12mm to 24mm, providing an expansive angle of view from 102.5° to 63.9°. This allows photographers to capture a wide variety of scenes. With a constant aperture of f/5.6, the lens ensures consistent exposure throughout the entire zoom range, offering great flexibility while maintaining high image quality, according to Venus Optics.

±7mm shift capability and 15cm close focus

The remarkable ±7mm shift capability is what sets this lens apart. All shift lenses currently available on the market are primes, which makes this lens the WORLD’s first wide-angle zoom shift lens, the company claims. This feature enables photographers to achieve precise perspective control and effortlessly minimize distortion.

Venus Optics notes that “the lens showcases excellent distortion control, allowing users to capture accurate and true-to-life images. This makes it an excellent choice for architectural and interior photography”, subjects where precise image quality is crucial.

The Laowa 12-24mm f/5.6 Zoom Shift lens also has an exceptionally short focusing distance,  focusing as close as 5.9 inches (15 cm) from the sensor. This lens offers photographers plenty of opportunities for creative experimentation. The lens offers the convenience of a 77mm filter thread, which can be used when the lens hood is attached.

The 12-24mm f/5.6 Zoom Shift is currently available to purchase via Venus Optics official website (http://www.venuslens.net/) and authorized resellers. It is priced at USD $699 for Sony E, L mount, Canon R, Fuji X, Nikon Z, Canon EF-M. Price varies in different countries.

No, this was a blind date of lens goodness. The coupling was set up ahead of time without expectations. From the first shot, I could feel the sparks of our chemistry. In time, I lost time and control, snapping so many prime-style lens shots on a zoom that touched my heart.

I couldn’t keep my hands off the SIGMA 28-45mm F1.8 DG DN | Art Lens. Like a newlywed, I clung to it as it was the only lens that allowed me to see what I saw in the way I saw it. All joking aside, the Sigma 28-45mm F1.8 DG DN | Art Lens has something that the SIGMA 18-35mm F1.8 DC HSM | Art (for APS-C DSLR cameras) didn’t or really couldn’t give me.

Yes, on paper, the two match well. Both lenses have a constant F1.8 aperture throughout the entire zoom range, making both lenses great options for video shooters. Yet, the 18-35mm was designed for smaller APS-C DSLR cameras, and the SIGMA 28-45mm F1.8 DG DN | Art Lens was designed for full-frame mirrorless cameras. Sometimes, a larger image circle is actually better.

Love without compromises warms the heart and a lens like the Sigma 28-45mm F1.8 DG DN | Art Lens was made with love. Love of the prime lens comes through in the optical performance in the 28-45mm. By arranging the 3 aspherical lens elements and 5 SLD glass elements, the 28-45mm suppresses aberrations and gives use prime lens performance in a zoom.mI saw this performance in my photography. Each shot felt like it was captured with a prime lens, which I absolutely love.

Fast Autofocus

Not only does the Sigma 28-45mm F1.8 DG DN | Art Lens give images the appearance of being shot with a prime lens, but what also helps capture the love of shooters is Sigma’s HLA (High-response Linear Actuator) autofocus and optical design that minimizes focus breathing.

Make no mistake—the Sigma 28-45mm F1.8 DG DN | Art is well-suited for video work. Its weight and length also make it suitable for gimbal work.

Just as important as having a quick and accurate Autofocus is having a lens that doesn’t shift when the focus moves. That won’t fly for video shooters. Thankfully, the Sigma 28-45mm F1.8 DG DN | Art the focus breathing is well suppressed, allowing for smooth focus pulls between subjects.

Sigma 28-45mm F1.8 DG DN | Art Lens Aperture Ring

Recently, Sigma has added a click/de-click switch and lockable aperture ring to its lenses. I love this for two reasons. First, it’s all about the nostalgia of having an aperture ring. I tend to prefer a lens with an aperture ring, and that is the second reason. I prefer an aperture ring, especially the de-clicked version because it allows one to nail the exposure exactly.

