Sony and TSMC plan to invest about 1 trillion yen, roughly $6.3 billion, in a joint venture to mass-produce next-generation image sensors in Kumamoto, Japan. Production could start as early as 2029.

Canon has been busy lately, producing a variety of cameras aimed at satisfying a wide array of users. But which one is right for you?

The microphone you already trust is almost never the problem on a small shoot. The cable running out of it usually is. A shotgun on a boom, a reporter's handheld, a hypercardioid on a stand in a conference room: each one works beautifully until you have to get its signal back to the camera, and then you are taping XLR down a hallway and hoping nobody walks through it. Saramonic's K9 XTX is a plug-on transmitter built for exactly that gap. It screws onto the bottom of an XLR microphone and sends the signal digitally over UHF, so the microphone stays the same and the cable disappears.

The most influential environmental photograph ever taken was not on anyone's shot list. It happened because a rolling spacecraft swung a blue planet into view over a gray horizon, and Bill Anders had about a minute to find color film before the moment was gone. When he first raised the camera, his commander told him to stop.

Return to a place you have shot hundreds of times and you can still walk away with a frame you have never made before. Iconic coastal spots reward patience and observation far more than they reward familiarity, and that gap is where most photographers get stuck.

Harsh midday light is supposed to be the worst time to shoot landscapes, but there's a case to be made that it produces some of the strongest images you'll ever pull off. New Zealand's South Island, with Mount Cook towering behind winding rivers and glacier valleys, turns out to be the perfect place to test that idea.

Two years with a lens and never a word about it, until now. The Sony FE 24-105mm f/4 rarely earns a spotlight, and that silence says more about camera culture than it does about the lens.

After more than three decades behind a camera, one photographer still stands in the field asking whether he can make an image any better. Knowing when to stop is one of the least discussed parts of the craft, and it separates people who finish a photograph from people who wander away from it.

For the last couple of months, I’ve been trying out the Nikon 28-135mm PZ lens to see how it might fit into my workflow. Here’s what I found.

Sometime in 1977, a 35mm single-lens reflex interrupted your evening television. A Japanese company had bought national network airtime to sell it, which almost no camera maker had seriously tried, and the pitch was not about sharpness or lens quality. It was that the thing was easy.

Most studio shooters own a pile of modifiers and swap them constantly, but a single 48-inch octa can produce soft, moody, and hard light without ever leaving the stand. Learning to read what one modifier does under different conditions builds more control than owning ten of them.

Skin retouching tools usually give themselves away by making faces look plastic. The new blemish removal tool inside Camera Raw takes a lighter hand, and that restraint is exactly what makes it worth learning.

Overpacking your camera bag feels like preparation, but it often turns an incredible trip into an exhausting one. Getting the balance right between what you carry and what you leave home changes how much of the trip you actually experience.

The tree at Sycamore Gap is gone, and so is any chance of photographing it. That kind of loss sits at the center of a hard truth every photographer eventually learns: the scene in front of you might never be there again.

There is a particular kind of pride that keeps photographers doing everything alone. You built the business, you know how you like things done, and handing a piece of it to someone else feels like admitting you cannot handle it. So you shoot the job, cull the job, edit the job, print the job, bill the job, file the taxes on the job, and fix the computer the job lives on, and you wonder why you have no time to shoot the next one.

Most of the conversations about AI in photography seem to stem from anxiety. The focus is on commercial jobs being replaced, fake images flooding our feeds, or a sense that what makes the craft feel real is eroding. It is a repetitive drumbeat and makes some sense. When a new technology moves this fast, the default reaction is to brace for impact and defend the boundary lines of our art. But if you look past the noise, there is a very different side to this tool that rarely gets talked about.

Sony E-mount shooters have waited a long time for an affordable way to reach 400mm, and now there's a lens built specifically for that job. The catch sits right in the name: a maximum aperture of f/5.6 that darkens to f/8 as you zoom in.

Modern cameras shoot at 30 frames per second, focus faster than your eye can follow, and stabilize by five or six stops, and all of that speed may be quietly ruining your pictures. The fix has nothing to do with buying more gear and everything to do with pace.

Only three companies make an 85mm f/1.2 lens for mirrorless right now, and the price gap between one of them and its slower sibling runs about $2,000. That number alone forces a question every portrait shooter eventually faces: how much aperture is worth paying for?

Camera makers shipped 4.36 million digital cameras worldwide during the first six months of 2026, barely changed from the 4.34 million units shipped over the same period in 2025. The headline may look flat, but the underlying market is changing: manufacturers are increasingly leaning on higher-value products, compact cameras continue to expand, and DSLRs are fading further from the mainstream.

Red carpet photography looks straightforward from the outside, but the access, gear, and etiquette behind a single clean frame are anything but obvious. After nearly two decades away from the assignment, I returned to the carpet at the Tribeca Film Festival and relearned what it takes to shoot one well.

If you use MacOS with multiple monitors, this app is going to change your life. And I'm going to give it to you for free. 

Zoner Studio has released its Summer 2026 update, bringing a substantial suite of multi-frame stacking tools, an overhauled global search panel, and content-aware retouching tools to the Windows-based editing platform. Rather than focusing exclusively on generative AI novelties, this biannual release targets everyday workflow efficiency, with a focus on simplifying the processing of multi-shot stacks.

The right laptop edits a wedding on a hotel bed as happily as it does at your desk; the wrong one turns every export into a fan-screaming, battery-draining compromise. Here's how to tell them apart in 2026, and which machines are actually worth carrying.

Scientists just released the highest-resolution images of the Sun's visible surface ever captured, taken in violet light at 416 nanometers. The pictures resolve features as small as 19 kilometers across and reveal tiny, swirling, whirlpool-like patterns nobody had directly seen on the Sun before.