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In our latest creator showcase, we are featuring Armen, a photographer who has shot across multiple camera systems and k...
09/12/2026

In our latest creator showcase, we are featuring Armen, a photographer who has shot across multiple camera systems and keeps coming back to the LUMIX S1.

For him, it starts with how the camera feels. The S1 sits right in the hand, and the function buttons across the body mean he rarely touches the menu. Every control he needs is mapped to the surface, set to his workflow, ready before the moment arrives. When you are chasing light, that speed matters.

He pairs the S1 with vintage glass to chase a film look, leaning into the character of older optics for the sun flares and organic rendering that modern lenses are designed to correct. The S1’s image quality and low light capability give him a clean foundation to build that aesthetic on, letting the vintage glass do what it does best without the files falling apart in the shadows.

Different lenses, different glass, one body that ties it all together. A reminder that the best camera is often the one that gets out of the way and lets you work.

👤: Armen
📷: LUMIX S1

A moment that feels almost too intimate to have happened beneath the surface. We wanted to share a massive congratulatio...
09/11/2026

A moment that feels almost too intimate to have happened beneath the surface.

We wanted to share a massive congratulations to Julien Anton, aka Make Life a Dive, whose extraordinary portrait of a seahorse and two newly born juveniles has been named the Overall Winner of Ocean Photographer of the Year 2026.

Captured in French Polynesia, the image shows the tiny seahorses appearing to turn back towards the adult before venturing into the world. After countless hours searching difficult conditions with no guarantee of finding a single seahorse, Julien described the moment as far beyond what he had dared to hope for.

Beyond its beauty, the photograph is a reminder of what ocean photography can do: bring us closer to a world most of us will never see, while making us pause and consider what is at stake.

Congratulations, Julien. 👏👏👏

📷: Make Life a Dive
🏆: Ocean Photographer of the Year 2026
📍: French Polynesia

Trackside at the Brickyard 400 with Gary Sexton, shooting on assignment for Beard Motorsports and driver Casey Mears in ...
09/10/2026

Trackside at the Brickyard 400 with Gary Sexton, shooting on assignment for Beard Motorsports and driver Casey Mears in the number 62 car.

Gary is a photographer and videographer embedded with NASCAR teams, and the LUMIX S1II is his one-body solution. On a race weekend, he needs to move between photo and video without carrying a second camera. The S1II handles both, and when the distances between shooting positions are long and the heat is relentless, travelling light is not a preference, it is a necessity.

For the stills, he runs continuous autofocus with car detection and tracking, letting the S1II lock onto the cars and hold through the frame. He varies the shutter speed to suit the shot, dropping low to blur the background and sell the sense of speed, then climbing high to freeze the action clean.

Two lenses covered the entire race. The LUMIX S PRO 24-70mm F2.8 for the wider compositions, and the LUMIX S PRO 70-200mm F2.8 O.I.S. for the tight pulls down the straight. Open Gate on the video side keeps the framing flexible for different social media aspect ratios, and when the brief calls for it, anamorphic glass slots straight in.

One camera. One photographer. Every angle of a NASCAR weekend.

👤: Gary Sexton
📷: LUMIX S1II + LUMIX S PRO 24-70mm F2.8 + LUMIX S PRO 70-200mm F2.8 O.I.S.
📍: Indianapolis Motor Speedway, Indiana, USA

Low light, no tripod, shutter speeds as slow as one second. Arthur Ascott (Aaron) trusted the LUMIX G9II to hold it all ...
09/09/2026

Low light, no tripod, shutter speeds as slow as one second. Arthur Ascott (Aaron) trusted the LUMIX G9II to hold it all together, and it did.

He paired the G9II with the LEICA DG SUMMILUX 25mm F1.4 and leaned on the two features that made this shoot possible. The Phase Hybrid AF found the subject in near darkness, and the in-body stabilisation kept the surroundings razor sharp at handheld exposures that would normally demand a tripod. The floor, the walls, the environment, everything stayed locked while Freya moved through the frame.

The result is a set of images built on the tension between stillness and motion, captured in conditions most photographers would not attempt without a support.

👤: Arthur Ascott (Aaron)
📷: LUMIX G9II + LEICA DG SUMMILUX 25mm F1.4

Cinematic stills by Thomas Caminada, shot on the LUMIX S1RII paired with the LUMIX S PRO 24-70mm F2.8.What gives these i...
09/07/2026

Cinematic stills by Thomas Caminada, shot on the LUMIX S1RII paired with the LUMIX S PRO 24-70mm F2.8.