Constant F1.8 Aperture

This Sigma 28-45mm F1.8 DG DN | Art Lens is the world’s first full-frame zoom lens with a maximum aperture of F1.8. Will we see other lens manufacturers make a constant F1.8 zoom lens? We might, but I doubt we’ll see one with the optical performance like the Sigma 28-45mm. This F1.8 on the Sigma 28-45mm F1.8 DG DN | Art Lens is a real-world F1.8, as there wasn’t any slight darkening of the image when zooming through the entire 28-45mm range. The F1.8, once reserved only for prime lenses, is proof in the pudding for Sigma’s design and optical performance they’ve created throughout the years. A lens like the Sigma 28-45mm only happens with years of experience and growth at a company that feels comfortable pushing to be better year after year.

Sigma 28-45mm F1.8 DG DN | Art Lens Performance

As I shot with the lens, I grew to love how it saw the world. The ghosting and flare are very much like Sigma’s other art lenses, and that is to say, they are very well controlled. The lens itself is not a big lens. Years ago, a lens like this would have been huge, but not the Sigma 28-45mm. There are two things that matter most to me. Is the lens easy to use, and does it help one take better pictures? The Sigma 28-45mm F1.8 DG DN | Art was a yes for both, and we’d been happily ever after.

SIGMA 28-45mm F1.8 DG DN | Art lens Features

• Lens construction: 18 elements in 15 groups (5 SLD, 3 aspherical elements)
• Inner zoom
• Inner focus system
• High-speed AF
• HLA (High-response Linear Actuator)
• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Nano Porous Coating
• Super Multi-Layer Coating
• Water- and Oil-Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (2 locations)
• Focus Mode switch
• Support for switching between linear and non-linear focus ring settings (for L-mount only)
• Dust- and Splash-Resistant Structure
• Petal-type hood with lock LH878-06
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

The reception to the simple app suggests how much people want to shoot panoramic photos: XP4N is one of the most popular apps in the iPhone store. And no, there are no plans for an Android version, so if, like me, you are on Android, you’ll have to find other ways to get your panoramic shots. Cropping may be one of them, but keep reading…

The XP4N turns, as its author says, “any scene into a movie set; every shot into a movie still.” Yes, that’s the visual magic that, I guess, attracts people to the format. Based on the legendary XPAN with its unique cinematic panoramic 65×24 images, XP4N is, according to the author, “consciously made to be the ultimate one-trick-pony. A point and shoot camera with only a single button: the shutter button. The internal image processing engine does the rest, based on your preferred film mode setting. (So don’t expect deep camera controls… ;-).”

The author says that XP4N “is an oldschool 99 cent app, meaning NO ADS, NO SUBSCRIPTIONS, NO IN-APP-PURCHASES!, and the resulting images are “carefully tuned to have the pleasant silky quality of film and to get away from the oversharpened, hyper-punchy look typical of today’s digital cameras.” Making the app “is relatively easy”, according to Bram Bos; the hard part, he adds, “is making the photos coming out of your app look like film (or rather: non-digital). And ‘cinematic’ at that.”

Emulation of popular film stocks

That’s what the XP4N – Every Shot A Movie Still – does. It simulates 6 film types (inspired by Cinestill 800T, Vision 3 250D, Portra 400, Metropolis, Ortho Plus, HP5+), uses all available lenses, features EV compensation by swiping, the option to save images as lossless HEIF files and also saves EXIF and GPS data in photos. If the camera has it, it also has access to the 48MP sensor, which means the cropped panoramas will have a high-resolution.

This app is designed to simulate the cinematic qualities of the XPAN, including emulation of 6 film stocks that are often paired with this camera. Here is some detailed information about the modes available:

NIGHT MODE

Based on the Cinestill 800T film character with its moody teal cast and signature “halation” (red halos) around bright spots in the image.

BALANCED MODE

Inspired by Vision3 250D film stock, with its versatile personality and typical Hollywood-style color and contrast curves.

DAYLIGHT MODE

Based on the popular Portra 400 film; soft and warm hues and moderate contrast profile. Great for skin tones and dreamy landscapes.

GRITTY MODE

Inspired by the Lomography Metropolis film, which adds a “bleached” look that is reminiscent of gritty 90s movies.

BLACK & WHITE MODES

Following the characteristics of the Ortho Plus and HP5+ films, one mode offers a punchy and contrasty B&W style, while the other is soft and dreamy.

The app is a “work in progress”

The app is not perfect, and some of those who used it point to what they would like to see in future versions, but it’s a “work in progress” and as the author created it as a solution to his own passion for the format, new updates are promised, with more features… that make sense and that are viable for an independent app using the tech inside a iPhone.

The interest for panoramic photos seems to be growing, as the recent announcements about the development of a new Widelux camera for 2025 suggest, although that camera uses a special mode for panoramic photos. The popularity of the XP4N app for iPhone confirms that photographers want to try their hand at panoramic photography, in many cases users that never shot panoramic photos with an analogue camera.

The XP4N app recreates a classic model, the Hasselblad XPAN, a unique camera – sometimes introduced as a medium format camera for 35mm – that utilized a dual-format, producing both full panorama 24x65mm format in addition to conventional 24x36mm format on the exact same film. It was the first dual-format 35mm camera on the market that expanded the format instead of masking it, making sure that every exposure utilized the full area of the film.

The Hasselblad XPAN… and the Fujifilm TX-1

The Hasselblad XPAN was not alone, as Fujifilm had the TX-1. In fact, both cameras result from a partnership between Hasselblad and Fujifilm, with the XPAN being launched, in 1998, in the West while the TX-1 was sold in Japan. Fujifilm already had experience with panoramic cameras, albeit in medium format, with the Fujica Panorama G617, a medium format roll film panorama camera from 1983, that in 1985 was replaced with the Fuji Panorama G617 and in 1993 saw a new model, also medium format, the Fuji Panorama GX617, which I had a chance to test then, although for regular photography I used a  Fuji GS645S Professional Wide60 from 1984, which I still keep to this day. This 6×4.5 format, due to its design, has a viewfinder in portrait format orientation instead of landscape, which continues to puzzle people when they look through the viewfinder.

Fujifilm’s experience may explain why there are – continued – rumors that the company will bring back the panoramic format in a digital camera, but I don’t know how much of that is wishful thinking… because with digital you can easily crop an image to whatever format you intend. I do understand there is a special magic into looking at a panoramic image during capture, but if you can visualize the end result you aim for at the moment of capture, you can just shoot an integral frame and edit in the computer.

The panoramic mode in APS cameras and cropping…

Having said that, I understand the magic of WYSIWYG, and the popularity of the XP4N app confirms it: even if the base RAW image is different, people appreciate that the app shows them a panoramic image. Some believe this “magic” only happens through digital, but decades ago a film format offered exactly that: APS. The Advanced Photo System (APS), a discontinued film format  first produced in 1996, marketed by Kodak, Fujifilm, Agfa and Konica, offered three image formats: High-definition, which used the whole frame – 30.2×16.7 mm (1.2×0.7 in) in a 16:9 format –, Classic, with the frame cropped (25.1×16.7 mm (1.0×0.7 in a 3:2 format  – so as to look like the regular 135mm image format, and finally Panoramic with an image cropped 30.2×9.5 mm (1.2×0.4 in), with an aspect ratio of 3:1.

Although the base frame was always the same – the High-definition format – users could, in most APS cameras, shoot one of the three formats: images shot in one format could always be printed in any of the other two, because the crop was only done at viewfinder level, an advantage for a system dependent on emulsion.

Even though this is a “trick” that uses crop to simulate a panoramic image, it was very popular among photographers using APS cameras, in a clear demonstration that the “magic of WYSIWYG” works rather well. In fact, we used a Minolta Vectis SLR (that we still have around and in working order) for the APS format for a long time, and many of the images taken by me and my wife on holidays were “panoramas” because the final printed images looked so exciting when coming out of the box, although we knew they were nothing but a crop from the whole frame.

So, it makes sense that, today, an app like XP4N appears for smartphone users. Unfortunately, it’s only for iPhone. But if you’re on Android, nothing stops you from cropping any image you like to create a panorama. I’ve added an example from my series of landscapes taken with an old Xiaomi Redmi Note 10 Pro and cropped in the basic Windows Photo app… After all, any photo editing app will allow you to create panoramas…

Here is the official information from Canon about the new lenses that, according to the – short – press-release, will be unveiled this month. The press-release states that “Canon, a leader in digital imaging technology, today announced its intention to add new lenses to its hybrid RF L-series range on October 30, 2024, when all details will be revealed.”

Also, according to the press-release, “Canon’s hybrid lenses are a range of RF L-series primes and zooms designed for high performance stills and video capture. They are able to perform multiple roles and harness technology from Canon’s broadcast, cinema and existing RF lenses to make for a truly versatile range concept. They empower creatives with the flexibility to reach new levels of artistry and practicality in stills and video production.”