What gives these images their texture is the layering before the shutter. Night fog, chocolate and coral filters stacked in front of the lens, shaping the light and colour at capture rather than in post. The haze, the warmth, the softened highlights are all baked into the original file.

From there, the images were refined in Capture One Pro, but the foundation of the look was built on location, one filter at a time.

A reminder that sometimes the most creative choices happen between the glass and the sensor.

👤: Thomas Caminada
📷: LUMIX S1RII + LUMIX S PRO 24-70mm F2.8

A warm summer evening on the rocky coastline of Stavros Beach, Crete. TIBØZ | Visual Storyteller used the LUMIX S5IIX to...
09/04/2026

A warm summer evening on the rocky coastline of Stavros Beach, Crete. TIBØZ | Visual Storyteller used the LUMIX S5IIX to build a visual story around the connection between subject and landscape, moving from intimate portraits to wide compositions where the environment becomes part of the image.

Two lenses, two perspectives. The LUMIX S 85mm F1.8 handled the portraits, delivering the depth and subject separation that makes it one of the most rewarding primes in the lineup. For the wider compositions, the LUMIX S 14-28mm F4-5.6 MACRO brought the coastline into the frame, capturing the contrast between the subject, the rock, and the last of the evening light.

No additional lighting. Just golden hour, natural light, and a camera with the flexibility to follow the story from close up to wide open.

👤: TIBØZ | Visual Storyteller
📷: LUMIX S5IIX + LUMIX S 85mm F1.8 + LUMIX S 14-28mm F4-5.6 MACRO

📍: Stavros Beach, Crete, Greece

09/03/2026

“The Milky Way over the ancient city of Sagalassos, accessed with special permission and captured by on the LUMIX S1RII with the LUMIX S 100mm F2.8 Macro.

High-resolution sensors and astrophotography do not always mix. More megapixels typically means more noise and more hot pixels at high ISO. But the S1RII’s 44.3MP sensor breaks that rule, its advanced architecture keeping the files clean enough to shoot the night sky at ISO 5000 without the resolution becoming a liability.

The time-lapse was built from 500 frames at F2.8, ISO 5000, 10 seconds per exposure. Manual focus in low light was easy and precise. Noise reduction was handled in DxO, with the sequence processed through LRTimelapse, Lightroom Classic, and Adobe Premiere.

An ancient city, a modern sensor, and the kind of sky you can only earn through patience and access.

👤:
📷: LUMIX S1RII + LUMIX S 100mm F2.8 Macro
📍: Sagalassos, Turkey”

A night downhill race in Ibarra, Ecuador, captured by Kamak Photos on the LUMIX S5IIX.Shot at 53mm, F5.4, 1/125s with th...
09/01/2026

A night downhill race in Ibarra, Ecuador, captured by Kamak Photos on the LUMIX S5IIX.

Shot at 53mm, F5.4, 1/125s with the LUMIX S 20-60mm F3.5-5.6. Fast enough to freeze the riders, wide enough to let the night in. When the action moves downhill and the only light is whatever the course gives you, you trust the camera and commit to the frame.

Technical details for every shot are available through the LUMIX Lab app.

👤: Kamak Photos
📷: LUMIX S5IIX + LUMIX S 20-60mm F3.5-5.6
📍: Ibarra, Ecuador

08/31/2026

A creative recap by , shot in ProRes HQ, 10-bit V-Log at 24fps on the LUMIX S5IIX paired with the LUMIX S 24-60mm F2.8.

The stabilisation kept every handheld move smooth. The autofocus held where it needed to. And the 10-bit V-Log files made the grade effortless, delivering the cinematic look he was after without fighting the footage to get there.

When the process feels smooth, the work looks it.

👤:
📷: LUMIX S5IIX + LUMIX S 24-60mm F2.8

08/28/2026

NYC on the LUMIX S9 by , paired with a vintage 37mm F2.8 and his signature LUTs.

He has been shooting LUMIX since the GH5 in 2017, and the S9 is the current chapter. The form factor keeps the kit invisible on the streets of New York. The image quality makes sure nothing is lost in the trade.

His workflow is built around features that suit the way he actually shoots. Focus peaking for precise manual focus with vintage glass. 6K Open Gate for the freedom to reframe vertical and horizontal deliverables from a single take. Shutter angle for a cinematic motion cadence. And Real-Time LUTs to lock in the look at capture.

A camera small enough to disappear into the city. Capable enough to bring it back with you.

👤:
📷: LUMIX S9
📍: New York City, USA

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