That and one single image published on Instagram is what Canon shared. But you don’t have to wait for the end of the month to know that the three lenses being revealed in a couple of weeks are the Canon RF 24mm f/1.4L VCM, the Canon RF 50mm f/1.4L VCM and the Canon RF 70-200mm f/2.8L IS USM Z that works with teleconverters. The information is all over the Internet…

The new VCM lenses join the Canon RF 35mm F1.4L VCM, which is an entirely new L-series lens, targeting a wide range of still-image and video shooters, with a combination of very moderate wide-angle coverage, a fast f/1.4 maximum aperture, and excellent optical design.

A standard lens for video and still users

When used with a full frame camera the lens gives you a slightly wide-angle look which has for decades been used in photojournalism and street photography, and has become a very popular wedding shoot look. On the video side, this lens really shines, Canon says, “with a dedicated manual Iris ring, and a new linear focus motor called a VCM (Voice Coil Motor) that is virtually silent.  The VCM works in tandem with a Nano USM on the floating focus unit for incredibly fast autofocus.  And finally, focus breathing is barely noticeable on this incredibly versatile lens.”

According to Canon, what makes this lens and the whole hybrid” range of lenses Canon intends to develop different are features like the way the focus system works. There is a Nano USM that controls the floating focus unit, and a new VCM (Voice Coil Motor) that powers the rear focus unit. These focus motors work in tandem for incredible speed in near silence. One important note about the VCM is that it requires power to hold its position, so when the camera is off, or the lens is not attached to a camera, you may hear and feel slight movement. This is normal, and there is extra cushioning inside the lens to help prevent damage in this situation.

When Canon introduced the RF35m F1.4 L VCM lens the company said that the lens was the answer to the need of many professional high-level photographers and it was developed to be “a standard lens for video and still users”, all those using the EOS R5 and EOS C70 cameras. The lens, which marked the beginning of a new hybrid lens series, also filled a gap, as there is not a fixed focal length lens wider than 50mm in the L-series — until now.

Canon also claimed, then, that the lens is “ideal for low-light” and “features a manual iris (aperture) ring which helps provide better control when shooting movies. The lens allows very little focus “breathing” as focus is moved, and it’s highlighted by two Aspherical lens elements and two ultra-low Dispersion glass elements. Overall, this lens has the outstanding L-series optical design many professionals have grown accustomed to. In addition, the lens can be used with the newly announced Canon EOS C400 cinema camera, further reinforcing Canon’s full support of the video market.”

“The new RF35mm F1.4 L VCM lens is the answer for high-level video in the mirrorless market – while also providing still-imaging storytellers the durability and optical performance that is synonymous with Canon lenses,” said Brian Mahar, senior vice president & general manager, Canon U.S.A., Inc.

So, now the story continues, with the new addition to the family, coming as Halloween arrives. That explain the tone for the Instagram image: “Something Hybrid This Way Comes…”

The new LUMIX S 18-40mm is the world’s smallest and lightest zoom lens – at launch and among AF compatible interchangeable zoom lenses for full-frame mirrorless cameras -, weighing approximately 155g/0.34lb, and is designed to be a compact and lightweight addition to the LUMIX S Series full frame lens line up. According to Panasonic, “this lens covers focal lengths from an ultra-wide angle of 18mm to a standard 40mm, with a closest shooting distance of 0.15m/0.49ft, allowing for the flexibility to capture expansive landscapes and buildings or portrait shots in a natural perspective.”

While the title of “world’s smallest and lightest zoom lens” may not last long, as there appears to be an ongoing competition from lens makers to design smaller and more efficient lenses, one thing the LUMIX S 18-40mm F4.5-6.3 will keep: its ability to capture subjects within the focal range of 18-120mm with the Hybrid Zoom function on the LUMIX S9. Yes, this 18-40mm lens can be an 18-120mm with the right camera, just like the LUMIX S 20-60mm F3.5-5.6 (S-R2060), by the magic of Hybrid Zoom and the S9, extends the coverage to 180mm, making it, also, a good everyday lens. Just not as small and light as the 18-40mm.

The digital zoom era is coming

We’re apparently entering a time when the use of digital zoom with high-resolution sensors allows lenses to offer a focal length range beyond what’s inscribed on the barrel. The recent story published here at ProVideo Coalition about the LEICA Q3 43 suggests that not only is it possible, but it’s also becoming a suggested practice to reach a dream of many photographers: have only one compact lens and still be able to cover a variety of subjects simply by zooming… even if digitally!

The LUMIX S 18-40mm F4.5-6.3 is the perfect partner to the compact full frame LUMIX S9 camera, due to its compact and portable dimensions of 9 x 40.9 mm (the world’s thinnest at just 40.9mm when retracted) and a light weight of 155g. Its unique 18-40mm focal length, going from 18mm ultra-wide angle that allows for capture of expansive landscapes, to the standard 40mm that is perfect for shots with a natural perspective, makes it a good lens for most subjects, while the “marriage” with the Hybrid Zoom function expands the focal coverage to levels that make this the only lens many users will need. Imagine this: an 18-200mm lens that weighs 155g!

Effectively suppresses focus breathing

Robust and reliable dust, splash and freeze-resistant design with fluorine coating are features of the LUMIX S 18-40mm F4.5-6.3. Panasonic claims that the lens offers excellent performance in both photo and video, capturing in high-resolution with beautiful bokeh quality, and that it effectively suppresses focus breathing, in which the angle of view changes due to movements in the focus position.

The LUMIX S 18-40mm F4.5-6.3 (S-R1840) will be available for purchase in mid-November 2024 at valued channel partners for $499.99 USD for the lens and $1799.99 for the N Kit (S9 body + 18-40 lens).

In addition, LUMIX is announcing two new colors to the S9 assortment – Sakura Pink and Mint Green, which will be available for purchase Mid-November. All six colorways will also be available in a new kit that features the S9 body and the S 18-40mm lens, offering the perfect travel partner for creators on the go.

At CineGear Atlanta 2024, the Sigma booth was a hotspot for innovation, showcasing some of the most anticipated developments in the world of lens technology. Alec from PVC gave us an insightful tour of the booth, where Sigma presented several exciting new products designed to cater to the demands of professional cinematographers and photographers alike. The focus was on their highly versatile zoom lenses, prime options, and the groundbreaking addition of autofocus to their Sony-compatible lenses. Let’s dive into the highlights of Sigma’s showcase at CineGear Atlanta.

The Sigma 28-45mm T2 Cine Zoom Lens

One of the most exciting developments at the Sigma booth was the confirmation of the Sigma 28-45mm T2 Cine Zoom Lens with autofocus. This lens, aimed at Sony users, marks a significant advancement in the world of cinema lenses. Typically, cinema lenses lack autofocus capabilities, hindering fast-paced shooting environments. Sigma has addressed this gap by introducing an autofocus feature to this zoom lens, which could potentially revolutionize how filmmakers work, especially when using the lens with Sony’s powerful Alpha series cameras.

While the lens was not physically available at CineGear, its autofocus addition was confirmed, stirring considerable excitement among professionals. This lens is expected to offer fast, accurate focusing without compromising on optical quality. With its broad focal range and constant T2 aperture, the Sigma 28-45mm will likely become a go-to option for filmmakers looking for a high-performance, reliable, and now automated solution for their cinematic needs.

For those already using Sony cameras, the autofocus feature in this lens is a dream come true. Many shooters prefer manual focus for cinematic control, but autofocus in a zoom lens designed specifically for cinema creates opportunities for more spontaneous and dynamic filmmaking. This feature could also appeal to hybrid shooters who often transition between stills and video work, simplifying their workflow.

The Sigma Art 28-105mm f/2.8 DG DN: Expanding Possibilities

Another lens that garnered attention at the Sigma booth was the Sigma 28-105mm f/2.8 DG DN, a full-frame zoom designed for professionals who require both versatility and high-end performance. Sigma has always been known for producing top-tier optics at competitive prices, and this lens is no exception. The 28-105mm focal range makes it a superb choice for a variety of shooting conditions, from wide-angle landscapes to medium-telephoto portraits.

What sets this lens apart is its constant f/2.8 aperture, which allows for beautiful depth of field control and exceptional low-light performance. Whether you’re shooting in the early morning light or capturing night-time cityscapes, the lens delivers sharp, detailed images with excellent color rendition. Its build quality, typical of Sigma’s Art series, is robust, ensuring durability even in demanding shooting environments.

CineGear visitors were particularly excited about how this lens complements Sigma’s other zoom options. Alec from PVC mentioned that while he personally uses the Sigma 28-70mm f2.8, he sometimes needs just a bit more reach, which the 28-105mm provides. This makes it a flexible choice for those looking to expand their shooting range without sacrificing quality.

At $1,499, we expect this lens to be really popular with photographers and solo shooters, it being a great and versatile lens.

New RF Mount Lenses for Canon Shooters

Sigma also made waves with its announcement of new RF mount lenses, expanding their compatibility for Canon users. These lenses include a range of zoom and prime lenses, catering to a wide variety of shooting needs. The zoom lineup features the DC DN 18-50mm f/2.8 and 10-18mm f/2.8 lenses, which offer excellent coverage for everyday and wide-angle shooting, respectively. These lenses are lightweight, making them an ideal option for those who frequently shoot handheld or on the move.

In addition to zoom lenses, Sigma introduced several new RF prime lenses: 16mm f/1.4, 23mm f/1.4, 30mm f/1.4, and 56mm f/1.4. These lenses are known for their fast apertures, compact designs, and exceptional image quality. They provide Canon shooters with a versatile range of primes that excel in low-light conditions and deliver gorgeous bokeh, ideal for portrait work, event photography, and creative filmmaking.

These lenses range from $319 to $609 and will be hitting the market soon!

The Leica Q series was launched in 2015, introducing a completely new camera segment, that of a compact full frame with a fixed focal length. The original Q and the two generations that followed it, offer a 28mm lens (Leica Summilux 28 f/1.7 ASPH) and the option to shoot at the focal length of 35 mm, 50 mm, 75 mm by using the digital frame selector in the viewfinder… yes, using a digital zoom.

In fact, the 47MP sensor in the Q series allows users to shoot at 28mm and 46,7 megapixels (8368×5584 pixels), but also at 75 mm, with a resolution of 7 megapixels (3136×2096 pixels). Leica notes that with the camera’s integrated digital zoom that covers “a range of focal lengths up to 75 mm, the Leica Q2 transcends the revered story of Leica’s full-frame compact story to new heights.”

The original Q3, built around a Leica Summilux 28 f/1.7 ASPH, also offers the option to shoot at focal lengths equivalent to 35, 50, 75 or 90mm through digital zoom, but because it features a 60MP sensor with “Triple Resolution Technology” (similar or the same used in the Leica M11 from 2022), users can also select either 36MP or 18MP resolution settings for DNG and JPG files. As Leica notes, “regardless of the chosen resolution, the Q3 always uses the full size of the sensor with an impressive ISO range from ISO 50 up to ISO 100.000.”

Capturing 5MP images with a Leica

The new Leica Q3 43 follows the same logic, and because it pairs the 60MP sensor with a different lens, it “extends” the focal length to 150mm. According to Leica, photos and videos can be taken at the 43, 60, 75, 90, 120 and 150mm focal lengths by using the frame lines displayed in the 5.76MP OLED viewfinder, or on the tiltable monitor with the touch function.

The company adds that “an image with a resolution of approximately 5 megapixels is created with the highest selectable sensor resolution of 60 megapixels. This high resolution is maintained even at the maximum 150mm focal length, offering exceptional flexibility for photography and filming in an extremely compact form.”

If someone told you to use your 60MP Leica camera to shoot 5MP images you would call them crazy. In a world where “more pixels, more pixels” continues to excite audiences, people tend to forget that some of the first digital cameras had less than 5MP, and we could do double page spreads with them. My Canon EOS D30, from 2000, had only 3,2MP and I did use photos taken with it for anything for magazine covers to large size posters… those with the help of the original Genuine Fractals for Windows (Version 2.0), from Altamira Group, released in 1997.

Sensors able to show what the lenses capture

Another important aspect is that sensors have evolved since then, and so have lenses. In fact, modern lenses, especially high-end ones, are waiting for sensors to be able to show all they capture. In his review of the Leica Q3 43 photographer Thorsten Overgaard writes that “Leica chief lens designer Peter Karbe did humorously mention to me once, when we talked about resolution and lens design, that one could ‘just have one lens and then crop.’ There is no doubt that, in his universe, it’s already a done deal. Lens design can be done— and is in fact being done—with a resolution to do just that. All we have been waiting for are sensors with the capability to resolve the resolution those lenses can perform.”

The Leica Q3 43 fits that idea, as it means that with a single camera you can photograph at different focal lengths thanks to a digital crop, and still get detail in the photographs. According to Thorsten Overgaard, this fits with the compact concept of not having a zoom lens, yet still having the ability to zoom.

At the heart of the new Leica Q3 43 is the specially developed lens. The APO-Summicron 43 f/2 ASPH. not only joins the family of the legendary Leica APO lenses, which rank among the best in the world, but also stands out in the current Leica portfolio. The focal length mirrors, Leica says, “the natural perception of the human eye, allowing for the realistic composition of distortion-free motifs through the high-resolution OLED viewfinder. As a result, the versatile 43mm focal length is perfectly suited for street photography and portraits. Like its sister model the Leica Q3, the Leica Q3 43 also features an integrated macro mode for close-ups. “

Reviews by Thorsten Overgaard and Valentin Sama

Leica claims that with the lens the Leica Q3 43 can create extraordinarily sharp, high-contrast images in any lighting condition and still maintains its compact, lightweight form, even with the complex construction of the apochromatically corrected lens with four aspherical lenses.  The quality of the lens is expressed in a single word by those who tried it: spectacular! In his review Thorsten Overgaard says that the MFT chart for the Leica Q3 43 “is out of this world”, while Valentin Sama in “About photography. Technique, aesthetics and opinion” notes that “the resolution of this apochromatic correction lens is, in a word, spectacular. This is, in part, what makes it possible to achieve a fixed focal lens dedicated to a particular sensor. And also – it must be said – to an important synergy with the internal firmware corrections that this dedication allows.”

According to Leica, the new APO lens delivers superior performance at its maximum aperture of f/2. making it possible to separate subjects from the background with a harmonious bokeh. Combined with its outstanding ISO performance, the APO lens enables short exposure times, even in low light.

Here is some more information about the new camera:

In addition to the lens, the Leica Q3 43 differs visually from its sister model. The new grey leather stands out elegantly against the black camera body and honours the timeless design that Leica cameras are renowned for worldwide.

With easy-to-use Wi-Fi and Bluetooth connectivity, the Leica Q3 43 ensures a seamless mobile workflow, especially with iOS devices. Certified as a ‘Made for iPhone and as an iPad’ accessory, it offers an exceptionally smooth connection experience. When connected to the Leica FOTOS app, data can be transferred quickly and reliably, and creative Leica Looks can be easily loaded onto the camera. With the Leica Q3 43, Leica also introduces a new Leica Look: Leica Chrome. Leica Chrome can be applied to the JPEG and gives images an analogue charm. The expanding range of Leica Looks allows for the creation of unique, creative and striking images directly in the camera, ready to be instantly shared with the world via the Leica FOTOS app.

Shooting in 8K resolution

Both Leica Q3 models carry the same DNA. Like the Leica Q3, the BSI CMOS full-frame sensor with Triple Resolution Technology in the Leica Q3 43 gives you a choice between a resolution of 60, 36 and 18 megapixels. The camera’s ISO range of 50 to 100,000, coupled with a highprecision, fast hybrid autofocus system, and a tiltable 3-inch high-resolution touchscreen, makes this robust IP52-rated device the perfect tool to capture your unique perspective. In addition, the Leica Q3 43 offers the possibility to connect external RØDE microphones via USBC. Whether you’re shooting in 8K resolution or capturing stunning photos, this German engineered camera seamlessly integrates into your daily creative routine, allowing you to capture stylish shots with unparalleled Leica quality in any situation.

The Leica Q3 43 fits comfortably in your hand, especially with the new optional multifunction protector crafted from sleek black leather. It features an integrated grip, provides direct access to the battery, and can be swiftly mounted on tripods with a compatible quick change clamp thanks to its Arca-Swiss compatibility. The Leica Q3’s practical, comfortable and stylish accessories are also available for the Leica Q3 43. These accessories include a unique wireless charging handgrip that works with the elegant Drop XL Wireless Charger for inductive charging, a range of protectors and carrying straps in various leather colours, and a selection of stylish thumb rests, soft release buttons, and colourful round retro lens hoods, all of which enhance the individual look of the Leica Q3 43.

The Leica Q3 43 is available globally at all Leica Stores, the Leica Online Store and authorised dealers from today. The retail price is $6,895.00.

The Widelux is a fully mechanical swing-lens panoramic camera first developed in Japan in 1958, by Panon Camera Shoko. There are both 35mm and medium-format models. Instead of a shutter, the camera has a slit that exposes the film as the lens pivots on a horizontal arc. The Widelux camera seamlessly blends panoramic innovation with vintage charm, delivering expansive, cinematic images through its rotating lens.

Celebrated for its timeless design and precision engineering, this analog marvel offers an immersive film photography experience, making it a revered tool with a lasting impact on the world of photography. The last model was launched in 2000 and 20 years later Jeff Bridges, during an interview with SilvergrainClassics suggested it would be cool to resurrect the camera.

The interview triggered a project that took shape two years later, when “The Four Musketeers” announced a new company – SilverBridges – that would produce a new swing lens panoramic film camera! After a period of silence, the most recent news confirm that the company is reviving this iconic camera for 2025 as the WIDELUX•X.

Jeff Bridges, unofficial WIDELUX ambassador

According to the information shared on the website dedicated to the project, staying true to its analog roots, the WIDELUX•X will be purely mechanical, preserving everything that made the original great while incorporating sustainable manufacturing practices. With modern durability and timeless charm, the WIDELUX•X is designed to last for generations, capturing stunning panoramic scenes for a new era of photographers.

Jeff Bridges has been an ambassador for the iconic camera (watch his 2019 video at Jimmy Kimmel Live). As ProVideo Coalition wrote in 2019, Jeff Bridges received the American Society of Cinematographers Award. Announcing the award, ASC President Kees van Oostrum said “Jeff Bridges is an extraordinary talent on the screen, and also a remarkable person off screen. He is beloved by many for his achievements as an outstanding Oscar-winning actor. We at the ASC feel like Jeff is one of us, because he shares our passion for creating artful imagery through his still photography. We are incredibly honored to present him with our Board of Governors Award.”

In fact, Jeff Bridges is a keen photographer whose photographs depicting the actors, crew and locations, build a narrative of the industry from his point of view. He is not a filmmaker, but he is a storyteller, both through his career as an actor and as a photographer. On sets, Bridges regularly takes pictures that illustrate the behind the scenes we never get to see. After completion of each motion picture, he edits the images into a book and presents copies to his collaborators.

In 2003, PowerHouse Books released Pictures: Photographs by Jeff Bridges, a hardcover book containing a compilation of his photographs taken on numerous film locations over the years, to much critical acclaim. Proceeds from the book are donated to the Motion Picture & Television Fund, a non-profit organization that offers charitable care and support to film-industry workers.

 Bridges’ intimate vision of Hollywood

For more than 30 years, on numerous film sets, Bridges, with his Widelux F8, has captured behind-the-scenes views of the creative world of moviemaking. In 2019, 16 years since his first collection of photography, Volume Two was published, with Bridges’ intimate vision of Hollywood behind-the-scenes. Included within are rare looks at the famed actors, top directors, talented costumers and makeup artists, skilled and creative set and art decoration, and the rest of the passionate crews involved in such memorable movies as True Grit, Crazy Heart, The Giver, TRON: Legacy, and Hell or High Water. Bridges’ proceeds from Jeff Bridges: Pictures Volume Two are donated to the Motion Picture & Television Fund.

Bridges’ photographs have been featured in Premiere and Aperture, and he has had gallery exhibitions around the world including at George Eastman House (New York) and the Museum of Photographic Arts (San Diego). In 2013, Bridges was the recipient of an Infinity Award, presented by the International Center of Photography.

In Jeff Bridges’ special presentation at the Infinity Awards, he passionately discusses his love for the Widelux camera, the camera known for capturing sweeping panoramic images, highlighting how the camera’s rotating lens allows for capturing not just scenes, but moments in a way that feels alive and dynamic.

According to the website, the 2025 WIDELUX•X camera continues that tradition, as it combines its iconic rotating lens with modern technology, delivering stunning panoramic images with vintage charm and contemporary durability. It offers a unique photographic experience, appealing to both enthusiasts and professionals seeking high-quality, retro-inspired tools.

As we  as the interest for analog photography grows, with examples as the return of Kodak Professional Photo Chemicals or the announcements made by HARMAN Technology and ILFORD Photo, the return of what is a classic camera is a welcome addition to the news.